Misplaced Pages

#76923

98-711: Nanga ( 南画 , "Southern painting" ) , also known as Bunjinga ( 文人画 , " literati painting " ) , was a school of Japanese painting which flourished in the late Edo period among artists who considered themselves literati , or intellectuals. While each of these artists was, almost by definition, unique and independent, they all shared an admiration for traditional Chinese culture. Their paintings, usually in monochrome black ink, sometimes with light color, and nearly always depicting Chinese landscapes or similar subjects, were patterned after Chinese literati painting , called wenrenhua ( 文人画 ) in Chinese. The name nanga

196-407: A "new national art." Xu Beihong ( 徐悲鴻 ; Hsü Pei-hung ; 19 July 1895 – 26 September 1953), also known as "Ju Péon", was a Chinese painter. He was primarily known for his Chinese ink paintings of horses and birds and was one of the first Chinese artists to articulate the need for artistic expressions that reflected a modern China at the beginning of the 20th century. He was also regarded as one of

294-591: A brilliant painter of the period. Shitao, born into the Ming dynasty imperial clan as "Zhu Ruoji" (朱若極) , was one Chinese landscape painter in early Qing dynasty (1644–1912). Eight Eccentrics of Yangzhou is the name for a group of eight Chinese painters active in the 18th century, who were known in the Qing dynasty for rejecting the orthodox ideas about painting in favor of a style deemed expressive and individualist. Xu Gu ( 虚谷 ; 虛谷 ; Xū Gǔ ; Hsü Ku , 1824–1896)

392-605: A clean stroke; it has great resistance to crease, corrosion, moth, and mold. Xuan paper has a special ink penetration effect, which is not readily available in paper made in Western countries. It was first mentioned in ancient Chinese books Notes of Past Famous Paintings and New Book of Tang . It was originally produced in the Tang dynasty in Jing County , which was under the jurisdiction of Xuan Prefecture (Xuanzhou), hence

490-485: A cold lack of affection for the painting, as if he, as an intellectual, was above caring deeply about his work. Ultimately, this style of painting was an outgrowth of the idea of the intellectual, or literati, as a master of all the core traditional arts – painting, calligraphy, and poetry. Due to the Edo period policy of sakoku , Japan was cut off from the outside world almost completely; its contact with China persisted, but

588-575: A few artists, including the Japanese master Sesshū , continued Xia's tradition for hundreds of years, until the early 17th century. Liang Kai ( 梁楷 ; Liáng Kǎi ; c.  1140–1210 ) was a Chinese painter of the Southern Song dynasty. He was also known as "Madman Liang" because of his very informal pictures. His ink wash painting style has a huge influence on East Asia, especially Japan. Yan Hui ( 颜辉 ; 顏輝 ; Yán Huī ; Yen Hui );

686-533: A few drops of water on an inkstone and grinds the inkstick in a circular motion until a smooth, black ink of the desired concentration is made. Prepared liquid inks vary in viscosity, solubility, concentration, etc., but are in general more suitable for practicing Chinese calligraphy than executing paintings. Inksticks themselves are sometimes ornately decorated with landscapes or flowers in bas-relief and some are highlighted with gold. Paper (Chinese: traditional 紙 , simplified 纸 ; Pinyin: zhǐ )

784-494: A few of his works survive, but he is generally considered one of China's greatest artists. He continued the tradition of Li Tang , further simplifying the earlier Song style to achieve a more immediate, striking effect. Together with Ma Yuan , he founded the so-called Ma-Xia ( 馬夏 ) school, one of the most important of the period. Although Xia was popular during his lifetime, his reputation suffered after his death, together with that of all Southern Song academy painters. Nevertheless,

882-577: A freer, more expressive Southern School ( 南宗画 or 南画 ; Nanzonghua or Nanhua , Japanese: Nanshūga or Nanga ), also called "Literati Painting" ( 文人画 ; Wenrenhua , Japanese: Bunjinga ). Western scholars have written that before the Song dynasty, ink wash was primarily used for representation painting, while in the Yuan dynasty, expressive painting predominated. Chinese historical views have traditionally found it more appropriate to divide

980-419: A great influence on East Asian ink wash painting. Li Cheng was a Chinese painter of the Song dynasty. He was influenced by Jing Hao , Juran . Li Cheng has a profound impact on Japanese and Korean painters. Fan Kuan was a Chinese landscape painter of the Song dynasty. He has a profound impact on Japanese and Korean paintings. Guoxi was a Chinese landscape painter from Henan Province who lived during

1078-674: A great influence on the painting concept and practice of East Asian countries, including Japan and Korea. Four Wangs were four Chinese landscape painters in the 17th century, all called Wang (surname Wang). They are best known for their accomplishments in shan shui painting.They were Wang Shimin (1592–1680), Wang Jian (1598–1677), Wang Hui (1632–1717) and Wang Yuanqi (1642–1715). Bada Shanren ( 朱耷 ; zhū dā , born "Zhu Da"; c.  1626–1705 ), Shitao ( 石涛 ; 石濤 ; Shí Tāo ; Shih-t'ao ; other department "Yuan Ji" ( 原濟 ; 原济 ; Yuán Jì ), 1642–1707) and Eight Eccentrics of Yangzhou ( 扬州八怪 ; 揚州八怪 ; Yángzhoū Bā Guài ) are

SECTION 10

#1732787455077

1176-500: A major genre of Korean painting in the following Joseon dynasty as well. In Korea, the Dohwaseo or court academy was very important, and most major painters came from it, although the emphasis of the academy was on realistic decorative works and official portraits, so something of a break from this was required. However the high official and painter Gang Se-hwang and others championed amateur literati or seonbi painting in

1274-612: A member of a prominent family in Boston. He attended public schools in his hometown of Salem, Massachusetts before studying philosophy and sociology at Harvard College , where he graduated in 1874. He studied for a year at the art school of the Boston Museum of Fine Arts , during which time he married Elizabeth Goodhue Millett (1853–1920). In 1878 he was invited to Japan by American zoologist and Orientalist Edward S. Morse . Fenollosa taught political economy and philosophy at

1372-550: A new and unique art form for this reason, as well as due to the great differences in culture and environment of the Japanese literati as compared to their Chinese counterparts. The form was to a great extent defined by its rejection of other major schools of art, such as the Kanō school and Tosa school . In addition, the literati themselves were not members of an academic, intellectual bureaucracy as their Chinese counterparts were. While

1470-523: A profound impact on Japanese and Southeast Asian paintings. Li Tang ( Chinese : 李唐 ; pinyin : Lǐ Táng ; Wade–Giles : Li T'ang , courtesy name Xigu ( Chinese : 晞古 ); c. 1050 – 1130) of the Northern School, especially Ma Yuan ( 馬遠 ; Mǎ Yuǎn ; Ma Yüan ; c.  1160–65 – 1225 ) and Xia Gui's ink wash painting modeling and techniques have a profound influence on Japanese and Korean ink wash paintings. Li Tang

1568-487: A profound impact on Japanese and Southeast Asian paintings. Wang Wei ( 王維 ; 699–759), Zhang Zao ( 张璪 or 张藻 ) and Dong Yuan ( 董源 ; Dǒng Yuán ; Tung Yüan , Gan : dung3 ngion4 ; c.  934–962 ) are important representatives of early Chinese ink wash painting of the Southern School. Wang Wei was a Chinese poet, musician, painter, and politician during the Tang dynasty , 8th century. Wang Wei

1666-662: A subject over direct imitation . Ink wash painting flourished from the Song dynasty in China (960–1279) onwards, as well as in Japan after it was introduced by Zen Buddhist monks in the 14th century . Some Western scholars divide Chinese painting (including ink wash painting) into three periods: times of representation, times of expression, and historical Oriental art. Chinese scholars have their own views which may be different; they believe that contemporary Chinese ink wash paintings are

1764-697: A visit to in London in 1908. His body was briefly interred on the eastern side of Highgate Cemetery , in London, but later cremated. According to his wishes, his ashes were returned for burial to the Hōmyō-in chapel of Mii-dera (where he had been tonsured), high above Lake Biwa . His tombstone was paid for by the Tokyo School of Fine Arts. Fenollosa's widow entrusted his unpublished notes on Chinese poetry and Japanese Noh drama to noted American poet Ezra Pound . Together with William Butler Yeats , Pound used

1862-505: A wooden stalk and a bamboo tube securing the bundle of hair to the stalk. Legend wrongly credits the invention of the ink brush to the later Qin general Meng Tian . Traces of a writing brush, however, were discovered on the Shang jades, and were suggested to be the grounds of the oracle bone script inscriptions. The writing brush entered a new stage of development in the Han dynasty . First,

1960-635: Is a great designer, as Kipling and Whitman are great poets. He has been called the Dickens of Japan." Arthur Wesley Dow said of Fenollosa that "he was gifted with a brilliant mind of great analytical power, this with a rare appreciation gave him an insight into the nature of fine art such as few ever attain". At a Harvard lecture of 2011, Benjamin Elman refers to the Epochs of the Chinese and Japanese Art (1912) where Fenollosa compares "degeneration" of

2058-478: Is a type of Chinese ink brush painting which uses washes of black ink , such as that used in East Asian calligraphy , in different concentrations. It emerged during the Tang dynasty of China (618–907), and overturned earlier, more realistic techniques. It is typically monochrome , using only shades of black, with a great emphasis on virtuoso brushwork and conveying the perceived "spirit" or "essence" of

SECTION 20

#1732787455077

2156-620: Is also particularly associated with the Chán or Zen sect of Buddhism , which emphasizes "simplicity, spontaneity and self-expression", and Daoism , which emphasizes "spontaneity and harmony with nature," especially when compared with the less spiritually-oriented Confucianism . East Asian ink wash painting has long inspired modern artists in the West. In his classic book Composition , American artist and educator Arthur Wesley Dow (1857–1922) wrote this about ink wash painting: "The painter... put upon

2254-441: Is also used in some forms of ink painting. Many types of Xuan paper and washi do not lend themselves readily to a smooth wash the way watercolor paper does. Each brush stroke is visible, so any "wash" in the sense of Western style painting requires partially sized paper. Paper manufacturers today understand artists' demands for more versatile papers and work to produce kinds that are more flexible. If one uses traditional paper,

2352-468: Is an abbreviation of nanshūga , referring to the Southern School ( Chinese : 南宗画 ; pinyin : nán zōng huà ) of Chinese painting , which is also called " literati painting" ( 文人画 ; wén rén huà ). Chinese literati painting focused on expressing the rhythm of nature, rather than the technical realistic depiction of it. At the same time, however, the artist was encouraged to display

2450-446: Is considered by Dong Qichang to be the most typical style of Southern School. Chinese ink wash painters such as Li Cheng ( 李成 ; Lǐ Chéng ; Li Ch'eng ; 919–967), Courtesy name Xiánxī ( 咸熙 ), Fan Kuan ( 范寬 ; Fàn Kuān ; Fan K'uan , c.  960–1030 ), courtesy name "Zhongli" and "Zhongzheng", better known by his pseudonym "Fan Kuan" and Guo Xi ( 郭熙 ; Guō Xī ; Kuo Hsi ) ( c.  1020–1090 ) had

2548-400: Is not only a traditional Chinese stationery device, but also an important tool of ink painting. It is a stone mortar used for the grinding and containment of ink . In addition to stones, inkstones can be made of clay, bronze, iron and porcelain. This device evolved from the friction tool used to rub dyes about six to seven thousand years ago. In Chinese painting , brush painting was one of

2646-476: Is one of the important representatives of the Shanghai School. Wang Zhen ( 王震 ; Wang Chen ; 1867–1938), commonly known by his courtesy name Wang Yiting ( 王一亭 ; Wang I-t'ing ), was a prominent businessman and celebrated modern Chinese artist of the Shanghai School. Qi Baishi ( 齐白石 ; 齊白石 ; qí bái shí , 齐璜 ; 齊璜 ; qí huáng 1 January 1864 – 16 September 1957) was a Chinese painter noted for

2744-561: Is regarded as one of the most gifted master forgers of the 20th century. Fu Baoshi ( 傅抱石 ; Fù Bàoshí ; 1904–1965), was a Chinese painter. He also taught in the Art Department of Central University (now Nanjing University ). His works of landscape painting employed skillful use of dots and inking methods, creating a new technique encompassing many varieties within traditional rules. Shi Lu ( 石鲁 ; 石魯 ; Shí Lǔ ; 1919–1982), born "Feng Yaheng" ( 冯亚珩 ; 馮亞珩 ; Féng Yàhéng ),

2842-461: Is tapered to a fine point can deliver an even thin line of ink (much like a pen). A large wool brush (one variation called the 'big cloud') can hold a large volume of water and ink. When the big cloud brush rains down upon the paper, it delivers a graded swath of ink encompassing myriad shades of gray to black. Ink wash painting is usually done on rice paper (Chinese) or washi (Japanese paper) both of which are highly absorbent and unsized . Silk

2940-511: Is the basis for the nuance in tonality found in East Asian ink wash painting and brush-and-ink calligraphy. Once a stroke is painted it cannot be changed or erased. As a result, ink and wash painting is a technically demanding art form requiring great skill, concentration, and years of training. The Four Treasures is summarized in a four-word couplet : " 文房四寶: 筆、墨、紙、硯 ," (Pinyin: wénfáng sìbǎo: bǐ, mò, zhǐ, yàn ) " The four jewels of

3038-517: Is the most important representative of early Chinese ink wash painting. He believed that in all forms of painting, ink wash painting is the most advanced. Zhang Zao was a Chinese painter, painting theorist and politician during the Tang dynasty , 8th century. He created the method of using fingers instead of brush to draw ink wash painting. Dong Yuan was a Chinese painter during the Five Dynasties (10th century). His ink wash painting style

Nanga (Japanese painting) - Misplaced Pages Continue

3136-474: The Azuchi–Momoyama period (1568–1600) was to use the monochrome style on a much larger scale in byōbu folding screens , often produced in sets so that they ran all round even large rooms. The Shōrin-zu byōbu of about 1595 is a famous example; only some 15% of the paper is painted. Josetsu ( 如拙 , fl. 1405–1496) was one of the first suiboku (ink wash) style Zen Japanese painters in

3234-496: The Four Wangs ( 四王 ; Sì Wáng ; Ssŭ Wang ) of the Qing dynasty are representative painters of retro-style ink wash paintings that imitated the painting style before the Yuan dynasty. Dong Qichang was a Chinese painter, calligrapher , politician, and art theorist of the later period of the Ming dynasty . He is the founder of the theory of Southern School and Northern School in ink wash painting. His theoretical system has

3332-828: The Haibutsu kishaku movement. For these achievements, the Emperor Meiji of Japan decorated Fenollosa with the Order of the Rising Sun and the Order of the Sacred Treasures . Fenollosa amassed a large personal collection of Japanese art during his stay in Japan. In 1886, he sold his art collection to Boston physician Charles Goddard Weld (1857–1911) on the condition that it go to the Museum of Fine Arts in Boston. In 1890 he returned to Boston to serve as curator of

3430-578: The Imperial University at Tokyo . There he also studied ancient temples, shrines and art treasures with his assistant, Okakura Kakuzō . During his time in Japan, Fenollosa helped create the nihonga (Japanese) style of painting with Japanese artists Kanō Hōgai (1828–1888) and Hashimoto Gahō (1835–1908). In May 1882 he delivered a lecture on "An Explanation of the Truth of Art", which was widely circulated and quoted. After eight years at

3528-486: The Ming dynasty and later periods as major exponents of the tradition of " literati painting " ( wenrenhua ), which was concerned more with individual expression and learning than with outward representation and immediate visual appeal. Other notable painters from the Yuan period include Gao Kegong ( 高克恭 ; 髙克恭 ; Gaō Kègōng ; Kao K'o-kung ; 1248–1310), also a poet, and was known for his landscapes, and Fang Congyi . Northern School ( 北宗画 ; běi zōng huà )

3626-616: The Muromachi period (15th century). He was probably also a teacher of Tenshō Shūbun at the Shōkoku-ji monastery in Kyoto . A Chinese immigrant, he was naturalised in 1470 and is known as the "Father of Japanese ink painting". Ernest Fenollosa Fenollosa was born in 1853 as the son of Manuel Francisco Ciriaco Fenollosa, a Spanish pianist born in Málaga in 1818, and Mary Silsbee,

3724-617: The Northern Song dynasty. One text entitled "The Lofty Message of Forest and Streams" ( Linquan Gaozhi 林泉高致 ) is attributed to him. As representatives of scholar painting (or "Literati Painting", the part of the Southern School), painters such as Su Shi, Mi Fu and Mi Youren, especially Muqi, had a decisive influence on East Asian ink wash painting. Su Shi ( 蘇軾 ; 苏轼 ; 8 January 1037 – 24 August 1101), courtesy name Zizhan (Chinese: 子瞻), art name Dongpo (Chinese: 東坡),

3822-503: The Qianlong Emperor was a particular offender. In landscape painting the scenes depicted are typically imaginary or very loose adaptations of actual views. The shan shui style of mountain landscapes are by far the most common, often evoking particular areas traditionally famous for their beauty, from which the artist may have been very distant. East Asian writing on aesthetics is generally consistent in saying that

3920-721: The Southern School ( Chinese : 南宗画 ; pinyin : nán zōng huà ) of Chinese painting , especially Li Cheng and Guo Xi . Byeon Sang-byeok , member of the Miryang Byeon clan, was active during the latter half of the Joseon period (1392–1910). Byeon is famous for his precise depictions of animals and people in detailed brushwork. Byeon was deeply influenced by the Court Painting ( Chinese : 院體畫 ; pinyin : Yuàn Tǐ Huà ) of Chinese painting , especially Huang Quan . The Korean painters influenced by

4018-469: The Wu School , Tang Yin ( Chinese : 唐寅 , 1470–1523), and Qiu Ying ( Chinese : 仇英 , c.  1494–1552 ). They were approximate contemporaries, with Shen Zhou the teacher of Wen Zhengming, while the other two studied with Zhou Chen . Their styles and subject matter were varied. Xu Wei ( 徐渭 ; Xú Wèi ; Hsü Wei , 1521–1593) and Chen Chun ( 陳淳 ; 1483–1544) are the main painters of

Nanga (Japanese painting) - Misplaced Pages Continue

4116-461: The " four arts " expected to be learnt by China's class of scholar-officials . Ink wash painting appeared during the Tang dynasty (618–907), and its early development is credited to Wang Wei (active in the 8th century) and Zhang Zao , among others. In the Ming dynasty , Dong Qichang would identify two distinct styles: a clearer, grander Northern School 北宗画 or 北画 ; Beizonghua or Beihua , Japanese : Hokushūga or Hokuga ), and

4214-567: The "Father of Japanese ink painting". East Asian styles have mainly developed from the painting styles of Southern School and Northern School . Ink wash painting was most likely brought to Korea during the Goryeo dynasty , although no confirmed examples are extant; a number of works preserved in Japanese Buddhist temples are possibly by Korean authors, but this is limited to speculation. Nonetheless, it would continue to develop as

4312-465: The Chinese literati were, for the most part, academics aspiring to be painters, the Japanese literati were professionally trained painters aspiring to be academics and intellectuals. Nanga or bunjinga paintings almost always depicted traditional Chinese subjects. Artists focused almost exclusively on landscapes and birds and flowers. Poetry or other inscriptions were also an important element of these paintings, and were often in fact added by friends of

4410-472: The Chinese sensibility. Many painters made both Chinese-style landscapes and genre paintings of everyday life, and there was a tradition of more realistic landscapes of real locations, as well as mountains as fantastical as any Chinese paintings, for which the Taebaek Mountains along the eastern side of Korea offered plenty of inspiration. An Gyeon was a painter of the early Joseon period. He

4508-489: The Northern School in the Song dynasty include Gang Hui-an, Kim Hong-do, Jang Seung-eop and so on. Gang Hui-an (1417?–1464), pen name Injae 인재 , was a prominent scholar and painter of the early Joseon period . He was good at poetry, calligraphy, and painting. He entered royal service by passing gwageo in 1441 under the reign of king Sejong (1397–1418–1450). Kim Hong-do ( 김홍도 , born 1745, died 1806?–1814?), also known as "Kim Hong-do", most often styled "Danwon" ( 단원 ),

4606-840: The Ruyang Liu brush in Henan province, the Li Dinghe brush in Shanghai, and the Wu Yunhui in Jiangxi province. Ink wash painting brushes are similar to the brushes used for calligraphy and are traditionally made from bamboo with goat , cattle , horse , sheep , rabbit , marten , badger , deer , boar and wolf hair. The brush hairs are tapered to a fine point, a feature vital to the style of wash paintings. Different brushes have different qualities. A small wolf-hair brush that

4704-500: The Yuan dynasty ( 元四家 ; Yuán Sì Jiā ) is a name used to collectively describe the four Chinese painters Huang Gongwang ( Chinese : 黄公望 , 1269–1354), Wu Zhen ( Chinese : 吳鎮 , 1280–1354), Ni Zan ( Chinese : 倪瓚 ; 1301–1374), and Wang Meng ( 王蒙 , Wáng Méng; Zi : Shūmíng 叔明 , Hao : Xiāngguāng Jūshì 香光居士 ) ( c.  1308–1385 ), who were active during the Yuan dynasty (1271–1368). They were revered during

4802-400: The artist, not by the painter himself. Unlike in other schools of art which have definite founders who pass on their specific style to their students or followers, nanga was always much more about the attitude espoused by the painter and his love of Chinese culture. Thus, as mentioned before, every bunjin artist displayed unique elements in his creations, and many even diverged greatly from

4900-515: The bold and unconstrained style of literati painting, and their ink wash painting is characterized by the incisive and fluent ink and wash. Their ink wash painting style is considered to have the typical characteristics of the Historical Oriental art. Xu Wei, other department "Qingteng Shanren" ( 青藤山人 ; Qīngténg Shānrén ), was a Ming dynasty Chinese painter, poet, writer and dramatist famed for his artistic expressiveness. Chen Chun

4998-452: The decorative craft of engraving and inlaying on the pen-holder appeared. Second, some writings on the production of writing brush have also survived. For example, the first monograph on the selection, production and function of a writing brush was written by Cai Yong in the eastern Han dynasty. Third, the special form of "hairpin white pen" appeared. Officials in the Han dynasty often sharpened

SECTION 50

#1732787455077

5096-653: The department of Oriental Art. There Fenollosa was asked to choose Japanese art for display at the 1893 World Columbian Exposition in Chicago . He also organized Boston's first exhibition of Chinese painting in 1894. In 1896, he published Masters of Ukiyoe , a historical account of Japanese paintings and ukiyo-e prints exhibited at the New York Fine Arts Building. When he divorced his wife, his immediate remarriage in 1895 to writer Mary McNeill Scott (1865–1954) outraged Boston society. Fenollosa

5194-509: The end of the brush and stuck it in their hair or hat for their convenience. Worshipers also often put pen on their heads to show respect. During the Yuan and Ming dynasties, a group of pen making experts emerged in Huzhou . They included Wu Yunhui, Feng Yingke, Lu Wenbao, Zhang Tianxi, and others. Huzhou has been the center of Chinese brush making since the Qing dynasty. At the same time, many famous brushes were produced in other places, such as

5292-475: The end of the period the style had been adopted by several professional or commercial artists, especially from the large Kanō school founded by Kanō Masanobu (1434–1530); his son Kanō Motonobu was also very important. In the Japanese way, the most promising pupils married daughters of the family, and changed their names to Kanō. The school continued to paint in the traditional Japanese yamato-e and other coloured styles as well. A Japanese innovation of

5390-411: The era, including his student Georgia O'Keeffe , from what he called a "story-telling" approach. Dow strived for harmonic compositions through three elements: line, shading, and color. He advocated practicing with East Asian brushes and ink to develop aesthetic acuity with line and shading. Ink wash painting uses tonality and shading achieved by varying the ink density, both by differential grinding of

5488-450: The first to create monumental oil paintings with epic Chinese themes – a show of his high proficiency in an essential Western art technique. He was one of the four pioneers of Chinese modern art who earned the title of " The Four Great Academy Presidents ". Liu Haisu ( 刘海粟 ; Liú Hǎisù ; 16 March 1896 – 7 August 1994) was a prominent 20th century Chinese painter and a noted art educator. He excelled in Chinese painting and oil painting. He

5586-411: The first to introduce Japanese art in any major way to the West, are known to have criticized nanga as trivial and derivative. As a result, the style has only attracted academic attention in the West in recent decades, roughly 100 years later. A particular style of bonsai is called variously bunjin , bunjingi or "literati" and is intended to look like the trees portrayed in nanga art. Examples of

5684-524: The foundation of Chinese traditional painting education. He was persecuted during the Cultural Revolution until his death in 1971. Zhang Daqian ( 張大千 ; Chang Ta-ch'ien ; 10 May 1899 – 2 April 1983) was one of the best-known and most prodigious Chinese artists of the 20th century. Originally known as a guohua (traditionalist) painter, by the 1960s he was also renowned as a modern impressionist and expressionist painter. In addition, he

5782-546: The general artistic features of this historical stage by the theory of Southern School and Northern School , as promulgated Dong Qichang in the Ming dynasty. Southern School ( 南宗画 ; nán zōng huà ) of Chinese painting , often called " literati painting" ( 文人画 ; wén rén huà ), is a term used to denote art and artists which stand in opposition to the formal Northern School of painting. Representing painters are Wang Wei, Dong Yuan, and so on. The Southern School has had

5880-443: The goal of ink and wash painting is not simply to reproduce the appearance of the subject, but to capture its spirit. To paint a horse the ink-wash painting artist must understand its temperament better than its muscles and bones. To paint a flower there is no need to perfectly match its petals and colors, but it is essential to convey its liveliness and fragrance. It has been compared to the later Western movement of Impressionism . It

5978-602: The idea of an "ink wash" refers to a wet-on-wet technique, applying black ink to paper where a lighter ink has already been applied, or by quickly manipulating watery diluted ink once it has been applied to the paper by using a very large brush. In ink wash paintings, as in calligraphy, artists usually grind inkstick over an inkstone to obtain black ink , but prepared liquid inks ( bokuju ( 墨汁 ) in Japanese) are also available. Most inksticks are made of soot from pine or oil combined with animal glue . An artist puts

SECTION 60

#1732787455077

6076-583: The ink stick in water and by varying the ink load and pressure within a single brushstroke. Ink wash painting artists spend years practicing basic brush strokes to refine their brush movement and ink flow. These skills are closely related to those needed for basic writing in East Asian characters, and then for calligraphy, which essentially use the same ink and brushes. In the hand of a master, a single stroke can produce considerable variations in tonality, from deep black to silvery gray. Thus, in its original context, shading means more than just dark-light arrangement: It

6174-457: The innovative masters of ink wash painting in the late Ming and early Qing dynasties. Bada Shanren, other department "Bada Shanren" ( 八大山人 ; bā dà shān rén ), was a Han Chinese painter of ink wash painting and a calligrapher. He was of royal descent, being a direct offspring of the Ming dynasty prince Zhu Quan who had a feudal establishment in Nanchang . Art historians have named him as

6272-594: The last innovators in the literati style of painting and is noted for his freehand landscapes. Important painters who have absorbed Western sketching methods to improve Chinese ink wash painting include Gao Jianfu, Xu Beihong and Liu Haisu, etc. Gao Jianfu (1879–1951; 高剑父 , pronounced "Gou Gim Fu" in Cantonese) was a Chinese painter and social activist. He is known for leading the Lingnan School 's effort to modernize Chinese traditional ink wash painting as

6370-461: The lineage of the Kanō school , who had served as painters to the Tokugawa shoguns. While resident in Japan, Fenollosa conducted the first inventory of Japan's national treasures . This resulted in the discovery of ancient Chinese scrolls, which had been brought to Japan by traveling monks centuries earlier. He was able to rescue many Buddhist artifacts that would otherwise have been destroyed under

6468-491: The long horizontal handscroll format tended to be associated with professional coloured painting, but was also used for literati painting. In both formats paintings were generally kept rolled up, and brought out for the owner to admire, often with a small group of friends. Chinese collectors liked to stamp paintings with their seals and usually in red inkpad; sometimes they would add poems or notes of appreciation. Some old and famous paintings have become very disfigured by this;

6566-661: The name Xuan paper. During the Tang dynasty, the paper was often a mixture of hemp (the first fiber used for paper in China) and mulberry fiber. The materials used in Xuan paper are closely related to the geographical environment of Jingxian. The bark of the Pteroceltis tatarinowii , a common variety of elm , is used as the main material for the production of rice paper in this area. Rice and several other materials were later added to

6664-476: The notes to stimulate the growing interest in Far Eastern literature among modernist writers. Pound subsequently finished Fenollosa's work with the aid of Arthur Waley , the noted British sinologist . Concentrating on Japanese art before 1800, it was published in two volumes in 1912. Fenollosa offered Hokusai 's prints as a window of beauty after Japanese art had become too modern for his own taste: "Hokusai

6762-416: The paintings as gifts for friends or patrons, rather than painting for payment. In practice a talented painter often had an advantage in climbing the bureaucratic ladder. In Korea, painters were less segregated, and more willing to paint in two techniques, such as mixing areas of colour with monochrome ink, for example in painting the faces of figures. The vertical hanging scroll was the classic format;

6860-418: The paper the fewest possible lines and tones; just enough to cause form, texture and effect to be felt. Every brush-touch must be full-charged with meaning, and useless detail eliminated. Put together all the good points in such a method, and you have the qualities of the highest art". Dow's fascination with ink wash painting not only shaped his own approach to art but also helped free many American modernists of

6958-473: The pluralistic continuation of multiple historical traditions. In China, Japan and, to a lesser extent, Korea, ink wash painting formed a distinct stylistic tradition with a different set of artists working in it than from those in other types of painting. In China especially it was a gentlemanly occupation associated with poetry and calligraphy . It was often produced by the scholar-official or literati class, ideally illustrating their own poetry and producing

7056-443: The recipe in the Song and Yuan Dynasties. In those dynasties bamboo and mulberry began to be used to produce rice paper as well. The production of Xuan paper is about an eighteen-step process – taken in detail over a hundred steps may be counted. Some paper makers keep their process strictly secret. The process includes cooking and bleaching the bark of Pteroceltis tatarinowii and adding various fruit juices. The inkstone

7154-475: The so-called Ma-Xia ( 馬夏 ) school of painting, and are considered among the finest from the period. His works has inspired both Chinese artists of the Zhe School , as well as the great early Japanese painters Shūbun and Sesshū . Xia Gui ( 夏圭 or 夏珪 ; Hsia Kui ; fl. 1195–1225), courtesy name Yuyu ( 禹玉 ), was a Chinese landscape painter of the Song dynasty. Very little is known about his life, and only

7252-484: The study: Brush, Ink, Paper, Inkstone " by Chinese scholar-official or literati class, which are also indispensable tools and materials for East Asian painting. The earliest intact ink brush was found in 1954 in the tomb of a Chu citizen from the Warring States period (475–221 BCE ) located in an archaeological dig site Zuo Gong Shan 15 near Changsha . This primitive version of an ink brush found had

7350-437: The style are often elegantly elongated and with few branches, being mainly a long slim trunk surmounted by a very small mass of foliage. The art of flower arrangement ikebana developed the bunjinbana (文人花) style, which was in homage to Chinese landscapes and literati paintings. Literati painting Ink wash painting ( simplified Chinese : 水墨画 ; traditional Chinese : 水墨畫 ; pinyin : shuǐmòhuà );

7448-424: The style was introduced in the 14th century, during the Muromachi period (1333–1573) through Zen Buddhist monasteries, and in particular Josetsu , a painter who immigrated from China and taught the first major early painter Tenshō Shūbun (d. c.  1450 ). Both he and his pupil Sesshū Tōyō (1420–1506) were monks, although Sesshū eventually left the clergy, and spent a year or so in China in 1468–69. By

7546-668: The stylistic elements employed by their forebears and contemporaries. As Japan became exposed to Western culture at the end of the Edo period, many bunjin began to incorporate stylistic elements of Western art into their own, though they nearly always avoided Western subjects and stuck strictly to traditional Chinese ones. Master Kuwayama Gyokushū (1746–1799) was the acutest theorist on Japanese literati painting. In his three books – Gyokushū gashu (Collected works of Gyokushū, 1790), Gaen higen (A Modest Commentary on Painting, 1795) and Kaiji higen (Humble Words on Matters of Painting, 1799) – invited all Japanese literati painters to apply

7644-421: The theories and literati ideals of Dong Qichang (J: Tō Kishō, 1555–1636). According to the scholar Meccarelli, Kuwayama may be considered the ‘Japanese Dong Qichang’, but he mixed both the polychromatic landscapes typical of professional painters and the monochromatic landscapes of literati styles, and he applied a new and more flexible criteria for classification. Ernest Fenollosa and Okakura Kakuzō , two of

7742-574: The university, Fenollosa helped found the Tokyo School of Fine Arts and the Tokyo Imperial Museum . He served as director of the latter in 1888. In this period, he helped to draft the text of a law for the preservation of temples and shrines and their art treasures. Deeply influenced by living in Japan, Fenollosa converted to Buddhism ; he was given the name Teishin. He was also granted the name Kano Eitan Masanobu, placing him in

7840-458: The whimsical, often playful style of his ink wash painting works. Huang Binhong ( 黃賓虹 ; Huáng Bīnhóng ; 1865–1955) was a Chinese literati painter and art historian born in Jinhua , Zhejiang province. His ancestral home was She County , Anhui province. He was the grandson of artist Huang Fengliu. He would later be associated with Shanghai and finally Hangzhou . He is considered one of

7938-531: Was a Ming dynasty artist . Born into a wealthy family of scholar-officials in Suzhou , he learned calligraphy from Wen Zhengming , one of the Four Masters of the Ming dynasty . Chén Chún later broke with Wen to favor a more freestyle method of ink wash painting. Dong Qichang ( Chinese : 董其昌 ; pinyin : Dǒng Qíchāng ; Wade–Giles : Tung Ch'i-ch'ang ; 1555–1636) of the Ming dynasty and

8036-657: Was a Chinese Chan Buddhist monk and painter who lived in the 13th century, around the end of the Southern Song dynasty (1127–1279). Today, he is considered to be one of the greatest Chan painters in history. His ink paintings, such as the Daitoku-ji triptych and Six Persimmons are regarded as essential Chan paintings. Muqi's style of painting has also profoundly impacted painters from later periods to follow, especially monk painters in Japan . Four Masters of

8134-410: Was a Chinese landscape painter who practised at Kaifeng and Hangzhou during the Song dynasty . He forms a link between earlier painters such as Guo Xi , Fan Kuan and Li Cheng and later artists such as Xia Gui and Ma Yuan . He perfected the technique of "axe-cut" brush-strokes. Ma Yuan was a Chinese painter of the Song dynasty. His works, together with that of Xia Gui , formed the basis of

8232-546: Was a Chinese monk painter and poet during the Qing dynasty. His ink wash paintings give the audience a sense of abstraction and illusion. Modern and contemporary Chinese freehand ink wash painting is the most famous of the Shanghai School , and the most representative ones are the following painters. Wu Changshuo ( 吳昌碩 ; Wú Chāngshuò 12 September 1844 – 29 November 1927, also romanised as Wu Changshi, 吳昌石 ; Wú Chāngshí ), born Wu Junqing ( 吳俊卿 ; Wú Jùnqīng ),

8330-450: Was a Chinese painter, wood block printer , poet and calligrapher. He based his pseudonym on two artists who greatly influenced him, the landscape painter Shitao and writer Lu Xun . He created two different ink wash painting styles. Since the Tang dynasty, Japan, Korea, and East Asian countries have extensively studied Chinese painting and ink wash painting. Josetsu ( Chinese : 如拙 ) who immigrated to Japan from China has been called

8428-609: Was a Chinese poet, writer, politician, calligrapher, painter, pharmacologist, and gastronome of the Song dynasty. Mi Fu ( 米芾 or 米黻 ; Mǐ Fú , also given as Mi Fei, 1051–1107) was a Chinese painter, poet , and calligrapher born in Taiyuan during the Song dynasty. Mi Youren ( 米友仁 , 1074–1153) was a Chinese painter, poet, and calligrapher born in Taiyuan during the Song dynasty. He was the eldest son of Mi Fu. Muqi ( 牧谿 ; Japanese: Mokkei; 1210?–1269?), also known as Fachang ( 法常 ),

8526-482: Was a full-time painter of the Joseon period of Korea. He was together a pillar of the establishment and a key figure of the new trends of his time, the 'true view painting'. Gim Hong-do was an exceptional artist in every field of traditional painting. His ink wash paintings of figures are deeply influenced by the Eight Eccentrics of Yangzhou . Jang Seung-eop (1843–1897) (commonly known by his pen name "Owon")

8624-467: Was a late 13th century Chinese painter who lived during the Southern Song and early Yuan dynasties. Yan Hui's style of painting has also profoundly impacted the painters in Japan. Four Masters of the Ming dynasty ( 明四家 ; Míng Sì Jiā ) are a traditional grouping in Chinese art history of four famous Chinese painters of the Ming dynasty . The group are Shen Zhou ( Chinese : 沈周 , 1427–1509), Wen Zhengming ( Chinese : 文徵明 , 1470–1559), both of

8722-485: Was a manner of Chinese landscape painting centered on a loose group of artists who worked and lived in Northern China during the Five Dynasties period that occupied the time between the collapse of the Tang dynasty and the rise of the Song. Representing painters are Ma Yuan, Xia Gui, and so on. The style stands in opposition to the Southern School ( 南宗画 ; nán zōng huà ) of Chinese painting. Northern School has

8820-474: Was a painter of the late Joseon dynasty in Korea . His life was dramatized in the award-winning 2002 film Chi-hwa-seon directed by Im Kwon-taek . He was also one of few painters to hold a position of rank in the Joseon court. Jeong Seon ( Korean : 정선 ) (1676–1759) was a landscape painter, also known by his pen name "Kyomjae" ("humble study"), who is counted among the most famous Korean painters. His style

8918-478: Was a prominent painter, calligrapher and seal artist of the late Qing period. He is the leader of the Shanghai School. Wu Changshuo's style of painting has profoundly impacted the paintings in Japan. Pu Hua ( 蒲华 ; 蒲華 ; Pú Huá ; P'u Hua ; c.  1834–1911 ) was a Chinese landscape painter and calligrapher during the Qing dynasty. His style name was 'Zuo Ying'. Pu painted landscapes and ink bamboo in an unconventional style of free and easy brush strokes. He

9016-417: Was a subgenre of the shan-shui genre, was most prominent between the mid-18th century and mid-19th century, and was pursued by several other painters as well. Moreover, this style spread to Japan through Choe Buk and Kim Yu-seong as part of diplomatic missions to Japan , where it was sometimes known as "New Joseon Shan-shui painting" (新朝鮮山水畫), and influenced Ike no Taiga and Uragami Gyokudō . In Japan,

9114-531: Was born in Jigok, Seosan , South Chungcheong Province . He entered royal service as a member of the Dohwaseo, the official painters of the Joseon court, and drew Mongyu dowondo  [ ko ] ( 몽유도원도 ) for Prince Anpyeong in 1447 which is currently stored at Tenri University. This piece is the oldest surviving Korean piece for which the author and date of composition are known. He was deeply influenced by

9212-552: Was dismissed from the Museum in 1896. He returned to Japan in 1897 to accept a position as Professor of English Literature at the Tokyo Higher Normal School at Tokyo. Lafcadio Hearn considered Fenollosa a friend; and Hearn almost believed that he visited the professor's home too often. In 1900, Fenollosa returned to the United States to write and lecture on Asia. He died of a heart attack during

9310-534: Was first developed in China in the first decade of 100 AD. Previous to its invention, bamboo slips and silks were used for writing material. Several methods of paper production developed over the centuries in China. However, the paper which was considered of highest value was that of the Jingxian in Anhui Province. Xuan paper features great tensile strength, smooth surface, pure and clean texture as well as

9408-525: Was greatly limited. What little did make its way into Japan was either imported through Nagasaki, or produced by Chinese living there. As a result, the bunjin (literati) artists who aspired to the ideals and lifestyles of the Chinese literati were left with a rather incomplete view of Chinese literati ideas and art. Bunjinga grew, therefore, out of what did come to Japan from China, including Chinese woodblock-printed painting manuals and an assortment of paintings widely ranging in quality. Bunjinga emerged as

9506-680: Was one of the four pioneers of Chinese modern art who earned the title of "The Four Great Academy Presidents". Pan Tianshou, Zhang Daqian and Fu Baoshi are important ink wash painters who stick to the tradition of Chinese classical Literati Painting. Pan Tianshou ( 潘天寿 ; 潘天壽 ; Pān Tiānshòu ; 1897–1971) was a Chinese painter and art educator. Pan was born in Guanzhuang, Ninghai County , Zhejiang Province , and graduated from Zhejiang First Normal School (now Hangzhou High School ). He studied Chinese traditional painting with Wu Changshuo . Later he created his own ink wash painting style and built

9604-431: Was realistic rather than abstract, and he additionally is credited with advancing the ink-wash artform towards a more uniquely Korean direction. His works include ink and oriental water paintings, such as Inwangjesaekdo (1751), Geumgang jeondo (1734), and Ingokjeongsa (1742), as well as numerous "true-view" landscape paintings (진경산수화) on the subject of Korea and the history of its culture. This latter style, which

#76923