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Hua Yan

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Image
Published: 01 April 2017
Figure 7. Hua Yan (1682–1756), Red and White Herbaceous Peonies , 1731. Hanging scroll, ink and color on silk, 94 × 97.3 cm. National Art Museum of China, Beijing. Image from Zhongguo huihua quanji 中国绘画全集 (Beijing: Wenwu chubanshe, 2001), vol. 28, pl. 67. More
Image
Published: 01 October 2023
Figure 14. Book of Sudhana from the Garland Sutra (Hua-yan Ching Pu-hsien Hsing-yuan Pin), late sixteenth century. Woodblock prints on paper, 40.8 × 11.11 × 1.59 cm. Minneapolis Institute of Art, Gift of Ruth and Bruce Dayton, 98.71. Artwork in the public domain. Photograph: Minneapolis More
Journal Article
Archives of Asian Art (2017) 67 (1): 83–109.
Published: 01 April 2017
...Figure 7. Hua Yan (1682–1756), Red and White Herbaceous Peonies , 1731. Hanging scroll, ink and color on silk, 94 × 97.3 cm. National Art Museum of China, Beijing. Image from Zhongguo huihua quanji 中国绘画全集 (Beijing: Wenwu chubanshe, 2001), vol. 28, pl. 67. ...
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Journal Article
Archives of Asian Art (2014) 64 (1): 75–92.
Published: 01 April 2014
...Yan Geng Copyright © Asia Society 2014 A New Earthly Paradise: Appropriation and Politics in Li Keran’s Representation of Beihai Park yan geng University of Connecticut...
Journal Article
Archives of Asian Art (2023) 73 (2): 201–232.
Published: 01 October 2023
...Figure 14. Book of Sudhana from the Garland Sutra (Hua-yan Ching Pu-hsien Hsing-yuan Pin), late sixteenth century. Woodblock prints on paper, 40.8 × 11.11 × 1.59 cm. Minneapolis Institute of Art, Gift of Ruth and Bruce Dayton, 98.71. Artwork in the public domain. Photograph: Minneapolis...
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Journal Article
Archives of Asian Art (2018) 68 (1): 67–86.
Published: 01 April 2018
... between the rocks is roughly forty meters, as is the width of the passage leading to the palace. 34 Figure 2. Map of the archaeological sites of the Qin palaces. From Hua and Yang, Jiangnüshi , 1:3. Figure 2. Map of the archaeological sites of the Qin palaces. From Hua and Yang, Jiangnüshi...
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Journal Article
Archives of Asian Art (2016) 66 (1): 107–151.
Published: 01 April 2016
...Hui-Chi Lo Abstract Through a close reading of the śūramgama Sutra ( Lengyanjing ) and an iconographic study of the images, the author concludes that many of the current labels in Wu Bin's Hua lengyan ershiwu yuantong foxiang ce (Album of the twenty-five dharma-gates of perfect wisdom...
Journal Article
Archives of Asian Art (2003) 53 (1): 71–104.
Published: 01 April 2003
... as canoni- the West has progressed to a point where something is needed cal monuments in general and scholarly accounts of Chi- beyond the familiar rhapsodies on the beauty and mystery of ch'i yan. nese art, there is, in fact, no consensus among scholars as At the same time there certainly...
Journal Article
Archives of Asian Art (2016) 66 (2): 239–269.
Published: 01 October 2016
... of wooden structures. Therefore, such technical knowledge was part of a painter’s professional skills. Su Shi once described Yan Su’s 燕肅 (961–1040) brushwork as ‘‘one...
Journal Article
Archives of Asian Art (2016) 66 (1): 25–49.
Published: 01 April 2016
... section. Besides the seals, Liang’s name is Fig. 12. Red Cliff, woodblock print from Zhang Yan, ed. Shiyu not mentioned anywhere in the colophons, which is tupu (preface 1563). Reprint in Fu Xihua, ed. Zhongguo gudian understandable since the focus of the colophons is the wenxue banhua xuanji (Shanghai...
Journal Article
Archives of Asian Art (2007) 57 (1): 95–120.
Published: 01 April 2007
...- it blows, becomes clouds when it ascends, becomes ful clouds were reported. Grand Secretaries Xia Yan rain when it descends, becomes shengqi enliven- (1482–1548) and Gu Dingchen (1473–1540), and other...
Journal Article
Archives of Asian Art (2021) 71 (2): 191–218.
Published: 01 October 2021
... generation of literati. Through the aid of drawing from direct observation, emulation of visual effects from Western-style drawing using Chinese ink and pigments, incorporation of antiquarian motifs, and unconventional compositional schemes, the album managed to reinvent vernacular painting ( fengsu hua...
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Journal Article
Archives of Asian Art (2007) 57 (1): 51–94.
Published: 01 April 2007
... devotee named Yan needs of individual devotees. In other words, the doc- Xun in the late eleventh century (1083–1096), the selec- trinal ecumenism apparent at Buddhist sites and at those tion of images at this site was intended to promote Bud- manifesting the Unity of the Three Teachings is absent...
Journal Article
Archives of Asian Art (2020) 70 (2): 199–224.
Published: 01 October 2020
... qixing guan.” 8. Duan Chengshi, Youyang zazu , 123 . 9. Such zoomorphic masks had been used on coffins by the Warring States period; see Miao Xia, “Zhongguo gudai pushou xianhuan qianxi,” 32 . 10. Zheng Yan also noted this imitation of zoomorphic masks in his “Beichao...
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Journal Article
Archives of Asian Art (2020) 70 (1): 23–49.
Published: 01 April 2020
... (1730–1797), Yan Zhangming 嚴長明 (1731–1789), and Huang Yi himself. 38 Their colophons offered opinions on difficult passages, interpreted what was legible, and filled in what was not with educated arguments supported by multiple citations of historical minutiae. Sometimes colophon writers directly...
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Journal Article
Archives of Asian Art (2011) 61 (1): 107–126.
Published: 01 April 2011
... of Prince Anpyeong & Early Joseon Antiquarianism 113 Formerly with Zhu Derun (1294–1365) of Suzhou, Prince Anpyeong’s Collection and Early Joseon East of Yan [Beijing], I used to view screen Antiquarianism paintings. Landscapes of Tekkan [the Japanese priest-painter] The common...
Journal Article
Archives of Asian Art (2001) 52 (1): 44–62.
Published: 01 April 2001
..., and accompanied by an attendant on foot is a mounted fig- painting (shidaifu hua) theory, articulated most thorough- ure, who must represent the travelling official for whom ly by Li Gonglin's friend and admirer Su Shi (1037-1101). this painting was made (Fig. 3). Minuscule but located in A similar idea...
Journal Article
Archives of Asian Art (2006) 56 (1): 81–104.
Published: 01 April 2006
... chamber, on the west wall, is a portrait of the owner from Former Yan (AIM) to Kogury6 about 336 CE of the tomb, and on the south wall a portrait of his wife according to the Chronicle of the Sixteen Kingdoms(f7:121 (Figs. 4, 5). On the interior of the east side chamber, a mill written in ink...
Journal Article
Archives of Asian Art (2005) 55 (1): 39–52.
Published: 01 April 2005
... "tradition" but did imitate. Words once spoken form the models for people to not follow up on that line of reasoning—"we lack mate- imitate—for example, the five teachings. . . . [i.e., the five rials for the investigation of wenren hua [scholar-painting] virtues—father's justice, mother's love, elder...
Journal Article
Archives of Asian Art (2001) 52 (1): 121–127.
Published: 01 April 2001
... of the Erlitou Period: A Xia Adornment of Eizon's Iconic Body, vol. 50 (1997-1998), pp. 42-61. Royal Tradition, vol. 48 (1695), pp. 64-92. Brock, Karen L. The Case of the Missing Scroll: A History and Ch' iu, A. K' ai-ming. The Chieh Tzu Yuan Hua Chuan, vol. 5 (,951), pp. Reconstruction...