Search Results for modern ink painting

..., ca. 1915. Ink and color on paper, 28.6 × 17.3 cm. The National Art Museum of China, Beijing. Chen's innovations in brushwork, composition, and perspective account for the paintings' remarkable psychological effect, an effect unlike any figure painting prior to the modern period, and perhaps...

... and to situate Puyi's court circle in relation to the society of artists, aesthetic discourses on ink painting, typology, and lineages, and the modernization of the art canon. Through examining these artworks and their constituent networks, we open up a new investigative angle on the process of modernist reform...

... in Tibetan literature” (38). But the reader is left wondering about Chopel's art. What makes his paintings and drawings modern, and how does his work relate to other modern artists of Tibet, the Himalayan regions, and South Asia more broadly at that time? More attention to these questions would provide much...

... in modernizing Japan. In his analysis of oil paintings by Kuroda Seiki 黒田清輝 (1866–1924) and his contemporaries, Norman Bryson examines Japanese painters' acts of visually implying their intimacy with European women in order to display their familiarity with Western culture and thereby assert their attainment...

..., ornament and substance, surface and depth, hierarchies of value embedded within conventional dichotomies continue to drive the study of twentieth-century Chinese art, foregrounding painting in ink and oil to the detriment of other, equally pervasive interests that shaped the development of modernism...

... Curator of Asian Art 9. Xun Chu. Visiting a Friend on Pine Mountain. China. Ming dynasty (1368–1644). 1551. Fan painting mounted on board; ink and color on gold surfaced paper; 17.4 Â 55.2 cm. Brooklyn Museum, 2009.22. Purchase gift of Carol Mandel, Vincent Covello, and Mickey and Marty Baumrind...

... an elderly woman to sell her fans by inscribing them with his calligraphy. 44 Not one of those fans survives today, if indeed any ever existed; this particular story was visualized in a horizontal, monochrome ink painting now attributed to the Southern Song painter Liang Kai 梁楷 (ca. 1140–1210; Figure 10...

... correlate the issue of format metamorphosis with the increasing ekphrasis in the painting treatises and catalogs compiled in early-modern and modern China to understand image, format, and discourse in a trilateral framework. Gong Xian once claimed, “Precedent, I have none, nor shall followers come...

... boat is the act of collecting pieces for display and appraisal—an act akin to modern curatorial discernment. The selection of works that accompanied the patron onboard became an expressive medium. The painting-and-calligraphy boat also privileged a sense of fortuity. Chance encounters and spontaneous...

... As Watada Minoru has noted, Sesshū's inkwork in Birds and Flowers has a moist quality that is most comparable to the painter's handling of ink in his Landscapes of the Four Seasons (Tokyo National Museum), a quartet of paintings that can be dated to 1468 or early 1469. 88 The painter's subtle...

.... 2004. Painting; ink on paper; 250.2 Â 283.2 cm. Asian Art Museum of San Francisco, 2011.57. Gift of Bill and Mary Kim. 112 ASIAN ART MUSEUM OF SAN FRANCISCO 8. Artist unknown. White robed Avalokiteshvara (Byakue...

... that the innovations of Cubism altered the structure of Western painting to a degree unparalleled since the Renaissance.” 2 Well into the twenty-first century, however, this daring appraisal begins to seem modest. Given the predominance of North Atlantic modernity within “global” late capitalism, the repercussions...

... calligraphy and painting circa 1800. It goes on to suggest that Huang Yi's choice of shuanggou outlines, while firmly rooted in an epigraphic obsession with the material past, also marked the horizon of a changing attitude toward brushwork, and had more in common with modern methods of visualizing the world...

..., 1961.261. Figure 16. Wang Juzhen, (Chinese, active late twelfth c.), One Hundred Children at Play. Fan mounted as an album leaf, ink and color on silk, image 28.7 × 31.2 cm. Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1961.261. In the Northern Song painting Along the River...

... to learn some- to NewYork in 1947, he began attending classes at the Art thing about the great tradition from an insider. Students League to learn about modern Western art, orig- inally with the aim of making his own paintings more Even more...

... Zhansi 8th_19th century), Zhang Cining (b. 1743), Zhu Wenxin (act. in Beijing 1761-1819). Paintings of Shikan (Shrine for Poetry) by Seven Masters. China. Handscroll; ink and color on paper; 47.9 X 2,141.2 cm. Los Angeles County Museum of Art, M.2003.195. Gift of Mr. and Mrs. Theodore Hsi-en...

... screen paintings, ink and color on silk; 26.5 Â 32.5 cm. From Chinese Paintings and Calligraphy the public was encouraged in the zoo’s literature to (Modern Times) (Beijing: Hanhai, 1997), fig. 7. visually savor the animals (guanshang as if they were...

... JOHN D. SZOSTAK Two Paths to the Pure Land 131 Fig. 8. Hada Teruo. Entotsu (Smokestack). 1911. Japan. Framed; ink, color on silk; 110.0 Â 86.9 cm. Kyoto National Museum of Modern Art. of which was an experimental painting group called the Heigo Painting Society (Heigo Gakai). The Heigo...

..., painting 90.5 × 41.5 cm, overall 171 × 56.3 cm. Princeton University Art Museum, 2017-122. Museum purchase, Fowler McCormick, Class of 1921, Fund. Dainichi Nyorai, Japan, Kamakura period (1185–1333), thirteenth–fourteenth century. Hanging scroll; ink, colors, and gold on silk, painting 90.5 × 41.5 cm...

... to Romantic and ness of every performance." Later Chinese painting, then, in Neo-Classical to Modern—this need not imply that this version, is a performance art. Chinese painting stopped being innovative. It might alter- Danto misreads a statement in an essay by Sherman Lee, natively...