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#Chinese Paintings
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Chinese mountain landscape
Macau
China
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uwmspeccoll · 10 months
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Chinese Finger Painting
Traditional Chinese finger painting uses the tips of the fingers and the nail instead of a brush to paint on surfaces. This style of painting offers a spontaneous and somewhat impressionistic presentation. The painting shown from the early 20th century is drawn from our Tse-Tsung Chow Collection of Chinese Scrolls and Fan Paintings. It appears to depict a rather animated discussion over a picnic meal. The title doesn't help much, it simply notes that this is Fushan Lu's figure finger painting executed in winter.
We know quite a bit about many of the artists in our Chinese calligraphy and painting collection, but we know nothing about Fushan Lu, whose art name is Shouyan. Still, he seems to be a very accomplished finger painter. There are three Chinese seals or chops, one for Fushan Lu, another for Shouyan, and the third for the collector, Zhou Cezong (i.e., Tse Tsung Chow).
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View more posts from our Tse-Tsung Chow Collection.
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zhangdeming · 4 months
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张德明中国山水画作品Chinese landscape painting by Zhang Deming
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shijiujun · 1 year
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Upcoming on the store ✨
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clara-ontheroad · 9 months
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Transported into a painting, Huangshan 黄山
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moononmyfloor · 7 months
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Hi Producer (正好遇见你) Infodump
Disclaimer: I have no idea about the accuracy of the information shared in the drama, I'm merely transcribing for future reference purposes. Proceed with caution!
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Ep 20-21: Woodblock Printing
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"Modern printing technology can print 10000 pictures in an hour. It only takes months to train an operator. With woodblock printing, each block is carved by hand. It takes five years to train a master craftsman. Eight years to replicate 'Along the River in the Qingming Festival'. From planning to finishing, 'The Night Revels of Han Xizai' took 20 years. Though labor-intensive and time consuming, the result is lifelike and cannot be done by machines."
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Ancient Painting Mounting
Rather than screenshotting I'll link the timestamp as there's a detailed demo segment.
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When the recipe of glue hadn't been modified, moldy glue had a high rate of causing cancer. Therefore, many professional framers were diagnosed with occupational hazards like cancer.
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Traditional Chinese watermark printing
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Slowly adapted to the palace, it went from religious uses to secularity.
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Shouhuazhai uses the technique of assembled block gonghua prints as foundation and combined it with painting, carving and printing to recreate many renowned paintings.
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"The number of color schemes will decide how many blocks are needed. During the sketching process, a celluloid block is used as a trace cover for the original work. A very thin sheet of yanpi paper is put on top of the already sketched celluloid block for second-time sketching.
Edge cutting of Block carving is the second step of the technique. It is to paste the sketched yanpi paper on the woodblock for carving.
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Brush printing is the last step of this technique. After the carving of blocks is complete, the carvings are traced into pictures. The paper, ink, and colors used in printing must be the same as the original work. The ratio of paint, water, and glue is very important. To have the same degree of saturation and shades as the original work, they usually have to go through countless trials. 
To comprehensively recreate ancient paintings, the meaning and spirit of the original painting must be captured. This requires more than the honing of skills.
Due to the temperature and humidity, old paintings and replicas must be handled with great care. When the paintings are too big the connecting point will easily split. This step is called "shang qiang," meaning putting it on the wall. "
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Emperor Yongzheng's Twelve Beauties
The drama takes this set of famous paintings as a subject and weaves an elaborate story about how they are based on Emperor Yongzheng's beloved Imperial Consort Dunsu of the Nian family (yes, Hua Fei from Zhenhuan Zhuan/Empresses in the Palace), how she had these likenesses done while sick and in seclusion, to reassure the emperor that she's healthy and happy. She has the original paintings "edited" and replicated as in drawn-over to hide the stains of her blood splattering on one spot from a coughing fit, and has her expression fixed to look smiley etc. This is highly likely pure fiction, from what I've gathered the details about the models of these 12 panels are unknown.
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Also, additional meta: The drama did a great job recreating one of those 12 looks, but they made it seem like Lady Nian donned this hair just to pose for this picture, that her regular hair is with a Liangbatou.
In her normal getup in the poster and flashback scene she seems to be wearing a Changshan and a skirt, for the painting she's wearing a pifeng over what seems to be a Changshan tucked under the skirt.
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This is really nice because this is what the Han noblewomen wore in the era (Manchu women wore a single layer floor length robe with no raised collars, and hair in braided buns), and Lady Nian is Han. But the hair puzzles me. From what I heard Liangbatou is a Manchu-exclusive hairstyle, and ofc a million Qing harem drama predecessors didn't give a damn about mishmashing the stylings disregarding the era and ethnicities, BUT this drama already had the right hair done! Why change it back to something from the future and something she wouldn't wear regardless the time?
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More straight-to-the-point documentary segment about what woodblock printing is about from 34:12 onwards here.
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More Hi Producer posts
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izimbracreenshots · 2 years
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Tang Lang Bu Chan by Hu Daoqing, 1988
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yuumei-art · 1 month
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Tribute to my late grandma who was born in the year of the dragon. It’s my first Chinese New Year without her and I miss her so much.
When my parents divorced and essentially abandoned me for their new families, it was my grandma and grandpa who made sure I still felt loved. Without their care and guidance I probably wouldn't be here today. 
Thank you, Grandma, for everything and more. 
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buried-in-stardust · 1 month
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Painting dragons
[eng by me]
(This is from 一条好龙's new account, new tag here)
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the-cricket-chirps · 6 months
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Huang Yongyu
Rat
Ink and colour on paper
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soaopy · 2 months
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HAPPY LUNAR NEW YEARRRRR
I know tangyuan (the dish he’s eating) is typically eaten on the 15th day of the new year, but it was too fun not to draw.
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Han Meilin (Chinese, b. 1936), "Bear"
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uwmspeccoll · 2 years
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Figure 1.  Jiang Qingji’s fan calligraphy, UWM Special Collections (cs 000092).
Graduate Research: Chinese Scroll and Fan Work, Part 11
Today we continue our exploration of calligraphic scripts in Chinese fan work, with further examples of Zheng vs. Qi approaches.
Figure 1 is a fan text written in a cursive script. According to Tai Jingnong (1902-1990), a scholar in Chinese poetry, calligraphy, and painting, cursive scrip first appear in the Han Ju Yan Wooden Slips, which were created from the Han (206 BCE-220 CE) to Jin Dynasty (265-420 CE).The cursive script from this period, such as that found in Monthly and Seasonal Records of Military Supplies from the Kuang-ti South Platoon in the Yung-yüan Era , originated from the hurried writing of the older clerical script (see my last blog).
In this fan, Jiang Qingji (1820-1880) copied a section of A Narrative on Calligraphy by Sun Guoting (646–691, see my blog on Zhang Jian), a very important treatise summarizing the esthetic values of Chinese calligraphy. However, the copying of the text is as far as the similarity goes. For Jiang 敏 in Figure 2 (a), the undulation of the brush breaks the stroke for a staccato thickening-and-thinning effect, whereas Sun’s counterpart in Figure 3 (a) is much more smooth and legato --- a typical characteristic of cursive script canonized by the calligraphic sage Wang Xizhi (303-361 CE, Figure 3 (b)). The variance, angularity, and exaggeration imbue Jiang’s brush with a strong sense of design.
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(From left to right): Figure 2 (a) : Detail from Figure 1 Figure 2 (b): Analysis of the Last Stroke in Figure 2 (a), made by Jingwei Zeng Figure 2 (c): Detail from The Stele of Xuanmi Pagoda  
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(From left to right): Figure 3 (a): Detail from Sun Guoting’s The Manual on Calligraphy Figure 3 (b): Detail from Wang Xizhi’s On the Seventeenth Day Figure 3 (c): Detail from Lu Ji’s Recovering from Illness Figure 3 (d): Detail from Liu Sha Zhui Jian
Jiang’s design is much more apparent in 敏’s last brush (Figure 2 (a)). The brush tip goes rightward first, creates an angle, then makes a circle before it goes back to form a sculptural stroke (see Figure 2 (b)). The bulging monumentality of this stroke is analogous to its counterpart in Figure 2 (c) from the standard writing The Stele of Xuanmi Pagoda --- another calligraphic masterpiece in Chinese history inscribed by Liu Gongquan (778-865) in 841. According to Wang Shizhen (1526-1590), a famous writer and historian in the Ming Dynasty (1368 - 1644), this stele is the most telling example of Liu’s penchant for rippling tendon and bone in his creations. In our fan, Jiang complicated his brush movement by introducing a contrived sculptural design from Liu’s standard writing. Since standard writing can also be called “Zheng” writing in Chinese (see my previous post), contrived design can be seen as the embodiment of Zheng style, a conservative form, relying on established styles and techniques.
The monumentality of Liu’s Zheng style is derived from the Four Masters of Tang (Ouyang Xun, 557-641, Yu Shinan,558-638, Chu Suiliang, 596-658, and Xue Ji, 649-713), whose works are utilized to glorify the peace and prosperity of the dynasty. In Tai Jingnong’s opinion, a calligraphic untrammeled naturalness (Yi, 逸, which is the correlative of Qi, a style of originality, challenging recognized norms) is compromised by this propagandistic self-aggrandizement.  
As a matter of fact, the last stroke in Sun’s original work (Figure 3 (a)) exhibits some untrammeled naturalness, as the end of last stroke does not have an obvious sense of design. A much more untrammeled and natural style can be seen in the similar strokes in Wang Xizhi’s On the Seventeenth Day (fourth century, Figure 3 (b)), Lu Ji (261-303)’s Recovering from Illness (ca.303, Figure 3 (c)) and Liu Sha Zhui Jian (ca. 98BC, Figure 3 (d)) --- they are guided by concepts of Yi & Qi. 
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                                       Figure 4. Titian’s Danaë
The contrast between premeditated design (Zheng) and the untrammeled naturalness (Yi & Qi) can be seen in the Western art, too. In Titian’s famous work Danaë (figure 4), the body of the woman to the left is derived from Michelangelo's female figure in the sculpture at the Medici Chapel entitled Night, possessing a great designing effect and sculpturality (similar to Jiang and Liu’s Zheng style); on the contrary, the white satin under her body is sketched by the bold slash of the brush (similar to Wang, Lu, and Liu Sha Zhui Jian’s Yi & Qi style), suggesting an unbridled idiosyncrasy, thereby foretelling the arrival of Baroque art. 
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(From left to right): Figure 5 (a): Fu Shan’s imitation of Wang Xizhi’s Letter Written in the First Lunar Month Figure 5 (b): Liu Sha Zhui Jian
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(From left to right): Figure 6 (a): from Figure 5 (a) Figure 6 (b): from Figure 5 (b) Figure 6 (c): from Figure 5 (a) Figure 6 (d): from Figure 5 (b) Figure 6 (e): from Figure 5 (a) Figure 6 (f): from Figure 5 (b)
Fu Shan (1607-1684), who was the master for Qi’s style, considered premeditated Zheng’s design as a bete noire and he preferred untrammeled naturalness in his art. In Figure 5 (a), though it is Fu’s imitation of Wang Xizhi’s work, it bares greater resemblance to the wooden slip Liu Sha Zhui Jian in Figure 5 (b). Fu and Liu Sha Zhui Jian employed an unmodulated linearity (Figure 6 (a) and (b)), an untrammeled leisure (the “丿” in Figure 6 (c) and (d)), and an unembellished naturalness (the last horizontal line in Figure 6 (e) and (f)). Both of them epitomized Qi & Yi concepts. 
It is worthwhile mentioning that Fu never had the chance to see Liu Sha Zhui Jian, which was excavated in 1906-1907 (see my previous Zheng Xiaoxu’s post), around three hundred years after Fu’s time. The striking similarity between Fu’s work and Liu Sha Zhui Jian testifies Fu’s inimitable capacity to imagine the broken part of the art history by tracing the path of calligraphic evolution.  
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                       Figure 7: Huang Binhong’s Landscape Painting 
Fu’s Qi legacy is carried on by Huang Binhong (1865-1955), an extraordinary Chinese modern landscape painter whose brushwork is characterized by raw, unmodulated, and untrammeled naturalness. The brushwork of Huang’s painting in Figure 7 bears a strong correlation to Fu’s brush in Figure 5 (a) and the satin of Danaë in Figure (4)---they are ad-libbed in the spur of the moment, implying an ephemeral yet highly-spiritualized transcendentalism. 
According to The Petty Sayings of Painting, a famous thesis on Chinese painting esthetics, Chinese landscape painting is similar to the writing of cursive and running script --- the creation should not be restrained by rigor and workmanship (i.e., premeditated design, or Zheng). Dong Yuan’s (c. 934-962) interplay of voids and solids (see Figure 8, Dong’s The Rivers of Xiao and Xiang), Mi Fu’s (1051-1107) smoky mountains improvised by horizontal dots, Mi’s son Mi Youren’s (1074-1153, or 1086-1165) The Ink Play of Cloudy Mountains (see Figure 9), and Huang Gongwang’s (1269-1354) withered trees and lean mountains (see Figure 10, Huang’s Nine Submits after the Snow) exhibit a feeling of untrammeled naturalness. On the contrary, “only the vulgar artisans will deliberately create the meticulous paintings in order to please the audiences’ eyes.” The paintings made by this pleasing servitude is “drab and dour.”
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                        Figure 8. Dong Yuan’sThe Rivers of Xiao and Xiang
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                     Figure 9. Mi Youren’s The Ink Play of Cloudy Mountains
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                 Figure 10. Huang Gongwang’s Nine Submits after the Snow
Yi & Qi also happens under Cezanne’s (1839-1906) hands. In Montagne Sainte-Victoire (Figure 11), Cezanne did not choose a refined brush to design remote mountains; instead, he created a simple calligraphic line as his abstract rendition of the landscape. For all these artists, mastering a skill of unpremeditated and sophisticated disegno (Zheng) is not difficult (and indeed, they did so when they were young); what challenged them most was how to get rid of formulaic design and create a free, simple, and impromptu Yi & Qi effect. By doing this, they presented their own characters rather than representing the rules and regulations of traditional and formulaic style.  
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                       Figure 11. Cezanne’s Montagne Sainte-Victoire
View more posts from the Zhou Cezong Collection of Chinese scroll and fan work.
– Jingwei Zeng, Special Collections graduate researcher.
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zhangdeming · 6 months
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张德明中国山水画作品Chinese landscape painting by Zhang Deming
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midnightmart · 2 months
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Happy year of the dragon, my friends!!!!
祝大家伙儿们龙行龘龘,前程朤朤,生活䲜䲜,事业燚燚!
愿我们在新的一年:无功受禄,一夜暴富;金榜题名,平步青云;龙腾四海,升官发财;闯荡四方,举世无双!
让去年的喜怒哀乐一笔勾销,此时此刻我们开启新的逍遥!
大家过年好!
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chinese painting for spring festival by 淼淼画吉祥
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