In the late Ming Dynasty, the society was turbulent, and it was also the important turning stage in the history of the development of China＇s literature. Xu Wei was a painter with a spirit of the reform and innovatio...In the late Ming Dynasty, the society was turbulent, and it was also the important turning stage in the history of the development of China＇s literature. Xu Wei was a painter with a spirit of the reform and innovation in the late Ming Dynasty, and his painting style pioneered the precedent of the Chinese freehand bmshwork. In his creation of the paintings and the painting theories, he gave the innovative development to the theories of the traditional Chinese paintings and the freehand brushwork in this period in our country, and also promoted the further formation of the freehand flower and bird painting styles. Xu Wei＇s t^eehand flowers and birds combined the strengths of each school, and in the painting style, he was bold and unconstrained, and the pen and ink was coherent, and the form and the spirit were assistant and bleeding. The pen and ink all embodied the wonderful skill of the Chinese traditional paintings, and boldly integrated the wild cursive of the calligraphy in the paintings. This approach was the innovation of the techniques of the Chinese traditional paintings and the promotion of the thinking. The author of this article will begin the research on the relevant contents of the artistic achievements and the influences of the freehand flower and bird paintings by Xu Wei.展开更多
In art of the canvas, the brush stroke in Chinese painting and calligraphy is one of the important behavior means of the canvas, have independent aesthetic value at the same time, contemporary, one that is with plural...In art of the canvas, the brush stroke in Chinese painting and calligraphy is one of the important behavior means of the canvas, have independent aesthetic value at the same time, contemporary, one that is with pluralism, varied painting idea and painting skill and technique of art is great and abundant, traditional in the canvas works ＂ The brush stroke in Chinese painting and calligraphy ＂ Already not merely can be spoken to the limit by the simple scribbling and wiping of pen, and Chinese comfortable brush stroke in Chinese painting and calligraphy, technique of writing incorporate visual language and spiritual intension created that can enrich the picture greatly in the canvas is created. This text attempts to canvass the canvas and create the feasibility that incorporated into comfortable brush stroke in Chinese painting and calligraphy and expansionary from two respect factors of cultural idea and skill and technique and tool material.展开更多
From the ancient time, when knowing how to draw, humans deliberately sought for good materials for drawings and wish their colors to be durable. Also from the ancient age, we, humans, knew to mix colors with oil to dr...From the ancient time, when knowing how to draw, humans deliberately sought for good materials for drawings and wish their colors to be durable. Also from the ancient age, we, humans, knew to mix colors with oil to draw. Materials at the time, however, were very gross with many shortcomings and limitations. Over the time, many generations of painters have taken great pains to search for materials and craped for paint. Nevertheless, only until the age of Van Eyck brothers （around 1390-1441） they gained great success in accomplishing and developing oil-painting techniques. Oil-painting colors until this age got purer, brighter, shinier, waterproof, sustainable, and endurable with time. Since then, oil-paint has been widely used in almost countries worldwide. It can be said that the accomplishment of oil-paint is a great technical revolution that changes and enhances the picture painting art. The painting ofoil in English means oil painting. It is the kind of the most popular and favorite pictures. It is called as the name of painting material. That is the oil paint that can be drawn on wooden, metal, and canvas surfaces, etc., Oil kinds with different materials will bring about kinds of oil paints with differentiated attributes. Oil paintings by Indian painters firstly appeared in those on Buddhism and they came to China from the 5th to 10th centuries but only until the 15th century, oil paintings got popular and developed. Oil paint finally became the key tool for painters to transfer into artistic works.展开更多
Among various arts and crafts in Tibet, painting appears to enjoy a uniquely crucial position in both the religious centres and the lives of ordinary Tibetan people. This paper examines the traditional techniques, met...Among various arts and crafts in Tibet, painting appears to enjoy a uniquely crucial position in both the religious centres and the lives of ordinary Tibetan people. This paper examines the traditional techniques, methods, and materials used in Tibetan （Tantric） Buddhist painting by observing its working process at first hand, and having attended a number of its exhibitions, art workshops, and other resources both at home and overseas. The survey of the technical aspect of Tibetan painting is primarily based upon the general usage of materials, as well as the method and the usual order of their application that relates to most kinds of mural paintings in Tibet, and which are less well-known in the West This paper aims to present a rich and somewhat complicated range of methods and materials of Tibetan （Tantric] Buddhist art tradition. To its end, the author hopes it also provides more indication of its possible influence of the traditional artistic wealth in Tibet on contemporary artists working in relation to this culture.展开更多
文摘In the late Ming Dynasty, the society was turbulent, and it was also the important turning stage in the history of the development of China＇s literature. Xu Wei was a painter with a spirit of the reform and innovation in the late Ming Dynasty, and his painting style pioneered the precedent of the Chinese freehand bmshwork. In his creation of the paintings and the painting theories, he gave the innovative development to the theories of the traditional Chinese paintings and the freehand brushwork in this period in our country, and also promoted the further formation of the freehand flower and bird painting styles. Xu Wei＇s t^eehand flowers and birds combined the strengths of each school, and in the painting style, he was bold and unconstrained, and the pen and ink was coherent, and the form and the spirit were assistant and bleeding. The pen and ink all embodied the wonderful skill of the Chinese traditional paintings, and boldly integrated the wild cursive of the calligraphy in the paintings. This approach was the innovation of the techniques of the Chinese traditional paintings and the promotion of the thinking. The author of this article will begin the research on the relevant contents of the artistic achievements and the influences of the freehand flower and bird paintings by Xu Wei.
文摘In art of the canvas, the brush stroke in Chinese painting and calligraphy is one of the important behavior means of the canvas, have independent aesthetic value at the same time, contemporary, one that is with pluralism, varied painting idea and painting skill and technique of art is great and abundant, traditional in the canvas works ＂ The brush stroke in Chinese painting and calligraphy ＂ Already not merely can be spoken to the limit by the simple scribbling and wiping of pen, and Chinese comfortable brush stroke in Chinese painting and calligraphy, technique of writing incorporate visual language and spiritual intension created that can enrich the picture greatly in the canvas is created. This text attempts to canvass the canvas and create the feasibility that incorporated into comfortable brush stroke in Chinese painting and calligraphy and expansionary from two respect factors of cultural idea and skill and technique and tool material.
文摘From the ancient time, when knowing how to draw, humans deliberately sought for good materials for drawings and wish their colors to be durable. Also from the ancient age, we, humans, knew to mix colors with oil to draw. Materials at the time, however, were very gross with many shortcomings and limitations. Over the time, many generations of painters have taken great pains to search for materials and craped for paint. Nevertheless, only until the age of Van Eyck brothers （around 1390-1441） they gained great success in accomplishing and developing oil-painting techniques. Oil-painting colors until this age got purer, brighter, shinier, waterproof, sustainable, and endurable with time. Since then, oil-paint has been widely used in almost countries worldwide. It can be said that the accomplishment of oil-paint is a great technical revolution that changes and enhances the picture painting art. The painting ofoil in English means oil painting. It is the kind of the most popular and favorite pictures. It is called as the name of painting material. That is the oil paint that can be drawn on wooden, metal, and canvas surfaces, etc., Oil kinds with different materials will bring about kinds of oil paints with differentiated attributes. Oil paintings by Indian painters firstly appeared in those on Buddhism and they came to China from the 5th to 10th centuries but only until the 15th century, oil paintings got popular and developed. Oil paint finally became the key tool for painters to transfer into artistic works.
文摘Among various arts and crafts in Tibet, painting appears to enjoy a uniquely crucial position in both the religious centres and the lives of ordinary Tibetan people. This paper examines the traditional techniques, methods, and materials used in Tibetan （Tantric） Buddhist painting by observing its working process at first hand, and having attended a number of its exhibitions, art workshops, and other resources both at home and overseas. The survey of the technical aspect of Tibetan painting is primarily based upon the general usage of materials, as well as the method and the usual order of their application that relates to most kinds of mural paintings in Tibet, and which are less well-known in the West This paper aims to present a rich and somewhat complicated range of methods and materials of Tibetan （Tantric] Buddhist art tradition. To its end, the author hopes it also provides more indication of its possible influence of the traditional artistic wealth in Tibet on contemporary artists working in relation to this culture.
