Ancient Japanese Painting Drawing Clouds

Eastward Asian painting manner using black ink of different concentrations

Ink wash painting
Liang Kai (Chinese: 梁楷, 1140-1210), Drunken Angelic (Chinese: 潑墨仙人), ink on Xuan paper, 12th century, Southern Song (Chinese), National Palace Museum, Taipei
Chinese name
Traditional Chinese	水墨畫
Simplified Chinese	水墨画
Transcriptions Standard mandarin Hanyu Pinyin Shuǐ Mò Huà
Vietnamese proper noun
Vietnamese alphabet	one. Thủy mặc họa ii. Tranh thủy mặc
Hán-Nôm	1. 水墨畫 two. 𢂰水墨
Korean proper noun
Hangul	수묵화
Hanja	水墨畵
Transcriptions Revised Romanization Sumukhwa McCune–Reischauer Sumukhwa
Japanese name
Kanji	1. 水墨画 ii. 墨絵
Hiragana	one. すいぼくが 2. すみえ
Transcriptions Revised Hepburn one. suibokuga 2. sumie

Ink wash painting (simplified Chinese: 水墨画; traditional Chinese: 水墨畫; pinyin: shuǐmòhuà ; Japanese: 水墨画, romanized: suiboku-ga or Japanese: 墨絵, romanized: sumi-eastward ; Korean: 수묵화, romanized: sumukhwa ; Vietnamese: Thủy mặc họa, Hán Nôm: 水墨畫) is a type of Chinese ink brush painting which uses blackness ink, such as that used in Chinese calligraphy, in dissimilar concentrations. Emerging during the Tang dynasty of China (618–907), it overturned earlier, more realistic techniques. It is typically monochrome, using but shades of blackness, with a keen emphasis on virtuoso brushwork and carrying the perceived "spirit" or "essence" of a field of study over direct faux.^{[i] [ii] [3]} Information technology flourished from the Vocal dynasty in China (960–1279) onwards, as well as in Nippon later on information technology was introduced by Zen Buddhist monks in the 14th century.^[4] Some Western scholars divide Chinese painting (including ink wash painting) into three periods: times of representation, times of expression, and historical Oriental art.^{[5] [half-dozen]} Chinese scholars have their ain views dissimilar from this, and they believe that contemporary Chinese ink launder paintings are the pluralistic continuation of multiple historical traditions.^[7]

In China and Nihon, but much less and then in Korea, ink wash painting formed a distinct stylistic tradition, with a different set of artists working in it from those doing other types of painting. Especially in China, it was a gentlemanly occupation associated with poetry and calligraphy, and often produced by the scholar-official or literati class, ideally illustrating their own poetry, and producing the paintings every bit gifts for friends or patrons, rather than painting for payment. In practice a talented painter often had a very useful reward in climbing the bureaucratic ladder. In Korea, painters were less segregated, and more than willing to paint in 2 techniques, such as mixing areas of colour with monochrome ink, for example in painting the faces of figures.^{[1] [3] [8]}

The vertical hanging scroll was the archetype format; 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 mostly kept rolled up, and brought out for the owner to admire, often with a small-scale group of friends.^[9] Chinese collectors liked to postage stamp paintings with their seals, normally in red inkpad, and sometimes added poems or notes of appreciation. Some sometime and famous paintings have become rather disfigured by this; the Qianlong Emperor was a particular offender.^[two]

In landscape painting the scenes depicted are typically imaginary, or very loose adaptations of actual views. The shan shui style of mountain landscapes are past far the most common, oft evoking detail areas traditionally famous for their beauty, from which the artist may have been very distant. Water is very often included.^{[3] [10]}

Philosophy [edit]

Korean: An Gyeon, Dream Journeying to the Peach Blossom State (Korean: 몽유도원도 ; Hanja: 夢遊桃源圖 ), medium ink and lite color on silk, dimensions 106.5 ten 38.vii cm. 1447, Korea. Collected by Tenri University Central Library.

Japanese: Hasegawa Tōhaku (1539–1610), Pine Copse screen, Right console of the Shōrin-zu byōbu ( 松林図 屏風 ). Ink on Xuan paper. Elevation: 156.8 cm (61.7 in); width: 356 cm (140 in). 16th century, Nippon. The painting has been designated every bit a National Treasure.

East Asian writing on aesthetics is more often than not consistent in stating that the goal of ink and wash painting is non simply to reproduce the appearance of the bailiwick, but to capture its spirit. To paint a horse, the ink wash painting artist must empathize its temperament amend than its muscles and bones. To pigment a blossom, there is no demand to perfectly lucifer its petals and colors, merely it is essential to convey its liveliness and fragrance. In this, information technology has been compared to the later Western movement of Impressionism.^[1] Information technology is also particularly associated with the Chán or Zen sect of Buddhism, which emphasises "simplicity, spontaneity and self-expression", and Daoism, which emphasises "spontaneity and harmony with nature,"^[4] peculiarly when compared with the less spiritually-oriented Confucianism.^{[3] [11]}

Eastward Asian ink wash painting has long inspired modernistic artists in the Westward. In his archetype book Composition, American creative person and educator Arthur Wesley Dow (1857–1922) wrote this nearly ink wash painting: "The painter... put upon the newspaper the fewest possible lines and tones; just enough to crusade form, texture and effect to be felt. Every castor-impact must exist full-charged with meaning, and useless item eliminated. Put together all the good points in such a method, and you have the qualities of the highest art".^[12] Dow'due south fascination with ink wash painting non only shaped his own arroyo to fine art but also helped free many American modernists of 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.^{[three] [13]}

Technique, materials and tools [edit]

Ink wash painting uses tonality and shading achieved past varying the ink density, both by differential grinding of the ink stick in water and by varying the ink load and pressure level inside a unmarried brushstroke. Ink wash painting artists spend years practicing basic castor strokes to refine their castor movement and ink flow. These skills are closely related to those needed for basic writing in Eastward Asian characters, and so for calligraphy, which substantially use the same ink and brushes. In the hand of a master, a single stroke can produce considerable variations in tonality, from deep blackness to silvery grey. Thus, in its original context, shading means more merely nighttime-lite organization: It is the basis for the nuance in tonality institute in East Asian ink wash painting and brush-and-ink calligraphy.^[14]

Once a stroke is painted, it cannot be inverse or erased. This makes ink and wash painting a technically demanding art course requiring groovy skill, concentration, and years of training.^{[13] [2]}

The Four Treasures is summarized in a four word couplet: " 文房四寶: 筆、墨、紙、硯 ," (Pinyin: wén fáng sì bǎo: bǐ, mò, zhǐ, yàn ) "The four jewels of the study: Brush, Ink, Paper, Inkstone" by Chinese scholar-official or literati course, which are likewise indispensable tools and materials for East Asian painting.^{[15] [sixteen]}

Brush [edit]

The earliest intact ink brush was found in 1954 in the tomb of a Chu citizen from the Warring States flow (475-221 BCE) located in an archaeological dig site Zuo Gong Shan 15 near Changsha ( 長沙 ). This archaic version of an ink brush constitute had 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 full general Meng Tian.^[fourteen] Traces of a writing castor, all the same, were discovered on the Shang jades, and were suggested to exist the grounds of the Oracle bone script inscriptions.^[17]

The writing castor entered a new phase of development in the Han dynasty. Kickoff, the decorative craft of engraving and inlaying on the pen-holder appeared. 2d, some writings on the production of writing castor have also survived. For example, the first Monograph on the selection, product and function of writing brush was written by Cai Yong in the eastern Han dynasty . Third, the special class of "hairpin white pen" appeared. Officials in the Han dynasty frequently sharpened the cease of the brush and stuck it in their pilus or hat for their convenience. Worshipers also ofttimes put pen on their heads to show respect.^{[fourteen] [xiii]}

To the Yuan and Ming dynasty, Huzhou emerged a group of pen making experts, such as Wu Yunhui, Feng Yingke, Lu Wenbao, Zhang Tianxi, etc. Huzhou has been the center of Chinese castor making since the Qing dynasty. At the same time, there was many famous brushes in other places, such equally Ruyang Liu brush in Henan province, Li Dinghe castor in Shanghai, Wu Yunhui in Jiangxi province.^[14]

Ink launder painting brushes are like to the brushes used for calligraphy and are traditionally made from bamboo with goat, cattle, horse, sheep, rabbit, marten, annoy, deer, boar and wolf hair. The brush hairs are tapered to a fine indicate, a feature vital to the manner of wash paintings.^{[3] [xiii]}

Different brushes take different qualities. A pocket-size wolf-hair brush that is tapered to a fine betoken can deliver an fifty-fifty thin line of ink (much like a pen). A large wool castor (one variation called the 'large cloud') tin can concur a large volume of water and ink. When the large cloud brush rains down upon the paper, it delivers a graded swath of ink encompassing myriad shades of grayness to black.^{[2] [17]}

Inkstick [edit]

Ink wash painting is normally done on rice paper (Chinese) or washi (Japanese newspaper) both of which are highly absorbent and unsized. Silk is too used in some forms of ink painting.^[18] Many types of Xuan paper and washi do not lend themselves readily to a smooth wash the way watercolor paper does. Each castor stroke is visible, so whatever "wash" in the sense of Western manner painting requires partially sized paper. Paper manufacturers today understand artists' demands for more than versatile papers and piece of work to produce kinds that are more flexible. If one uses traditional paper, the idea of an "ink wash" refers to a wet-on-wet technique, applying black ink to newspaper where a lighter ink has already been practical, or by speedily manipulating watery diluted ink one time information technology has been practical to the paper by using a very big brush.^[13]

In ink wash paintings, as in calligraphy, artists usually grind inkstick over an inkstone to obtain black ink, simply prepared liquid inks ( bokuju ( 墨汁 ) in Japanese) are besides available. Well-nigh inksticks are made of soot from pino or oil combined with animal glue.^[nineteen] An artist puts a few drops of water on an inkstone and grinds the inkstick in a round motion until a smooth, black ink of the desired concentration is made. Prepared liquid inks vary in viscosity, solubility, concentration, etc., only are in general more suitable for practicing Chinese calligraphy than executing paintings.^[20] Inksticks themselves are sometimes ornately busy with landscapes or flowers in bas-relief and some are highlighted with golden.^{[17] [3]}

Xuan paper [edit]

Paper (Chinese: traditional 紙, simplified 纸; Pinyin: zhǐ ) was first developed in China in the first decade of 100 Advertizement. Previous to its invention, bamboo slips and silks were used for writing material. Several methods of paper production adult over the centuries in Mainland china. However, the paper which was considered of highest value was that of the Jingxian (泾县) in Anhui province. Xuan newspaper features great tensile strength, smoothen surface, pure and make clean texture and clean stroke, dandy resistance to pucker, corrosion, moth and mold. Xuan paper has a special ink penetration effect, which is not readily available in paper made in Western countries.^{[21] [22]} Xuan paper was offset mentioned in aboriginal Chinese books Notes of Past Famous Paintings and New Book of Tang. Information technology was originally produced in the Tang dynasty in Jing Canton, which was nether the jurisdiction of Xuan Prefecture (Xuanzhou), hence the name Xuan paper. During the Tang dynasty, the newspaper was often a mixture of hemp (the first fiber used for paper in Cathay) and mulberry fiber.^[23]

The materials used in Xuan paper are closely related to the geographical surroundings of Jing County. The bawl of the Pteroceltis tatarinowii, a common diverseness of elm, is used every bit the main fabric for the production of rice paper in this area. Rice and several other materials were later added to the recipe in the Song and Yuan Dynasties. Around that time, bamboo and mulberry also began to be used to produce rice paper.^{[23] [21]}

The production of Xuan newspaper is roughly eighteen-step processes - taken in item, over a hundred steps may be counted. Some newspaper makers keep their process strictly cloak-and-dagger. The process includes cooking and bleaching the bawl of Pteroceltis tatarinowii and adding various fruit juices.^{[23] [21]}

Inkstone [edit]

The inkstone is non only a traditional Chinese jotter device, simply also an important tool of ink painting. Information technology is a stone mortar used for the grinding and containment of ink. In improver to stones, inkstones are also fabricated of clay, bronze, iron and porcelain. This device evolved from the friction tool used to rub dyes about six to seven grand years ago.^[24]

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  Ink brush with golden dragon design, used by the Ming Wanli Emperor (1563-1620), China.

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  Reconstruction of Emperor Qianlong's (1711 – 1799) writing tabular array, China.

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  Murata Seimin (1761–1837), Brush rest in the shape of a praying mantis, circa 1800 (belatedly Edo), Medium: statuary, Dimensions: 18 cm (vii in), Japan. Nerveless By the Walters Art Museum.

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  Commemorative Chinese inksticks for collectors.

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  Image from the 17th-century technical certificate Tiangong Kaiwu (天工開物-松烟制墨法) detailing how pine is burned in a furnace at one stop and its soot collected at the other for making inkstick, China.

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  Fragment of ancient Chinese paper map with features in blackness ink, constitute on the chest of the occupant of Tomb 5 of Fangmatan, Gansu in China in 1986, from early Western Han, second century BC, five.6 cm × 2.6 cm (2.2 in × i.0 in).

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  An image of a Ming dynasty woodcut describing v major steps in aboriginal Chinese papermaking process as outlined past Cai Lun in 105 AD. The prototype is from the 17th-century technical document Tiangong Kaiwu (天工開物-覆簾壓紙), China.

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  A Duan Inkstone of the Song Dynasty-In for making Chinese ink using water and an inkstick, 10th century, People's republic of china.

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  East Asian painting-calligraphy's ink stone, ink stick, and usage.

History and artists [edit]

Chinese painters and their influence on East asia [edit]

In Chinese painting, brush painting was ane of the "four arts" expected to be learnt by China's class of scholar-officials.^[4] Ink wash painting appeared during the Tang dynasty (618–907), and its early on development is credited to Wang Wei (active in the 8th century) and Zhang Zao, amid others.^[iii] In the Ming dynasty, Dong Qichang would identify ii distinct styles: a clearer, grander Northern Schoolhouse 北宗画 or 北画; Beizonghua or Beihua , Japanese: Hokushūga or Hokuga ), and a freer, more expressive Southern School (南宗画 or 南画; Nanzonghua or Nanhua , Japanese: Nanshūga or Nanga ), besides called "Literati Painting" (文人画; Wenrenhua , Japanese: Bunjinga ).^{[one] [13] [25] [26]}

Tang, Song and Yuan Dynasties [edit]

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.^{[5] [six]} Chinese historical views accept traditionally found it more than appropriate to separate the full general artistic features of this historical stage by the theory of Southern School and Northern School, every bit promulgated Dong Qichang in the Ming Dynasty.^{[7] [viii] [27] : 236}

Southern Schoolhouse and painters [edit]

Southern School (南宗画; nán zōng huà ) of Chinese painting, often chosen "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 Schoolhouse has had a profound impact on Japanese and Southeast Asian paintings.^[28] Wang Wei (王維; 699–759), Zhang Zao ( 张璪 or 张藻 ) and Dong Yuan (董源; Dŏng Yuán ; Tung Yüan , Gan: dung3 ngion4 ; c.  934–962) are of import representatives of early Chinese ink launder painting of the Southern School. Wang Wei was a Chinese poet, musician, painter, and politico during the Tang dynasty, eighth century. Wang Wei is the nigh of import representative of early Chinese ink launder painting. He believed that in all forms of painting, ink launder painting is the most advanced.^{[eleven] [29]} Zhang Zao was a Chinese painter, painting theorist and politician during the Tang dynasty, 8th century.^[30] He created the method of using fingers instead of brush to draw ink wash painting.^[7] Dong Yuan was a Chinese painter during the 5 Dynasties (10th century). His ink wash painting style is considered past Dong Qichang to be the most typical style of Southern School.^{[27] : 599}

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 past his pseudonym "Fan Kuan" and Guo Xi (郭熙; Guō Xī ; Kuo Hsi ) (c.  1020–1090) had 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.^{[31] [32]} Fan Kuan was a Chinese landscape painter of the Song dynasty. He has a profound touch on Japanese and Korean paintings.^{[33] [34] [35]} Guoxi was a Chinese landscape painter from Henan Province who lived during the Northern Song dynasty.^{[36] [37]} One text entitled "The Lofty Message of Forest and Streams" ( Linquan Gaozhi 林泉高致 ) is attributed to him.^[38]

As representatives of scholar painting (or "Literati Painting", the part of the Southern School),^[39] painters such as Su Shi, Mi Fu and Mi Youren, specially Muqi, had a decisive influence on East Asian ink launder painting. Su Shi (蘇軾; 苏轼; 8 January 1037 – 24 August 1101), courtesy name Zizhan (Chinese: 子瞻), art proper name Dongpo (Chinese: 東坡), was a Chinese poet, author, politico, calligrapher, painter, pharmacologist, and gastronome of the Vocal dynasty.^[40] Mi Fu (米芾 or 米黻; Mǐ Fú , too given as Mi Fei, 1051–1107)^[41] was a Chinese painter, poet, and calligrapher built-in in Taiyuan during the Vocal dynasty.^[42] 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.^[43] Muqi (牧谿; Japanese: Mokkei; 1210?–1269?), as well known as Fachang (法常), was a Chinese Chan Buddhist monk and painter who lived in the 13th century, around the terminate of the Southern Song dynasty (1127–1279). Today, he is considered to be ane of the greatest Chan painters in history. His ink paintings, such as the Daitoku-ji triptych and 6 Persimmons are regarded as essential Chan paintings.^[44] Muqi's mode of painting has also profoundly impacted painters from after periods to follow, peculiarly monk painters in Nihon.^{[45] [46]}

Four Masters of the Yuan dynasty (元四家; Yuán Sì Jiā ) is a name used to collectively draw the 4 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 the Ming dynasty and later periods as major exponents of the tradition of "literati painting" ( wenrenhua ), which was concerned more with private expression and learning than with outward representation and immediate visual appeal.^[47] Other notable painters from the Yuan period include Gao Kegong (高克恭; 髙克恭; Gaō Kègōng ; Kao Grand'o-kung ; 1248–1310), also a poet, and was known for his landscapes,^[48] and Fang Congyi.

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  Li Cheng (李成; Lǐ Chéng ; Li Ch'eng ; 919–967), A Alone Temple Amid Clearing Peaks ( 晴峦萧寺 ), ink and calorie-free color on silk. 111.76 cm × 55.88 cm (44.00 in × 22.00 in). 11th century, China. Nelson-Atkins Museum of Art.

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  Fan Kuan (范寬; Fàn Kuān ; Fan One thousand'uan , c.  960–1030), Travellers among Mountains and Streams ( 谿山行旅圖 ), ink and slight color on silk, dimensions of 6.75 ft × ii.5 ft (two.06 m × 0.76 m). 11th century, China.^[33] National Palace Museum, Taipei^[34]

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  Guo Xi (郭熙; Guō Xī ; Kuo Hsi ) (c.  1020–1090), Early Spring, signed and dated 1072, ink and calorie-free lolor on silk. 11th century, People's republic of china. Hanging curlicue, ink and color on silk. National Palace Museum, Taipei.

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  Guo Xi, Ping Yuan Tu (窠石平遠圖), 1078, ink and low-cal lolor on silk, Mainland china. Collected by the Palace Museum, Beijing.

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  Guo Xi, Clearing Autumn Skies over Mountains and Valleys, ink and calorie-free lolor on silk, Mainland china. Northern Vocal Dynasty c.  1070, detail from a horizontal gyre.^[49]

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  Su Shi (Chinese: 蘇, 1037 – 1101), Withered Tree and Strange Rock, ink on Xuan paper, 11th century, People's republic of china.

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  Muqi (法常; 牧谿, 1210?–1269?), Half-dozen Persimmons, Chinese: 六柿圖, ink on Xuan paper, 13th century, Southern Song (Chinese). Collected in Daitokuji, Kyoto, Japan.

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  Muqi, Guanyin, Crane, and Gibbons, Southern Vocal (Chinese), 13th century, prepare of three hanging scrolls, ink and color on silk, height: 173.9–174.2 cm (68.5–68.half-dozen in), collected in Daitokuji, Kyoto, Nihon. Designated National Treasure.

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  Gao Kegong (1248–1310), Evening Clouds (Chinese: 秋山暮靄圖), ink and color on Xuan paper mounted on hanging curlicue, 13th century, China. Collected past the Palace Museum, Beijing.

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  Wang Meng (Chinese: 王蒙, 1271–1368), Dwelling house in the Qingbian Mountains (Chinese: 青卞隱居圖), ink on Xuan paper, 141x42,two cm, 1366, China. Nerveless by Shanghai Museum.

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  Wu Zhen (Chinese: 吳鎮, 1280–1354), Crooked Pino, 1335, ink on silk, collected by Metropolitan Museum of Art.

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  Ni Zan, Enjoying the Wilderness in an Autumn Grove (Chinese: 秋林野興圖), medium: hanging scroll; ink on Xuan paper, dimensions: 38 5/eight × 27 ane/viii in. (98.1 × 68.9 cm), 1339, China. Collected by Metropolitan Museum of Art.

Northern School and painters [edit]

Northern Schoolhouse (北宗画; běi zōng huà ) was a manner of Chinese mural painting centered on a loose group of artists who worked and lived in Northern China during the V Dynasties period that occupied the time between the collapse of the Tang dynasty and the rise of the Vocal. Representing painters are Ma Yuan, Xia Gui, and so on. The fashion stands in opposition to the Southern School (南宗画; nán zōng huà ) of Chinese painting. Northern Schoolhouse has a profound impact on Japanese and Southeast Asian paintings.^[50]

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 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 11, Fan Kuan and Li Cheng and later artists such as Xia Gui and Ma Yuan. He perfected the technique of "axe-cut" castor-strokes.^{[27] : 635} Ma Yuan was a Chinese painter of the Song dynasty. His works, together with that of Xia Gui, formed the basis of the so-called Ma-Xia ( 馬夏 ) schoolhouse of painting, and are considered among the finest from the menstruation. His works has inspired both Chinese artists of the Zhe School, as well as the swell early Japanese painters Shūbun and Sesshū.^[51] 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 footling is known most his life, and simply a few of his works survive, just he is generally considered ane of China's greatest artists. He continued the tradition of Li Tang, further simplifying the earlier Song style to achieve a more immediate, hitting outcome. Together with Ma Yuan, he founded the then-chosen Ma-Xia ( 馬夏 ) schoolhouse, one of the most important of the menses. Although Xia was popular during his lifetime, his reputation suffered after his death, together with that of all Southern Song academy painters. However, a few artists, including the Japanese chief Sesshū, continued Xia's tradition for hundreds of years, until the early 17th century.^[52]

Liang Kai (梁楷; Liáng Kǎi ; c.  1140–1210) was a Chinese painter of the Southern Song Dynasty. He was besides known as "Madman Liang" because of his very informal pictures. His ink launder painting way has a huge influence on East asia, particularly Japan.^[53] Yan Hui (颜辉; 顏輝; Yán Huī ; Yen Hui ); was a late 13th century Chinese painter who lived during the Southern Vocal and early on Yuan dynasties. Yan Hui's mode of painting has also profoundly impacted the painters in Japan.^[54]

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  Li Tang (Chinese: 李唐; pinyin: Lǐ Táng ; Wade–Giles: Li T'ang , 1050 – 1130), Air current in Pines Among a Myriad Valleys, Chinese: 萬壑松風圖, 1124, ink and color on silk, 188.7 cm (74.2 in); Width: 139.8 cm (55 in), nerveless by National Palace Museum, Taipei.

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  Li Tang, Duke Wen of Jin Recovering His Country, handscroll, ink and color on silk, nerveless by the Metropolitan Museum of Art

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  Li Tang, Boy and water buffalo, collected by the Palace Museum, Beijing.

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  Liang Kai (梁楷, 1140–1210), Shakyamuni Emerging from the Mountains, 出山釋迦圖, Hanging coil, ink and color on silk, 117.half dozen cm × 51.nine cm (46.3 in × 20.four in), collected by Tokyo National Museum.

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  Ma Yuan (馬遠, 1160–1225), Dancing and Singing (Peasants Returning from Work, 踏歌圖), ink and light lolor on silk, 13th century, Southern Song (Chinese), Palace Museum, Beijing.

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  Ma Yuan, Immortal Riding a Dragon, Chinese: 神仙御龍圖, ink and light colors on silk, height: 108.1 cm (42.5 in), width: 52.6 cm (20.vii in), hanging scroll, Southern Song Dynasty, early on 13th century. Collected by National Palace Museum, Taipei.

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  Particular from the hand ringlet Pure and Remote View of Streams and Mountains, ink on Xuan paper, ane of Xia Gui's most of import works, 13th century Communist china. collected past National Palace Museum, Taipei.

Ming and Qing Dynasties [edit]

4 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 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 ii studied with Zhou Chen. Their styles and field of study thing were varied.^[55]

Xu Wei (徐渭; Xú Wèi ; Hsü Wei , 1521–1593) and Chen Chun (陳淳; 1483–1544) are the main painters of the bold and unconstrained style of literati painting, and their ink launder 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.^[5] Xu Wei, other section "Qingteng Shanren" (青藤山人; Qīngténg Shānrén ), was a Ming dynasty Chinese painter, poet, writer and dramatist famed for his artistic expressiveness.^[56] Chen Chun 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.^[57]

Dong Qichang (Chinese: 董其昌; pinyin: Dǒng Qíchāng ; Wade–Giles: Tung Ch'i-ch'ang ; 1555–1636) of the Ming Dynasty and the Four Wangs (四王; Sì Wáng ; Ssŭ Wang ) of the Qing Dynasty are representative painters of retro-style ink launder paintings that imitated the painting style before the Yuan Dynasty. Dong Qichang was a Chinese painter, calligrapher, politician, and art theorist of the afterward menses of the Ming Dynasty. He is the founder of the theory of Southern School and Northern School in ink launder painting. His theoretical organisation has a keen influence on the painting concept and practice of East Asian countries, including Nihon and Korea.^{[27] : 703 [7]} 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).^{[27] : 757}

Bada Shanren (朱耷; zhū dā , born "Zhu Da"; {{circa|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 Viii Eccentrics of Yangzhou (扬州八怪; 揚州八怪; Yángzhoū Bā Guài ) are the innovative masters of ink launder painting in the late Ming and early Qing dynasties.^{[58] [59]} Bada Shanren, other department "Bada Shanren" (八大山人; bā dà shān rén ), was a Han Chinese painter of ink launder 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 a bright painter of the period.^{[60] [61]} Shitao, born into the Ming dynasty imperial clan as "Zhu Ruoji" (朱若極) , was ane Chinese landscape painter in early Qing Dynasty (1636-1912).^[62] 8 Eccentrics of Yangzhou is the name for a group of eight Chinese painters agile in the 18th century, who were known in the Qing Dynasty for rejecting the orthodox ideas virtually painting in favor of a manner deemed expressive and individualist.^{[27] : 668}

Xu Gu (虚谷; 虛谷; Xū Gǔ ; Hsü Ku , 1824–1896) was a Chinese monk painter and poet during the Qing Dynasty.^[63] His ink launder paintings give the audition a sense of abstraction and illusion.^[64]

• 

  Shen Zhou (Chinese: 沈周, 1427–1509), Lofty Mount Lu (Chinese: 廬山高), Ming dynasty, 1467 (明 成化丁亥), Medium: Hanging whorl, ink and colors on Xuan paper, Dimensions: 193.eight × 98.1 cm (height × width), China. Collected by National Palace Museum.

• 

  Xu Wei (徐渭; Xú Wèi ; Hsü Wei , 1521–1593), Grapes, Chinese: 墨葡萄圖, hanging roll, ink on silk, 166.iii x 64.five cm (height ten width). Painting is located in the Palace Museum, Beijing.

• 

  Shitao (石涛; 石濤; Shí Tāo ; Shih-t'ao , 1642–1707), Pino Pavilion Near a Leap, ink on Xuan paper, 1675, China. The drove of the Shanghai Museum.

• 

  Shitao, Searching for Immortals, ink and lite color on newspaper, 17th century, China. The collection of the Metropolitan Museum of Art.

• 

  Xu Gu (虚谷; 虛谷; Xū Gǔ ; Hsü Ku , 1824–1896), High Mountains and Streams, Chinese: 溪山高遠圖, ink on Xuan paper, 19th century, Qing Dynasty, China.

Modern times [edit]

Modernistic and contemporary Chinese freehand ink launder 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 Nov 1927, also romanised as Wu Changshi, 吳昌石; Wú Chāngshí ), born Wu Junqing (吳俊卿; Wú Jùnqīng ), was a prominent painter, calligrapher and seal artist of the late Qing Catamenia. He is the leader of the Shanghai Schoolhouse. Wu Changshuo's mode of painting has profoundly impacted the paintings in Nihon.^[65] 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 fashion name was 'Zuo Ying'. Pu painted landscapes and ink bamboo in an unconventional style of costless and easy brush strokes. He is i of the important representatives of the Shanghai School.^[66] Wang Zhen (王震; Wang Chen ; 1867–1938),^[67] normally known by his courtesy name Wang Yiting (王一亭; Wang I-t'ing ), was a prominent man of affairs and celebrated modern Chinese creative person of the Shanghai Schoolhouse. 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 the whimsical, often playful manner of his ink wash painting works.^[68] Huang Binhong (黃賓虹; Huáng Bīnhóng ; 1865–1955) was a Chinese literati painter and art historian born in Jinhua, Zhejiang province. His bequeathed habitation 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 the terminal innovators in the literati style of painting and is noted for his freehand landscapes.^{[56] : 2056}

Important painters who take absorbed Western sketching methods to meliorate Chinese ink wash painting include Gao Jianfu, Xu Beihong and Liu Haisu, etc.^{[27] : 1328} 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 Schoolhouse'southward endeavor to modernize Chinese traditional ink wash painting as a "new national fine art."^{[69] [70]} Xu Beihong (徐悲鴻; Hsü Pei-hung ; 19 July 1895 – 26 September 1953), also known as "Ju Péon", was a Chinese painter.^[71] He was primarily known for his Chinese ink paintings of horses and birds and was one of the first Chinese artists to clear the need for artistic expressions that reflected a mod China at the start of the 20th century. He was also regarded as ane of the outset to create monumental oil paintings with ballsy Chinese themes – a show of his high proficiency in an essential Western art technique.^[72] He was i of the four pioneers of Chinese modern art who earned the title of "The 4 Peachy University Presidents".^[73] Liu Haisu (刘海粟; Liú Hǎisù ; 16 March 1896 – 7 Baronial 1994) was a prominent 20th century Chinese painter and a noted art educator. He excelled in Chinese painting and oil painting. He was one of the four pioneers of Chinese modern art who earned the title of "The Four Great Academy Presidents".^[73]

Pan Tianshou, Zhang Daqian and Fu Baoshi are of import ink wash painters who stick to the tradition of Chinese classical Literati Painting.^[73] 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 Starting time Normal Schoolhouse (now Hangzhou High Schoolhouse). He studied Chinese traditional painting with Wu Changshuo. Subsequently he created his own ink wash painting mode and built the foundation of Chinese traditional painting education. He was persecuted during the Cultural Revolution until his expiry in 1971.^[74] Zhang Daqian (張大千; Chang Ta-ch'ien ; 10 May 1899 – 2 April 1983) was one of the best-known and well-nigh prodigious Chinese artists of the 20th century. Originally known as a guohua (traditionalist) painter, past the 1960s he was also renowned every bit a modern impressionist and expressionist painter. In addition, he is regarded as one of the nigh gifted main forgers of the 20th century.^[75] 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.^[76]

Shi Lu (石鲁; 石魯; Shí Lǔ ; 1919–1982), born "Feng Yaheng" (冯亚珩; 馮亞珩; Féng Yàhéng ), was a Chinese painter, wood cake printer, poet and calligrapher. He based his pseudonym on ii artists who profoundly influenced him, the mural painter Shitao and author Lu Xun. He created two different ink launder painting styles.^[77]

• 

  Qi Baishi, Ink Shrimp, Chinese: 墨蝦圖, ink on Xuan newspaper, 1947, Modernistic times, China.

• 

  QiBaishi, Eagle Standing on Pine Tree, Four-graphic symbol Couplet in Seal Script, Chinese: 松柏高立圖·篆書四言聯, ink on Xuan paper, 266 × 100 cm (104.vii × 39.3 in), 1946, Modern times, China.

• 

  Gao Jianfu (Chinese: 高劍父, 1879–1951), Fire on the Eastern Battlefield, Chinese: 東戰場的烈焰, ink and color on Xuan newspaper, 1930s, 166 10 92 cm. Lingnan School of Painting in Guangzhou Museum of Art, China.

Other countries in Eastern asia [edit]

Since the Tang Dynasty, Japan, Korea, and East Asian countries have extensively studied Chinese painting and ink wash painting.^{[8] [26]} Josetsu (Chinese: 如拙) who immigrated to Japan from China has been called the "Male parent of Japanese ink painting".^[78] East Asian styles have mainly developed from the painting styles of Southern School and Northern School.^{[viii] [3] [79]}

Japan [edit]

In Japan, the style was introduced in the 14th century, during the Muromachi menstruation (1333–1573) through Zen Buddhist monasteries,^[80] and in item Josetsu, a painter who immigrated from People's republic of china and taught the kickoff major early on painter Tenshō Shūbun (d. c.  1450). Both he and his student Sesshū Tōyō (1420–1506) were monks, although Sesshū somewhen left the clergy, and spent a year or so in China in 1468–69.^[81] By the end of the period the style had been adopted by several professional or commercial artists, especially from the large Kanō schoolhouse founded by Kanō Masanobu (1434–1530); his son Kanō Motonobu was also very important. In the Japanese way, the nearly promising pupils married daughters of the family unit, and changed their names to Kanō. The school continued to paint in the traditional Japanese yamato-e and other coloured styles every bit well.^{[25] [2]}

A Japanese innovation of the Azuchi–Momoyama flow (1568-1600) was to apply the monochrome style on a much larger scale in byōbu folding screens, oft produced in sets then that they ran all circular even big rooms. The Shōrin-zu byōbu of about 1595 is a famous example; merely some 15% of the newspaper is painted.^[82]

Josetsu ( 如拙 , fl. 1405–1496) was one of the first suiboku (ink wash) style Zen Japanese painters in the Muromachi Menstruation (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".^[78]

Kanō school, a Japanese ink wash painting genre, was born nether the significant influence of Chinese Taoism and Buddhist culture.^[79] Kanō Masanobu ( 狩野 元信 , 1434? – August ii, 1530?, Kyoto) was the leader of Kano schoolhouse, laid the foundation for the school's dominant position in Japanese mainstream painting for centuries. He was mainly influenced by Xia Gui (active in 1195–1225), a Chinese court painter of the Southern Vocal Dynasty.^[83] He was the chief painter of the Ashikaga shogunate and is by and large considered the founder of the Kanō school of painting. Kano Masanobu specialized in Zen paintings as well as elaborate paintings of Buddhist deities and Bodhisattvas.^[84] Tenshō Shūbun ( 天章 周文 , died c. 1444–50) was a Japanese Zen Buddhist monk and painter of the Muromachi period. He was securely influenced by the Northern Schoolhouse (北宗画; běi zōng huà ) of Chinese painting and Josetsu.^[85] Sesshū Tōyō (Japanese: 雪舟 等楊; Oda Tōyō since 1431, also known equally Tōyō, Unkoku, or Bikeisai; 1420 – 26 August 1506) was the most prominent Japanese primary of ink and wash painting from the heart Muromachi flow. He was deeply influenced by the Northern School (北宗画; běi zōng huà ) of Chinese painting, especially Ma Yuan and Xia Gui.^[86] After studying landscape painting in China, he drew "秋冬山水図".This painting　was drawn the landscape of Song dynasty in China. He painted the natural landscape of wintertime.The feature of this painting is the thick line that represents the cliff.

Sesson Shukei ( 雪村 周継 , 1504–1589) and Hasegawa Tōhaku ( 長谷川 等伯 , 1539 – xix March 1610) mainly imitated the ink wash painting styles of the Chinese Song Dynasty monk painter Muqi.^[five] Sesson Shukei was one of the primary representatives of Japanese ink wash painting, a learned and prolific Zen monk painter. He studied a wide range of early Chinese ink wash painting styles and played an important function in the development of Japanese Zen ink launder painting. Colleagues of Chinese ink painter Muqi (active in 13th century) outset brought Muxi painting to Nihon in the belatedly 13th century. Japanese Zen monks follow and learn the gibbon pictures painted by Chinese monk painter Muqi. By the belatedly 15th century, the beast image of Muqi style had go a hot topic in big-scale Japanese painting projects.^[87]

The smaller, more than purist and less flamboyant Hasegawa school was founded by Hasegawa Tōhaku (1539-1610), and lasted until the 18th century. The nanga (meaning "Southern painting") or bunjinga ("literati") fashion or schoolhouse ran from the 18th century until the expiry of Tomioka Tessai (1837–1924) who was widely regarded as the last of the nanga artists.^{[13] [25]} Hasegawa Tōhaku was a Japanese painter and founder of the Hasegawa schoolhouse. He is considered one of the great painters of the Azuchi–Momoyama catamenia (1573-1603), and he is best known for his byōbu folding screens, such as Pino Trees and Pino Tree and Flowering Plants (both registered National Treasures), or the paintings in walls and sliding doors at Chishaku-in, attributed to him and his son (likewise National Treasures). He was deeply influenced by Chinese painting of Song Dynasty, especially Liang Kai and Muqi.^{[88] [89]}

The ink wash paintings of Mi Fu and his son had a profound influence on Japanese ink painters, and Ike no Taiga is i of them.^[79] Ike no Taiga ( 池大雅 , 1723–1776) was a Japanese painter and calligrapher born in Kyoto during the Edo period. Together with Yosa Buson, he perfected the bunjinga (or nanga) genre. The majority of his works reflected his passion for classical Chinese culture and painting techniques, though he also incorporated revolutionary and modern techniques into his otherwise very traditional paintings. Equally a bunjin (文人, literati, man of letters), Ike was close to many of the prominent social and artistic circles in Kyoto, and in other parts of the country, throughout his lifetime.^[26]

Korea [edit]

In Korea, the Dohwaseo or court university was very important, and almost major painters came from information technology, although the accent of the university was on realistic decorative works and official portraits, so something of a break from this was required.^[90] Withal the high official and painter Gang Se-hwang and others championed apprentice literati or seonbi painting in 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 existent locations, every bit well as mountains as fantastical as any Chinese paintings, for which the Taebaek Mountains forth the eastern side of Korea offered enough of inspiration.^[91]

An Gyeon was a painter of the early Joseon period. He was built-in in Jigok, Seosan, Chungcheongnam-practice. 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. He was deeply influenced by the Southern School (Chinese: 南宗画; pinyin: nán zōng huà ) of Chinese painting, especially Li Cheng and Guo Xi.^[92]

Byeon Sang-byeok was a Korean painter of the Miryang Byeon clan during the late menstruation of the Korean Joseon Dynasty (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,^[93] specially Huang Quan.^{[94] [95]}

The Korean painters influenced by Northern School in Vocal Dynasty include Gang Hui-an, Kim Hong-do, Jang Seung-eop and so on. Gang Hui-an (1417?-1464), pen proper noun Injae 인재, was a prominent scholar and painter of the early Joseon period. He was skillful at poetry, calligraphy, and painting. He entered imperial service by passing gwageo in 1441 under the reign of male monarch Sejong (1397–1418–1450).^{[96] [97]} Kim Hong-do (김홍도, built-in 1745, died 1806?-1814?), also known as "Kim Hong-do", about often styled "Danwon" (단원), was a full-time painter of the Joseon menses of Korea. He was together a pillar of the institution 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") 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 one of the few painters to hold a position of rank in the Joseon court.^{[98] [ incomplete curt commendation ] [99]}

Jeong Seon (Korean: 정선) (1676–1759) was a Korean landscape painter, besides known by his pen name "Kyomjae" ("humble study"). His works include ink and oriental water paintings, such every bit Inwangjesaekdo (1751), Geumgang jeondo (1734), and Ingokjeongsa (1742), every bit well equally numerous "true-view" landscape paintings on the subject of Korea and the history of its culture. He is counted among the most famous Korean painters.^[100] His style is realistic rather than abstract.^[101]

• 

  Josetsu (A Chinese immigrant, "Father of Japanese ink wash painting"),^[78] Catching catfish with a gourd ( 瓢鮎図 , Hyōnen-zu ), ink on newspaper, 111.5 cm × 75.8 cm (43.9 in × 29.8 in), 1415, Japan.

• 

  Kanō Masanobu, The Four Accomplishments, ink and light lolor on silk, 67 in. × 12 ft. half dozen in. (170.2 × 381 cm), mid-16th century, Nippon. Nerveless by the Metropolitan Museum of Fine art.^[83]

• 

  Ahn Gyeon, Late Winter (만동), ink on silk, 15th century. Korea.

• 

  Gang Hui-an, Scholar gazing at the running river, ink on silk, Gosagwansudo, 15th century. Korea.

• 

  Sesshū Tōyō (1420-1506), Fall Landscape (Shūkei-sansui) , ink on silk, Japan.

• 

  Sesshū, Landscape, Mountain landscapes are by far the most common scenes depicted in ink launder landscape paintings, Nippon.^[8]

• 

  Sesson Shūkei (雪村 周継), Gibbons in a Landscape, ink on Xuan paper, 62 in. x xi ft. five in. (157.5 x 348 cm), 1570, Japan. Collected by the Metropolitan Museum of Art.^[87]

• 

  Kim Hong-practice, Gunseondo (군선도, 群仙圖), ink and color on Xuan paper, 1776, Korea.

Run across also [edit]

• Bird-and-bloom painting
• Daoism
• Dhyāna in Buddhism
• Iv Gentlemen
• Haboku
• Higashiyama Bunka
• Ink-launder animation
• Cantonese school of painting
• Modern European Ink Painting
• Northern School
• Shanghai School
• Shan shui
• Southern School
• Wash (visual arts)

Notes [edit]

1. ^ ^{a b c d} Gu, Sharron (22 Dec 2011). A Cultural History of the Chinese Language. McFarland. pp. 99–100. ISBN978-0-7864-8827-8. Archived from the original on five August 2021. Retrieved 22 Jan 2019.
2. ^ ^{a b c d e} Yilong, Lu (30 December 2015). The History and Spirit of Chinese Art (2-Volume Set). Enrich Professional Publishing Limited. p. 178. ISBN978-ane-62320-130-2. Archived from the original on 29 July 2021. Retrieved 22 Jan 2019.
3. ^ ^{a b c d e f g h i} The Editorial Committee of Chinese Civilization: A Source Volume, City University of Hong Kong (one April 2007). People's republic of china: Five Thousand Years of History and Civilization. Metropolis Academy of HK Press. pp. 732–five. ISBN978-962-937-140-one. Archived from the original on 29 July 2021. Retrieved 22 January 2019.
4. ^ ^{a b c} Perkins, Dorothy (nineteen November 2013). Encyclopedia of China: History and Culture. Routledge. p. 232. ISBN978-ane-135-93562-seven. Archived from the original on 5 August 2021. Retrieved 22 January 2019.
5. ^ ^{a b c d} Loehr, Max (1970). The Menstruum and Content of Chinese Painting-Drove of Essays from the International Symposium on Chinese Painting. Taipei: National Palace Museum. pp. 186–192 and 285–297.
6. ^ ^{a b} James Cahill (1990). "Methodology of Chinese Painting History-New Art" (1). Hangzhou: Zhejiang Academy of Fine Arts.
7. ^ ^{a b c d} Zhiying, Hu (2007). New Literature-Reconstructing the Framework of a Poetic Art Theory and Its Significance. Zhengzhou: Elephant Publisher House. pp. 184–202. ISBN9787534747816.
8. ^ ^{a b c d e} Wen C. Fong (2003). "Why Chinese Painting Is History?". The Art Bulletin. Archived from the original on 9 July 2021. Retrieved 8 July 2021.
9. ^ Jenyns, 177-118
10. ^ Jenyns, 152-158
11. ^ ^{a b} James Cahill (2006). "Meaning and Function of Chinese Landscape Painting-Arts Exploration" (twenty). Nanning: Guangxi Art College.
12. ^ Dow, Arthur Wesley (1899). Composition.
13. ^ ^{a b c d eastward f g} Watson, William, Style in the Arts of China, 1974, Penguin, p. 86-88, ISBN 0140218637
14. ^ ^{a b c d} Kwo, Da-Wei (October 1990). Chinese brushwork in calligraphy and painting : its history, aesthetics, and techniques (Dover ed.). Mineola, Due north.Y. ISBN0486264815. OCLC 21875564.
15. ^ Chinesetoday.com. "Chinesetoday.com Archived 16 June 2011 at the Wayback Machine." 趣談「文房四寶」. Retrieved on 2010-eleven-27.
16. ^ Big5.xinhuanet.com. "Big5.xinhuanet.com Archived 21 March 2012 at the Wayback Motorcar." 走近文房四寶. Retrieved on 2010-eleven-27.
17. ^ ^{a b c} Cambridge History of Ancient China, 1999:108-112
18. ^ Jenyns, 120-122
19. ^ Jenyns, 123
20. ^ Okamoto, Naomi The Art of Sumi-due east: Cute ink painting using Japanese Brushwork, Search Press, Kent UK, 2015, p. sixteen
21. ^ ^{a b c} "Introduction to the Xuan Paper Making in Anhui China". Cathay Culture Tour.com. 2019. Archived from the original on 1 Feb 2021. Retrieved 17 December 2019.
22. ^ Fei Wen Tsai; Dianne van der Reyden, Technology, treatment, and care of a chinese wood block print (PDF), Smithsonian Institution, p. iv, archived (PDF) from the original on ii July 2021, retrieved 26 July 2021 originally appeared as "Analysis of modern Chinese newspaper and treatment of a Chinese woodblock impress" in The Newspaper Conservator, 1997, pp. 48-62
23. ^ ^{a b c} Fei Wen Tsai; Dianne van der Reyden, Applied science, treatment, and care of a chinese wood block print (PDF), Smithsonian Institution, p. 4, archived (PDF) from the original on 2 July 2021, retrieved 26 July 2021 originally appeared as "Analysis of modern Chinese paper and treatment of a Chinese woodblock impress" in The Paper Conservator, 1997, pp. 48-62
24. ^ Chen, Tingyou (3 March 2011). Chinese Calligraphy. Cambridge University Press. p. 43. ISBN978-0-521-18645-2. Archived from the original on 26 July 2021. Retrieved 26 July 2021.
25. ^ ^{a b c} Kleiner, Fred S. (5 January 2009). Gardner's Art through the Ages: Not-Western Perspectives. Cengage Learning. p. 81. ISBN978-0-495-57367-viii. Archived from the original on v August 2021. Retrieved 22 January 2019.
26. ^ ^{a b c} Meccarelli, Marco (December 2015). "Chinese Painters in Nagasaki: Style and Artistic Contaminatio during the Tokugawa Menstruation (1603–1868) (Ming Qing Studies)". Aracne: 175–236. Archived from the original on vi December 2016. Retrieved iii December 2017.
27. ^ ^{a b c d e f g} Cihai Editorial Commission (辭海編輯委員會) (1979). Cihai(辭海). Shanghai: Shanghai Lexicographical Publishing House(上海辭書出版社). ISBN9787532600618. Archived from the original on 9 July 2021. Retrieved seven July 2021.
28. ^ Sickman, 334
29. ^ Bio dates: Ch'en and Bullock, 49 and 53; Stimson, 22; Watson, 10 and 170; and Wu, 225. Annotation, withal, other sources, such as Chang, 58, and Davis, ten, requite his years equally 701–761
30. ^ "Zhang Zao". Boya Renwu. Archived from the original on 21 April 2015. Retrieved 8 Dec 2020.
31. ^ "Chinese painting - Five Dynasties (907-960) and Ten Kingdoms (902-978)". Encyclopedia Britannica. Archived from the original on 20 January 2021. Retrieved 25 May 2017.
32. ^ Fu, Mi; Ji, Zhao; Jing, Cai. Xuan He HuaPu(宣和画谱). ctext.org. OCLC 1122878721. Archived from the original on five November 2019. Retrieved 25 May 2017.
33. ^ ^{a b} Ebrey, Cambridge Illustrated History of People's republic of china, 162.
34. ^ ^{a b} Liu, 50.
35. ^ Schirokauer, Conrad; Brown, Miranda; Lurie, David; Gay, Suzanne (1 January 2012). A Brief History of Chinese and Japanese Civilizations. Cengage Learning. p. 223. ISBN978-0-495-91322-1. Archived from the original on 26 June 2020. Retrieved 12 Dec 2020.
36. ^ Barnhart: Page 372. Guo Xi's style proper noun was Chunfu (淳夫)
37. ^ Ci hai: Folio 452
38. ^ Hearn, Maxwell K. Cultivated Landscapes: Chinese Paintings from the Collection of Marie-Hélène and Guy Weill. New York: The Metropolitan Museum of Art, Yale University Press, 2002.
39. ^ "Scholar's Painting". Academy of Washington. Archived from the original on 11 August 2020. Retrieved 21 July 2021.
40. ^ Murck, Alfreda (2000). Poetry and Painting in Song Cathay: The Subtle Fine art of Dissent. Harvard University Asia Eye. p. 31. ISBN978-0-674-00782-six. Archived from the original on 10 January 2017. Retrieved 7 July 2021.
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References [edit]

• Cihai Editorial Committee (辭海編輯委員會), Cihai, , Shanghai: Shanghai Lexicographical Publishing House(上海辭書出版社), 1979. ISBN 9787532600618
• Max Loehr, The Slap-up Painters of China, Oxford: Phaidon Press, 1980. ISBN 0714820083
• Dunn, Michael, The Art of East Asia, ed. Gabriele Fahr-Becker, Könemann, Volume 2, 1998. ISBN 3829017456
• Farrer, Anne, in Rawson, Jessica (ed). The British Museum Book of Chinese Art, British Museum Press, 2007 (second edn). ISBN 9780714124469
• Jenyns, Soame, A Background to Chinese Painting (with a Preface for Collectors past W. Westward. Winkworth), 1935, Sidgwick & Jackson, Ltd
• Rawson, Jessica (ed). The British Museum Book of Chinese Art, British Museum Press, 2007 (2d edn). ISBN 9780714124469
• Sickman, Laurence, in: Sickman Fifty. & Soper A., The Art and Compages of China, Pelican History of Fine art, Penguin (at present Yale History of Art), 3rd ed 1971. LOC 70-125675
• Stanley-Baker, Joan, Japanese Art, Thames and Hudson, World of Art, 2000 (2d edn). ISBN 0500203261
• Little, Stephen; Eichman, Shawn; Shipper, Kristofer; Ebrey, Patricia Buckley, Taoism and the Arts of Red china, University of California Press, 2000-01-01. ISBN 978-0-520-22785-nine

External links [edit]

• The Palace Museum
• National Palace Museum
• Shanghai Museum
• James Cahill
• Hasegawa Tohaku's Pino Trees at the Tokyo National Museum
• Sumi-e Beppe Mokuza, Inc.
• Sumi-due east Order of America, Inc.

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Source: https://en.wikipedia.org/wiki/Ink_wash_painting

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