Books on chinese oriental pictorial calligraphy
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Culturally, art entered a period of maturity, such as seen in the calligraphy of Su Shi (1036–1101) and Huang Tingjian (1045–1105), who established the semi-cursive or cursive style, which emphasizes improvisational expression drawing on one’s heart. This led to the thorough pursuit of themes and techniques in which the logic of three-dimensional space was expressed on a two-dimensional plane, similar to the Renaissance in the West, taking into account the size of motifs and the intensity of light and shade. Although they had mastered very advanced techniques, they were thought to be inferior to the literati in terms of the spirit of their output.įrom the Five Dynasties and Ten Kingdoms (907–60) to the early Northern Song Dynasty, landscape painting as a form became established with the paintings regarded as art that depicted space itself. On the other hand, there were professional painters who served the imperial painting academy. After the Yuan Dynasty (1271–1368), “the history of painting of/by/for the literati” became the standard. They were highly praised for the elegant spirit of their poems, paintings and calligraphy, which they wrote to relieve their boredom while doing their everyday government work. One is the literati of the Song Dynasty (960–1279), those who became bureaucrats through the Imperial Examination, regardless of their family background, and who came into direct contact with the emperor, or a reserve group of them (later their scope expanded and changed). Meanwhile, the painters may be divided into two groups. Thereafter, the nature of painting changed greatly, moving from polychrome to monochrome, from figure paintings to shan shui paintings (Chinese-style landscape paintings), bird-and-flower paintings, and from wall paintings to movable hanging scrolls. However, the technique itself did not take root. This was a technique called “drawing mountains, stones, and other objects according to the visual associations that come from the shapes that can be created by pouring and sprinkling ink appropriately” (source of the original Japanese text: Heibonsha web version “World Encyclopedia”). However, in the 8th century, the hatsu-boku (splash-ink) technique was born, a painting method not unlike the “action painting” of the 20th century. Paper and cloth were used as painting media, but the focus of production was on the walls of temples and palaces. Until the Tang Dynasty (618-907), the mainstream painting method was to use brush strokes to outline the object and then add color. The origins of such scroll-style works depicting mountains and water (landscapes) in black ink are to be found in Chinese paintings, specifically in the art of the Northern Song Dynasty (960–1127) when the form became established. Before this familiarity with Ito Jakuchu, however, most people probably first thought of “light brown silk that looked as if it had been boiled” or “monochrome ink on paper” hanging in an alcove. Perhaps due to the influence of the Ito Jakuchu boom, many people nowadays associate Japanese art, especially painting, with highly colorful pictures. If you wanted to see each work separately at a later date, it would take decades.
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The upcoming exhibition is extremely important for understanding paintings and calligraphy in East Asia, including China and Japan. The quotes at the beginning are no exaggeration.
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It’s better to take in as much as you can and not say it is too early to appreciate any form of art. Nevertheless, there are probably people who say, “Actually, I’m curious,” or people who visit exhibitions of contemporary or Western art and then one day think about Japanese and Chinese art as well. However, the boom has not yet reached its roots in Chinese art. The Japanese art boom that began with Tsuji Nobuo’s (Japanese art historian, professor emeritus, University of Tokyo) Kiso no keifu (1970, Lineage of Eccentrics ) began in the 2000s, and interest in Buddhist statues, Jomon period artefacts and superb craftsmanship in many fields continues to this day. These comments were made in anticipation of the special exhibition “Masterpieces of Northern Song Paintings and Calligraphy,” which will be held at the Nezu Museum in Tokyo for just four weeks from November 3rd to December 3rd, 2023. “I will never be able to see an exhibition like this again in my lifetime.” “Researchers and collectors gather from all over the world.” This is not the Vermeer Exhibition at the Rijksmuseum we’re talking about. Hashimoto Mari, Director of Kankitsuzan Art Museum establishment preparation office, Odawara Art Foundation China Northern Song Dynasty, 11th century (Important Art Object), owned by the Tokyo National Museum Source: ColBase ( )