Chinese landscape taiwan artist painting,the architect forum,vines for desert landscaping - Plans Download

14.04.2014
Taiwanese artist Chen Chun-Hao had been using thumbtacks as his medium of choice in creating sculptures, wall pieces and installations for over a decade.
The Yuan Dynasty painting was torn into two pieces more than 300 years ago by a private collector who tried to burn it as he was dying, but a relative quickly saved it from the flames. The paintings in this exhibition offer a fascinating glimpse into the private world of these scholar-painters.
Landscape, a subject that required no explanation to suggest an alternate existence removed from worldly troubles, is an obvious choice for artists wanting to bring to mind the notion of reclusion.
Many of the artists in this gallery lived in Nanjing and witnessed the trauma of the city’s downfall. The Artful Recluse presents the response of the 17th-century male literati in poetry and painting to the political turmoil of the times. Asia Society presents a major exhibition of Chinese paintings that reveal the private world of the scholar-painters who lived during one of the most tumultuous periods of Chinese history — the end of the Ming dynasty (c. The National Museum of Krakow is proud to host the exhibition Transitions: Highlights of the landscape collection of the National Taiwan Museum of Fine Arts. Turbulent decades filled with droughts and floods, peasant uprisings, the corruption of powerful eunuchs at court, and foreign threats to national borders led to the collapse of the last native Chinese imperial dynasty, the Ming (1368–1644).
Other popular images like the solitary fisherman, the lone woodcutter descending a path, the donkey rider entering the wilderness, the mountain wanderer with his staff, the gentleman farmer overseeing gardens and fields, and the flower seeker are all non-specific but also familiar images evoking the concept of reclusion in Chinese art. Reclusion was synonymous with so called lofty values such as integrity, refinement, and enlightenment — ideals that were championed in painting and poetry.
Many of the paintings in this section were made by a new class of people known as remnant subjects (yimin) who remained loyal to the previous Ming regime, but many of whom also felt guilt for not taking on an official role and trying to improve things from within.


Nanjing was also famous as a center for art, theater, and literature, as well as for the natural beauty of the landscape.
Bada’s skillful brush created a singular world in which engaging whimsical creatures, beautiful flowers, and landscapes of subtle texture and mood bespeak a search for personal serenity while masking deep emotional scars. Other scholar-painters made a concerted effort to continue the development of Dong Qichang’s theories in painting and the study of the work of old masters at the Qing court.
The use of the term recluse could be a way to describe a woman’s removal from following the typically feminine roles of wife, concubine, or courtesan, to pursue the arts of poetry and painting. Using landscape and the natural world as their symbolic subject matter these artists created brilliant and diverse commentary through art. The exhibition is the first presentation of works in Poland by some of Taiwan's leading landscape painters of the 20th and 21st centuries. Many of their paintings depict traditional Chinese imagery of journeys into vast landscapes or explorations of the natural world, but others are journeys of self-reflection, giving voice to personal thoughts and feelings in ways that are unprecedented in Chinese art.
His ideas about a correct painting tradition based on lives and works of specific old masters became the orthodox standard. Some painted landscapes that offered idyllic escape; others reflected upon their experiences in the wilderness. The curious mix of reproach, irony, and sadness that characterizes Chen’s late paintings makes these among the most fascinating and complex of 17th-century self-images. Many of the paintings are exhibited for the first time in the United States and drawn from seven private collections and six public institutions in the U.S.
The stunning pieces offer a new view of nature and everyday surroundings in a landscape quite foreign for most Poles.


Using a nail gun, Chen nails these small pins into canvas-covered wood, creating reproductions of traditional Chinese ink landscape paintings. The concept of reclusion as both a personal and political statement remained a powerful element in Chinese politics and culture until modern times.
The Taiwanese painters use modern means to represent their environment, while at the same time respecting techniques and traditions established many centuries ago. The 17th-century painting and calligraphy on view in these galleries were created to engage the viewer in a dialogue of disengagement during a period of political upheaval and social unrest.
Late-Ming courtesans were known for using their artistic and literary training to entertain their literati clientele and, as a result, they sometimes participated in those circles. The paintings on display were created with a combinations of ink painting, watercolours, as well as traditional grounds such as paper and silk.
One of the highlights of the exhibition is a fifteen-meter-long painting on paper in the vein of horizontal scrolls. After his death in 1645, Li took up the unconventional practice of painting to support herself.



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