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Four Masters Of The Ming Dynasty
The Four Masters of the Ming dynasty () are a traditional grouping in Chinese art history of four famous Chinese painting, Chinese painters that lived during the Ming dynasty. The group consists of Shen Zhou (1427–1509), Wen Zhengming (1470–1559), Tang Yin (1470–1523), and Qiu Ying (c.1494–c.1552). They were contemporaries, with Shen being the teacher of Wen, while Tang and Qiu was taught by Zhou Chen (1460–1535). All five of the aforementioned painters were part of the Wu School. Their styles and subject matter were varied. Qiu was solely a painter, while the other three developed distinct styles of painting, calligraphy, and poetry. Other names There are several alternative terms for these four leading painters: * Four Great Masters of the Ming () * Four Masters of Suzhou: all four came from the vicinity of SuzhouRawson, p. 340 * Four Masters of Wu (): all four came from the region of Wu (region), Wu, which surrounds the city of Suzhou The "Four Masters" designation w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Four Masters Of The Ming Dynasty - 明四家 - Ming Sijia
4 (four) is a number, numeral and digit. It is the natural number following 3 and preceding 5. It is the smallest semiprime and composite number, and is considered unlucky in many East Asian cultures. In mathematics Four is the smallest composite number, its proper divisors being and . Four is the sum and product of two with itself: 2 + 2 = 4 = 2 x 2, the only number b such that a + a = b = a x a, which also makes four the smallest squared prime number p^. In Knuth's up-arrow notation, , and so forth, for any number of up arrows. By consequence, four is the only square one more than a prime number, specifically three. The sum of the first four prime numbers two + three + five + seven is the only sum of four consecutive prime numbers that yields an odd prime number, seventeen, which is the fourth super-prime. Four lies between the first proper pair of twin primes, three and five, which are the first two Fermat primes, like seventeen, which is the third. On the other ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chinese Calligraphy
Chinese calligraphy is the writing of Chinese characters as an art form, combining purely visual art and interpretation of the literary meaning. This type of expression has been widely practiced in China and has been generally held in high esteem across East Asia. Calligraphy is considered one of the four most-sought skills and hobbies of ancient Chinese literati, along with playing stringed musical instruments, the board game "Go", and painting. There are some general standardizations of the various styles of calligraphy in this tradition. Chinese calligraphy and ink and wash painting are closely related: they are accomplished using similar tools and techniques, and have a long history of shared artistry. Distinguishing features of Chinese painting and calligraphy include an emphasis on motion charged with dynamic life. According to Stanley-Baker, "Calligraphy is sheer life experienced through energy in motion that is registered as traces on silk or paper, with time and rhyt ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Culture In Jiangsu
Culture () is an umbrella term which encompasses the social behavior, institutions, and norms found in human societies, as well as the knowledge, beliefs, arts, laws, customs, capabilities, and habits of the individuals in these groups.Tylor, Edward. (1871). Primitive Culture. Vol 1. New York: J.P. Putnam's Son Culture is often originated from or attributed to a specific region or location. Humans acquire culture through the learning processes of enculturation and socialization, which is shown by the diversity of cultures across societies. A cultural norm codifies acceptable conduct in society; it serves as a guideline for behavior, dress, language, and demeanor in a situation, which serves as a template for expectations in a social group. Accepting only a monoculture in a social group can bear risks, just as a single species can wither in the face of environmental change, for lack of functional responses to the change. Thus in military culture, valor is counted a typica ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ming Dynasty Painters
The Ming dynasty (), officially the Great Ming, was an imperial dynasty of China, ruling from 1368 to 1644 following the collapse of the Mongol-led Yuan dynasty. The Ming dynasty was the last orthodox dynasty of China ruled by the Han people, the majority ethnic group in China. Although the primary capital of Beijing fell in 1644 to a rebellion led by Li Zicheng (who established the short-lived Shun dynasty), numerous rump regimes ruled by remnants of the Ming imperial family—collectively called the Southern Ming—survived until 1662. The Ming dynasty's founder, the Hongwu Emperor (r. 1368–1398), attempted to create a society of self-sufficient rural communities ordered in a rigid, immobile system that would guarantee and support a permanent class of soldiers for his dynasty: the empire's standing army exceeded one million troops and the navy's dockyards in Nanjing were the largest in the world. He also took great care breaking the power of the court eunuchs and unr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jessica Rawson
Dame Jessica Mary Rawson, (born 20 January 1943) is an English art historian, curator and sinologist. She is also an academic administrator, specialising in Chinese art. After many years at the British Museum, she was Warden (head) of Merton College, Oxford, from 1994 until her retirement in 2010. She served as pro-vice-chancellor at University of Oxford from 2006 for a term of five years. Biography Rawson's academic background is in Sinology with a particular research focus on the cosmology of the Han period (206 BC-AD 220) and its relation to tombs and their decoration. Educated at St Paul's Girls' School in Hammersmith, West London, New Hall, Cambridge and the University of London, Rawson began her career in the civil service. Between 1976 and 1994, she served as Deputy Keeper and then Keeper of the Department of Oriental Antiquities at the British Museum. From 1994 to 2010 she was Warden of Merton College, Oxford, and from 2006 to 2011 she served as pro-vice-chancellor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Four Arts Of The Chinese Scholar
The four arts (wiktionary:四, 四wiktionary:藝, 藝, ''siyi''), or the four arts of the Chinese scholar, were the four main academic and artistic talents required of the aristocratic ancient Chinese scholar-official, scholar-gentleman. They were the mastery of the ''qin'' (the guqin, a stringed instrument, wiktionary:琴, 琴), ''qi'' (the strategy game of Go (game), Go, wiktionary:棋, 棋), ''shu'' (Chinese calligraphy, wiktionary:書, 書) and ''hua'' (Chinese painting, wiktionary:畫, 畫), and are also referred to by listing all four: zh, t=琴棋書畫, p=qínqíshūhuà, labels=no. Origin of the concept Although the individual elements of the concept have very long histories as activities befitting a learned person in ancient Chinese history, the earliest written source putting the four together is Zhang Yanyuan's 9th century ''Fashu Yaolu'' (Compendium of Calligraphy) from the Tang Dynasty. File:The Eighteen Scholars by an anonymous Ming artist 1.jpg, ''Qin'' File:The ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bird-and-flower Painting
Bird-and-flower painting, called () in Chinese, is a kind of Chinese painting with a long tradition in China and is considered one of the treasures of Chinese culture. The was named after its subject matter. It originated in the Tang dynasty where it gained popularity, matured at the of the Tang dynasty and during the Five Dynasties and Ten Kingdoms period, and fully reached its peak during the Song dynasty where it clearly became socially relevant in Chinese culture. Normally, most paintings belong to the scholar-artist style of Chinese painting. The became prevalent in East Asia, where it was introduced in Japan during the 14th century and was introduced in Korea. Intended purpose and cultural significance According to Chinese tradition, the covers "flowers, birds, fish, and insects" (); thus, it can deal with a wide range of natural topics, including flowers, fish, insects, birds, pets (dogs, cats), etc. The paintings are inspired by the resilience and the beauty of t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ink And Wash Painting
Ink wash painting ( zh, t=水墨畫, s=水墨画, p=shuǐmòhuà; ja, 水墨画, translit=suiboku-ga or ja, 墨絵, translit=sumi-e; ko, 수묵화, translit=sumukhwa) is a type of Chinese ink brush painting which uses black ink, such as that used in Asian calligraphy, in different concentrations. It emerged during the Tang dynasty of China (618–907); it overturned earlier, more realistic techniques. It is typically monochrome, using only shades of black, with a great emphasis on virtuoso brushwork and conveying the perceived "spirit" or "essence" of a subject over direct imitation. Ink wash painting flourished from the Song dynasty in China (960–1279) onwards, as well as in Japan after it was introduced by Zen Buddhist monks in the 14th century. Some Western scholars divide Chinese painting (including ink wash painting) into three periods: times of representation, times of expression, and historical Oriental art. Chinese scholars have their own views which may be diffe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Four Wangs
The Four Wangs () were four Chinese landscape painters in the 17th century, all with the surname Wang. They are best known for their accomplishments in ''shan shui'' painting. The painters They were Wang Shimin (1592–1680), Wang Jian (1598–1677), Wang Hui (1632–1717) and Wang Yuanqi (1642–1715).Cihai: Ci hai bian ji wei yuan hui (辞海编辑委员会）. Ci hai （辞海）. Shanghai: Shanghai ci shu chu ban she （上海辞书出版社）, 1979 Page 757. They were members of the group known as the Six Masters of the early Qing period. Philosophy The Four Wangs represented the so-called "orthodox school" of painting at the time. The school was based on the teachings of Dong Qichang (1555–1636). It was “orthodox” in the Confucian sense that it had continuing traditional modes, as they were in contrast to the "Individualist" painters such as Bada Shanren and Shitao. See also *Four Masters of the Yuan Dynasty *Four Masters of the Ming Dynasty References ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Six Masters Of The Early Qing Period
The Six Masters of the early Qing period () were a group of major Chinese artists who worked in the 17th and early 18th centuries during the Qing dynasty. Also known as orthodox masters, they continued the tradition of the scholar-painter, following the injunctions of the artist-critic Dong Qichang late in the Ming Dynasty. The Six Masters included the flower painter Yun Shouping and the landscapists Wu Li as well as the Four Wangs: Wang Shimin, Wang Jian, Wang Yuanqi, and Wang Hui.Cihai: Ci hai bian ji wei yuan hui (辞海编辑委员会）. Ci hai （辞海）. Shanghai: Shanghai ci shu chu ban she （上海辞书出版社）, 1979 Page 958. The works of the Six Masters are generally conservative, cautious, subtle, and complex, in contrast to the vigorous and vivid painting of their "individualist" contemporaries. One of the most famous works produced by a member of the group is the ''White Clouds over Xiao and Xiang'', a hanging scroll after Zhao Mengfu by Wang Jian, made in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Four Masters Of The Yuan Dynasty
The Four Masters of the Yuan dynasty () is a name used to collectively describe the four Chinese painters: Huang Gongwang, Wu Zhen, Ni Zan, and Wang Meng, 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 individual expression and learning than with outward representation and immediate visual appeal. Huang Gongwang and Wu Zhen belonged to the earlier generation of artists in the Yuan period and consciously emulated the work of ancient masters, especially the pioneering artists of the Five Dynasties period, such as Dong Yuan and Juran, who rendered landscape in a broad, almost Impressionistic manner, with coarse brushstrokes and wet ink washes. While these painters were also respected by the two younger Yuan masters, the restrained thinness of Ni Zan and the almost embroidered richness of Wang Meng distingu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
