Presentation on theme: "The Art Project : Chinese Fine Art Group Leader : Chou Ki Yan (2) Group members: Ip Mandy(6) Tse Yan Pui(18) Tse Yan Pui(18) Wong Kai Chun(35) Wong Kai."— Presentation transcript:
The Art Project : Chinese Fine Art Group Leader : Chou Ki Yan (2) Group members: Ip Mandy(6) Tse Yan Pui(18) Tse Yan Pui(18) Wong Kai Chun(35) Wong Kai Chun(35)
Introduction The Gallery of Chinese Fine Art houses the museum's collection of modern Chinese art and Guangdong paintings and calligraphy, the beginnings of which date back to The gallery is divided into four main sections: (1) paintings from Guangdong, (2) calligraphy from Guangdong, (3) the Lingnan School of painting and (4) modern Chinese painting. Representative items from the collection are selected for exhibition to depict how the art of Chinese painting and calligraphy has evolved in Guangdong, with a special focus on developments, also in modern Chinese art, in the 20th century.. The impact of the Western tide of art that flooded into China in the 20th century triggered a transformation in modern Chinese art. Many artists tried to learn from Western styles and techniques, while others pursued studies in traditional painting, and these two currents gave birth to a new era in China. The works of Huang Binhong, Zhang Daqian, Lin Fengmian, Wu Guanzhong, Nie Ou and Zhang Yu on display in the fourth section are characterized by their unique styles that reveal the diverse developments in modern Chinese painting.
Pictures Introduction Zhang Mu ( ) Horse under a Tree Dated 1672, hanging scroll, ink on paper, 118 x 43 cm N ot only was the horse painter Zhang Mu (1607 – 1683) acclaimed in his native Guangdong region, but he is also awarded high recognition in the mainstream of the history of Chinese painting. Keeping his own stable, he observed his horses closely in order to capture their distinctive characteristics and spirit. In this painting, Horse under a Tree, in which a vertical composition is adopted, the horse is portrayed with slender and refined brushstrokes, while the fine definition of the skeleton and the subtle tonal gradation of the horse's coat give a quality of anatomical accuracy. This realistic approach follows the painting tradition developed by famous horse painters such as Han Gan (ca. 710 – 780) of the Tang dynasty (618 – 907) and Li Gonglin (1049 – 1106) of the Northern Song dynasty (960 – 1127).
Gao Qifeng ( ) Two Cocks in Spring Rain Not dated, hanging scroll, ink and colour on paper, 139 x 65 cm A native of Panyu in Guangdong province, Gao Qifeng (1889 – 1933), original name Weng, was the younger brother of Gao Jianfu (1879 – 1951), with whom he learned painting in his early years before also going to Japan, in 1907, to study under Tanaka Raisho (1868 – 1940). He is also acclaimed as one of the "Three Masters of the Lingnan School ". This painting is one of the finest examples of Gao Qifeng's work. A couple of chickens are depicted sheltering peacefully under a birch-leaf pear tree. Falling petals and a colour-washed background, together with the two resting chickens, create a romantic, poetic and dream-like visual impact. Exquisitely executed, the chickens and the birch- leaf pear are vivid and solid, yet the artist is able to capture a transient moment of nature. Gao successfully combined the poetic element of Chinese painting, Japanese plein-air painting and Western techniques to develop a unique personal style.
Zhang Daqian ( ) Landscape in the Style of Juran 1944 Ink and colour on paper, hanging scroll, H: 166cm; W: 84cm Z hang Daqian (1899 – 1983) is one of the best-known Chinese artists of the 20th century. A native of Neijiang in Sichuan province whose original name was Yuan, he developed a keen interest in painting at an early age and studied painting, calligraphy and literature under Zeng Xi (1861 – 1930) and Li Ruiqing (1867 – 1920). In the 1940s he stayed at Dunhuang to copy and study the old masterpieces, before synthesising their traditions to develop a personal style that is characterized by elegant brushwork and a subtle palette to attain a mood of tranquillity and loftiness. As the title suggests, the artist is painting in the style of Juran of the 10th century. The mountains and the cliffs are composed of parallel, long ‘ fibre-hemp' brushstrokes, while the peaks are made of heavy ‘ moss dot' brushstrokes; the trees in the valley are almost parallel, which is suggestive of ancient works of art. But the painting is no mere ‘ copy' of the old masters; it is rather a reinterpretation of classic styles, and Zhang allows his own artistic sense to come through, as can be seen in the rhythmic interpolation of thick and fine brushstrokes and the refreshing dynamism of the entire composition.
Drawing Skill of Chinese painting C hinese painting has a unique method for creating perspective. It consists of the so-called “ three distances”. - Distance of heigh Looking at the top of a mountain from its base one notes a distance based on height - Distance of depth Looking towards the back of the mountain from its face reveals a distance that stresses depth. - Distance of breadth Looking out at neighbor hills and far mountains from the plateau reveals a board plane of distance.
C hinese painting is not restricted by the use or requirement of a focal point in its representation of perspective Instead, it emphasizes a moving perspective based on the interplay of these three distances which allows the eye to move between various pictorial elements without being limited to one fixed, static point of view.
T hough ink is a monochromatic agent, it can produce an inexhaustible range of tones from the very dark to the very light depending on the amount of water added. This is perhaps the origin for the saying that “ black ink has five colours(shades) ” (Note : the number ” five ” connotes “ many ” ) Different techniques can be applied in using ink to bring about various effects. - Broken-ink - Splashed-ink - Layered-ink INK
We went to the museum to watch the exhibition of Chinese painting. We saw many beautiful pictures and collections and learn many skills of drawing a Chinese painting. We have also learnt not to damage the public properties. Because one of our group members thought that the note books in the museum were provided for the public to use. She tore a few pages down from the book and so the guard yelled to us when he saw it. Group Comment :