Talk:Chinese painting
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[1] You mention the book Jieziyuan Huazhuan (Manual of the Mustard Seed Garden), however as i read a 1959 copy of The Way of Chinese Painting, I find that the name of this book is Chieh Tzu Yuan Hua Chuan (Mustard Seed Garden Manual of Painting).
Can anyone tell me what the red and black caligraphy is on most chinese painting?
- If this isn't mentioned in the article I might add it tomorrow. If you look at many of the Chinese paintings you'll notice that an area near the top, or sometimes side, is kind of without imagery and instead has calligraphy. This is intentional. Chinese painting was often both painting and poetry. Hence you'll fine many of the pre-Republican era painters were also poets because the two were often fused as one art. This is because, unlike with most Western languages, Chinese is ideographic. Therefore having a poem in a painting doesn't have to take up that much room, but sometimes it does. Long story short the calligraphy in Chinese paintings is usually a poem, as well as a demonstration of calligraphy in itself, and the poem is often by the painter.
The description of Chinese as "ideographic" is considered somewhat passe - "logographic" is often prefered these days - but both are still encountered with some frequency. NGDR
Poems were not customarilly added to paintings by the painter until the 13th century - calligraphy that appears of painting prior to that was often added by later collectors or connoisseurs. Very often the inscription is not poetic, but rather is an appraisal of the painter or the painting by the collector or one of his friends. On occaision the appraisal includes an attribution of authorship on an otherwise annonymous painting. Nangua Daoren 11/20/2006
- Another curiosity is that, somewhat less commonly, Chinese painters intentionally kept areas blank of calligraphy and painting. These blank spaces were filled by later painters of their school, sometimes over generations. This made the painting, in a sense, a "living art" which could change over time. Somewhat like how some folk songs are expanded or given additional verses over generation.(These analogies are a tad inelegant, I'm not a morning person)--T. Anthony 13:46, 5 October 2005 (UTC)
T. Anthony - I can think of no examples of the practice you descibe. Though it is true that paintings were on occaision done in concert with friends or colleagues - this was done more as a group activity - on occaision one artist would send an "unfinished painting" to a friend to complete - but the idea that they would be completed by future generations is not supported by any research that I am aware of. (though I am hppy to be shown wrong on this point - becuase its kind of a nice idea)It is true that schools styles were continued in a multi-generational way and that the copying of older paintings by successive generations kept those works in the public eye - but these were not the kind of "joint productions" you describe. Nangua Daoren 11/20/2006
[edit] Painting attributed to fictional character
According to the hyperlink in the caption for the image shown in the introductory section of the article, Ma Lin, to whom the painting depicted is attributed, is a literary character, whose talents in that article don't even include painting. Can anyone account for this discrepancy? B7T (talk) 19:25, 26 November 2007 (UTC)
I think that wikipedia is a good website but it doesn't answer the question that the people are asking but I would like you to tell me how to add a link. Thank you! —Preceding unsigned comment added by 218.191.51.73 (talk) 10:16, 21 April 2010 (UTC)
[edit] Overview on Chinese painting online
I found 2 sources on Chinese painting : ~2 page full of text each. Easy to read and integrate. I myself focus on Calligraphy, but not on Chinese painting, so I put this here for fans of Chinese painting. ;)
- (Stanley-Baker 2010a) (partially read, abstract below)
- (Stanley-Baker 2010b) (no read).
Chinese painting and calligraphy distinguishes themselves from onther culture's arts by their emphasis on motion, and charged with dynamic life.[1] The practice is traditionally first learned by rote. The master showing the 'right way' do draw items, which the apprentice have to copy strictly, continuously, until the move become instinctive and the copy perfect. Derivation from the model is seen as a failure.[1] In contemporary times, debate emerged on the limits of this copyist tradition within the modern art scenes, where innovation is the rule, while changing lifestyles, tools, and colors are also influencing new waves of masters.[1][2]
- ^ a b c (Stanley-Baker 2010a)
- ^ (Stanley-Baker 2010b)
- Stanley-Baker, Joan (2010/05), Ink Painting Today, 10, Centered on Taipei, pp. 8-11, http://www.communitycenter.org.tw/sites/default/files/documents/publications/cot/COT_201005.pdf
- Stanley-Baker, Joan (2010/06), Ink Painting Today, 10, Centered on Taipei, pp. 18-21, http://www.communitycenter.org.tw/sites/default/files/documents/publications/cot/COT_201006.pdf
-- Yug 10:21, 9 March 2011 (UTC)
