Chinese painting

Chinese Piling paintings

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Examples of the Piling （毘陵） School of Chinese painting are found almost exclusively in Japan and particularly in collections associated with the great Japanese Buddhist monasteries. Such paintings and associated art works are a reflection of the vigorous medieval overseas trade between China and Japan. Works of the Piling School may be rightly regarded as folk or popular works that have no association with named artists. An exception are the hanging scrolls in the Chion-in Monastery collection in Kyoto that bear seal designating the “Lotuses and Birds” compositions as done by a “Mr. Yu from Piling.” Mr. Yu is elsewhere identified as a Yu Ziming, active in the late 1200s. Yu was clearly a master of a local tradition of genre painting that specialized in plants, flowers, birds, insects and other genre subjects. Piling itself was a part of Changzhou close to Lake Tai in Jiangsu Province. Many other genre artists can be associated with this general area. Although their surviving works are few, the clear influence of their painting can be readily seen in shards of Yuan period blue-and-white porcelain from the Jingdezhen production area. A manner of painting in this school of painting was the ''mogu'' or “boneless” style which eschewed clear outlines in ink for washes in color or monochrome ink itself. The “Egrets and Lotuses” scrolls now in the Tokyo National Museum are typical of works closer to the year 1300. They display a trend toward pattern and professional artisanship, away from the creativity that originally characterized the school. The Birds and Lotuses” scroll reproduced with this article can be easily seen as another example of this period work with its exclusive ink wash and stylized positioning of the birds. The earlier scrolls in the Chion-in Monastery however are examples of works displaying a greater animation and with their use of color a greater sensuous appeal.

Wu School

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Wu School is the term applied to a group of painters of the Southern School during the period of Chinese history, and was not an academy or educational institution, but instead was largely by artistic theory of its members. Often classified as Literati, scholars, or amateur painters , members idealized concepts of personalizing works and integrating the artists into the art. A Wu School painting is characterized by inscriptions describing either the painting, the date, method, or reason for the work, which is usually seen as a vehicle for personal expression. Shen Zhou is typically cited as the founder of the Wu School.

Well-known Wu School paintings include:
*''Walking with a Staff'' by Shen Zhou.
*''Lofty Mt. Lu'' by Shen Zhou.
*''Poet on a Mountain Top'' by Shen Zhou.
*''Night Vigil'' by Shen Zhou.

The Zhe School is usually referenced in opposition to the Wu School.

Southern School

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The Southern School of Chinese painting, often called " painting" , is a term used to denote art and artists which stand in opposition to the formal Northern School of painting. Where professional, formal painters were classified as Northern School, scholar-bureaucrats who had either retired from the professional world or who were never a part of it constituted the Southern School.

Never a formal school of art in the sense of artists training under a single master in a single studio, the Southern School is more of an umbrella term spanning a great breadth across both geography and chronology. The literati lifestyle and attitude, and the associated style of painting, can be said to go back quite far to early periods of Chinese history. However, classification of the "Southern School" as such, that is, the coining of the term, is said to have been made by the scholar-artist Dong Qichang , who borrowed the concept from Ch'an Buddhism, which also has Northern and Southern Schools.

Generally, Southern School painters worked in monochrome ink, and focused on expressive brushstrokes and a somewhat more impressionistic approach than the Northern School's formal attention to detail and use of color and highly refined traditional modes and methods. The stereotypical literati painter lived in retirement in the mountains or other rural areas, not entirely isolated, but immersed in natural beauty and far from mundane concerns. They were also lovers of culture, hypothetically enjoying and taking part in all Four Arts of the Chinese Scholar as touted by Confucianism, that is, painting, , , and of skill and strategy. They would often combine these elements into their work, and would gather with one another to share their interests.

Literati paintings are most commonly of landscapes, and feature men in retirement, or travelers, admiring and enjoying the scenery, or immersed in culture. Figures are often depicted carrying or playing ''guqin'' , and residing in quite isolated mountain hermitages. Calligraphic inscriptions, either of classical poems or ones composed by a contemporary literati , are also quite common. However, while this sort of landscape, with certain features and elements, is the standard stereotypical Southern School painting, the genre actually varied quite widely, as the literati painters themselves, in rejecting the formal strictures of the Northern School, sought the freedom to experiment with subjects and styles.

Beginning in the 18th century, the attitudes of the Chinese literati began to be taken up by Japanese artists. As the Japanese literati were forbidden to leave Japan, and had little access to original Chinese works , the lifestyle, attitude, and art changed considerably in Japan. Outside of native Japanese inspirations, these ''bunjin'' gained Chinese influence only through art books which attempted to reproduce and communicate the Southern School ideals and methods. The Southern School came to be known as '''' in Japan.

Selected artists of note

*Wang Wei
*Dong Yuan
*
*Huang Gongwang
*Ni Zan
*Wu Zhen
*
*Shen Zhou
*Wen Zhengming

Six principles of Chinese painting

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The Six principles of Chinese painting were established by , a writer, art historian and critic in 6th century China. He is most famous for his "Six points to consider when judging a painting" , taken from the preface to his book "The Record of the Classification of Old Painters" . Keep in mind that this was written circa 550 A.D. and refers to "old" and "ancient" practices. The six elements that define a painting are:

# "''Spirit Resonance''," or vitality, and seems to translate to the nervous energy transmitted from the artist into the work. The overall energy of a work of art. Xie He said that without Spirit Resonance, there was no need to look further.
# "''Bone Method''," or the way of using the brush. This refers not only to texture and brush stroke, but to the close link between handwriting and personality. In his day, the art of calligraphy was inseparable from painting.
# "''Correspondence to the Object''," or the depicting of form, which would include shape and line.
# "''Suitability to Type''," or the application of color, including layers, value and tone.
# "''Division and Planning''," or placing and arrangement, corresponding to composition, space and depth.
# "''Transmission by Copying''," or the copying of models, not only from life but also the works of antiquity.

Six Persimmons

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Six Persimmons is a 13th century painting by the monk, Mu Qi , the painter better known in China as Fa-Chang. It was painted during the Song dynasty. Mu Qi was one of the two great exponents of the spontaneous mode of chinese painting . It features six persimmons floating on an undefined, but skillfully mottled background. It is painted in blue-black ink on paper.

The painting became famous for the tremendous skill of the brushstrokes. Their subtlety of modeling is oft remarked upon. The thick and thin brushstrokes that model the lightest of the persimmons make it seem to float in contrast to the dark one next to it. The treatment of the stems and leaves recall Chinese characters, and reveal brush control at its highest level.

It currently resides in the Daitoku-ji in Kyoto, Japan.

New Year picture

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A New Year picture , is an important and popular Banhua in China. Its original form was a picture of a door god fashioned during the Qin Dynasty. Later, more subjects, such as s, carnivals, the Kitchen God, women and babies were included. Customarily, as each Chinese New Year arrives, every family modifies its New Year picture in order to "say goodbye to the Past and welcome the Future" .

List of Chinese painters

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The following is a list of s:
{| border=1 style="border-collapse:collapse"
! pinyin || Wade-Giles || Traditional Chinese || Simplified Chinese name || Dates || Notes
|-
| || Pien Ching-chao || 邊景昭 || 边景昭 || Ming dynasty
|-
| || Pien Shou-min || 邊壽民 || 边寿民 || 1684-1752
|-
| Cao Buxing || Ts'ao Pu-hsing || 曹不興 || 曹不兴 || 3rd century
|-
| || Ts'ao Hsueh-ch'in || 曹雪芹 || 曹雪芹 || 1715-1763
|-
| Cao Zhibai || Ts'ao Chih-pai || 曹知白 || 曹知白 || 1272-1355
|-
| Chang Shuhong || || 常書鴻 || 常书鸿 || 1904 - 1994
|-
| Cheng Ji || || 程及 || 程及 || 1912 - 2005
|-
| || Ch'en Ch'un || 陳淳 || 陈淳 || 1483 - 1544
|-
| Chen Daofu || Ch'en Tao-fu || || 陈道复 || 1480 - 1544
|-
| || || 陳閎 || 陈闳 || Tang dynasty
|-
| || Ch'en Hung-shou || 陳洪綬 || 陈洪绶 || 1598 - 1652
|-
| || Ch'en Chi-ju || 陳繼儒 || 陈继儒 || 1558-1639
|-
| || Ch'en Lin || || || Yuan dynasty
|-
| || ||陳榮 ||陳榮 || 1235 - 1262
|-
| Chen Yifei || || 陳逸飛 || 陈逸飞 || 1946 - 2005
|-
| Chen Zhifo || || 陳之佛 || 陈之佛 || 1896 - 1962
|-
| Cheng Jiasui || Ch'eng Chia-sui || 程嘉燧 || 程嘉燧 || 1565 - 1643
|-
| Cheng Shifa || || 程十髮 || 程十发 || 1921 - 2007
|-
| || Ch'eng Cheng-k'ui || 程正揆 || 程正揆 || 1604－1670
|-
| || Ch'eng Sui || 程邃 || 程邃 || 1605-1691
|-
| || Ts'ui Tzu-chung || 崔子忠 || 崔子忠 || ? - 1644 ||
|-
| || Tsui Po || || || Song Dynasty
|-
| || Tai Chin || 戴進 || 戴进 || 1388-1462
|-
| Dai Xi || Tai Hsi || 戴熙 || 戴熙 || 1801-1860
|-
| || Tai Xuezheng || 戴學正 || 戴学正 || 1915-1983
|-
| || Teng Shih-ju || 鄧石如 || 邓石如 || Qing dynasty
|-
| || Ting Kuan-p'eng || 丁觀鵬 || 丁观鹏 || Qing dynasty
|-
| Ding Yunpeng || Ting Yün-p'eng || 丁云鵬 || 丁云鹏 || 1547-1628
|-
| || Tung Ch'i-ch'ang || 董其昌 || 董其昌 || 1555-1636
|-
| || Tung Yüan || 董源 || 董源 || c.934 - c.962
|-
| Du Jin || Tu Chin || 杜堇 || 杜堇 || Ming dynasty
|-
| Du Qiong || Tu Ch'iung || 杜瓊 || 杜琼 || 1396-1474
|-
| Fan Qi || Fan Ch'i || 樊圻 || 樊圻 || Qing dynasty
|-
| || Fang Ts'ung-i || 方從義 || 方从义 || Yuan dynasty
|-
| Fei Danxu || Fei Tan-hsü || 費丹旭 || 费丹旭 || Qing dynasty
|-
| || Fu Pao-shih || 傅抱石 || 傅抱石 || 1904 - 1965
|-
| Gai Qi || Kai Ch'i || 改琦 || 改琦 || 1774-1829
|-
| Gao Cen || Kao Ts'en || 高岑 || 高岑 || Qing dynasty
|-
| || Kao Feng-han || 高鳳翰 || 高凤翰 || 1683-1749
|-
| || Kao K'o-kung || 高克恭 || 高克恭 || 1248-1310
|-
| || Kao Ch'i-p'ei || 高其佩 || 高其佩 || 1660-1734
|-
| Gao Xiang || Kao Hsiang || 高翔 || 高翔 || 1688-1753
|-
| || Kung Hsien || 龔賢 || 龚贤 || 1618-1689
|-
| Gù ?n || Ku An || 顧安 || 顾安 || c.1289-?
|-
| || Ku Hung-chung || 顧閎中 || 顾闳中 || c.937 - c.975
|-
| || Ku K'ai-chih || 顧愷之 || 顾恺之 || c. 345-c. 406 || Style name 长康 ; sobriquet 虎头
|-
| Gu Zhengyi || Ku Cheng-i || 顧正誼 || 顾正谊 || Ming dynasty
|-
| Guan Daosheng || Kuan Tao-sheng || 管道升 || 管道升 || Yuan dynasty
|-
| || Kuo Hsi || 郭熙 || 郭熙 || 1020-1090
|-
| || Han Kan || 韓幹 || 韩干 || ? - 780
|-
| Hong Ren || Hung Jen || 弘仁 || 弘仁 || 1610-1664
|-
| || Hu Chieh-ch'ing || 胡絜青 || 胡絜青 || 1905-2001
|-
| Hu Zao || Hu Tsao || 胡慥 || 胡慥 || Qing dynasty
|-
| Hu Zaobin ||Wu Cho-Bun || 胡藻斌 || 胡藻斌 || 1897-1942
|-
| Hua Yan || Hua Yen ||華喦 || 华岩 || Qing dynasty
|-
| Huang Ding || Huang Ting || 黃鼎 || 黄鼎 || Qing dynasty
|-
| || Huang Shen || 黃慎 || 黄慎 || 1687-1772
|-
| || Huang Chüan || 黃荃 || 黄荃 || 903-965
|-
| || Huang Kung-wang || 黃公望 || 黄公望 || 1269-1354
|-
| || Huang Pin-hung || 黃賓虹|| 黄宾虹 || 1864-1955
|-
| || Chiao Ping-chen || 焦秉貞 || 焦秉贞 || 1689-1726 || , , ,
|-
| || Chiang T'ing-hsi || 蔣廷錫 || 蒋廷锡 || 1669-1732
|-
| Jin Nong || Chin N'ung || 金農 || 金农 || 1687-1764
|-
| || Chin T'ing-piao || 金廷標 || 金廷标 || Qing dynasty
|-
| || Chü Ch'ao || 居巢 || 居巢 || 1811-1865
|-
| Ke Jiusi || K'o Chiu-ssu || 柯九思 || 柯九思 || 1290-1343
|-
| || K'un Ts'an || 髡殘 || 髡残 || Qing dynasty
|-
| || Lan Ying || 酥�|| 项圣谟 || 1597-1658
|-
| || Hsiao Yün-ts'ung || 蕭雲從 || 萧云从 || 1596-1673
|-
| Xie Huan || || 謝環 || 谢环 ||
|-
| || Hsieh Shih-ch'en || 謝時臣|| 谢时臣 || 1488-?
|-
| Xie Sun || Hsieh Sun || 謝蓀 || 谢荪 || Qing dynasty
|-
| || Hsü Pei-hung || 徐悲鴻 || 徐悲鸿 || 1895-1953
|-
| || Hsü Ku || 虛谷 || 虚谷 || Qing dynasty
|-
| || Hsü Wei || 徐渭 || 徐渭 || 1521-1593
|-
| || Hsü Hsi || 徐熙 || 徐熙 || 937-975
|-
| Yan Hui || Yen Hui || 顏輝 || 颜辉 || Yuan dynasty
|-
| || Yen Li-pen || 閻立本 || 阎立本 || ?-673
|-
| Yang Borun || || 楊伯潤 || 杨伯润 || Qing dynasty
|-
| Yang Jin || Yang Chin || 楊晉 || 杨晋 || Qing dynasty
|-
| || Yang Wei-chen || 楊維楨 || 杨维桢 || 1296-1370
|-
| Yao Tingmei || Yao T'ing-mei || 姚廷美 || 姚廷美 || Yuan dynasty
|-
| || Yeh Hsin || 葉欣 || 叶欣 || Qing dynasty
|-
| Yuan Jiang || Yüan Chiang || 袁江 || 袁江 || Qing dynasty
|-
| || Yüan Yao || 袁耀 || 袁耀 || Qing dynasty
|-
| Yun Shouping || Yün Shou-p'ing || 惲壽平 || 恽寿平 || 1633-1690
|-
| Yu Zhiding || Yü Chih-ting || 禹之鼎 || 禹之鼎 || 1647-1716
|-
| Zeng Jing || Tseng Ching ||曾鯨 || 曾鲸 || 1568-1650
|-
| Zha Shibiao || Cha Shih-piao || 查士標 || 查士标 || 1615-1698
|-
| || Chan Tzu-ch'ien || 展子虔 || 展子虔 ||
581-618
|-
| || Chang Ta-ch'ien || 張大千 || 张大千 || 1899-1983 ||
|-
| || Chang Lu || 張路 || 张路 || 1464-1538
|-
| || Chang Seng-yao || 張僧繇 || 张僧繇 || 502-557
|-
| Zhang Shunzi || Chang Shun-tzu || 張舜咨 || 张舜咨 || Yuan dynasty
|-
| || Chang Shu-ch'i || 張書旂 || 张书旗 || 1900-1957 ||
|-
| Zhang Wo || Chang Wo || 張渥 || 张渥 || Yuan dynasty
|-
| || Chang Hsüan || 張萱 || 张萱 || ?-? during 618-907
|-
| || || 張彥 || 张彦 || ? - ?
|-
| || Chang Yin || 張吟 || 张吟 || Qing dynasty
|-
| || Chang Tse-tuan || 張擇端 || 张择端 || ?-? during 960-1127
|-
| Zhang Zongcang || Chang Tsung-ts'ang || 張宗蒼 || 张宗苍 || Qing dynasty
|-
| || Chao Chi || 趙佶 || 赵佶 || || Huizong Emperor, Song dynasty
|-
| || Chao Meng-fu || 趙孟頫 ||赵孟頫 || 1254-1322
|-
| Zhao Yong || Chao Yung || 趙雍 || 赵雍 || Yuan dynasty
|-
| Zhao Yuan || Chao Yüan || 趙原 || 赵原 || Yuan dynasty
|-
| || Chao Chih-ch'ien || 趙之謙 || 赵之谦 || 1829-1884
|-
| Zhao Zuo || Chao Tso || 趙左 || 赵左 || Ming dynasty
|-
| || Cheng Hsieh || 鄭燮 || 郑燮 || 1693-1765 || courtesy name Bǎnqiáo 板橋; ext. links: ,
|-
| Zhou Chen || Chou Ch'en || 周臣 || 周臣 || Ming dynasty
|-
| || Chou Fang || 周昉 || 周昉 || ?-? during 960-1127
|-
| Zhou Shuxi || || 周淑禧 || 周淑禧 ||
|-
| Zhou Wenjing || Chou Wen-ching || 周文靖 || 周文靖 || Ming dynasty
|-
| Zhou Zhimian || Chou Chih-mien || 周之冕 || 周之冕|| Ming dynasty
|-
| || Chu Ta || 朱耷 || 朱耷 || 1626-1705
|-
| Zhu Derun || Chu Te-jun || 朱德潤 || 朱德润 || Yuan dynasty
|-
| Zou Yigui || Tsou I-kui || 鄒一桂 || 邹一桂 || Qing dynasty
|-
| Zou Zhe || Tsou Che || 鄒喆 || 邹喆 || Qing dynasty
|}

Kakemono

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A , more commonly referred to as a , is a Japanese scroll painting or calligraphy mounted usually with silk fabric edges on a flexible backing, so that it can be rolled for storage.

As opposed to ''makimono,'' which are meant to be unrolled laterally on a flat surface, a ''kakemono'' is intended to be hung against a wall as part of the interior decoration of a room. It is traditionally displayed in the ''tokonoma'' alcove of a room especially designed for the display of prized objects. When displayed in a'' chashitsu,'' or teahouse for the traditional tea ceremony, the choice of the ''kakemono'' and its complementary help set the spiritual mood of the ceremony. Often the ''kakemono'' used for this will bear calligraphy of a Zen phrase in the hand of a distinguished Zen master.

In contrast to '''' or ''shohekiga'' , ''kakemono'' can be easily and quickly changed to match the season or occasion.

The ''kakemono'' was introduced to Japan during the Heian period, primarily for displaying Buddhist images for religious veneration, or as a vehicle to display calligraphy or . From the Muromachi period, , flower and bird paintings, portraiture, and poetry became the favorite themes.

In modern times, hanging scrolls of anime and manga characters as well as kung fu film stars are popular in North America.

If the width is shorter than the height, it is called a or ; if the width is longer than the height, it is called a or .

There is a cylindrical rod called ''jikugi'' at the bottom, which becomes the axis or center of the rolled scroll. The end knobs on this rod are in themselves called ''jiku'', and are used as grasps when rolling and unrolling the scroll.

Jieziyuan Huazhuan

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Jieziyuan Huazhuan , sometimes known as Jieziyuan Huapu , is a manual of Chinese painting complied during the early-Qing Dynasty. Many renowned Chinese painters, like Qi Baishi, began their drawing lessons with the manual.

The work was commissioned by Shen Xinyou , son-in-law of the famous playwright , whose mansion in was known as Jieziyuan, or Mustard Seed Garden. Shen possessed the teaching materials of Li Liufang , a painter of the late-Ming Dynasty, and commissioned Wang Gai to edit and expand those materials with the aim of producing a manual for landscape painting. The result was the first part of ''Jieziyuan Huazhuan'', which, published in 1679 in five colours, comprises five ''juan'' or fascicles. Li Yu, as the publisher, wrote a preface for this part. The first fascicle deals with the general principles of landscape painting, the second the painting of trees, the third that of hills and stones, the fourth that of people and houses, and the fifth comprises the selected works of great landscape painters.

Two more parts, which deal with the painting of flora and fauna, were produced by Wang and his two brothers. Shen promised a forth part, but never published one. A forth part, which deals with portraits, was produced by some quick profit-seeking publisher, though. Chao Xun , dissatisfied with the fake, produced his own sequel, as well as carefully reproduced the first three volumes. Today the reprint of the first three volumes of the work is usually based on Chao's reproduction.

An English translation of the work, ''The Tao of Painting - A study of the ritual disposition of Chinese painting. With a translation of the ''Chieh Tzu Yuan Hua Chuan'' or ''Mustard Seed Garden Manual of Painting 1779-1701, was made by Mai-mai Sze and published in New York in 1956''.

Gongbi

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Gongbi is a technique in Chinese painting. The technique uses highly detailed brushstrokes, and the name is from the ''Gong chin'' meaning ''tidy''. Gongbi was first used during the Han Dynasty.