#chinese art

Bodhisattva Avalokitesvara, details of a painted roll, ca. AD 1500. Mogao caves, Dunhuang, China. 

chronographer:

wackd:

ultrafacts:

He was a young artist employed by the Disney studio, but tasked with the entry-level job of finishing off the work of the animators and crafting the “in-between” animations that completed the characters’ movements. Wong had learned that studio executives were creating a film from the new novel, Bambi, A Life in the Woods by Felix Salten. Tom says the young artist read the book and without consulting his supervisor, “took the script and painted some visual concepts to set the mood, color and the design.” 

His sketches recalled the lush mountain and forest scenes of Sung dynasty landscape paintings. His initiative paid off. Walt Disney, who was looking for something new for the film, was captivated and personally directed that Wong be promoted. Today, top animators and illustrators revere Wong’s work. Children today are as enchanted by the misty, lyrical brushstrokes of Wong’s colorful nature scenes, inspired by his training at Otis College of Art and self-study of Sung Dynasty art 

Source[x]

FollowUltrafacts for more facts

HE’S STILL ALIVE

HE’S 105 YEARS OLD AND HE’S *STILL FUCKING ALIVE*

THIS GUY HELPED MAKE THE FILM THAT MADE ME WANT TO BE A FILMMAKER AND *HE IS STILL ALIVE*

AAAAAAAAAAAAAH

I met him at a gallery event a number of years ago and, UGH HE IS SO TALENTED AND SO KIND AND ENCOURAGING THERE IS A REASON WE ALL LOVE HIM. Also, my alma.

Plum blossom by moonlight (Chinese, Qing dynasty ) by Jin Shen.

Fan, album leaf. Ink and colours on silk. 

© The Trustees of the British Museum.

Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) license.

Installation views of our exhibition Conversations: Past and Present in Asia and America on view through May 21, 2017.

Inspired  by the AMAM’s 2016–17 theme of “Time,” this exhibition bridges wide temporal  and cultural distances, linking the works of artists from China, Japan, Korea,  the United States, and Canada, both well-known and anonymous, living and long  gone. In the fall of 2016, the exhibition will feature paintings and  calligraphy that reflect the lasting legacy of the Chinese literati tradition.

For  the spring 2017 semester, a fresh rotation of works highlights adaptations by  contemporary East Asian and Asian-American artists of the graphic sensibilities  of Pop Art and Japanese ukiyo-e woodblock prints, along with the creative  reworking of imagery from historical photographs. On view throughout the year  will be contemporary ceramics that respond to various East Asian ceramic styles.

These  “conversations” do not simply mimic the past, but engage it in a dialogue that  references earlier subjects, styles, mediums, and techniques and infuses them  with the artist’s contemporary reality. They may take the form of respectful imitation,  creative reinterpretation, bitter critique, ironic send-up, and sometimes all of these at once.
 
The exhibition is organized by Kevin R.E. Greenwood, Joan L. Danforth   Curator of Asian Art.

The Terracotta Army, Tomb of Emperor Qin Shi Huang, Lintong, near Xi'an, China (c.210 BCE)

Yu Vessel, China (11th century BCE)

Burial Suit of Princess Dou Wan, Tomb of Liu Sheng, Hopei, Mancheng, China (2nd century BCE)

Ritual grain vessel with cover, China (late 6th century BCE)

Dou Vessel, China (5th-4th century BCE)

Buddhist Temple in Mountain - Li Cheng (c. 919 - c. 967 AD)

A Solitary Temple amid Clearing Peaks (晴峦萧寺).

Zhang Linhai — Splendid Sun  (oil on canvas, 2002)

Pan Yuliang  -  Nudes and Masks,  1956 

Chinese, 1895-1977 

Ink on paper

Totems I II III

excuse my white ass as I culturally misappropriate several non-white that I absolutely no genetic connection to

I just ran with an idea I had when I tripped over a dead bird in the middle of the street. It wasn’t as pretty as a rainbow lorikeet but all dead animal squished and crawling with with bugs are kind of beautiful in their own way

Zhang Xiong, Qing dynasty]

disturbthebookmites:

Wang Xizhi Watching Geese, ca. 1295, China, handscroll; ink, color, gold on paper.

virtual-artifacts:

Spouted Ritual Wine Vessel with Cover (Gong)
Period: Western Zhou dynasty (1046–771 B.C.)
Date: mid-10th century B.C.
Culture: China
Medium: Bronze

Animal Ewer (Guang or Gong) - Bronze Age Chinese

(1046 - 771 BC)

Bronze ewers, like this one appeared late in the Shang dynasty and continued to be made throughout the Zhou dynasty. Also called guangs (gongs), these bronze ewers are distinguishable due to some characteristic features: a zoomorphic lid and handle, usually a one-footed base, the use of the squared spiral (lei-wen) to fill in empty space and they are decorated in mid to low-relief. Naturalistic representations of live animals were mainly produced in the southern Chinese provinces, while mythical animals were seen on guangs from the northern Chinese provinces. For this particular ewer I was not able to distinguish whether is depicts a mythical animal or a real one. However, rams were commonly depicted on these, and this creature sports head gear that could be interpreted as rams horns. 

Ewers like these would have poured rice (or grain) wine at ancestor worship rituals and were commonly left behind as a grave good in a high-status burial. 

Info. from Freer and Sackler Galleries andWikipedia

theancientwayoflife:

~Vaisravana - Pisha Meng, Guardian of the North.
Place: China, Tangut State of Xi -Xia, Khara-Khoto
Date: 13th - 14th century

Vaisravana - Pisha Meng, Guardian of the North - Chinese/Tangut

ca. 1200 - 1300 CE

Vaisravana is the name of the chief of the four heavenly kings of Buddhism. He is usually portrayed with a yellow face, an umbrella and occasionally a mongoose or with jewels coming from his own mouth. This piece  – I have not been able to find any information regarding this specific piece, or much information regarding the deity depicted here. 

Source:Wikipedia 

Artwork located at the State Hermitage Museum

Museum of Fine Arts, Boston. ‘Tiger and bamboo’. Chinese, Meiji era, late 19th century

Brooklyn Museum, ‘Scholar Contemplating a Cascade’: “The sixteenth-century ink-wash painting, a type rarely found outside Korean collections, uses strong, deliberate brushwork to convey ideas of space and perspective. Yi Chong, a Buddhist monk who came from a renowned family of artists, was a respected court painted during his short life. His work was heavily influenced by the Chinese tradition of the scholar-artist. The style of this painting invokes the Zhe School of Ming dynasty China, and the subject alludes to a poem by the Chinese poet Li Bo (701–762) concerning the beauty of a waterfall.”

fashionsfromhistory:

Taoist Priest’s Robe

Late 18th Century to Early 19th Century 

Qing Dynasty 

MET

fashionsfromhistory:

Han Woman’s Domestic Semi-Formal Coat (ao)

Late 19th Century 

Qing Dynasty

MFA

fashionsfromhistory:

Bridal Robe

c.1870

Qing Dynasty

IMA

centuriespast:

Horse (made for a tomb)

Artist/maker unknown, Chinese

Made in China, Eastern Han Dynasty (25-220)

25-100

Earthenware with traces of painted decoration

Philadelphia Museum of Art