China---Art~come and see!!!!!

Art
China---Art~come and see!!!!!

Chinese Knot
中国结

Code 70000 to the hundreds of thousands of years ago before the end of the Paleolithic Age, when the Shanding cave people already know that the use of bone needles and line mending skills, will be wearing animal skins stitched together to cover their bodies in the body to keep out the cold, that is to say, the Peak-dong people already know how to tie the rope together, then all sorts of knots on the gradual development of out. Early Chinese literature on the knot of the records, such as the I Ching: "The Elder结绳记事, saints also future generations of mutual covenant by the book." Han Zheng Xuan Zhouyi Note: The "big event of its rope knot, small nodules of its rope."

Chinese knots from Paleolithic sewing knot, extended to the rites of the Han Dynasty Notepad,再演into today's decorative craft. Chou people wear jade portable often decorative Chinese knot, and the Warring States Period Bronze There is also a Chinese knot pattern continues until the Qing dynasty Chinese knot is really popular in the folk art of the time, when many used to interior decoration, gifts among friends and relatives and personal ornaments of the Walkman. In 69 years (1980), a group from Taiwan art-loving friends rope knot widely collected and research, because of its delicate appearance of symmetry, can represent a long history of the Chinese nation, in line with the practices of traditional Chinese decoration and aesthetic concepts, it is named for the Chinese knot.

Chinese knot establishment, the community must be prepared, pump, repair process. The provision of various node is fixed, but may decide to pump knot elastic body, ears wing length, smooth and neat lines, you can fully demonstrate the art editor of the skills and self-cultivation. Repair, compared with the final knot modification, such as sewing beads, sizing and so on. Node changes as a result of numerous and elegant decoration, made of wire used in addition to cotton, hemp, silk, nylon and皮线, there are gold and silver and other metal wire can be used with, but also enhance the function of decorative Chinese knot, and the scope of application. Whether it is a variety of jewelry, clothing accessories and gift packaging landscaping, as well as a variety of indoor furnishings decorative items can be added with Chinese knot to beauty.

Chinese knot is not only sleek, color variety, at the same time naming works, such as the "double life", "Double Happiness", "Ching Cheung Fung-lin," "跃龙门carp," "Fushou have both", "good luck", "more than Jiqing "," FANG Sheng Ping'an "... and so on, are unique to the Chinese auspicious symbol of good will of those of special significance to the relatives and friends played guitar, not only filled with joy and a thousand Italian intelligence million blessing.

China's china
中国瓷器

Second only to tea, perhaps the most important contribution China made to European life was "china" itself ?the hard translucent glazed pottery the Chinese had invented under the Tang dynasty and which we also know as porcelain. China had long since exported porcelain over the Silk Route to Persia and Turkey and fine examples of pre-1500 china are still in everyday use there. (An English diplomat collected almost five tons (!) of Ming pieces while serving in Iran in 1875.) In Europe before the dawn of the China trade, the highest achievement of the potter's art was a kind of earthenware which was fired, then coated with an opaque glaze and fired again, fixing the colors with which it had been painted. This was generally named for its supposed place of origin and was known as majolica in Italy, faience in France, Delft in the Low Countries, and so forth. No earthenware could stand up to boiling water without dissolving and nowhere in Europe was it understood how to heat a kiln to the fourteen hundred degrees or so required to vitrify clay and make it impervious to liquids, boiling or not. Even so wise a man as Sir Francis Bacon could only view porcelain as a kind of plaster which, after a long lapse of time buried in the earth, "congealed and glazed itself into that fine substance." Other writers speculated it was made from lobster shell or eggs pounded into dust.

Porcelain in time became the only Chinese import to rival tea in popularity. The wealthy collected it on a grand scale and even middle class people became so carried away that Daniel Defoe could complain of china "on every chimney-piece, to the tops of ceilings, tit it became a grievance." Such abundance half the world away from its place of manufacture was due to its use as ships' ballast. The China trade came to rest on two water-sensitive, high-value commodities: silk and tea. These had to be carried in the middle of the ship to prevent water damage, but to trim the ship and make her sail properly, about half the cargo's weight (not volume) was needed below the waterline in the bilges. Very roughly, a quarter of all tea imported had to be matched by ballast and from the ships' records available, it appears that about a quarter of all ballast was porcelain. Over the course of the 1700s England probably imported twenty-four thousand tons of porcelain while a roughly equal amount would have been imported into Europe and the American colonies.

To keep up with this demand, Jingdezhen, China's main porcelain-making center since the Song dynasty, as early as 1712 needed to keep three thousand kilns fired day and night. The prices fell to ridiculously low levels-seven pounds seven shillings in 1730 for a tea service for 200 people, each piece ornamented with the crest of the ambassador who ordered it; teapots, five thousand of them in 1732, imported at under twopence each. Even if we multiply these prices by one hundred to approximate today's, it is incredibly cheap cost for porcelain of this quality. Before European-made wares came into general use around 1800, the English and European middle classes enjoyed their tea and meals from the finest quality chinaware ever used by any but very wealthy people, a quality of life for which the tea trade was directly responsible.

Traditional Chinese painting
中国绘画

Chinese painting is a form of Chinese art.

In imperial times, painting and calligraphy were the most highly appreciated arts in court circles and were produced almost exclusively by amateurs--aristocrats and scholar-officials--who alone had the leisure to perfect the technique and sensibility necessary for great brushwork. Calligraphy was thought to be the highest and purest form of painting. The implements were the brush pen, made of animal hair, and black inks made from pine soot and animal glue. In ancient times, writing, as well as painting, was done on silk. But after the invention of paper in the 1st century C.E., silk was gradually replaced by the new and cheaper material. Original writings by famous calligraphers have been greatly valued throughout China's history and are mounted on scrolls and hung on walls in the same way that paintings are.

Painting in the traditional style involves essentially the same techniques as calligraphy and is done with a brush dipped in black or colored ink; oils are not used. As with calligraphy, the most popular materials on which paintings are made are paper and silk. The finished work is then mounted on scrolls, which can be hung or rolled up. Traditional painting also is done in albums and on walls, lacquerwork, and other media.

The earliest examples of Chinese painting that we have come from the second century B.C.E. Common Western histories of Chinese painting hold that before this time period, there was no Chinese painting. But it is more likely that there are simply no surviving pieces from before this time period. Artistic mediums such as painting, sculpture, pottery, etc. tend to show similar trends in certain time periods. This means that by looking at archaeological finds from before the 2nd century B.C.E. (eg. observing the development of lacquer design on pottery), we can infer that Chinese paintings followed the same trends as the examples we do have from other mediums.

Beginning in the 13th century, there developed a tradition of painting simple subjects--a branch with fruit, a few flowers, or one or two horses. Narrative painting, with a wider color range and a much busier composition than the Song painting, was immensely popular at the time of the Ming dynasty (1368-1644).

During the Ming period, the first books illustrated with colored woodcuts appeared. As the techniques of color printing were perfected, illustrated manuals on the art of painting began to be published. Jieziyuan Huazhuan (Manual of the Mustard Seed Garden), a five-volume work first published in 1679, has been in use as a technical textbook for artists and students ever since.

Beginning with the New Culture Movement, Chinese artists started to adopt Western techniques. It also was during this time that oil painting was introduced to China.

In the early years of the People's Republic of China, artists were encouraged to employ socialist realism. Some Soviet Union socialist realism was imported without modification, and painters were assigned subjects and expected to mass-produce paintings. This regimen was considerably relaxed in 1953, and after the Hundred Flowers Campaign of 1956-57, traditional Chinese painting experienced a significant revival. Along with these developments in professional art circles, there was a proliferation of peasant art depicting everyday life in the rural areas on wall murals and in open-air painting exhibitions.

During the Cultural Revolution, art schools were closed, and publication of art journals and major art exhibitions ceased. Nevertheless, amateur art continued to flourish throughout this period.

Following the Cultural Revolution, art schools and professional organizations were reinstated. Exchanges were set up with groups of foreign artists, and Chinese artists began to experiment with new subjects and techniques.

Portrait of eight steeds （Eight Running Horses ：Xu beihong）
八骏图（徐悲鸿）

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China---Art~come and see!!!!! (Art) - Author : wx - China

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last update : 2011-02-12

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