Art of China and Japan

[SergeiSK]

Unknown Japanese artist of the Edo period.

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Monsters of Kyushu, the mid-19 th century.

[SergeiSK]

Monsters of Kyushu, the mid-19 th century.

[luka77]

The life and work of the master

    Born in 1927, Mr. Shunya but the north-east China.
    1948 graduated from the Faculty of Chinese Literature osudarstvennogo University of North - East.
    1955 arrived to teach Chinese literature in Leningrad. State University and the Chinese boarding school in Leningrad, since he lives and works in our country, in St. Petersburg.
    1975 Member of the Union of Artists.
    1988 member of the Union of Artists of the People's Republic.
    1992 Honorary Professor of the State Institute of Fine Arts of Lu Hsun.
    1996 Senior Consultant at the largest Center for the Arts National Heritage of the People's Republic Vanshenle.
    1999 Chairman of the Chinese Society of St. - Petersburg.
    2000 Deputy Chairman of the World Association of Chinese immigrants, professor at the State Institute of Painting, Sculpture, Architecture & E Repin.
    2002 Honorary Doctor of Arts of the State Pedagogical University named after AI Herzen.
    S1970 annual solo exhibitions of works of Jiang Shihlung in the republics of the USSR.
    Between1988 annual solo exhibitions in China. S1990 annual exhibitions in Finland and the Netherlands. Exhibitions of works by the artist with the success exhibited in Moscow, St. Petersburg, Pskov, Novosibirsk, Krasnoyarsk, Barnaul, Cherepovets, and other cities, as well as abroad in Norway, Denmark, Sweden, France, Germany, Japan and Taiwan. Pictures Jiang Shihlung are in the largest museums of the world Louvre, the Hermitage, the State Museum of Oriental Art and other museums and galleries, as well as in the collection of the Vologda Regional Art Gallery and many private collections.

http://www.cultinfo.ru/gallery/deyat...lun/shelun.htm

[Тютчев]

The customs office in Transbaikalia detained hunters Russian jade

ULAN-UDE, July 15. Zabaikalskaya customs officers detained at the international automobile checkpoint "Zabaikalsk" four Chinese citizens who tried to illegally export from Russia schematic maps of subsoil jade in the region, mineral specimens.

"Presumably - a jade" - spokeswoman Zabaikalskaya Customs Julia Filippova, ITAR-TASS.

According to her, the detainees "as there were 2 million rubles, satellite phone, a flash card and CD-ROM and over the content of the latter will work with relevant departments to establish the possible damage to the interests of Russia.

"Operatives detained reported interest in buying Chinese jade in Russia on an industrial scale" - thinned Filippov.

According to the press service of Russia's FSB border control on Zabaikalskij edge and the Republic of Buryatia, in the past year at a border checkpoint "Zabajkalsk" The enhanced smugglers exporting from the region of jade. One of the parties Jade tried to cross-border citizens of China. 265 stones weighing 1.5 tons, they hid in the ceiling openings under the seats and the luggage compartment of a bus. In another case, the mineral was discovered by a citizen of China who drove him to train in boxes from the fruit. Cost of 223 kg of jade has been valued at 334 thousand rubles.

In 2009 the Russian-Chinese border in the Trans-Baikal thwarted attempts to smuggle a total of over 1.7 tons of jade. Another case of contraband Grodekovskoy registered at the customs in the Primorsky region, where the value of seized 333 kg of jade jewelry valued at 313 thousand rubles.

All the ways of the illegal export of jade from Russia are in China. In the Middle Kingdom, this mineral is one of the ancient national symbol. It is believed that the product of this stone should be in every home, to grant its owners wealth and longevity. China has treated the various shades of jade green color is from $ 300 per kilogram, and particularly valuable, white jade, - up to $ 10 thousand

In Russia, 13 of 16 explored deposits of jade, which is extracted by opencast methods, are in Buryatia, which provides 90%of the Russian volume of its output.

http://www.rosbalt.ru/2010/07/15/753849.html

[usynin2]

Po coobscheniyu Pocoxpankyltypy, July 20, 2010 goda in Podmockove of chactnoy kollektsii

[Евгений]

ceramics and works of art, titled Masterpieces Of Qing Imperial Porcelain From JT Tai & Co., On 7 October 2010 at the Hong Kong Convention and Exhibition Centre, comprising 13 lots and expected to bring in excess of HK $ 170 million /US $ 22 million. The second part of the collection will be offered at Sotheby's New York during its Asia Week in March, 2011.
 

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The imperial Chinese porcelains from the JT Tai Foundation features eight vases made during the peak period of imperial porcelain production under the Qianlong Emperor, one of China's greatest art lovers and imperial patrons, each of which boasts a collecting history in the West traceable to the 19th century.
 
The highlight in the present group is an exceptional Pair of Floral Medallion Vases Enamelled in the Imperial Workshops (Est. HK $ 60-80 million and HK $ 8 - 10 million; the vases are offered as two individual lots), exquisitely enamelled with Flowers of the Four Seasons. The floral scenes are reminiscent of Beijing-enamelled glass, the scrollwork on the neck of Beijing-enamelled copper, which would have been executed in the same workshops, by the same painters. Porcelains painted in Beijing are generally unique, pairs are not identical but complementary, so both vases show the same flowers but in different compositions.
 
Other vases in the group come from Fonthill House, one of the grand English country estates, from the collection of Alfred Morrison (1821-97). Porcelain painters at Jingdezhen adopted techniques developed at Beijing in the early Qianlong reign, and it resulted in the most sumptuous porcelain decoration. Sgraffiato work, where a formal design is carved into a solid background colour, was perfected at Jingdezhen: scrollwork engraved with a needlepoint conveyed an impression of rich brocade. A particularly elegant specimen is the Yellow-Ground Famille-Rose Double-Gourd Vase (Est. HK $ 30-50 million), the production of which would have required multiple overlapping of the different colours and formidable organization of the design.
 
Roughly contemporary and yet different in style is A Robin's Egg-Ground Gilt-Decorated Archaistic Vase (Est.HK $ 18-25 million) with stylised dragons vaguely inspired by archaic ritual bronzes of the Western Zhou period (circa 1050-771 BCE). The mottled turquoise glaze that forms the background to the coffee-brown relief design evokes the blue-green patina of ancient metalwork. The quality and variety of the J. T. Tai vases provide an unparalleled glimpse into the craftsmanship and stylistic range of Chinese potters at their most ambitious period.
 
J. T. Tai (1910-1992)
In late 1920s, Tai Jun Tsei, or J. T. Tai (1910-1992) became an apprentice to his Uncle Chin, his mother's brother, at his antique shop in Wuxi, where J. T. Tai was brought up. He clearly had a good eye and business acumen, because in due course he was given the responsibility of travelling to neighbouring provinces to buy stock.
 
In the 1930s, he moved to Shanghai and opened his own shop and, in January 1932, he married Chang Ping Ying. However, the advancing Japanese invasion progressively removed all possibility of a normal life culminating in the brutal battle of Shanghai in1937. He and his family finally left Shanghai in April 1949 for Hong Kong and he never again returned to his home country.
 
With China now closed to the world for any art business Hong Kong must have had limited scope for an ambitious young man. Inevitably J. T. Tai was drawn to the markets of America and Europe, and in 1950 he took the bold decision to make the move to New York.
 
In the spring of 1953, he flew to France and England on his first buying trip. On 24th March he attended the sale of Ming Ceramics from the collection of Mrs Alfred Clarke at Sotheby's London. The inscrutable Chinese man from New York was an exotic and remarkable addition to the occasion, buying eleven lots and some of the best pieces.
 
He returned to London many times during the 1960s and 1970s, as he became the greatest of a new post war generation of Chinese art dealers. He was very knowledgeable about pottery and porcelain so at the sale of the collection made by the London dealer H. R. Norton in November 1963 he purchased the star of the collection. This was a superb 15th Century blue and white Meiping with its original cover for the then world record price of £ 8,000. He made it his business to seek out collectors who had both the enthusiasm and the resources to create sensational collections. The two with whom he worked most closely were Avery Brundage, whose remarkable collection forms the core of the Asian Art Museum in San Francisco and Arthur Sackler whose collection is substantially housed in the Arthur M. Sackler Museum in Washington.
 
In 1982 Mr Tai set up The J. T. Tai & Co. Foundation, Inc., Which under his direction began by sponsoring medical students before spreading its grants to include medical research, the American Red Cross and many other charities. It also made a number of donations to Peking University, Beijing and to SooChow University, Taiwan. The Foundation will benefit from these auctions and will continue to give generously to the causes which Tai Jun Tsei himself chose.

An Exceptional Floral Medallion Vases Enamelled in the Imperial Workshops. The work is estimated to fetch 60-80 million Hong Kong dollars or about 7.71 -10.2 million US dollars.

[kozhinart]

The two major traditions, have had a direct impact on the character of the Chinese art of XX century and the emergence of Chinese realistic painting became the Western European and Russian realistic school. Moreover, these influences and still are very powerful.


Traditional Chinese art attributed to the "realism" in the early twentieth century. Journal of the Apollo, with characteristic silver age mystifying tone, said: "We have gone now confident that allows us to say firmly: European reality - is authentic, and she - the Chinese - is conditional ... Arts of China, the strength of its realism, nor art, so long presses Russian art powerful hypnosis - Italian art. "
"True words are not elegant"

The origins of realism associated with the aesthetics of traditional Chinese painting and the philosophy of Taoism. In the first chapter of "Dao De Jing" argues that although the dao and devoid of the trappings, it is possible to behold - in this case viewed the possibility of visual incarnation. The fifth chapter contains extremely important for the aesthetics of painting idea what the space between heaven and earth, for it is it turns the main scenic action: "The space between heaven and earth like a blacksmith bellows and the flute: it is empty inside and straight. The more traffic, the more the emptiness. "

Principal positions for the understanding of the primacy of realism in Chinese art began sounded in the forty-fifth chapter: "Great perfection seems to imperfection, and forty-seventh chapter:" Do not leave the yard, the sage knows the world is not looking out the window, he sees natural dao. The farther he goes, the less known. Therefore, the wise man does not walk, but knows not seeing knows the names are not acting they do. "

That these positions are influenced by one of the characteristic features of the aesthetic consciousness of the world - the artist's focus on one or two reasons. It is not perceived by them as a restriction: the micro-and macrocosm - one, every grain of sand can hold a live great dao.

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In the latter, eighty-first chapter of "Dao De Jing" expresses an important ethical and aesthetic postulate Lao Tzu: "True words are not elegant. Beautiful words are not trustworthy. Virtuous not eloquent, articulate can not be virtuous. Knowing does not prove that proves not know. " This fixation on external unattractiveness of the possible truth creates the possibility of not seeing real level, and broadcast it, no matter how harsh and unattractive it may be. Is precisely because of this premise reveals the depth of the differences between the understanding of beauty in ancient Taoist and aesthetic tradition.



Hou Yimin, Deng Shu, Jin Shan, "The Birth of the Republic", 1980, by order of Army of China
"When the picture of the impact on the spirit, the spirit of all surpass"

In medieval treatise on painting - which set out the aesthetic tenets and foundations of theoretical views of art - one can see the beginning of a realistic vision.

This is already one of China's first essay "Preduvedomlenie to the image of mountains and water", devoted to the theory of painting Zong Bing (d. 443) - focuses on the need for accurate image of nature: "When you look landscapes displeasure delivers the inept play of nature rather than that in small amounts accurately transferred to a large, - in fact it is quite natural. " And that is also fundamentally, Zong Bing almost makes the sign of identity between the knowledge of the world, forming a true picture of life and skillful image: "What pleased the eye and speaks his heart - that's the truth. If you figure it out neatly, the picture will also be pleasing to the eye and will respond personally. When the picture so affects the spirit, the spirit will surpass all, and the truth will be grasped. Even if the return on deaf mountain gorge - which adds to the already tested it? By the same spirit, in fact, has no limits, filling all the forms and inspires all things, but the truth is in the shadow and footprint. Artfully depict the world - truly means to exhaust them - both. "



Jin Shan "Mao Zedong at the December meeting, 1976
Six laws of painting, Zhang Yanyuanya

Trends towards the primacy of the realistic method is clearly traced in the writings of Zhang Yanyuanya (815-875) - the largest in China, early theorist of painting and Hsieh Ho (V century). - Theorist and painter.

In his treatise "The six laws of painting" Zhang Yanyuan consistently examines the "six laws of painting" Hsieh Ho: "In the old Hsieh Ho said that in painting, there are six laws: the first - a living movement in the harmony of energies, the second - a clear writing brush and the third - depiction images of subjects, respectively, the fourth - the imposition of colors according to the genera of things and the fifth - the location of the items under the general plan, the sixth - to send the samples through a letter. " Five of the six rules related to the means of artistic expression - the color, pattern, perspective (in the modern European understanding of them) - the character that most closely approximates to a realistic method.

Ibid Zhang Yanyuan emphasizes precision in the transmission of forms: "The image of things requires accurate communication forms, and the shape of things are entirely dependent on its structure. The structure of the same thing and its image are derived from the inner certainty of design and identifies with a brush. "

In another work, "The essence of painting" Zhang Yanyuan continues to argue in favor of artistic expression related to the objective and realistic vision of the method: "Picturing the things needed with the fullness and thoroughness to write their appearance, do not neglect the slightest detail. Should not be sad about what has been done enough, and that made hard enough. Currently diligence, where you know that the above picture, with all diligence and it added nothing. Truly ignorant of painting who does not know how to paint. "



Jin Shan "Northern Landscape", 1977
Art of China and the Russian realist school

Theoretical and aesthetic views, which correlated with a realistic method in the fine arts were powerfully realized in the Chinese art of the twentieth century, both within the "Guohua" - "national painting", gravitating to the traditional techniques and imagery and modernist painting that is in line to the western European and Russian models .

According to researchers studying the specific development of realistic art of China (Chen Cheng Wei), the two major traditions, have had a direct impact on the character of the Chinese art of XX century and the emergence of Chinese realistic painting became the Western European and Russian realistic school. Moreover, these influences and still are very powerful.

As most clearly take and the reasons for the introduction of new European traditions during the first half of the twentieth century can be identified, training of many contemporary Chinese artists in art schools in Europe, Russia and the USSR.

The next step in advancing the European and Russian realism became the masters of the realistic method of teaching in art schools in China. So one of the greatest artists of Chinese art and a dedicated follower of the realistic, Hsu Pei-hung, having lived eight years in Paris, where he was sent for training on their return in 1927 and spent many years teaching at universities and art high schools. One of the first he introduced the young painters of China and techniques of painting with oil, and taught them to write directly from nature.

Since the mid-twentieth century, after the founding of the PRC, many Chinese artists are beginning to study at art schools of the country sotsbloka. Artists of the USSR and Romania since the beginning of 1950 were invited to conduct lectures, lead workshops in Beijing and Hangzhou. Among the Chinese artists who studied at art schools of the USSR, it should be noted by such masters as Chyuan Shanshi, Xiao Feng, Guo Shaogan, Gao Hong, Hae-Kunde, Van Lyuchyu, Yu Chzhanhun, Hou Yimin, Jin Shan. This factor has played a significant role in shaping the multicultural nature of Chinese Art.

Since that time the emphasis in the formation of fine art is on the development of realistic method. Basis for the institutionalization and standardization of Art Education of New China has become the system of art education of the Soviet Union and, accordingly, the methods of the Russian realist school. As a key figure as the basis of the principle of art used in the system PP Chistyakov and K. Maximov.

As additional factors driving the emphasis on the primacy of realism in the arts of China should be noted the practice of issuing albums devoted to the masters of the Soviet and later Russian art (beginning this has put Lu Xun), as well as organizing exhibitions of national art in China (only in 2000 in China held about 30 exhibitions of contemporary Russian painting).

Chinese researchers have noted both positive and negative consequences of this situation. So as the benefits of unification of the sphere of art education has become scientific and systematic training, full ownership of generations of artists realistic method. The negative consequences are to not use the methods of the French and Japanese-style "and too strong emphasis on realism, caused the trend of naturalism in the arts of China.



Jin Shan "Mao's cave Yannani, 1970
Silk scroll without Borders

By the mid-twentieth century Chinese painting at the intersection of traditional forms of art and Western trends are beginning to form new forms, which identifies the modernist discourse, tending to the language of realism. One such innovative forms became ambitious multi-figure composition that combines formal features songs of the medieval silk scrolls and exclusively genre, realistic new European methods.

One of the earliest works that used these techniques was the picture of Chiang Chao-ho, "Refugees". It is written during the Japanese intervention in the 1943 grand roll (about thirty feet in length), unfolding across. A huge roll is divided into a number of individual dramatic scenes, but it is so unique in mood and compositional thought, what is perceived as a homogenous easel painting realistic. Boundaries if it does not exist; composition is devoid of narrative.

By mid-1950's thematic range of paintings somewhat expanded: the traditional subjects adds historical and social themes. Reforming the art had an impact on genre preferences.

Consistent adoption of Fine techniques inherent in the Soviet realist school can be seen from many masters of the 1950 - 1980. One of the acknowledged classics of realism, Jin Shan, a student of K. Maximov, in their large-scale compositions, "Chairman Mao's cave Yannani" (1970), "Mao Zedong at the December meeting," (1976), "The Birth of the Republic" (1980, co-authored with a group of artists, including Hou Yimin and Deng Shu) completely abandons the national tradition in art. But working within the European tradition, namely, using the methods of the "severe style" characteristic of the Soviet art of 1960 - 1970, Jin Shan and close to the fine Chinese art ("Northern Landscape", 1977).

During the 1990's - 2000's formal devices of realism has undergone a significant transformation. In the development of realism in Chinese art at the present stage identifies several key trends.

In the work of several contemporary Chinese artists unquestioned primacy remains a substantive vision, which occurs primarily in the absolute, accurate, realistic picture. True, sometimes viewed features of idealization inherent in the Russian academic school.

We should also note complex, "highly organized" nature of Chinese contemporary realism. Realistic techniques masterfully used within modernist discourse. Realism is very organically uses formal techniques of symbolism, modern, traditional Chinese painting, the Soviet "severe style" of naturalism, as these areas would mimic one another.
Between asceticism and visual oversaturation

Product Xe Tszyaina - graduate and professor of the Art Institute in Tianjin - a powerful example of this is formally plastic realism. His works are very clearly appeals to the plastic language of the Soviet academic art 1970 and, simultaneously, to the traditional art of China, but mediated by European art. Thus, in the film "Holiday ballerinas" Ho Tszyain focuses on the everyday routine processes, leaving the track poeticizing level plot. Realistic trends reinforce thorough (on the verge of naturalism), and drawing a clear linear perspective. Poetizing image develops in the tone and color: Following the traditional Chinese art techniques, the artist completely refuses the cut-off modeling, emphasizing linearity, deliberately limiting the color several shades of black, gray and pink.



Ho Tszyain "Rest dancers"


In akademizirovannom realistic manner is solved and the pattern of Xe Tszyaina "Morning. Rosa. Mulberry. Here the artistic image is based on identifying the poetics of everyday. This can be traced to follow Taoism in the knowledge of the great in the small: "without leaving the yard, the sage knows the world." Moreover, the means of artistic expression very clearly correlated with the plastic and figurative language the subject of painting, typical of late Soviet art.



Ho Tszyain "Morning. Rosa. Mulberry "


Another group of works by Ho Tszyaina - clear variations "on" traditional Chinese art. Thus, in the film "Fallen Flower", the wizard uses the semantic simulacra, referring to the traditions of Chinese painting, has resorted to a flattening, "withdrawal" of the background, but also in this track you can see replicas of Art Nouveau.



Ho Tszyain "Fallen Flower"


Pupils Hye Tszyaina - Chen Zhi, Wu Xin, Zhang Lin - are already in a somewhat meaningful "cluster", while the formal techniques of painting similar method teacher. The content of the works of a new generation of Chinese artists working within the realistic method, appeal to contemporary social contexts. This world is a visually saturated and these new texts, they are free from naive ideological myths, they have broadcast more philosophy and values of Western society, the nation and if their works are represented in some "ready to assimilate the" product.



Chen Zhi, Wu Xin "zero point"


Such is the artistic image of a picture, and Chen Zhi Wu Xun "zero point". Text of this product narrator; glut of details seemed to be to bring the product to naturalism or hyper-realism. But we see again the production of a sovereign way: Detail develops not only as a narrative text, but as a sovereign decorative element, this is achieved by flattening the forms and generalizations of color. However, the inclusion in the global social context can be seen in the work, Zhang Lin, "Dreams to showcase."



Zhang Lin, "Dreams to showcase


Integrating a realistic method in Chinese art, due largely to historical, political, etc. reasons, appeared stable. This stability has created an internal communications revealed between the new European realistic method and the traditional aesthetics of Chinese painting.

But it should be noted that the realism in contemporary art of China has undergone significant transformation. Assimilation has occurred, "assimilation" realistic method. Latest in Fine Arts of China in the 2000 has marked the national sovereign traits that are being formed in the creative interpretation of the traditions of European and to a greater extent the Soviet (Russian) realist school, are distinctive. This above all: commitment to using only linear perspective, grafizm (not scenic) image ascetic colors.

Anna Suvorova
source
http://www.win.ru/art-decalogue/3531.phtml

[NATA NOVA]

kozhinart, zamechetelnye, thin graphically work (past, starting with the "Rest of dancers). Lovely!

[leonard]

Bidding at Sotheby's Hong Kong on October 8, bowl 26.5 cm MING DYNASTY sold for approximately $ 43,220,000 HKD 5.600.000

[NATA NOVA]

leonard, where lyubeznya be better to find a photo?