The customs and rituals in art

[LCR]

One man said: "You can laugh at all, but not all." It accurately reflects my attitude to this matter

[Art-lover]

Сообщение от dedulya37

four little black imp traced in black ink drawing of a very pure ...

And that's what they came out:

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How they did it? Very simple:

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To Ferris Drawing
Honor the man by a miracle,
Nonsense drafts
Foreign eccentrics
Devils, smacking, read,
Black tea dazedly chefirya
A sorcerer's skull.

Mo, or ink, its quality

Relationship between the brush and ink beautifully defined ShenHao:
Brush is like the veins and bones of carcasses
Mascara - is like a spiritual flower brush.

             Brush goes ahead, and ink supports it. We have great Daotszy was a brush, but no ink, because when the Tang Dynasty, the plastic form, as in all the classical age, obey the principles of the ideal image. Features carcasses were not digested until until the form has been linked with space, light and distance that we have done at first landscape painters and admirers of ink drawing of bamboo at the time of the Sung Dynasty, and later artists of Ming and Qing times, which are particularly valued in the carcasses of its ability express the sensual quality of reality.

             In the fine for ink used for modeling shapes with light and shadow, positioning an object in space ( "the greater the distance, the lighter ink - that's always appropriate to rule"), as well as to convey the dissolution of form in the cloud, haze, fog or rain, through erosion or to describe the play of light on form. Mascara has even become a substitute for color, as artists from the educated upper society, are the color of this sordid experience. "If a picture is ink, it will be attended by all five colors." This view may seem an extreme example of the Chinese predilection for the hint, but it has created one of the most renowned strengths of Chinese painting - an incredibly rich in nuances of tone of ink used to play that "is not there."
              "The Color of the cloudy haze is usually broadcast, leaving intact the natural color of silk. But if the master wants to make a picture of the haze, though it will cause a continuous layer enlightened ink, however, no ink, no brushes should not be noticeable." Wang Yuantsi in the XVII century. attached razmyvam carcasses texture element, following the principle: "in the landscape ink to be hairy," "pile ink comes from the fact that the picture is the spirit of antiquity and the aroma of artlessness," so now the exact opposite of the so-called barren landscape. As is the case with a brush, it is impossible to separate the abstract from the fine, though by nature ink with greater certainty belongs to the realm of representation. In this paper, brush shape determines not touch, and appearance, whereas in the carcasses degree of light and dark, thick, dry, dense, depth, etc. directly determines the nature of plasticity, lighting and atmosphere. Nevertheless, as expected, the Chinese were more interested in the values of carcasses, as such, meet the strength of the brush. Among them in the first place was put the property carcasses to be liquid (yun). As summarized Shen, "the main thing in the picture is the following: how enforced movement of life Qi-yun, how strong hand, how conditioned the quality of carcasses as a liquid. Like all the qualities of spirit, yun defies precise definition, it has the virtues of jade - purity, freshness and delicacy. "Regardless of whether thick or thin ink, it is dry or wet, it should not have a taste of worldly commonplace (cooking).

               Perhaps the best sense of the quality yun revealed in the phrase: "Brush sings, dances and ink. In phrases yun associated with wet, humid and hazy. In addition, yun were closely related to two other qualities: tsai (coloring) and ching (purity). Literally the term meant tsai glow around the halo, and phrases is, apparently, to play shades of light. Jing Hao said: "Ton carcasses should be done with willows mi and dark, dense and sparse, in accordance with the forms of things. Then the color combinations are quite natural, as if they were not created with a brush." When the Chinese try to explain these qualities are mascara, they compare them with the difference between a dull gloss and transparency, or illustrious to appeal to the poetic descriptions, such judgments that the ink on the shadows cast by the mountains, should have the form of the cloud, and finally, they take in As an illustration of Taoist theme of dualism. "Ink should not be too thick, otherwise it will not clean and dirty; ink should not be too bright, otherwise it will not be liquid and dry. Similarly, wanting to convey the inner life of ink, the artist must keep quiet, typical of a lack of effort. "If mascara is too dry, it will not harmonies of the spirit, if only to seek consonance of mind, the picture will be too diffused. If mascara is too fat, lose the authenticity of things, but if you seek only the authenticity of things, the picture will be tortured." If the artist is in harmony with the Tao, he knows that the brush and ink - is not only hardware, but also as a receptacle, enclosing a space force. Tan Dai wrote: "Brush activity and, therefore, represents the yang; ink at ease and, therefore, embodies the yin. The ancient masters of art created through the motion of the brush yang and yin created by immobility carcasses. They worked Jahn, conveying the spirit (qi), brush, and They did yin, revealing sharp (Tsai) carcasses. They used a brush and ink in order to give life to the yin and yang.

(J. Rowley. The principles of Chinese painting)

[AlexanderG]

Orthodox Church has established a canonical image, a certain standard of writing images to retreat from which the icon painter nor an academic nor a canonical letters can not be - or it does not bydet Orthodox icons and paintings on the biblical theme.

Eto vsio greki kanony pridumali, prorisi poprivozili, a Russkaia, Ukrainskaia, Gruzinskaia ikony, osobenno narodnye, ochen 'daleki ot etih kanonov. V Ukrainskoi narodnoi ikone isobrasit 'Mariiu, kak sosedku, Iisusa, v vide sel'skogo starosty itd, bylo delom absoliutno obychnym. Dushu vkladyvali, a kanony sobliudali chut '.

[Кирилл Сызранский]

Сообщение от AlexanderG

or it is not bydet Orthodox icons and paintings on the biblical theme.

And "painting on a biblical theme, often became Orthodox icon and Bible stories were taken Western artists, Russian painters of the samples.

[AlexanderG]

Hudozniki sovremennosti, a kakie u vas obriady? Ne mozet ze byt ', chto vstal s utra, pozavtrakal, dush prinial i krasit'

[DSF]

Even more simply AlexanderG. got up, ate, and for the easel

[AlexanderG]

Сообщение от DSF

Even more simply AlexanderG. got up, ate, and for the easel

Ia odnogo takogo znaiu. Ian Scott, horoshii moi drug. Ziviot v NZ. Ne puteshestvue, daze na mashine ne ezdit. Vsio, chto on delaet - krasit.

[L-ana64110]

Paint the fences
So I say to his disciples, when they open a jar with gouache and with the knowledge of "things" start to Beauty. Usually this happens at the first lesson. It is interesting to look at the work of your thin-ka from NZ. I think a good thin-nickname for you him?

[Кирилл Сызранский]

Сообщение от L-ana64110

paint fences

How many know the artists, all well expressed: "Crash".
Apparently, say-"write" they are considered too snobbish.

[AlexanderG]

I mnogie professionaly toze. Net v etom nichego obidnogo

On pop artist.

http://www.fernergalleries.co.nz/default, 133.sm

http://www.coca.org.nz/artists/110/