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Nine Dragons (九龍圖卷; Jiǔlóngtú juǎn) is a handscroll painting by Chinese artist Chen Rong. [1] Painted in 1244, it depicts the apparitions of dragons soaring amidst clouds, mists, whirlpools, rocky mountains and fire, the painting refers to the dynamic forces of nature in Daoism and the liquid, water-like essence of the Tao. [2]
[5] The Eleven Dragons painting in the Smithsonian's National Museum of Asian Art was formerly attributed to Chen Rong, but now is assigned to the Ming dynasty period. [6] In March 2017, the Six Dragons handscroll, attributed to Chen Rong, was sold by Osaka's Fujita Art Museum at Christie's for almost $49 million. [7]
Under efforts of masters from this school, traditional Chinese art reached another climax and continued to the present in forms of Chinese painting (中國畫), or guohua (國畫) for short. The Shanghai School challenged and broke the literati tradition of Chinese art, while also paying technical homage to the ancient masters and improving on ...
The ancient Chinese self-identified as "the gods of the dragon" because the Chinese dragon is an imagined reptile that represents evolution from the ancestors and qi energy. [10] Dragon-like motifs of a zoomorphic composition in reddish-brown stone have been found at the Chahai site (Liaoning) in the Xinglongwa culture (6200–5400 BC). [2]
The arts of China (simplified Chinese: 中国艺术; traditional Chinese: 中國藝術) have varied throughout its ancient history, divided into periods by the ruling dynasties of China and changing technology, but still containing a high degree of continuity. Different forms of art have been influenced by great philosophers, teachers ...
Chinese art : a guide to motifs and visual imagery. Boston, US: Tuttle Publishing. ISBN 978-1-4629-0689-5. OCLC 893707208. Williams, Charles (2006). Chinese symbolism and art motifs : a comprehensive handbook on symbolism in Chinese art through the ages. New York: Tuttle Pub. ISBN 978-1-4629-0314-6. OCLC 782879753
Hua 畫 refers to Chinese painting. Brush painting is the final art form that a scholar was expected to learn, and was arguably the greatest measure of individual creativity. Through painting a Chinese noble would demonstrate his mastery over the art of line.
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