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The scroll in art is an element of ornament and graphic design featuring spirals and rolling incomplete circle motifs, some of which resemble the edge-on view of a book or document in scroll form, though many types are plant-scrolls, which loosely represent plant forms such as vines, with leaves or flowers attached.
A handscroll has a backing of protective and decorative silk (包首) usually bearing a small title label (題簽) on it. [6]In Chinese art, the handscroll usually consists of a frontispiece (引首) at the beginning (right side), the artwork (畫心) itself in the middle, and a colophon section (拖尾) at the end for various inscriptions.
Prosperous Suzhou (simplified Chinese: 姑苏 繁华 图; traditional Chinese: 姑蘇 繁華 圖; pinyin: Gūsū Fánhuá Tú), originally entitled Burgeoning Life in a Resplendent Age (simplified Chinese: 盛世 滋生 图; traditional Chinese: 盛世 滋生 圖; pinyin: Shèngshì Zīshēng Tú), is an 18th-century scroll painting created in 1759 by the Chinese court painter Xu Yang.
Patachitra or Pattachitra is a general term for traditional, cloth-based scroll painting, [5] based in the eastern Indian states of Odisha, [6] [7] West Bengal [8] and parts of Bangladesh. Patachitra artform is known for its intricate details as well as mythological narratives and folktales inscribed in it.
Tarashikomi (in Japanese 垂らし込み, meaning "dripping in") is a Japanese painting technique, in which a second layer of paint is applied before the first layer is dry. This effect creates a dripping form for fine details such as ripples in water or flower petals on a tree.
Early Spring is a hanging scroll painting by Guo Xi. Completed in 1072, it is one of the most famous works of Chinese art from the Song dynasty. The work demonstrates his innovative techniques for producing multiple perspectives which he called "the angle of totality." The painting is a type of scroll painting which is called a Shan shui.
Scroll painting usually refers to a painting on a scroll in Asian traditions, distinguishing between: Handscroll, such a painting in horizontal format;
The painting located in the emaki after the fifth text section, at the end of the extant Fujita scroll and originally before the sixth scene, illustrates this inspection of boats. [ 47 ] [ 48 ] Penelope Mason sees this diverse composition as a nostalgic representation of the 13th century Imperial Court past its golden age, as despite the ...