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A third important trend in the Edo period was the rise of the Bunjinga (literati painting) genre, also known as the Nanga school (Southern Painting school). This genre started as an imitation of the works of Chinese scholar-amateur painters of the Yuan dynasty , whose works and techniques came to Japan in the mid-18th century.
Japanese painting (絵画, Kaiga) is one of the oldest and most highly refined of the Japanese arts, encompassing a wide variety of genre and styles. As with the history of Japanese arts in general, the history of Japanese painting is a long history of synthesis and competition between native Japanese aesthetics and adaptation of imported ideas.
There are some regional differences, but the techniques described here cover the traditional wall paintings across this area. The wall paintings were executed on earthen plaster with the secco-technique. [1] A secco-technique is a painting technique in which the pigments with their binder are employed to paint onto a dry (Italian: secco) wall. [2]
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 Great Leap Forward , authorities promoted the Peasant Painting Movement, from which hundreds of thousands of new artists emerged. [ 19 ]
Lhazo - Painting: From the images on thangkas, walls paintings, and statues to the decorations on furniture and window-frames. Lugzo - Bronze casting: Production of bronze roof-crests, statues, bells, and ritual instruments, in addition to jewelry and household items using sand casting and lost-wax casting. Larger statues are made by repoussé.
Hanging scrolls provide a vertical format to display art on walls. [3] [6] They are one of the most common types of scrolls for Chinese painting and calligraphy. [10] They are made in many different sizes and proportions. [5] Horizontal hanging scrolls are also a common form. [10] Hanging scrolls are different from the handscrolls.
Shan shui painting is a kind of painting which goes against the common definition of what a painting is. Shan shui painting refutes color, light and shadow and personal brush work. Shan shui painting is not an open window for the viewer's eye, it is an object for the viewer's mind. Shan shui painting is more like a vehicle of philosophy. [6]
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