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Chang was born in 1899 in Sichuan Province to a financially struggling but artistic family, whose members had converted to Roman Catholicism. [1] His first commission came at age 12, when a traveling fortune-teller requested he paint her a new set of divining cards.
Beginning in the mid-6th century, as Buddhism was brought to Japan from Baekje, religious art was introduced from the mainland. The earliest religious paintings in Japan were copied using mainland styles and techniques, and are similar to the art of the Chinese Sui dynasty (581–618) or the late Sixteen Kingdoms around the early 5th century ...
(kept at the National Museum of Modern Art, Tokyo) materials and techniques of western oil painting applied to the Japanese subject of a white-robed Kannon, holding a willow branch in one hand and a water jar in the other [5] 272.0 centimetres (107.1 in) by 181.0 centimetres (71.3 in)
He was Slade Professor of Fine Art at the University of Oxford for 1973–74. [5] Sullivan was a major art collector who owned more than 400 works of art, including paintings by Chinese masters Qi Baishi, Zhang Daqian, and Wu Guanzhong. His was one of the world's most significant collections of modern Chinese art.
Beginning in the 1960s, Lang Jingshan's photography turned to creative landscape with figures, many modeled on paintings by Zhang Daqian, showing Taoist influence. He received awards from the Ministry of Education. In 1968 he visited the United States and the Kodak factories in New York state. In 1981 and 1983 he had solo retrospectives ...
Before the creation of the book, Chinese art-related works mainly focused on appreciation and cataloging, such as Gu Kaizhi's (顾恺之) On Painting and Xie He's (谢赫) Classified Record of Ancient Paintings. Zhang Yanyuan thus pioneered Chinese art history by being the first to document painters in a chronological format.
This list is of Japanese structures dating from the Taishō period (1912–1926) that have been designated Important Cultural Properties. [1] As of October 2016, ninety-six properties with two hundred and twenty-seven component structures have been so designated .
Unlike other forms of Japanese architecture (such as those of the sukiya (数寄屋) style), it is the structure rather than the plan that is of primary importance to the minka. [3] Minka are divided up with primary posts that form the basic framework and bear the structural load of the building; secondary posts are arranged to suit the ...