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"Landscape painting, Chinese 20th century."
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Li Huayi = Li Huayi
This monograph on the preeminent Chinese contemporary ink painter Li Huayi, with a comprehensive critical contribution by the art critic and curator Kuiyi Shen, is a retrospective of his most celebrated works. The book documents Huayi's artistic evolution, surveying his career through a selection of the most representative works from every period of his life. His paintings reveal how the great tradition of Chinese art, through the talented hands of the artist and his innovative mind, is able to interact with Western contemporary trends and provide a fascinating visual insight into the universe of a man suspended between two cultures. Li Huayi, born in 1948 in Shanghai, was raised in China where he learned antique drawing and painting techniques from the age of six. He was still a teenager when he became a \"worker artist\" during the Cultural Revolution, drawing mainly propaganda posters. He later discovered the paintings of the Song Dynasty and studied their techniques. He moved to San Francisco in 1982, where he received his M.F.A. at the Academy of Art.
Book
Michael Sullivan (1916–2013)
When he first arrived in China in 1940, Chongqing was already under air assault by the Japanese and Sullivan was soon be- hind the steering wheel of an International Red Cross British Relief Unit truck, his driving skills tested by terrain that was challenging enough without bombs falling and unexploded ordnance all around. When Sullivan returned to academic studies in England in 1947, it was at first to pursue European art at the Courtauld Institute, but he soon transferred to the Uni- versity of London's School of Oriental and African Studies (SOAS) to study classical Chinese (M.A., 1950), and within another two years he had obtained his doctoral degree from Harvard-the first dissertation on Chinese painting in the English language. See Modern Chinese Art: The Khoan and Michael Sullivan Collection (Oxford: Ashmolean Museum, 2001); for the symposium that accompanied the exhibition of these works in Seattle, organized by Sullivan's pupil Josh Yiu, see Writing Modern Chinese Art: Historiographic Explorations (Seattle: Seattle Art Museum, 2009).
Journal Article
Chinese ways of seeing and open-air painting
\"How did modern Chinese painters see landscape? Did they depict nature in the same way as premodern Chinese painters? What does the artistic perception of modern Chinese painters reveal about the relationship between artists and the nation-state? Could an understanding of modern Chinese landscape painting tell us something previously unknown about art, political change, and the epistemological and sensory regime of twentieth-century China? Yi Gu tackles these questions by focusing on the rise of open-air painting in modern China. Chinese artists almost never painted outdoors until the late 1910s, when the New Culture Movement prompted them to embrace direct observation, linear perspective, and a conception of vision based on Cartesian optics. The new landscape practice brought with it unprecedented emphasis on perception and redefined artistic expertise. Central to the pursuit of open-air painting from the late 1910s right through to the early 1960s was a reinvigorated and ever-growing urgency to see suitably as a Chinese and to see the Chinese homeland correctly. Examining this long-overlooked ocular turn, Gu not only provides an innovative perspective from which to reflect on complicated interactions of the global and local in China, but also calls for rethinking the nature of visual modernity\"--Front flap of dust jacket.
Book
THE JOURNAL OF ASIAN STUDIES
The Soviet Unions demise, Chinas economic reforms, communisms discrediting, and North Koreas entry into the United Nations triggered changes in Pyongyangs diplomatic strategy much more than the food crisis and NGOs. [...]there was no connection. Whang Inkies 2003 Like a Breeze speaks to Korean artists continuing reinvention of landscape painting in response to internal and external stimuli: early Korean masterpieces, Chinese styles and themes, Western art, and contemporary international trends. 834 THE JOURNAL OF ASIAN STUDIES The succeeding chapters track the history of Korean landscape painting from the seventh through the twentieth century. By contrast, political scientists interested in South Asia, at least those of the international relations persuasion, study relations between India and the countries that border it.
Journal Article
Contemporary Chinese Painting: The Leading Masters and the Younger Generation
The author discusses recent developments in Chinese painting, focusing on the period since Liberation. He examines the types of influences Western art and the Chinese classical tradition have had on the views, styles and techniques of contemporary Chinese artists. Particular attention is paid to landscape, bird-and-flower and figure painting.
Journal Article
Embracing Wayward Nature: The Influence of Early Chinese Painting and Fractal Geometry on the Work of a Contemporary Artist
The author's approach to painting is influenced by Chinese landscape painting and its philosophical principles as well as by recent developments in science and mathematics. In examining the notion of 'pattern'--particularly its special qualities in nature--he distinguishes two broad areas of pattern: convergent (formal, predictable) and divergent (natural, unpredictable). Turning to his own work, he shows how certain images grew out of the interaction between his intuitive insights and a reasoned attempt to embrace 'wayward nature'.
Journal Article