It is quite a coincidence that my first memory of plum blossoms originates in that place. I became fascinated with his affection for this tree. Lee respected plum trees so much he addressed them like people. Here is a poem by Lee that I have translated. How can elder brother plum not be one of them? I will join together with you now, enduring wind and frost.
The Birth of Artistic Conception in China: Art in Translation: Vol 9, No 3
I will accompany you filled with bitter integrity and pure fragrance, My heart is filled with the fragrance of my noble friends. Their fame springs from the fact that they symbolize a determination to survive under harsh conditions. The famous Qing dynasty painter Bada Shanren was a descendent of the imperial line of the Ming dynasty. His Falling Flower painting is well known for using the fallen plum flower as a way of expressing his mourning for the defeat of his country.
There are many ideas that inform this work. Another message is only comprehensible if one knows the historical background. His whole way of life and what he treasured were endangered.
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This was another hidden message behind the sadness of Falling Flower. What I like most about this work is that, while retaining traditional materials and traditional brush strokes, Bada Shanren treated the subject matter in a new way. The flower is floating by itself in the breeze and is no longer attached to a stem as it was typically depicted.
Yet one is still able to sense his love for nature. One day I must be able to improvise freely on the keyboard of colors: the row of watercolors in my paint box. The main difference is that I use the strokes of my brush to dance and make music. As a contemporary artist specializing in East Asian water-ink painting, I have one foot in the past and one in the present.
In other words, I would like to draw inspiration from my roots yet not be limited by them. In some ways the New York School of Abstract Expressionism led me to realize that I share a common approach with these artists. Actually, I share more similarities than differences.
I was especially intrigued to discover that some of the Abstract Expressionists were perhaps influenced by East Asian calligraphy. This is an ironic situation for many who are familiar with traditional Asian art and recognize various formal and technical properties of traditional Eastern art that appear to be predecessors, or at least parallels, to visual elements of modern painterly modes of art.
I find the above description an astute statement about East Asian water-ink painting in the context of Abstract Expressionism. This influence has been mutual, especially for someone like me who is familiar with the East Asian water-ink tradition. There is no concrete evidence that Pollock was directly influenced by East Asian art; however, in the following paragraphs I argue that there is definitely a resonance between these two, though we cannot be sure if it is coincidental or the result of an actual exchange of information.
He approaches painting in the same way as drawing. Another similarity between Pollock and water-ink masters is the delicate balance between spontaneity and intention that gives birth to their work. I try to let it come through. Nonetheless, both in the case of East Asia and Pollock, this is not an unconditional spontaneity.
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When East Asian artists first put brush to paper, especially in the expressive manner of the Southern school, they know essentially what they intend to do. In other words, they have a mental picture of the landscape that they want to depict, but in the process of creation they let the brush take the lead. Pollock expressed a philosophy very similar to that of a water-ink artist when he talked about the importance of controlling the flow of paint as it passes from brush to canvas. It is well known that East Asian calligraphers and brush painters spend a great deal of time learning how to control of the brush.
Author E. Landau describes this as follows:. Otherwise there is pure harmony, an easy give and take, and the paintings come out well. Once the artist is painting he is no longer concerned with overcoming technical problems. The outcome depends on how good the quality of the actual performance is.
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Each work is the result of a unique performance, and so no work can be the same. That is why I believe preparation is so important. I do not focus on the result but the whole experience as active, and eventful in itself. I feel we are speaking the same language when I read the following conversation. Pollock, the classical artists had a world to express and they did so by representing the objects in that world. JP: The modern artist is living in a mechanical age and we have a mechanical means of representing objects in nature such as the camera and photograph. The modern artist, it seems to me, is working and expressing an inner world—in other words—expressing the energy, the motion, and other inner forces Pollock described himself as being a part of nature rather than being an observer of it.
This relationship with nature is achieved in a number of ways, including artistic expression. Both Pollock and the water-ink masters regarded themselves as part of nature rather than simply as an observer or painter of nature. However, I should emphasize that significant differences exist between Pollock and his East Asian counterparts.
Teaching high school students to write essays. Free chinese art essays and papersThe poet as scholar: essays and translations in honor of jonathan chaves chinese art history beyond the modernist-postmodernist dialogue: tung. Three perfections: poetry, calligraphy and painting in chinese art, ngvHistory of chinese art - new world encyclopediaThe translation of art: essays on chinese painting and poetry in searchworks catalogArts of china - wikipediaChen shizeng: painting, china online museum - chinese art galleries This essay examines the relationship between clearly visible and in a third revised edition in the publication of the chinese translation of nozakis explication.
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