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This hanging scroll depicts "Monkeys at Night" in the Lingnan style of painting. The artist Gao Jifu was inspired by his study of Japanese painting in his early career, particularly works that captured atmosphere and changes in light and shadow over time. In this work, tree trunks are rendered in light ink washes, with a bright moon hanging above the trees. Several monkeys can be seen climbing among the branches, capturing the moment of the monkeys' activities under the moonlight. The painting reflects the influence of Japanese painting on the development of Gao's unique Lingnan style.
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103 103 merged
This hanging scroll by Gao Jianfu from the 1930s depicts thirteen moon reflections in flowing water beneath pine branches and cones, breaking conventions of space and time. Though a preliminary work, it closely resembles Gao's mature style from his late period featuring bold ink brushwork and calligraphic influences, as seen in a piece exhibited in Berlin in 1935 that was acquired by the German government, demonstrating his international acclaim.
2 5 2,5_merged
These six landscape sketches are early works by Gao Jianfu where he meticulously copied styles of ancient painters, including landscapes, trees, rocks, and figures. He either used loose brushwork or painted in the literati style. Like manuals that compiled samples from various dynastic painters for study, Gao labeled the subjects to document different techniques. The sketches demonstrate his practice of the important painting principle of imitating past masters to learn brush techniques, as described in the Treatise The Six Theories written in the 5th century.
82 82 merged
This painting depicts a samurai warrior from Japan. Gao Jianfu painted it after studying art in Japan from 1906 to 1908, where he observed the works of masters like Takeuchi Seiho and Yokoyama Taikan. He used fine, delicate brushstrokes and graceful coloring to depict the samurai's features, clothes, and accessories in proper proportion, with an upright head and lively eyes. This early portrait work of Gao's is considered rare for its near-completed quality.
20拷貝 19拷貝 20,19_merged
This document discusses two ink paintings by Gao Jianfu from the late Qing dynasty. The first painting is a copy of a narcissus painting by Ju Chao from the Geshan school, including the original inscription. It shows Gao's early experimental style as a student copying works by his teacher Ju Lian. The second painting depicts a bird on bamboo and includes inscriptions by Gao about using light ink for the bird's wings. Both works reflect Gao's training and practice of copying styles from the Geshan school in the 1890s-1900s.
141,142 merged
This document summarizes and provides context for two Chinese artworks from the Hong Kong Museum of Art collection. The first artwork is a pencil sketch titled "Autumn Lamps" from 1941. The second larger piece is a 1939 hanging scroll titled "Moths Attracted to a Flame" which depicts moths flying towards a lamp with the Kuomintang emblem, metaphorically representing the Japanese as moths committing suicide by flying into the flame. The artwork includes a long inscription in cursive script using the form of Cantonese folk songs popularized in the late Qing dynasty.
3 merged
In July 1939, the Chinese Faculty of the University of Hong Kong held an exhibition of works by ten artists from the Spring Slumber Art Academy. In June 1939, the Chamber of Commerce of Macao also held an exhibition of works by members of the Spring Slumber Art Academy to raise funds for disaster victims. The exhibitions were reported on in local Chinese newspapers at the time.
99 99 merged
This hanging scroll landscape painting from 1906 depicts distant cloudy mountains. The artist, Gao Jianfu, borrowed techniques from ancient Chinese landscape paintings and applied them in his own style. He skillfully used light and dark ink washes to depict trees and mountains, demonstrating his mastery of modulating ink tones. The composition leaves empty space in the center to create a sense of depth. This painting was one of fourteen works donated by the artist for a 1907 charity exhibition in Yokohama to raise funds for flood victims, making it a historically significant artwork.
140,139 merged
This document summarizes an artwork titled "Footprints on Snow" from the Chinese University of Hong Kong Art Museum collection. The artwork originated from a unique sketch technique where the artist Gao Jianfu soaked duck's web in ink and pressed it onto paper to create abstract prints. In this work, he took the web prints as images and added other elements like plants to transform it into a semi-abstract landscape painting, which is a rare style. The artwork demonstrates Gao Jianfu's unusual method of using duck web prints as the basis for an ink painting.
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103 103 merged
This hanging scroll by Gao Jianfu from the 1930s depicts thirteen moon reflections in flowing water beneath pine branches and cones, breaking conventions of space and time. Though a preliminary work, it closely resembles Gao's mature style from his late period featuring bold ink brushwork and calligraphic influences, as seen in a piece exhibited in Berlin in 1935 that was acquired by the German government, demonstrating his international acclaim.
2 5 2,5_merged
These six landscape sketches are early works by Gao Jianfu where he meticulously copied styles of ancient painters, including landscapes, trees, rocks, and figures. He either used loose brushwork or painted in the literati style. Like manuals that compiled samples from various dynastic painters for study, Gao labeled the subjects to document different techniques. The sketches demonstrate his practice of the important painting principle of imitating past masters to learn brush techniques, as described in the Treatise The Six Theories written in the 5th century.
82 82 merged
This painting depicts a samurai warrior from Japan. Gao Jianfu painted it after studying art in Japan from 1906 to 1908, where he observed the works of masters like Takeuchi Seiho and Yokoyama Taikan. He used fine, delicate brushstrokes and graceful coloring to depict the samurai's features, clothes, and accessories in proper proportion, with an upright head and lively eyes. This early portrait work of Gao's is considered rare for its near-completed quality.
20拷貝 19拷貝 20,19_merged
This document discusses two ink paintings by Gao Jianfu from the late Qing dynasty. The first painting is a copy of a narcissus painting by Ju Chao from the Geshan school, including the original inscription. It shows Gao's early experimental style as a student copying works by his teacher Ju Lian. The second painting depicts a bird on bamboo and includes inscriptions by Gao about using light ink for the bird's wings. Both works reflect Gao's training and practice of copying styles from the Geshan school in the 1890s-1900s.
141,142 merged
This document summarizes and provides context for two Chinese artworks from the Hong Kong Museum of Art collection. The first artwork is a pencil sketch titled "Autumn Lamps" from 1941. The second larger piece is a 1939 hanging scroll titled "Moths Attracted to a Flame" which depicts moths flying towards a lamp with the Kuomintang emblem, metaphorically representing the Japanese as moths committing suicide by flying into the flame. The artwork includes a long inscription in cursive script using the form of Cantonese folk songs popularized in the late Qing dynasty.
3 merged
In July 1939, the Chinese Faculty of the University of Hong Kong held an exhibition of works by ten artists from the Spring Slumber Art Academy. In June 1939, the Chamber of Commerce of Macao also held an exhibition of works by members of the Spring Slumber Art Academy to raise funds for disaster victims. The exhibitions were reported on in local Chinese newspapers at the time.
99 99 merged
This hanging scroll landscape painting from 1906 depicts distant cloudy mountains. The artist, Gao Jianfu, borrowed techniques from ancient Chinese landscape paintings and applied them in his own style. He skillfully used light and dark ink washes to depict trees and mountains, demonstrating his mastery of modulating ink tones. The composition leaves empty space in the center to create a sense of depth. This painting was one of fourteen works donated by the artist for a 1907 charity exhibition in Yokohama to raise funds for flood victims, making it a historically significant artwork.
140,139 merged
This document summarizes an artwork titled "Footprints on Snow" from the Chinese University of Hong Kong Art Museum collection. The artwork originated from a unique sketch technique where the artist Gao Jianfu soaked duck's web in ink and pressed it onto paper to create abstract prints. In this work, he took the web prints as images and added other elements like plants to transform it into a semi-abstract landscape painting, which is a rare style. The artwork demonstrates Gao Jianfu's unusual method of using duck web prints as the basis for an ink painting.
143拷貝 merged
This document describes two artworks: 1) A pencil sketch titled "Crosses" depicting crosses and annotated by the artist. It is part of a private collection. 2) A hanging scroll titled "The Destruction of Civilization" painted in 1941 depicting a cross symbolizing civilization falling down amid wind and rain, representing how war destroys humanity. The scroll reflects the artist Gao Jianfu's view that art should educate the public.
88 88 merged
This hanging scroll depicts wisteria and rocks without a signature. It shows a fully composed work with careful arrangement. The wisteria is elegantly rendered with subtle colors among the rocks. The brushwork is skillful, revealing a distinctive personal style, though the artist is not named.
85 85 merged
Gao Jianfu visited temples in India and South Asia in 1930-1932, including cave temples dedicated to the Hindu god Shiva on Elephant Island in Mumbai. This charcoal drawing depicts Shiva, one of the three main gods in Hinduism, dancing with five heads and four arms. With just a few overlapping lines, Gao was able to capture Shiva's precise proportions and graceful dance movements, demonstrating his mastery of Western figure drawing techniques. The ancient murals Gao saw in South Asian caves and temples, such as of apsaras and Buddha, inspired him and expanded his artistic themes.
86 86 merged
This document summarizes an ink and color on paper painting titled "Orchid" by the artist Gao Jifu. The painting depicts an orchid through skilled calligraphic brushstrokes using mainly ink with occasional color added. Orchids symbolize purity and aloofness in literati painting. The mature brushwork style of the painting suggests it was done later in the artist's career. An inscription indicates it was a gift to his student Lai Ming.
137,138 merged
This document describes two related artworks by Gao Qifeng depicting a poet of the south. The first artwork is a draft ink drawing (Exhibit 137) showing a poet holding a book and looking upwards. The second artwork (Exhibit 138) was originated from the first drawing - it adds color, a crescent moon, falling leaves, and Gao's signature. This finished painting demonstrates Gao's rare style of figure painting using reduced brushwork, and shows how drawings can be transformed into completed artworks.
27,26,28 merged
This document contains information about three ink and color paintings on paper from the 1940s from the collection of Mr. Lai Ming and Ms. Wong Wing-yin. The paintings depict flowers, including kapok flowers, which symbolize heroic spirits. As a representative Lingnan School painter, Gao Jianfu often featured kapok flowers in his work to represent revolutionary heroes. The paintings are executed in Gao's characteristic bold brushwork style from his prime.
9,10,11
This document describes two ink and color paintings by Gao Jianfu. The first painting depicts the scenery along the Pearl River, which was a common subject in Gao's works. It shows two boats sailing home across the calm river, with distant forests and villages rendered in light ink and color washes. The second painting shows the side of Taishan Temple in Nancun village and is dated August 2, 1925. Both paintings demonstrate Gao's mastery of sketching techniques and integration of Chinese ink and Western watercolor styles.
9,11,10 merged
This document contains descriptions of two artworks by Gao Jianfu. The first artwork depicts a scene along the Pearl River showing two boats sailing home across the calm water. Gao blended Chinese and Western painting styles by using simple brushstrokes and light ink and color washes to portray a sense of tranquility. The second artwork shows the side of a Taishan Temple in Nancun village and demonstrates Gao's skill at sketching scenes from daily life in southern China.
92 92 merged
This hanging scroll depicts coconuts painted in 1943 in Macao by Ko Koon-fat. While unsigned, it shows his mature style. Using ink and color on paper in a realistic style, he captures the hard texture of coconut shells with vigorous brushwork. The tree trunk, branches and leaves are painted with strong, spontaneous brushstrokes reflecting Ko's bold and vigorous personal style in his later years.
32,33,31 merged
1) The document describes two ink and color drawings on paper by Gao Jianfu - a jackfruit from 1938 and bitter melons from the same year.
2) The jackfruit drawing shows meticulous details shaded from light to dark colors, reflecting Gao's realistic painting style. It is inscribed as his first lesson on jackfruit from 1938.
3) Both drawings were used as teaching sketches for students, and are considered rare examples of Gao's work that provide insights into his painting techniques.
Shao Presentation
Shao Mi was a Chinese painter from the Ming Dynasty who created an album in the style of Song and Yuan masters. The album contained 7 leaves or pages, with Leaf 7 depicting the "Style of Ni Tsan" who was a 14th century painter. Each leaf contained landscape paintings and calligraphy from poems, with Leaf 1, 4, 6 depicting scenes from an unknown poet and Leaf 2 depicting a poem by Li Xiaoguang titled "At Yue".
A rain 1893 artisoo -
This painting from 1893 by Paul Serusier is an oil painting reproduction on canvas called "A Rain" that depicts a landscape scene during a rainy day. The style is Cloisonnism, which is characterized by flat areas of color and bold contour lines. The original painting can be viewed online at the provided link from the artisoo website.
6 (2)
1) The document shows a photograph of Gao Jianfu and his friends and followers taken in Guangzhou.
2) It describes Gao Jianfu collecting illustrations as references for his work, including a painting of a peacock by Japanese artist Hobun Kikuchi.
3) Gao traveled to Japan from 1906 to 1908 to study painting and was influenced by Japanese styles, and the peacock painting may have been a reference for his later works depicting peacocks.
4 (2)
Gao Jianfu traveled extensively through India and South Asia from 1930-1931, sketching landscapes and customs. This included climbing in the Himalayas and sketching a sunrise lookout in Tiger Hill at 8,500 feet. He also drew a 270-foot rope bridge over a raging river in the Himalayas. In Bombay, he documented the Persian sky burial ground where bodies were left for birds until only bones remained. Gao made detailed notes in his sketchbook to serve as valuable references of his travels.
4 (1)
This document contains sketches from Gao Jianfu's travels through South Asia from 1930-1932, including:
1) A sketch of a Parsi sky burial ground in Mumbai with annotations about the burial customs and structures.
2) Sketches from the Himalayas including a sunrise lookout in Tiger Hill and a 270 foot long rope bridge over a river.
3) Background that Gao traveled extensively in places like India, Sri Lanka, Burma, Bhutan, and Nepal during this time, sketching landscapes, people, and customs.
6 (1)
This document contains photographs and drawings from the collection of Mr. Lai Ming and Ms. Wong Wing-yin. The first photo shows teacher Ju Lian and his students and friends, including Gao Jianfu, photographed in Guangzhou. The following drawings and sketches include wildlife studies from Gao Jianfu's travels in Japan, as well as sketches of chickens and other subjects, some annotated with notes on color or condition. A reproduction of a painting by Japanese artist Hobun Kikuchi of peacocks is also included, which Gao may have referenced in his own works.
4 merged
1) The document contains sketches from Gao Jianfu's travels through South Asia from 1930-1932, including landscapes and cultural sites in India, Nepal, and the Himalayas.
2) Two sketches depict a Parsi sky burial ground in Mumbai, with annotations about the burial customs and structures.
3) Gao traveled extensively during this period, meeting Tagore in Darjeeling and holding exhibitions in Sri Lanka and Mumbai to share his sketches and observations from the region.
6
The document describes a photograph of Gao Jianfu and his friends and followers taken in Guangzhou. It then discusses two of Gao's artworks - a painting of a peacock by a Japanese artist that inspired Gao, and a sketch of a peacock's tail that Gao did after studying painting in Japan from 1906 to 1908 and being influenced by Japanese styles. The document provides details on Gao's travels and studies in Japan, and notes that the sketch is part of a series and demonstrates Gao's close study of animals. It comments that peacocks became a popular theme for painters of the Lingnan School like Gao's student Yang Shanshen.
1 (1) merged
This document discusses several works related to the Chinese artist Gao Jianfu including:
1) A collection of his poems and records of his tours compiled by his students
2) A brochure from an exhibition of his works in Macao with price listings
3) A collection of his poems titled "A Collection of Poems of Frog's Sound"
2 merged
Gao Jianfu's sketch of a chicken was broken and torn but was carefully collected and conserved by Liming Laoshi and his wife Huang Yingxian over many years to preserve it for exhibition. In 1912, Gao Jianfu established the 'Aesthetics Press' with his brothers where they published The True Record: Illustrated Magazine, which featured a cooperative painting of an owl by Gao Jianfu and his brother Gao Jianseng. Gao Jianfu often casually sketched objects he saw, such as the sketch of ants on a torn piece of paper.
4 merged
1) The document contains sketches from Gao Jianfu's travels through South Asia from 1930-1932, including landscapes, structures, and customs he observed.
2) One sketch depicts a Parsi sky burial ground in Mumbai, where corpses are left for birds to consume, leaving only bones.
3) Gao took detailed notes of what he sketched to serve as valuable references for his work.
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143拷貝 merged
This document describes two artworks: 1) A pencil sketch titled "Crosses" depicting crosses and annotated by the artist. It is part of a private collection. 2) A hanging scroll titled "The Destruction of Civilization" painted in 1941 depicting a cross symbolizing civilization falling down amid wind and rain, representing how war destroys humanity. The scroll reflects the artist Gao Jianfu's view that art should educate the public.
88 88 merged
This hanging scroll depicts wisteria and rocks without a signature. It shows a fully composed work with careful arrangement. The wisteria is elegantly rendered with subtle colors among the rocks. The brushwork is skillful, revealing a distinctive personal style, though the artist is not named.
85 85 merged
Gao Jianfu visited temples in India and South Asia in 1930-1932, including cave temples dedicated to the Hindu god Shiva on Elephant Island in Mumbai. This charcoal drawing depicts Shiva, one of the three main gods in Hinduism, dancing with five heads and four arms. With just a few overlapping lines, Gao was able to capture Shiva's precise proportions and graceful dance movements, demonstrating his mastery of Western figure drawing techniques. The ancient murals Gao saw in South Asian caves and temples, such as of apsaras and Buddha, inspired him and expanded his artistic themes.
86 86 merged
This document summarizes an ink and color on paper painting titled "Orchid" by the artist Gao Jifu. The painting depicts an orchid through skilled calligraphic brushstrokes using mainly ink with occasional color added. Orchids symbolize purity and aloofness in literati painting. The mature brushwork style of the painting suggests it was done later in the artist's career. An inscription indicates it was a gift to his student Lai Ming.
137,138 merged
This document describes two related artworks by Gao Qifeng depicting a poet of the south. The first artwork is a draft ink drawing (Exhibit 137) showing a poet holding a book and looking upwards. The second artwork (Exhibit 138) was originated from the first drawing - it adds color, a crescent moon, falling leaves, and Gao's signature. This finished painting demonstrates Gao's rare style of figure painting using reduced brushwork, and shows how drawings can be transformed into completed artworks.
27,26,28 merged
This document contains information about three ink and color paintings on paper from the 1940s from the collection of Mr. Lai Ming and Ms. Wong Wing-yin. The paintings depict flowers, including kapok flowers, which symbolize heroic spirits. As a representative Lingnan School painter, Gao Jianfu often featured kapok flowers in his work to represent revolutionary heroes. The paintings are executed in Gao's characteristic bold brushwork style from his prime.
9,10,11
This document describes two ink and color paintings by Gao Jianfu. The first painting depicts the scenery along the Pearl River, which was a common subject in Gao's works. It shows two boats sailing home across the calm river, with distant forests and villages rendered in light ink and color washes. The second painting shows the side of Taishan Temple in Nancun village and is dated August 2, 1925. Both paintings demonstrate Gao's mastery of sketching techniques and integration of Chinese ink and Western watercolor styles.
9,11,10 merged
This document contains descriptions of two artworks by Gao Jianfu. The first artwork depicts a scene along the Pearl River showing two boats sailing home across the calm water. Gao blended Chinese and Western painting styles by using simple brushstrokes and light ink and color washes to portray a sense of tranquility. The second artwork shows the side of a Taishan Temple in Nancun village and demonstrates Gao's skill at sketching scenes from daily life in southern China.
92 92 merged
This hanging scroll depicts coconuts painted in 1943 in Macao by Ko Koon-fat. While unsigned, it shows his mature style. Using ink and color on paper in a realistic style, he captures the hard texture of coconut shells with vigorous brushwork. The tree trunk, branches and leaves are painted with strong, spontaneous brushstrokes reflecting Ko's bold and vigorous personal style in his later years.
32,33,31 merged
1) The document describes two ink and color drawings on paper by Gao Jianfu - a jackfruit from 1938 and bitter melons from the same year.
2) The jackfruit drawing shows meticulous details shaded from light to dark colors, reflecting Gao's realistic painting style. It is inscribed as his first lesson on jackfruit from 1938.
3) Both drawings were used as teaching sketches for students, and are considered rare examples of Gao's work that provide insights into his painting techniques.
Shao Presentation
Shao Mi was a Chinese painter from the Ming Dynasty who created an album in the style of Song and Yuan masters. The album contained 7 leaves or pages, with Leaf 7 depicting the "Style of Ni Tsan" who was a 14th century painter. Each leaf contained landscape paintings and calligraphy from poems, with Leaf 1, 4, 6 depicting scenes from an unknown poet and Leaf 2 depicting a poem by Li Xiaoguang titled "At Yue".
A rain 1893 artisoo -
This painting from 1893 by Paul Serusier is an oil painting reproduction on canvas called "A Rain" that depicts a landscape scene during a rainy day. The style is Cloisonnism, which is characterized by flat areas of color and bold contour lines. The original painting can be viewed online at the provided link from the artisoo website.
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6 (2)
1) The document shows a photograph of Gao Jianfu and his friends and followers taken in Guangzhou.
2) It describes Gao Jianfu collecting illustrations as references for his work, including a painting of a peacock by Japanese artist Hobun Kikuchi.
3) Gao traveled to Japan from 1906 to 1908 to study painting and was influenced by Japanese styles, and the peacock painting may have been a reference for his later works depicting peacocks.
4 (2)
Gao Jianfu traveled extensively through India and South Asia from 1930-1931, sketching landscapes and customs. This included climbing in the Himalayas and sketching a sunrise lookout in Tiger Hill at 8,500 feet. He also drew a 270-foot rope bridge over a raging river in the Himalayas. In Bombay, he documented the Persian sky burial ground where bodies were left for birds until only bones remained. Gao made detailed notes in his sketchbook to serve as valuable references of his travels.
4 (1)
This document contains sketches from Gao Jianfu's travels through South Asia from 1930-1932, including:
1) A sketch of a Parsi sky burial ground in Mumbai with annotations about the burial customs and structures.
2) Sketches from the Himalayas including a sunrise lookout in Tiger Hill and a 270 foot long rope bridge over a river.
3) Background that Gao traveled extensively in places like India, Sri Lanka, Burma, Bhutan, and Nepal during this time, sketching landscapes, people, and customs.
6 (1)
This document contains photographs and drawings from the collection of Mr. Lai Ming and Ms. Wong Wing-yin. The first photo shows teacher Ju Lian and his students and friends, including Gao Jianfu, photographed in Guangzhou. The following drawings and sketches include wildlife studies from Gao Jianfu's travels in Japan, as well as sketches of chickens and other subjects, some annotated with notes on color or condition. A reproduction of a painting by Japanese artist Hobun Kikuchi of peacocks is also included, which Gao may have referenced in his own works.
4 merged
1) The document contains sketches from Gao Jianfu's travels through South Asia from 1930-1932, including landscapes and cultural sites in India, Nepal, and the Himalayas.
2) Two sketches depict a Parsi sky burial ground in Mumbai, with annotations about the burial customs and structures.
3) Gao traveled extensively during this period, meeting Tagore in Darjeeling and holding exhibitions in Sri Lanka and Mumbai to share his sketches and observations from the region.
6
The document describes a photograph of Gao Jianfu and his friends and followers taken in Guangzhou. It then discusses two of Gao's artworks - a painting of a peacock by a Japanese artist that inspired Gao, and a sketch of a peacock's tail that Gao did after studying painting in Japan from 1906 to 1908 and being influenced by Japanese styles. The document provides details on Gao's travels and studies in Japan, and notes that the sketch is part of a series and demonstrates Gao's close study of animals. It comments that peacocks became a popular theme for painters of the Lingnan School like Gao's student Yang Shanshen.
1 (1) merged
This document discusses several works related to the Chinese artist Gao Jianfu including:
1) A collection of his poems and records of his tours compiled by his students
2) A brochure from an exhibition of his works in Macao with price listings
3) A collection of his poems titled "A Collection of Poems of Frog's Sound"
2 merged
Gao Jianfu's sketch of a chicken was broken and torn but was carefully collected and conserved by Liming Laoshi and his wife Huang Yingxian over many years to preserve it for exhibition. In 1912, Gao Jianfu established the 'Aesthetics Press' with his brothers where they published The True Record: Illustrated Magazine, which featured a cooperative painting of an owl by Gao Jianfu and his brother Gao Jianseng. Gao Jianfu often casually sketched objects he saw, such as the sketch of ants on a torn piece of paper.
4 merged
1) The document contains sketches from Gao Jianfu's travels through South Asia from 1930-1932, including landscapes, structures, and customs he observed.
2) One sketch depicts a Parsi sky burial ground in Mumbai, where corpses are left for birds to consume, leaving only bones.
3) Gao took detailed notes of what he sketched to serve as valuable references for his work.
5 merged
Gao Jianfu often brought sketchbooks on his travels to depict scenes and objects he saw for future reference in his painting. In late 1930, he traveled to India to attend an education conference in January 1931. This document contains press reports from India in 1931 describing Gao Jianfu's travel to India and South Asia where he purchased sketchbooks. The sketchbooks contained drawings and annotations of landscapes and wildlife.
1 merged
1) The document shows a photograph of Gao Jianfu and his friends and followers taken in Guangzhou.
2) It describes Gao Jianfu collecting illustrations as references for his work, including a painting of a peacock by Japanese artist Hobun Kikuchi.
3) Gao traveled to Japan from 1906 to 1908 to study painting and was influenced by Japanese styles, and the peacock painting may have been a reference for his later works depicting peacocks.
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6快递给客户（国内顺丰国外DHLUPS等快读邮寄）。望着父亲山娃反问道父亲听了并不回答只是吃吃地笑山娃很精神越逛越起劲父亲却越逛越疲倦望着父亲呵欠连天的样子山娃也说困了累了回家吧小屋闷罐一般头顶上的三叶扇彻夜呜呜作响搅得满屋热气腾腾也搅得山娃心烦意乱父亲一上床就呼呼大睡山娃却辗转反侧睡不着山娃一次又一次摸索着爬起来一遍又一遍地用暖乎乎的冷水擦身往水泥地板上一勺一勺的洒水也不知过了多久山娃竟迷迷糊糊地睡着了迷迷糊糊地又闻到了闹钟刺耳的铃声和哐咣的关和
Fed by curiosity and beauty - Remembering Myrsine Zorba
Speech at the conference in the memory of Myrsine Zorba.
一比一原版美国亚利桑那大学毕业证（ua毕业证书）如何办理
一模一样【微信：A575476】【美国亚利桑那大学毕业证（ua毕业证书）成绩单Offer】【微信：A575476】（留信学历认证永久存档查询）采用学校原版纸张、特殊工艺完全按照原版一比一制作（包括：隐形水印，阴影底纹，钢印LOGO烫金烫银，LOGO烫金烫银复合重叠，文字图案浮雕，激光镭射，紫外荧光，温感，复印防伪）行业标杆！精益求精，诚心合作，真诚制作！多年品质 ,按需精细制作，24小时接单,全套进口原装设备，十五年致力于帮助留学生解决难题，业务范围有加拿大、英国、澳洲、韩国、美国、新加坡，新西兰等学历材料，包您满意。
【业务选择办理准则】
一、工作未确定，回国需先给父母、亲戚朋友看下文凭的情况，办理一份就读学校的毕业证【微信：A575476】文凭即可
二、回国进私企、外企、自己做生意的情况，这些单位是不查询毕业证真伪的，而且国内没有渠道去查询国外文凭的真假，也不需要提供真实教育部认证。鉴于此，办理一份毕业证【微信：A575476】即可
三、进国企，银行，事业单位，考公务员等等，这些单位是必需要提供真实教育部认证的，办理教育部认证所需资料众多且烦琐，所有材料您都必须提供原件，我们凭借丰富的经验，快捷的绿色通道帮您快速整合材料，让您少走弯路。
留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
→ 【关于价格问题（保证一手价格）
我们所定的价格是非常合理的，而且我们现在做得单子大多数都是代理和回头客户介绍的所以一般现在有新的单子 我给客户的都是第一手的代理价格，因为我想坦诚对待大家 不想跟大家在价格方面浪费时间
对于老客户或者被老客户介绍过来的朋友，我们都会适当给一些优惠。
选择实体注册公司办理，更放心，更安全！我们的承诺：可来公司面谈，可签订合同，会陪同客户一起到教育部认证窗口递交认证材料，客户在教育部官方认证查询网站查询到认证通过结果后付款，不成功不收费！
一比一原版(UniSA毕业证)南澳大学毕业证成绩单如何办理
UniSA毕业证【微信95270640】（南澳大学毕业证高仿学位证书((+《Q微信95270640》))）购买UniSA毕业证修改UniSA成绩单购买南澳大学毕业证办UniSA文凭办高仿毕业证南澳大学毕业证购买修改成绩单挂科退学如何进行学历认证留学退学办毕业证书/ 出国留学无法毕业买毕业证留学被劝退买毕业证（非正常毕业教育部认证咨询） University of South Australia
办国外南澳大学南澳大学毕业证假文凭教育部学历学位认证留信认证大使馆认证留学回国人员证明修改成绩单信封申请学校offer录取通知书在读证明offer letter。
快速办理高仿国外毕业证成绩单：
1南澳大学毕业证+成绩单+留学回国人员证明+教育部学历认证（全套留学回国必备证明材料给父母及亲朋好友一份完美交代）;
2雅思成绩单托福成绩单OFFER在读证明等留学相关材料（申请学校转学甚至是申请工签都可以用到）。
3.毕业证 #成绩单等全套材料从防伪到印刷从水印到钢印烫金高精仿度跟学校原版100%相同。
专业服务请勿犹豫联系我！联系人微信号：95270640诚招代理：本公司诚聘当地代理人员如果你有业余时间有兴趣就请联系我们。
国外南澳大学南澳大学毕业证假文凭办理过程：
1客户提供办理信息：姓名生日专业学位毕业时间等（如信息不确定可以咨询顾问：我们有专业老师帮你查询）；
2开始安排制作毕业证成绩单电子图；
3毕业证成绩单电子版做好以后发送给您确认；
4毕业证成绩单电子版您确认信息无误之后安排制作成品；
5成品做好拍照或者视频给您确认；
6快递给客户（国内顺丰国外DHLUPS等快读邮寄）。让我们的父母幸福快乐地度过一生挽着清风芒耀似金的骄阳如将之绽放的花蕾一般静静的从远方的山峦间缓缓升起这一片寂静的城市默默的等待着它的第一缕光芒将之唤醒那飘散在它前方的几层薄云像是新娘的婚纱一般为它的光芒添上了几分淡淡的浮晕在悄无声息间这熙和的阳光默默的照射在大地上像是母亲的手轻轻抚摸熟睡中的孩子般柔情似水五月的盛夏从这一缕柔情中揭开了第一抹的清香清晨本是繁华喧闹的街道此时只有稀薄的人群围着冒着层聋
Dino Ranch Storyboard / Kids TV Advertising
Storyboard produced for the TV commercial of a toy from the children's show “Dino Ranch”
哪里购买美国乔治城大学毕业证硕士学位证书原版一模一样
原版一模一样【微信：741003700 】【美国乔治城大学毕业证硕士学位证书】【微信：741003700 】学位证，留信认证（真实可查，永久存档）offer、雅思、外壳等材料/诚信可靠,可直接看成品样本，帮您解决无法毕业带来的各种难题！外壳，原版制作，诚信可靠，可直接看成品样本。行业标杆！精益求精，诚心合作，真诚制作！多年品质 ,按需精细制作，24小时接单,全套进口原装设备。十五年致力于帮助留学生解决难题，包您满意。
本公司拥有海外各大学样板无数，能完美还原海外各大学 Bachelor Diploma degree, Master Degree Diploma
1:1完美还原海外各大学毕业材料上的工艺：水印，阴影底纹，钢印LOGO烫金烫银，LOGO烫金烫银复合重叠。文字图案浮雕、激光镭射、紫外荧光、温感、复印防伪等防伪工艺。材料咨询办理、认证咨询办理请加学历顾问Q/微741003700
留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
All the images mentioned in 'See What You're Missing'
We've gathered together all of the images mentioned in Will Gompertz's 'See What You're Missing'
Recently uploaded (20)
Fashionista Chic Couture Mazes and Coloring AdventureA
Fashionista Chic Couture Mazes and Coloring AdventureA
In Focus_ The Evolution of Boudoir Photography in NYC.pdf
In Focus_ The Evolution of Boudoir Photography in NYC.pdf
My storyboard for a sword fight scene with lightsabers
My storyboard for a sword fight scene with lightsabers
Fed by curiosity and beauty - Remembering Myrsine Zorba
Fed by curiosity and beauty - Remembering Myrsine Zorba
All the images mentioned in 'See What You're Missing'
All the images mentioned in 'See What You're Missing'
102 102 merged
- 2. 102 深山聞夜猿 Gibbons at Night 無年款Undated 水墨設色紙本立軸 Hanging scroll, ink and colour on paper 高：159 厘米闊：69 厘米 H： 159 cm W：69 cm 鈐印： 「黎」（朱文圓印） 「黎明」（白文方印） 「閻振堂印」（白文方印） 「上善若水」（朱文長方印） With collector’s two seals With Yan Zhentang’s (Chairman of the Chinese Collectors Association) two seals on inscription sheet 黎明．黃詠賢伉儷藏品 Collection of Mr Lai Ming and Ms Wong Wing-yin 高劍父早年東渡日本研習畫藝，得觀竹內栖鳳（1864-1942）、橫山大觀 （1868-1958）、菱田春草（1874-1911）等名家作品，深得啟發。東洋畫中 注重經營氣氛和時空光影變化的畫對他和其他嶺南畫家如其弟高奇峰、陳 樹人等影響尤深。此幀「深山聞夜猿」幾乎全以淡墨渲染樹幹，遠方明月 懸空，數隻猿猴攀爬枝椏之間，捕捉夜月猿啼的剎那時空氛圍，反映了日 本畫對他的啟迪而形成嶺南派的獨特風格。 In his early days, Gao travelled to Japan to study art and was inspired by the works of Takeuchi Seiho (1864-1942), Yokoyama Taikan (1868-1958) and Hishida Shunso (1874-1911). He and his brother Gao Qifeng, friend Chen Shuren and other painters of the Lingnan School were strongly influenced by Japanese painting that capture atmospheric ambience, a sense of momentum and timely transformation of light and shade. This work “Monkeys at Night” is characterized by tree trunks painted in light ink washes, a bright moon hanging in the sky and several monkeys climbing among the branches. The artist vividly captures the momentum of monkeys’ activities under the moonlight, reflecting the influence of Japanese painting on the artist.