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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.
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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.
102 102 merged
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.
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.
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.
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.
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.
122拷貝 merged
This document summarizes and compares three artworks by Gao Jianfu depicting butterflies flying over a river. Exhibit 122 combines the subjects of Exhibits 120 and 121 into one completed work, showing several butterflies flying above the water with rocks in the distance. It brings together sketches from Exhibits 120 and 121 and adds ink wash and color to transform them into a finished painting with a tranquil and leisurely mood. The document examines Gao Jianfu's process of developing from sketches to mature artworks.
56,55,58 merged
This document describes three artworks from the collection of Mr. Lai Ming and Ms. Wong Wing-yin. The first two are sketches of cats and dogs drawn from life in Japan. The third is an ink and color on paper work by Gao Jianfu titled "Elephant", copied from an ancient mural found in a cave in India depicting an elephant bathing. It summarizes that from 1930-1932, Gao Jianfu traveled extensively in South Asia, producing many sketches and absorbing the local scenes, architecture, murals and culture.
Recommended
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.
102 102 merged
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.
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.
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.
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.
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.
122拷貝 merged
This document summarizes and compares three artworks by Gao Jianfu depicting butterflies flying over a river. Exhibit 122 combines the subjects of Exhibits 120 and 121 into one completed work, showing several butterflies flying above the water with rocks in the distance. It brings together sketches from Exhibits 120 and 121 and adds ink wash and color to transform them into a finished painting with a tranquil and leisurely mood. The document examines Gao Jianfu's process of developing from sketches to mature artworks.
56,55,58 merged
This document describes three artworks from the collection of Mr. Lai Ming and Ms. Wong Wing-yin. The first two are sketches of cats and dogs drawn from life in Japan. The third is an ink and color on paper work by Gao Jianfu titled "Elephant", copied from an ancient mural found in a cave in India depicting an elephant bathing. It summarizes that from 1930-1932, Gao Jianfu traveled extensively in South Asia, producing many sketches and absorbing the local scenes, architecture, murals and culture.
94 94 merged
This piece depicts flying fish leaping across waves painted with ink and color tones. It is very similar to an earlier sketch of flying fish shown with plain lines. Both works were inspired by the artist's experience traveling to India by boat in the 1930s, where he observed flying fish jumping from the water and occasionally landing on the boat's deck to be cooked and eaten. This more finished piece develops the sketch's composition into a mature painting, showing the close relationship between an artist's sketches and completed works.
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.
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.
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.
119,118 merged
This document summarizes two artworks from Gao Jianfu's instructional painting series on pine trees. Exhibit 119 depicts pine cones, while Exhibit 118 depicts pine seedlings. Both were part of a series of over 20 paintings Gao created while teaching at Nanjing Central University. Exhibit 118 was the original work from the lesson, while Exhibit 119 was a redrawing made later at the request of a collector. The natural depiction of pine branches and cones in subtle ink and color demonstrates Gao's spontaneous style. Comparing the two works provides insight into Gao's teaching methods and early artistic practice of copying original works.
23,24,22 merged
This document discusses two sketches by Gao Jianfu. The first sketch includes images from paintings by Mei Qing and Ming dynasty painters that Gao copied to study different artists' techniques. The second sketch contains detailed notes in small characters describing the colors used for insects, flowers, and leaves as a reference for Gao's own practice. Making notes was a common method that Chinese painters like Ren Bonian and Deng Fen also used to record techniques while studying art.
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Opened in 1968, the Tokyo National Museum includes an excellent and eclectic collection of non-Japanese Eastern art, in particular Chinese and Korean arts that ranges from textiles to sculpture and ceramics. Because of the vast scope of its exhibits, this slideshow is concentrated only on the development of art in Japan, with emphasis on the development of Japanese paintings. From the pre-historic artefacts, it is evident how little we known about the ancient cultures that existed in Japan before history. It fires our imagination as what kind of cultures that these people left behind. “Between the fourth century and the ninth century, Japan's many kingdoms and tribes gradually came to be unified under a centralized government, nominally controlled by the Emperor.” Wikipedia. This slideshow is a sketch of the major developments in paintings from its beginning in the 11C to early 20C.
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 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.
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.
Japan
Haiku is a 3-line form of Japanese poetry with a 5-7-5 syllable structure that aims to capture a moment in time. Kabuki is a theatrical form originating in the 1600s known for its dramatic flair, elaborate costumes, singing, and dancing. Woodblock printing reached popularity in the Edo period, involving carving designs into wood and pressing them onto canvas to create prints, and influenced both modern lithography and anime art styles.
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This presentation explores the complexities found within Kazuo Ishiguro's renowned novel, "An Artist of the Floating World." We'll navigate the post-World War II setting of Japan, delving into the various themes, characters, and cultural elements intricately interwoven throughout the story. Throughout the slides, we'll offer a thorough summary of the plot, introducing you to the main character, Masuji Ono, and guiding you through his journey of introspection. Additionally, we'll analyze the importance of art within Japanese society, highlighting its dual role as both a reflection of individual identity and a means of societal critique.
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This document provides examples of portraits created in different regions, including Japan, China, and Sub-Saharan Africa. In Japan, portraits from the Ukiyo-e genre were created between the 17th and 20th centuries, with early works focusing more on beauty and later works reflecting changes over time. In China, portraits were created of historical figures like Qin Shi Huang, the first emperor, and Genghis Khan. Sub-Saharan African portraits included a bronze head from Yoruba emphasizing abstraction over realism, masks from Gabon and the Punu peoples portraying feminine beauty and ritual magic, and similarities to styles seen in other regions.
Where
This document provides examples of portraits created in different regions, including Japan, China, and Sub-Saharan Africa. In Japan, portraits from the Ukiyo-e genre were created between the 17th and 20th centuries, with early works focusing more on beauty and later works reflecting changes over time. In China, portraits were created of historical figures like Qin Shi Huang, the first emperor, and Genghis Khan. Sub-Saharan African portraits included a bronze head from Yoruba emphasizing abstraction over realism, masks from Gabon and the Punu peoples portraying feminine beauty and ritual magic, and similarities to styles from other regions.
An Artist of The Floating Worlds.pptx
Masuji Ono is a retired Japanese artist who is reflecting on his past. He recalls his early career working under the artist Moriyama and his rise creating politically-charged art that celebrated imperial Japan. During World War II, Ono worked for the government producing propaganda. In the present, Ono's daughter Noriko is to be arranged in marriage, prompting Ono to visit old acquaintances to support the union. Through these visits, Ono continues grappling with his wartime actions and betrayal of former friends, as well as the rejection of his art in postwar Japan.
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Masuji Ono is a retired Japanese artist who is reflecting on his past career and involvement with the government during World War II. The novel follows Ono as he visits old acquaintances and colleagues in order to help arrange a marriage for his daughter, Noriko. Flashbacks reveal that Ono pursued art against his father's wishes and studied under different mentors before producing propaganda during the war, which he now regrets. The story examines Ono working through guilt over his past actions and changing relationships with his family and peers in postwar Japan.
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The document discusses the woodcut art of Miyagawa Shuntei, a late 19th century Tokyo artist. It notes that while Meiji era (1868-1912) woodcuts were once rejected as garish, they introduced vibrant Western styles that blended with Japanese traditions. Miyagawa Shuntei produced his finest work in 1897, including portraits of beautiful women. He is regarded as a precursor to famous early 20th century Shin Hanga artists known for their woodcuts.
107 The Twentieth Century Literature From- World War 2 to the End of the Cent...
This document provides a summary of the novel "An Artist of the Floating World" by Kazuo Ishiguro. It explores artistic dimensions through the story of a Japanese artist named Masuji Ono. The summary discusses key concepts from the novel like Ukiyo-e art, the use of art for business and national purposes, and how Ono's understanding of art's role in society changes over time. The document concludes that the novel examines how art reflects both individual and cultural complexities through Ono's journey.
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94 94 merged
This piece depicts flying fish leaping across waves painted with ink and color tones. It is very similar to an earlier sketch of flying fish shown with plain lines. Both works were inspired by the artist's experience traveling to India by boat in the 1930s, where he observed flying fish jumping from the water and occasionally landing on the boat's deck to be cooked and eaten. This more finished piece develops the sketch's composition into a mature painting, showing the close relationship between an artist's sketches and completed works.
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.
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.
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.
119,118 merged
This document summarizes two artworks from Gao Jianfu's instructional painting series on pine trees. Exhibit 119 depicts pine cones, while Exhibit 118 depicts pine seedlings. Both were part of a series of over 20 paintings Gao created while teaching at Nanjing Central University. Exhibit 118 was the original work from the lesson, while Exhibit 119 was a redrawing made later at the request of a collector. The natural depiction of pine branches and cones in subtle ink and color demonstrates Gao's spontaneous style. Comparing the two works provides insight into Gao's teaching methods and early artistic practice of copying original works.
23,24,22 merged
This document discusses two sketches by Gao Jianfu. The first sketch includes images from paintings by Mei Qing and Ming dynasty painters that Gao copied to study different artists' techniques. The second sketch contains detailed notes in small characters describing the colors used for insects, flowers, and leaves as a reference for Gao's own practice. Making notes was a common method that Chinese painters like Ren Bonian and Deng Fen also used to record techniques while studying art.
Movie Cats By Susan Herbert
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Thomas gainsborough
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Tokyo National Gallery - A Brief History of Japanese Art
Opened in 1968, the Tokyo National Museum includes an excellent and eclectic collection of non-Japanese Eastern art, in particular Chinese and Korean arts that ranges from textiles to sculpture and ceramics. Because of the vast scope of its exhibits, this slideshow is concentrated only on the development of art in Japan, with emphasis on the development of Japanese paintings. From the pre-historic artefacts, it is evident how little we known about the ancient cultures that existed in Japan before history. It fires our imagination as what kind of cultures that these people left behind. “Between the fourth century and the ninth century, Japan's many kingdoms and tribes gradually came to be unified under a centralized government, nominally controlled by the Emperor.” Wikipedia. This slideshow is a sketch of the major developments in paintings from its beginning in the 11C to early 20C.
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 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.
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.
Japan
Haiku is a 3-line form of Japanese poetry with a 5-7-5 syllable structure that aims to capture a moment in time. Kabuki is a theatrical form originating in the 1600s known for its dramatic flair, elaborate costumes, singing, and dancing. Woodblock printing reached popularity in the Edo period, involving carving designs into wood and pressing them onto canvas to create prints, and influenced both modern lithography and anime art styles.
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This presentation explores the complexities found within Kazuo Ishiguro's renowned novel, "An Artist of the Floating World." We'll navigate the post-World War II setting of Japan, delving into the various themes, characters, and cultural elements intricately interwoven throughout the story. Throughout the slides, we'll offer a thorough summary of the plot, introducing you to the main character, Masuji Ono, and guiding you through his journey of introspection. Additionally, we'll analyze the importance of art within Japanese society, highlighting its dual role as both a reflection of individual identity and a means of societal critique.
Where
This document provides examples of portraits created in different regions, including Japan, China, and Sub-Saharan Africa. In Japan, portraits from the Ukiyo-e genre were created between the 17th and 20th centuries, with early works focusing more on beauty and later works reflecting changes over time. In China, portraits were created of historical figures like Qin Shi Huang, the first emperor, and Genghis Khan. Sub-Saharan African portraits included a bronze head from Yoruba emphasizing abstraction over realism, masks from Gabon and the Punu peoples portraying feminine beauty and ritual magic, and similarities to styles seen in other regions.
Where
This document provides examples of portraits created in different regions, including Japan, China, and Sub-Saharan Africa. In Japan, portraits from the Ukiyo-e genre were created between the 17th and 20th centuries, with early works focusing more on beauty and later works reflecting changes over time. In China, portraits were created of historical figures like Qin Shi Huang, the first emperor, and Genghis Khan. Sub-Saharan African portraits included a bronze head from Yoruba emphasizing abstraction over realism, masks from Gabon and the Punu peoples portraying feminine beauty and ritual magic, and similarities to styles from other regions.
An Artist of The Floating Worlds.pptx
Masuji Ono is a retired Japanese artist who is reflecting on his past. He recalls his early career working under the artist Moriyama and his rise creating politically-charged art that celebrated imperial Japan. During World War II, Ono worked for the government producing propaganda. In the present, Ono's daughter Noriko is to be arranged in marriage, prompting Ono to visit old acquaintances to support the union. Through these visits, Ono continues grappling with his wartime actions and betrayal of former friends, as well as the rejection of his art in postwar Japan.
Introductory Group Presentation on- An Artist of The Floating World.pptx
Masuji Ono is a retired Japanese artist who is reflecting on his past career and involvement with the government during World War II. The novel follows Ono as he visits old acquaintances and colleagues in order to help arrange a marriage for his daughter, Noriko. Flashbacks reveal that Ono pursued art against his father's wishes and studied under different mentors before producing propaganda during the war, which he now regrets. The story examines Ono working through guilt over his past actions and changing relationships with his family and peers in postwar Japan.
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Gonzales, Jeisse
Mantan, Mark
Ninting, Fatima
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More from IMCHLHK
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.
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.
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一比一原版加拿大多伦多大学毕业证（uoft毕业证书）如何办理
一模一样【微信：A575476】【加拿大多伦多大学毕业证（uoft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。
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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
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6:个人职称评审加20分
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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
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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！
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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。
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留信网认证的作用:
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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
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一比一原版(QUT毕业证)昆士兰科技大学毕业证成绩单如何办理
QUT毕业证【微信95270640】办理QUT毕业证【Q微信95270640】昆士兰科技大学毕业证书原版↑制作昆士兰科技大学学历认证文凭办理昆士兰科技大学留信网认证,留学回国办理毕业证成绩单文凭学历认证【Q微信95270640】专业为海外学子办理毕业证成绩单、文凭制作，学历仿制，回国人员证明、做文凭，研究生、本科、硕士学历认证、留信认证、结业证、学位证书样本、美国教育部认证百分百真实存档可查】
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国外毕业证学位证成绩单如何办理：
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）；
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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
Recently uploaded (20)
All the images mentioned in 'See What You're Missing'
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storyboard: Victor and Verlin discussing about top hat
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My storyboard for a sword fight scene with lightsabers
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82 82 merged
- 2. 82 日本武士 Samurai 1906-1916年代 Ca. 1906-1916 水墨設色紙本 Ink and colour on paper 高：79 厘米闊：41.5 厘米 H： 79 cm W：41.5 cm 題識： 「劍父」 黎明．黃詠賢伉儷藏品 Collection of Mr Lai Ming and Ms Wong Wing-yin 高劍父曾於1906至1908年間赴日本研習美術，並得觀諸位日本名家如竹內 栖鳳（1864-1942）、橫山大觀（1868-1958）的作品，及在多個畫會習 畫，也在東京一所昆蟲研究所觀察昆蟲生態，均對其日後創作有極大影 響。這幀人物畫以細膩筆觸勾描人物輪廓、服飾衣裝，並加以精雅設色。 此畫描繪日本武士形象，比例恰當，武士昂首瞪目，神情生動，為高氏罕 有早期人物畫作，極為難得。 Gao Jianfu went to Japan to study art from 1906 to 1908. During his stay in Japan, he studied paintings of great masters such as Takeuchi Seiho (1864-1942) Yokoyama Taikan (1868-1958) and others, and joined various art societies for painting lessons and practice. He also observed insects in an insectarium in Tokyo. This experience impacted tremendously on his later work. In this piece, the character’s physical features, clothes and accessories are depicted in fine, delicate lines with graceful colours. The character is a samurai who is portrayed in proper proportion with his head upright and eyes full of life. It is a rare portrait by Gao, near to a completed work, in his early period.