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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.
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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.
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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.
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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"
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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.
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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.
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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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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.
More from IMCHLHK (20)
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- 2. 96 錦雞 Golden Pheasant 水墨設色紙本立軸 Hanging scroll, ink and colour on paper 高：116 厘米闊：50 厘米 H： 116 cm W：50 cm 鈐印： 「明之鉥」（朱文長方印） 「黎明」（白文方印） With collector’s two seals 黎明．黃詠賢伉儷藏品 Collection of Mr Lai Ming and Ms Wong Wing-yin 無年款Undated