The Art of Chinese Painting (Speaker: Vincent Lee Kwun-leung) VincentKwunLeungLee
The Sui Wo Study Centre (瑞禾學社) locates in Tai Wai (大圍), which is administered by a Catholic institution called "Opus Dei" (主業會).
The Sui Wo Study Centre gathers a group of "elite-minded" actual students and alumni from Tak Sun Secondary School (德信中學), KATSO members (天主教同學會成員) from CUHK or other local universities, Spanish and Filippino exchange students who study at the local universities, and Catholic youngsters who grew up from the parishes and secondary schools in Sha Tin or Tai Po District, to jointly practise a professional mode of apostolic lifestyle with a commitment to their favourite occupations in the secular world.
On 8 and 22 February 2014, the Sui Wo Study Centre invited Vincent Lee Kwun-leung (李冠良) to conduct a Chinese art history lecture for the attendees, which corresponded with the festive atmosphere of Chinese New Year celebration.
The Chinese art masters that Vincent Lee selected for his lecture were:
(1) Li Sixun (李思訓) and Zhou Fang (周昉) from Tang Dynasty
(2) Emperor Song Huizhong (宋徽宗) and Cui Bo (崔白) from Song Dynasty
(3) Wang Meng (王蒙) from Yuan Dynasty
(4) Gong Xian (龔賢) from Ming Dynasty
(5) Shi Tao (石濤) from Qing Dynasty
(6) Xu Beihong (徐悲鴻) from Republican Era
(7) Zhang Daqian (張大千) from Communist Era
One of the important highlights was that, Dr. Peter Herbert (B.A., P.G.C.E., Lic. en Fil. y Let., M. Ed., Ph.D.), Principal of Tak Sun Secondary School (德信中學), was one of the attendees to listen to Vincent Lee's in-depth aesthetic interpretations.
The Painting Arts of Hong Kong (Speaker: Vincent LEE Kwun-leung)VincentKwunLeungLee
This presentation aims at selecting the representative artists from the Hong Kong art scene to tell the global art lovers a virtue, that the painting arts of Hong Kong forbear a coexistence among Chinese, Asian and Western aesthetics. Under a liberal and democratic circumstances, Hong Kong artists can search for their marketing potentials by manipulating political, ecological and narrative elements as their creative themes.
The Art of Chinese Painting (Speaker: Vincent Lee Kwun-leung) VincentKwunLeungLee
The Sui Wo Study Centre (瑞禾學社) locates in Tai Wai (大圍), which is administered by a Catholic institution called "Opus Dei" (主業會).
The Sui Wo Study Centre gathers a group of "elite-minded" actual students and alumni from Tak Sun Secondary School (德信中學), KATSO members (天主教同學會成員) from CUHK or other local universities, Spanish and Filippino exchange students who study at the local universities, and Catholic youngsters who grew up from the parishes and secondary schools in Sha Tin or Tai Po District, to jointly practise a professional mode of apostolic lifestyle with a commitment to their favourite occupations in the secular world.
On 8 and 22 February 2014, the Sui Wo Study Centre invited Vincent Lee Kwun-leung (李冠良) to conduct a Chinese art history lecture for the attendees, which corresponded with the festive atmosphere of Chinese New Year celebration.
The Chinese art masters that Vincent Lee selected for his lecture were:
(1) Li Sixun (李思訓) and Zhou Fang (周昉) from Tang Dynasty
(2) Emperor Song Huizhong (宋徽宗) and Cui Bo (崔白) from Song Dynasty
(3) Wang Meng (王蒙) from Yuan Dynasty
(4) Gong Xian (龔賢) from Ming Dynasty
(5) Shi Tao (石濤) from Qing Dynasty
(6) Xu Beihong (徐悲鴻) from Republican Era
(7) Zhang Daqian (張大千) from Communist Era
One of the important highlights was that, Dr. Peter Herbert (B.A., P.G.C.E., Lic. en Fil. y Let., M. Ed., Ph.D.), Principal of Tak Sun Secondary School (德信中學), was one of the attendees to listen to Vincent Lee's in-depth aesthetic interpretations.
The Painting Arts of Hong Kong (Speaker: Vincent LEE Kwun-leung)VincentKwunLeungLee
This presentation aims at selecting the representative artists from the Hong Kong art scene to tell the global art lovers a virtue, that the painting arts of Hong Kong forbear a coexistence among Chinese, Asian and Western aesthetics. Under a liberal and democratic circumstances, Hong Kong artists can search for their marketing potentials by manipulating political, ecological and narrative elements as their creative themes.
Sai Kung Art and About - Vincent Lee Kwun-leung's Chinese ink paintingsVincentKwunLeungLee
I am going to be one of the participating artists in this art fair between 19 and 20 March 2016, in which I am going to have a booth at Sai Kung Promenade Park and have two pieces of Chinese-ink paintings being selected for the "Gallery Walk" session. I have to do creative demonstrations and prepare for a seminar to present my creative experiences.
This slideshare covers my fruits of Chinese-ink explorations in various units - such as my two secondary schools, Oil Street, HERMES and Cheung Chau Pier. Most of the works are "project-based", but you can still see how creative I am in terms of coping with the ever-changing aesthetic demands.
PAINTINGS
A MINIATURE PAINTING OF MEDIVAL PERIOD
INTRODUCTION
Indian painting has a very long tradition and history in Indian art.
The earliest Indian paintings were the rock paintings of pre-historic times, the petroglyphs as found in places like Bhimbetka , some of them from before 5500 BC.
India's Buddhist literature is replete with examples of texts which describe palaces of the army and the aristocratic class embellished with paintings, but the paintings of the Ajanta Caves are the most significant of the few survivals.
Indian paintings provide an aesthetic continuum that extends from the early civilisation to the present day.
From being essentially religious in purpose in the beginning, Indian painting has evolved over the years to become a fusion of various cultures and traditions.
Some Genres of Indian painting
Murals
Miniature painting
Eastern Indian painting
Western Indian painting
Mughal painting
Rajput painting
Tanjore painting
Modern Indian painting
PAINTING OF AJANTA CAVES
Paintings of Ajanta caves are mainly based on the episodes drawn from the life of Lord Buddha .
Ajanta caves are the treasure house of delicate paintings. Some of them also portray scenes from Jataka tales.
The temples are excavated out of batholitic cliffs on the inner side of a seventy-foot valley in the Wagurna River vale, at a site where beauty dropped her image.
Bodhisattva Avalokiteshvara, Cave 1
Features of Paintings of Ajanta
The Ajanta paintings stresses on religious romanticism with lyric quality, a reflection of the view that every aspect of life has an equal value in the spiritual sense and as an aspect of the divine.
The paintings are done by covering the rough surface of the wall with a layer of clay or cow dung mixed with chopped straw or animal hair. When this has been smoothed and levelled, it is given a varnish of fine white clay or gypsum and it is on this ground that the painting is done.
Ceiling Paintings of Ajanta
The most famous paintings at Ajanta caves are in `Cave I`. The shape of the cave is a square hall with the roof supported by rows of pillars.
There is a rock cut image of a seated Buddha at the back of the shrine. The most unusual feature of the cave is parts of the complete decoration of the flat ceiling. There are scenes carved from the life of Lord Buddha as well as a number of ornamental motifs.
In the paintings of Ajanta there are beautifully drawn female figures of dusky complexion wearing towering head-dresses that strongly resembles the sophisticated mukuta, crowning the Bodhisattva himself.
. This is a representation of the Shakti or female of the Bodhisattva, one of the many indications of the intrusions of Hindu concepts into Buddhism .
The paintings of the ceiling of Cave I at Ajanta is executed in a more flat, enhancing style and the space is divided into a number of adjacent panels square and rectangular in form, which are filled with subjects and showy
Heritage of any nation is best represented by its culture, beliefs and traditions. A subset of these that has given India, a profound identity for India is Art. Art forms in India exist since time immemorial. Over the past century, Indian Art has undergone through vast and diverse change in their forms that exist in the present. For instance, the themes chosen by the traditional painters were societal. But later with the emergence of modernists followed by the contemporaries, the facets of Indian painting were changed radically.
The Art of Wu Guanzhong (Speaker: Vincent LEE Kwun-leung)VincentKwunLeungLee
Wu Guanzhong sought for an integration between French Romanticism and Chinese Literati Painting Tradition from both his oil and ink paintings. But, Mao Zedong and the Communist Party disliked his pro-European attempt of Sino-Western aesthetic innovations. Due to the trend of Cultural Revolution, Mao Zedong forced Wu Guanzhong to abandon what he learnt in Paris and re-adapt to the "Leninist School of Realistic Thought". But, Wu Guanzhong refused to do so. Fortunately, the colonial government of Hong Kong under British administration tried all its best to preserve Wu Guanzhong's pieces and ensure him with creative freedoms. Wu Guanzhong could thus explore a great variety of new styles while playing with his moisturized ink leisures, such as Post-Impressionism, Rococo, Abstract Expressionism, Feminism and Minimalism.
Slideshow is a companion to Gardner's Art Through the Ages (Global) textbook. Prepared for ART 102 at Montgomery County Community College. Jean Thobaben - Adjunct Instructor
Sai Kung Art and About - Vincent Lee Kwun-leung's Chinese ink paintingsVincentKwunLeungLee
I am going to be one of the participating artists in this art fair between 19 and 20 March 2016, in which I am going to have a booth at Sai Kung Promenade Park and have two pieces of Chinese-ink paintings being selected for the "Gallery Walk" session. I have to do creative demonstrations and prepare for a seminar to present my creative experiences.
This slideshare covers my fruits of Chinese-ink explorations in various units - such as my two secondary schools, Oil Street, HERMES and Cheung Chau Pier. Most of the works are "project-based", but you can still see how creative I am in terms of coping with the ever-changing aesthetic demands.
PAINTINGS
A MINIATURE PAINTING OF MEDIVAL PERIOD
INTRODUCTION
Indian painting has a very long tradition and history in Indian art.
The earliest Indian paintings were the rock paintings of pre-historic times, the petroglyphs as found in places like Bhimbetka , some of them from before 5500 BC.
India's Buddhist literature is replete with examples of texts which describe palaces of the army and the aristocratic class embellished with paintings, but the paintings of the Ajanta Caves are the most significant of the few survivals.
Indian paintings provide an aesthetic continuum that extends from the early civilisation to the present day.
From being essentially religious in purpose in the beginning, Indian painting has evolved over the years to become a fusion of various cultures and traditions.
Some Genres of Indian painting
Murals
Miniature painting
Eastern Indian painting
Western Indian painting
Mughal painting
Rajput painting
Tanjore painting
Modern Indian painting
PAINTING OF AJANTA CAVES
Paintings of Ajanta caves are mainly based on the episodes drawn from the life of Lord Buddha .
Ajanta caves are the treasure house of delicate paintings. Some of them also portray scenes from Jataka tales.
The temples are excavated out of batholitic cliffs on the inner side of a seventy-foot valley in the Wagurna River vale, at a site where beauty dropped her image.
Bodhisattva Avalokiteshvara, Cave 1
Features of Paintings of Ajanta
The Ajanta paintings stresses on religious romanticism with lyric quality, a reflection of the view that every aspect of life has an equal value in the spiritual sense and as an aspect of the divine.
The paintings are done by covering the rough surface of the wall with a layer of clay or cow dung mixed with chopped straw or animal hair. When this has been smoothed and levelled, it is given a varnish of fine white clay or gypsum and it is on this ground that the painting is done.
Ceiling Paintings of Ajanta
The most famous paintings at Ajanta caves are in `Cave I`. The shape of the cave is a square hall with the roof supported by rows of pillars.
There is a rock cut image of a seated Buddha at the back of the shrine. The most unusual feature of the cave is parts of the complete decoration of the flat ceiling. There are scenes carved from the life of Lord Buddha as well as a number of ornamental motifs.
In the paintings of Ajanta there are beautifully drawn female figures of dusky complexion wearing towering head-dresses that strongly resembles the sophisticated mukuta, crowning the Bodhisattva himself.
. This is a representation of the Shakti or female of the Bodhisattva, one of the many indications of the intrusions of Hindu concepts into Buddhism .
The paintings of the ceiling of Cave I at Ajanta is executed in a more flat, enhancing style and the space is divided into a number of adjacent panels square and rectangular in form, which are filled with subjects and showy
Heritage of any nation is best represented by its culture, beliefs and traditions. A subset of these that has given India, a profound identity for India is Art. Art forms in India exist since time immemorial. Over the past century, Indian Art has undergone through vast and diverse change in their forms that exist in the present. For instance, the themes chosen by the traditional painters were societal. But later with the emergence of modernists followed by the contemporaries, the facets of Indian painting were changed radically.
The Art of Wu Guanzhong (Speaker: Vincent LEE Kwun-leung)VincentKwunLeungLee
Wu Guanzhong sought for an integration between French Romanticism and Chinese Literati Painting Tradition from both his oil and ink paintings. But, Mao Zedong and the Communist Party disliked his pro-European attempt of Sino-Western aesthetic innovations. Due to the trend of Cultural Revolution, Mao Zedong forced Wu Guanzhong to abandon what he learnt in Paris and re-adapt to the "Leninist School of Realistic Thought". But, Wu Guanzhong refused to do so. Fortunately, the colonial government of Hong Kong under British administration tried all its best to preserve Wu Guanzhong's pieces and ensure him with creative freedoms. Wu Guanzhong could thus explore a great variety of new styles while playing with his moisturized ink leisures, such as Post-Impressionism, Rococo, Abstract Expressionism, Feminism and Minimalism.
Slideshow is a companion to Gardner's Art Through the Ages (Global) textbook. Prepared for ART 102 at Montgomery County Community College. Jean Thobaben - Adjunct Instructor
A wonderful presentation depicting the beauty of one of the significant attributes of Indian Culture of historical importance- Indian Paintings ;in the best of its hues ..!
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
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This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
Biological screening of herbal drugs: Introduction and Need for
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Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
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http://sandymillin.wordpress.com/iateflwebinar2024
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Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
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The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
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2. Background/ History
• Buddhism is a nontheistic religion which originated
in India in 5th century b.c.
– Life and teachings of Siddhartha Gautama
• Religious faith lead to artistic depictions of Buddhist
beliefs and Buddha himself
• Transition to China:
– The Silk Road, Buddhist missionary efforts
• Buddhism gained popularity in China as Chinese
artists were experimenting with paint and scrolls
3. Origins in China
• Earliest recorded works—created in the Han
dynasty during the reign of Emperor Ming in
Eastern China
• These works were spread across the nation
and other artists began to create similar
paintings
• First representative artists included:
–Dai Kui, Gu Kaizhi, Cao Zhongda, and Zhang
Sengyao
4. Gu Kaizhi
• Known as the founder of traditional Chinese painting
• Incorporated the importance of nature and movement that is seen in the
Buddhist belief system
• Painted subjects as they truly were
• Nymph of the Luo River
5. Cao Buxing
• Lived in the Eastern Wu Dynasty (220-265 ad) under
the rule of Sun Quan
• Paintings are well known for depicting animals such
as dragons and horses as well as human portraits
• Highly realistic, paintings are said to have “come to
life”.
• There is a myth that he could paint the figure of
Buddha in exact proportions on a silk scroll without
a single mistake
7. Zhang Sengyou
• Liang Southern Dynasty (505-557 AD)
• Highly praised for his art by emporer Liang Wu
• Most of his existing paintings are murals
similar to fresco
• Intelligent use of color and three dimensions
• Well known for depictions of powerful
animals, dragons, and peaceful human forms
9. Water Moon Style
• Zhou Fang
– Profound Chinese painter known for his court lady
paintings and depictions of Buddha
• Developed his own style for Buddha
paintings called water-moon (shuiyue)
• Known for it’s soft brush work and dignified
image
• Style used by following generations across
China and Korea
12. Transition in Buddhist Painting
• Tang Dynasty (618-907) and earlier:
–Paintings follow ideas of the old rule
–More simple, singular figures
• After the Song Dynasty:
–Buddhist paintings become flourished and
colorful
–More experimental
14. Ding Yunpeng (1547-1628)
• Painter during the Ming Dynasty
• Followed the style of Qui Ying of the
Song Dynasty
–Used pure and minute brush strokes for a
strong look
17. Buddhist Painting in the
Modern World
• Often more “trippy” than traditional
styles
• Use of more vibrant colors
• Idealization of Buddha
• Cartoon styles
