Dr. LEUNG Kwong-yiu from HKU SPACE states that, narrative painting belongs to the highest rank of aesthetic value, which is “dependence beauty”, in accordance with the historiography of Western philosophy; whereas the figurative painting is of secondary apogee and “nature-sketching” belongs to the lowest rank. Such art theory in Western mode of thought severely confronts with Mr. YU Jianhua’s interpretation that “nature-sketching” of national painting moving towards the realm of “self-expressiveness” and “imitation” is of the highest apogee within the mechanism of Chinese painting art. You can see a great sharp of cultural variation between two streams of thoughts.
The “Civic Painting Society Camp” in Hong Kong uses to adopt “National Painting Nature-Sketching Methodology” to operate the development of Western painting. It often organizes joint nature-sketching exhibitions at City Hall and Central Library, with the ribbon-cutting opening participations and tremendous supports from Central Government Liaison Office and CPPCC Standing Committee Members. However, if the creative value judgments of our society blindly put a prior emphasis on “nature-sketching”, this imposes a great threat to the educational field and contemporary art gallery sectors in terms of prospering the creative visual-art industries. Thus, there is recently a “Cultural Creative and Craft Yellow Circle” emerging within the civic strata to counteract against the “Civic Painting Society Camp”.
For this academic talk, the author purely adopts the perspective of Chinese art history to discuss the leisures of “union between Heaven and Man” and“floating beyond the artistic realm with travelling spirit”. Everybody will discover that, during their arrogant tour within the Nature, lots of ancient court painters wouldn’t completely and realistically record the visible landscape structures in an on-site manner. Instead, part of them would bring back their subconscious impressions about the pretty landscape episodes from their innermost to Jiyandian Academy, Hanlin Painting Academy, Internal Court, Hanlin Court, Labour Department Maintenance House, Literary Thinking Academy and Internal Affairs Painting Court Department for cultivating monumental nature-sketching masterpieces within an indoor environment.
Dr. LEUNG Kwong-yiu from HKU SPACE states that, narrative painting belongs to the highest rank of aesthetic value, which is “dependence beauty”, in accordance with the historiography of Western philosophy; whereas the figurative painting is of secondary apogee and “nature-sketching” belongs to the lowest rank. Such art theory in Western mode of thought severely confronts with Mr. YU Jianhua’s interpretation that “nature-sketching” of national painting moving towards the realm of “self-expressiveness” and “imitation” is of the highest apogee within the mechanism of Chinese painting art. You can see a great sharp of cultural variation between two streams of thoughts.
The “Civic Painting Society Camp” in Hong Kong uses to adopt “National Painting Nature-Sketching Methodology” to operate the development of Western painting. It often organizes joint nature-sketching exhibitions at City Hall and Central Library, with the ribbon-cutting opening participations and tremendous supports from Central Government Liaison Office and CPPCC Standing Committee Members. However, if the creative value judgments of our society blindly put a prior emphasis on “nature-sketching”, this imposes a great threat to the educational field and contemporary art gallery sectors in terms of prospering the creative visual-art industries. Thus, there is recently a “Cultural Creative and Craft Yellow Circle” emerging within the civic strata to counteract against the “Civic Painting Society Camp”.
For this academic talk, the author purely adopts the perspective of Chinese art history to discuss the leisures of “union between Heaven and Man” and“floating beyond the artistic realm with travelling spirit”. Everybody will discover that, during their arrogant tour within the Nature, lots of ancient court painters wouldn’t completely and realistically record the visible landscape structures in an on-site manner. Instead, part of them would bring back their subconscious impressions about the pretty landscape episodes from their innermost to Jiyandian Academy, Hanlin Painting Academy, Internal Court, Hanlin Court, Labour Department Maintenance House, Literary Thinking Academy and Internal Affairs Painting Court Department for cultivating monumental nature-sketching masterpieces within an indoor environment.
Foreigners, understanding of Chinese gardens.John Jeffery
#外国人/游客 - 中国园林的理解和
#保存 - 平衡,人与自然之间。
# Foreigners / Tourists – understanding of Chinese gardens and# Preservation – the balance, between man and nature.
Foreigners, understanding of Chinese gardens.John Jeffery
#外国人/游客 - 中国园林的理解和
#保存 - 平衡,人与自然之间。
# Foreigners / Tourists – understanding of Chinese gardens and# Preservation – the balance, between man and nature.
7. Why is it
do you
think, that
more
artists do
not utilize
China’s
Garden Art
– for their
subject
matter ?
为什么你认
为,更多的
艺术家,不
利用中国的
园林艺术 -
为他们的题
材吗?
8. If China’s Garden Art borrows from landscapes –
why not paint the borrowed view?
如果中国的园林艺术景观借用 - 为什么不画借来的看法?
Just another thought from ChineseGardensDotBiz……. 只是一种思路,从中国园林点商务