Synonyms for gongbi or Related words with gongbi
Examples of "gongbi"
Qiu Ying (; 1494? – 1552) was a Chinese painter who specialized in the "
" brush technique.
" style had its beginnings approximately 2000 years ago during the Han Dynasty (206 BC - 220 AD) when Han's political stability and its prosperity favored the advancement of the arts. These paintings peaked out between the Tang and Song Dynasties (7th to 13th centuries) when these refined paintings were endorsed and collected by the royal families of China. To perfect this style the "
" artists must totally commit themselves to these techniques. Only the wealthy could afford such artists. This style of art was accomplished in secret in royal palaces and private homes.
is one of the oldest Chinese painting techniques that feature narratives or high authority figures in them.
() is a careful realist technique in Chinese painting, the opposite of the interpretive and freely expressive "xieyi" (寫意 'sketching thoughts') style.
The term related to "
", "jiehua" (or "boundary painting"}, refers to the accurate depiction of architectural forms aided by the ruler.
Combining Chinese traditional painting skills (
) and popular culture to create an art piece. Unlike the traditional ink painting, the object, scenery and the people in her painting is more cartoon-like.
Early paintings by Chán monks tended to eschew the meticulous realism of
painting in favour of vigorous, monochrome paintings, attempting to express the impact of enlightenment through their brushwork.
Both Shen Zhou and Qiu Ying were most accomplished in "shan shui" painting, and they were well-versed in the painting style of the imperial court. Tang Yin was accomplished in nearly all styles of traditional Chinese painting. Wen Zhengming was accomplished in blue-green "shan shui" painting and the "
"Yituanheqi" (simplified Chinese: 一团和气; traditional Chinese: 一團和氣; pinyin: Yītuán Héqì) is a
picture by Chenghua Emperor. Painting Tao Yuanming Lu Xiujing and Zen Master Hui Yuan embracing each other, look like Maitreya. This painting reflects the traditional Chinese culture, the idea of syncretism of three teachings. Xihusanxiaotu has the same purpose.
The name is from the Chinese "gong jin" meaning 'tidy' (meticulous brush craftsmanship). The "
" technique uses highly detailed brushstrokes that delimits details very precisely and without independent or expressive variation. It is often highly colored and usually depicts figural or narrative subjects.
Wong's creation is deeply affected by Japanese pop culture (manga), especially “Boy's Love” (which is also called YAOI in Japanese) Her works is inspired by her feminist tendencies. She takes particular offense at the notion that her current exploration of gender, sexuality and ambiguity must stem from some level of female gender related dissatisfaction. However, there is no negativity reflected in her creation. Indeed, she aims to provide neutral idea to let audience imagine and interpret in their unique way. Through Wong's creation, we can see her focus on fantasy and love (the “love-imagination”), romance and the ambiguity. She always paint boys in a soft and weak expression because she believes gender is not the main focus while human are medium of transferring emotion. For the medium that Wong used, she is good at using
as she believes it is the most suitable tool to express her feeling on the canvas. Wong mentions in her interview with the Arthongkong.net, "However, to me it is the simplest and most honest of the styles to adopt in order to present the mental state (internal emotion) of an artist."
undeniably is a painting technique that has long tradition and history, like other Chinese painting styles. Wong uses this traditional painting method, with her fabulous skills to reflect her unique contemporary thinking. This shows her significance, of reserving
, such a traditional tool of China. At the same time, her unique thinking also brings to the society a different point of view.
" requires drawing with fine lines first to represent the exaggerated likenesses of the objects, and then adds washes of ink and color layer by layer, so as to approach the perfection of exquisiteness and fine art. The practice of
is specifically on rice paper when sketching out the design and layout of the drawing. Typically, pencil is used before beginning the second draft with the tipped brushes. The variation and detail in strokes are important especially when layering each wash of ink on top of each other. There are upward and downward strokes used that emphasize detailed pictures such as facial features and insects. After hundreds of years, a technique was developed for all
artists as a system. Lines are used first to contour the figure and determine the fine outlines of the painting. Modest colors are added to the painting that add onto a sense of nature; flamboyant colors are used when the content of the painting has accentuated lines.
“Qi Baishi started receiving artistic training from Hu Qinyuan which consisted of fundamentals in "
" mode, which features fine brushwork and meticulous detail” (Jung Ying Tsao p. 199). He was taught that every aspect of painting mattered, from the subject matter to the way the paint was applied to the paper. His landscape paintings came as a result of his next mentor Tan Pu. Because of his training, he then realized that he could pursue art as his full-time career instead of just dreaming to become a professional artist (Jung Ying Tsao p. 199-201). Despite his training in "
", Qi is famed for painting in the freely expressive "xeiyi" (寫意 ‘sketching thoughts’) style.
Chen Zizhuang (Simplified Chinese: 陈子庄; Hanyu Pinyin: Chén Zizhuāng) (1913–1976) is a Chinese artist from Wanxian in Sichuan province. He trained in the "
" tradition but changed to a more expressive "xieyi" () style in the early 1960s following the styles of Qi Baishi and Huang Binhong. He taught at Sichuan Normal University in Chengdu. He died poor and destitute but his work was rediscovered after his death, prompting Yan Xiaohuai to characterise him as 'the Chinese van Gogh'. He influenced many Chinese artists including Li Huasheng and Wu Fan.
He specializes in figure painting. Shieh uses
(工筆, a traditional Chinese fine-brush painting technique), however his works concern themselves with contemporary themes. In 1997, he was winner of the Painting Category in The Philippe Charriol Foundation Art Competition. Shieh had two solo exhibitions in the 1990s, namely Femme Fatales: Drawings by Shieh Ka Ho (Fringe '95) and Fleshly - Chinese Fine-brush Paintings by Wilson Shieh of 1998. His some more recent works include Chow Yun Fat Fitting Room in 2009. His work has recently been collected by the Hong Kong Heritage Museum. He is also appointed by Hong Kong Sinfonietta as the HKS Artist Associate.
Due to different producing methods, Xuan paper can be classified into "Shengxuan", "Shuxuan", and "Banshuxuan". Shengxuan (literally "Raw Xuan"), which is not specially processed, excels in its ability to absorb water, causing the ink on it to blur. Shuxuan (literally "Ripe Xuan"), however, has Potassium alum worked into it during production, which results in a stiffer texture, a reduced ability to absorb water, and less resistance to shear stress (meaning that it can be torn much more easily). This feature makes Shuxuan more suitable for
rather than Xieyi. Banshuxuan (literally "Half-ripe Xuan") has intermediate absorbability, between Shengxuan and Shuxuan.
The "huaniao hua" (花鳥畫) or "bird-and-flower painting" is proper of 10th century China. The most representative artists are Huang Quan 哳㥳 (ca. 900 – 965) and Xu Xi 徐熙 (937–975). They are the masters of two schools: the first school was led by Huang Quan (imperial painter). It is characterised by an “outline” method of brush work, with emphasis on bright colours filling a meticulously outline ("
"). The other school was led by Xu Xi (never entered into officialdom) and typically used techniques associated with ink-and-wash painting.
When using brushes to paint
, there are specific types for contouring and colouring. There are four types of brushes for contouring; Hong Mao (red hairs), are used to draw thick strokes mainly for landscape and background visuals. Yi Wen is used for longer lines to paint clothing, for example. Ye Jing brushes are used to contour flowers and bedsheets. Xie Zhua is the finest contour brush used to paint strokes of dragonflies and specific detail in the painting. There are three sizes of brushes used to colour the surface of the painting: Da Bai Yun (large white cloud), Zhong Bai Yun (average white cloud) and Xiao Bai Yun (small white cloud). Rough drafts are usually drawn on rice paper. If there is only one draft, a special type of paper called Xuan paper is used. The soft paper is able to absorb water well, best used for Chinese painting and calligraphy. Silk can also be used, which is sized as well.
Joey Leung Ka Yin (born 1976) is a Hong Kong contemporary visual artist. She is known for ink painting with the elements of
, doggerel and comic drawing. In her artworks, they reflects her personal feeling and imagination towards the modern society, which is also to reflect the value of the traditional image under the contemporary media world. In most of her painting, the combination of the subject matter (which is usually a girl), the scenery (which is usually related to the nature) and also a short poem create a poetic feeling to leave a space of imagination to the viewer. In some other traditional paintings, girl usually become objectify and only focus on the shape of their bodies. However, the girl in her painting is very feasible and mouldable which can be interact with the other object or environment in harmony.
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