Mua sách An Album of Contemporary Chinese Paintings giá ưu đãi

 

This album collects over 140 famous paintings by contemporary Chinese painters. In early 20th Century, many Chinese painters went to Japan and Europe to learn painting, and used Western experiences in modeling and coloring for reference in an effort to reform China’s traditional painting techniques. Since the founding of the PRC in 1949, the Soviet Union’s teaching pattern came into China and lifted sketching to a supreme position, the genre of figure painting reflecting real life prospered at the expense of traditional landscape and flower-and-bird paintings. Unlike these two eras, the creation of contemporary Chinese paintings has seen a free development of various forms and styles. Though a majority of the artists are still following the Western techniques, but some have tried to go back to the ink and wash method to express modern artistic concepts, leading to a genre of “neo-literati painting” — a

cultural phenomenon arising in the late 1980s and early 90s.

Figure Paintings
Portrait of Master Hongyi
Approaching the American Indians
Lin Daiyu Buries Fallen Flowers
The Legend of the White Snake
Telling a Heroic Story
Each Grain of Rice Costs Someone Else a Drop of Sweat
Four Generations of a Family
Portrait of a Bride of Taiwans Paiwan Nationality
Golden Autumn
Share the Pleasure of Reading a Rare Piece of Writing and Discuss Its Subtleties Together
Portrait of an Old Fisherman
Drama Characters
Female Nude Bodies
A Little Tibetan Yak Rider
Portrait of a Tibetan Girl
Portrait of a Tibetan Woman in Splendid Attire
Drunkenness
Portrait of a Beijing Resident
Picture of Flying a Kite
Pastoral Song
A Mongolian Herding Family
Dream of Dunhuang: Hope
Autumn Harvest
Springtide
Turpan in August
Picture of Pine Forest and Mountain Springs
Portrait of Tibetan People
Defending the Yellow River
The Pure Land
Portrait of a City Girl
Fallen Petals
Autumn
The Song of the Yellow River
A Group Portrait of Local People in Mt Daliang
The Hall of Loyalty and Righteousness
Yang Zhi Selling His Treasured Sword in Bianliang City
Three Models and a Finished Still-life Sketch
Rosy Memories
Watching a Fire from the Other Side of the River
Scenes of Family Life
Embroidering Girls
Piety
Gentle Breeze
Warm Room (I)
Warm Room (II)
Cicadas Singing at High Noon
Enjoying the Mountain Scenery
Composite Head Portraits and Landscape Paintings

Landscape Paintings
Mount Xiang (Elephant) in the Morning
The Lijiang River
A Sketch of Shengouwan Village in Taihang Mountain
Village Houses in South China
A Residential Area in Hainan Province
Mountain Scenery
Green Hills and Blue Waters
Drinking Horses and Weeping Willows
The Bird Islet
Windless Beach
An Old Man Squatting at the Foot of a Hill
Landscape
Spring Waters and Emerald Hills
Boatmens Song
Stillness
White Beans
Sitting in Meditation
Autumn Stream
Mount Miaofeng
Autumn Scenery of Yanshan Mountains
Clouds Dispersing After Rain
Streams in Deep Valley
Mountains upon Mountains
Nine Divisions of China
Picture of Travelling amid Spring Mountains
A Sketch of a Double-arched Bridge in Tangmo Village
The Work of Nature
A Sketch of Dajue Temple
Landscape
A Path to a Buddhist Temple

Flower-and-bird Paintings
Apricot Blossoms in Spring Rain
Rejoicings
Mandarin Fish Swimming Under Lotus Flowers
Verdant Pine
Have a Surplus Every Year
Autumn Interest
Picture of a Titmouse and Autumn Fruits
Picture of a Flying Bird and Flowers
A Faded Lotus Flower Behind Large Leaves
Red Coral
Flowery Brook
Lotus Flowers in Baiyang Lake
Summer Rhyme
The West Lake in June
A Misty Bamboo Grove in Evening Breeze
The Lotus Emerging Unstained from the Filth
Pine Trees
Lotus Pond in Light Drizzle
Two Egrets Under a Plantain Tree and Bamboos
A Four-sheet Scroll of Lotus Flowers
Picture of a Lonely Bird in Misty Mountains
Picture of a Bird and Sparse Vines

   Traditionally, ancient Chinese figure painters often depicted somewhat stereotyped images of court ladies, hermits, or scholar officials. This situation did not change until the early 20th century when the Western realistic way of painting was introduced into China. The large-sized “Foolish Old Man Removing the Mountains” made by Xu Beihong （1895-1953） in 1940 with a Western composition stands out as a milestone in the creation of figure paintings in modern China. And the “Portrait of Refugees” by Jiang Zhaohe （1904-1986） following Xus artistic style has been rated as another masterpiece describing real-life circumstances and reflecting the weal and woe of the people.
   After 1949, Fang Zengxian and others from Zhejiang Academy of Fine Arts （the predecessor of todays China Academy of Art） took peoples life and the newly-established republics industrial and agricultural production as material for their works, thus forming the so-called “Zhejiang school of figure painting” that had a widespread influence at that time.
   Equipped with good sketching techniques, contemporary Chinese figure painters are able to create themed works of huge size that are full of zeitgeist. Under their brushes, the figures are painted in more accurate proportions. Nevertheless, having long neglected the training of calligraphy and possessing very little knowledge of the national culture, a majority of them show poor skill in drawing pictures with ink and brush. In many cases, their works look more like oil paintings made on Xuan paper that has been traditionally used for Chinese painting and calligraphy.

During the Northern and Southern Song dynasties （960-1279）, poet and painter Su Shi （1037-1101 ） and others began to convey personal feelings by portraying landscape, flowers, birds, trees and rocks, thus planting the seeds of literati painting. In the following Yuan Dynasty （1279-1368）, mostly owing to the artistic experiments of painter Zhao Mengfu （1254-1322）, this new art genre had rapidly reached its maturity. However, after its further development in the Ming Dynasty （1368-1644）, the creation of literati paintings gradually revealed a certain trend toward formulism under the brushes of the four Wangs, namely Wang Shimin （1592-1680）, Wang Jian （1598-1677）, Wang Shigu （1632-1717）, and Wang Yuanqi （1646-1715）, all court painters of the Qing Dynasty （1644-1911）, —— which had invited widespread criticisms. During the New Culture Movement （1915-1919） hosts of Chinese painters went to Japan and Europe to learn painting, and used the Western experiences in modeling and coloring for reference in an effort to reform Chinas traditional painting techniques.