Unidentified Artist midth century. While the earliest known paintings in East Asia were painted on the walls of tombs, during the last two millennia, a variety of distinctive portable formats for viewing and storing paintings and calligraphy were developed and are common, with certain nuances, to all three countries of China, Korea , and Japan. Typically, paintings and calligraphy are created by an artist on sheets of paper or silk laid on a flat surface. The finished work is then mounted on a support system in the suitable format. Because a water-soluble glue is traditionally used to adhere the picture to the mounting, the two can be separated and the latter replaced from time to time to help preserve the work of art.
Photos Made to Look Like Traditional Chinese Paintings » TwistedSifter
Murray Julia K. In: Arts asiatiques , tome 55, This article discusses the way that the earthly lives of Chinese gods and sages are represented in literary and artistic media. It focuses on the development of pictorial conventions for representing key hagiographical features, such as an unusual conception, birth, and childhood feats. The origins of the iconography are traced to two different but complementary sources : indigenous accounts of gods' lives in ancient Chinese literature, and imported visual imagery of the life of the Buddha. A variety of Chinese depictions of the Buddha's life are examined, and it is suggested that they became a model for treating other gods' lives. By the fifteenth century, certain elements appear to have become so standardized that they constituted a template by which any deity's life might be conceptualized.
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As subjects in Chinese and Korean paintings, women appear in numerous guises—from deities and mothers to court ladies and courtesans. The goal of figure painting in East Asia was not the celebration of the human form, as it was in Western art, but the presentation of paragons of wisdom and virtue whose noble deeds and lofty attainments might inspire emulation. The earliest Chinese paintings of female figures were didactic in nature, illustrating exemplary women engaged in duties and activities appropriate to their designated station in life according to patriarchal Confucian principles.
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