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The Art of Chinese and Japanese Sumi-e Painting

The Art of Chinese and Japanese Sumi-e Painting. Westwood Regional Highschool Painting I-IV Mrs. Duffus 2009-2010. 6 principles of Sumi Painting. Capture Chi- vital energy Create natural forms and structure with brush technique

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The Art of Chinese and Japanese Sumi-e Painting

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  1. The Art of Chinese and Japanese Sumi-e Painting Westwood Regional Highschool Painting I-IV Mrs. Duffus 2009-2010

  2. 6 principles of Sumi Painting • Capture Chi- vital energy • Create natural forms and structure with brush technique • Color can differ from object • Depict object according to nature • Composition • 2/3 space, 1/3 form • No parallel lines • Overlap and create variations in stroke • Oblong paper • Develop own style

  3. Subject matter of Sumi Painting • Poultry • Birds • Fish • Shrimp • Bamboo • Butterflies • Bees • Seasonal landscapes

  4. Su Dongpo (1036-1101) • Influential during Song Dynasty • Talents and abilities were displayed in tightly composed images, but they lacked sincerity • Literati- Scholars , but amateur painters • Paintings were religious and philosophical • Changed aesthetics of Chinese Painting • Interesting story Su Dongpo in Straw Hat and Wooden Shoes, Muromachi period (1392–1573), second half of 15th century, Japan, Artist UnknownHanging scroll; ink on paper 42 3/4 x 13 1/8 in. (108.6 x 33.3 cm) http://www.metmuseum.org/toah/ho/08/eaj/ho_1975.268.39.htm

  5. Wu Zhen(1280-1354) Bamboo in the Winds Yuan DynastyHanging scroll; ink on paper 109.0 x 32.6 cm (43 x 13 in.) Collection of Freer Gallery http://www.chinapage.com/painting/wuzhen01.html

  6. Xia Chang (Chinese, 1388–1470) Bamboo in Wind, Ming dynasty, ca. 1460ChinaHanging scroll; ink on paper 80 1/4 x 23 1/2 in. (203.8 x 59.7 cm) • Use of calligraphy established by Zhao Mengfu (1254–1322) • Bamboo is a symbol of integrity and strength http://www.metmuseum.org/toah/hd/ming/ho_1989.235.1.htm

  7. Attributed to Tosa Mitsunobu (Japanese, 1434–1535) Bamboo in the Four Seasons, Muromachi period (1392–1573)Pair of six-panel folding screens; color, ink, and gold on paper 68 5/8 x 150 1/4 in. (174.3 x 381.6 cm) http://www.metmuseum.org/toah/hd/seim/ho_1975.268.44,45.htm

  8. Dong Qichang (Chinese, 1555–1636) Landscapes, dated 1630Album of eight paintings; ink on paper 9 5/8 x 6 5/16 in. (24.4 x 16 cm) http://www.metmuseum.org/toah/hd/ming/ho_1986.266.5.htm

  9. Nagasawa Rosetsu (Japanese, 1754–1799) Landscape and Chinese FiguresPair of six-panel folding screens; ink on gilded paper Each 67 3/8 x 146 3/4 in. (171.1 x 372.7 cm) JAPAN 1600-1800 - Timeline http://www.metmuseum.org/toah/ht/?period=09&region=eaj http://www.metmuseum.org/toah/ho/09/eaj/ho_1975.268.75%2C76.htm

  10. Huang Binhong (Chinese, 1864 - 1955) Landscape at Madangshan, ca. 1940sHanging scroll, ink and colors on paper39 x 13 1/4 in. (99.1 x 33.7 cm)R. T. Miller, Jr. Fund, 1994AMAM 1994.10 http://www.oberlin.edu/amam/Huang_Madangshang.htm#

  11. Shibata Zeshin (Japanese, 1807–1891) Autumn Grasses in Moonlight, Meiji period (1868–1912), ca. 1872–91Two-panel folding screen; ink, lacquer, and silver leaf on paper 26 1/8 x 69 in. (66.4 x 175.3 cm) http://www.metmuseum.org/toah/ho/10/eaj/ho_1975.268.137.htm

  12. Shibata Zeshin (Japanese, 1807–1891) Autumn Grasses in Moonlight, Meiji period (1868–1912), ca. 1872–91Two-panel folding screen; ink, lacquer, and silver leaf on paper 26 1/8 x 69 in. (66.4 x 175.3 cm) http://www.metmuseum.org/toah/ho/10/eaj/ho_1975.268.137.htm

  13. Shibata Zeshin (Japanese, 1807–1891) http://www.metmuseum.org/toah/ho/10/eaj/ho_1975.268.137.htm

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