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Jidi 寂地,Ageng 阿梗: 踮脚张望 第四册  Der freie Vogel fliegt - Mittelschuljahre in China, Band 4 ("When you're standing on your tiptoe" Vol. 4, bilingual Chinese-German edition)<br>
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The Calligraphy and Painting Gallery of The Palace Museum - Part V (bilingual Chinese-English)

ISBN:978-7-80047-831-4, 9787800478314
[50.0355]
66.64EUR


Titel: The Calligraphy and Painting Gallery of The Palace Museum - Part V (zweisprachig Chinesisch-Englisch) - 故宫书画馆 - 第五编 (第二版)(汉英双语)
Author / Editor: 傅东光 Fu Dongguang (主编/Hsg./main editor)
ISBN: 978-7-80047-831-4, 9787800478314
Series: 故宫书画馆 The Calligraphy and Painting Gallery of The Palace Museum
Publisher: The Forbidden City Publishing House - 紫禁城出版社
Language: bilingual Chinese-English
Date of Publication: 2009.06
First edition
Number of pages: 219
Dimensions: 29 x 22.2 x 3 cm
Binding: Paperback


Description:

Preface

Chinese painting and calligraphy enjoy a long history. Both were derived from primitive symbols, nourished by Chinese civilization, executed with the same tools, i.e., brush pen, ink, paper, and inkstone, and both were created using lines and strokes as basic elements. Chinese painting and calligraphy both strive for brilliant brushwork and lyric aesthetics. Although they developed into two independent art forms - calligraphy emphasizing emotional release, and painting focusing on sketching likenesses - for millennia there was mutual interplay and development. Through constant interaction, the two art forms complemented and enhanced each other such that they were popularly employed in other traditional arts, and continued to thrive even today. With their long history, unique presentation and aesthetics, Chinese painting and calligraphy have played an indispensable role in the fine arts.
The Palace Museum's rich and comprehensive holdings of traditional Chinese calligraphy and paintings encompass not only extremely rare early masterpieces but also representative works from every historical period. These art works help in understanding the history of traditional Chinese calligraphy and painting. Here, the Palace Museum presents a selection of the finest works in order to introduce visitors to the classics, to share the sophistication of the works, and to reveal the profundity of Chinese culture.

From the Third Century to the Fourteenth Century

The Jin (265-420), Tang (618-907), Song (960-1279), and Yuan (1271-1368) dynasties constitute a vital period during which Chinese painting and calligraphy became established with their own masterpieces and time frames. The calligraphy practiced by the Jin dynasty master Wang Xizhi (ca. 303- ca. 361) greatly expanded the artistic possibilities of the emerging Chinese writing system, setting criterion for later calligraphic works. In the Jin dynasty, figure painting with Gu Kaizhi (ca. 345-406) as the leading painter also reached a high level. In the Sui and Tang dynasties painting continued to thrive with new categories such as landscape with buildings, equestrians, and quadrupeds. Famous works by Zhan Ziqian (581-618), Yan Liben (ca. 600-673), and Han Huang (723-787) among others reflect a splendid flourishing era. Structures of Chinese characters formed by Tang dynasty regular-script masters including Ouyang Xun (557-641), Yu Shinan (558-638), Chu Suiliang (596-659), Xue Ji (649-713), Yan Zhenqing (709-785), and Liu Gongquan (778-865) established standards for later generations that are still used today.
Painting matured in the Five Dynasties and the Song dynasty: masters of landscape, figure, and bird-and-flower paintings emerged. With consummate skill, they emphasized the fidelity to objects, developing a refined style. These developments were related to the establishment of the imperial painting academy, the policy of promoting and awarding talented painters, and the popular participation of the scholar-elite in art creation. Calligraphers of the Song and Yuan dynasties advocated distinctive personal styles to show literary cultivation within the norms of calligraphy. Calligraphy was infused with cultural messages beyond serving as a pragmatic system of writing. The notable figures were the "Four Masters of Song" (Su Shi [1037-1101], Huang Tingjian [1045-1105], Mi Fu [1052-1107], and Cai Xiang [1012-1067]), as well as Xianyu Shu (1246-1301), and Zhao Mengfu (1254-1322). In painting, the "Four Masters of Yuan" raised the visibility of "literati paintings", concerning themselves with truth to an essence other than the appearance of the object. They left room for further development in the Ming and the Qing.


The Ming Dynasty (1368-1644)

In the Ming dynasty Chinese painting and calligraphy blossomed. Inheriting the tradition of the Song dynasty (960-1279), painting and calligraphy achieved tremendous progress theoretically and technically. Many regions produced groups of artists with distinct idioms. The most notable Ming dynasty calligraphy was the cursive script by the "Three Songs" (Song Ke [1327-1387], Song Sui [1344-1380], and Song Guang [act. 14th c.]) and the "court style" regular script by "Two Shens" (Shen Du [1357-1434] and his brother Shen Can). Dominating the painting sphere were the unrestrained "Zhe School" and the "Academic style" led by Dai Jin (1388-1642) and Lin Liang (ca. 1436-1487). From the second half of the fifteenth century, Wumen (Suzhou, Jiangsu province) became the center for painting and calligraphy. Calligraphers such as Wu Kuan (1435-1504) and Wang Chong (1494-1533) escaped the restraint of the "court style" regular script. The "Four Masters of the Wu School" (Shen Zhou [1427-1509], Wen Zhengming [1470-1559], Tang Yin [1470-1524], and Qiu Ying [ca. 1505-1552]) replaced the "Academic style" with thin, delicate colored literati paintings. Chen Chun (1483-1544) and Xu Wei (1521-1593) enriched the brushwork with their innovative free-style bird-and-flower paintings. In the late Ming dynasty, Dong Qichang (1555-1636) developed theories of painting and calligraphy, exerting substantial influence during his lifetime and the succeeding Qing dynasty. Meanwhile, Zhao Zuo (d. after 1636) and Shen Shichong (act. early 17th c.) of the "Songjiang school", Lan Ying (1585-ca. 1666) and Chen Hongshou (1598-1652) based in Hangzhou, Zhejiang province, all demonstrated their distinct talents in painting, brightening the art of the turbulent late-Ming society.


The Qing Dynasty (1644-1911)

Qing dynasty paintings and calligraphy benefited from inheritance and innovation. In the seventeenth century, inheriting late Ming calligraphic styles, masters such as Wang Duo (1592-1652) and Fu Shan (1607-1684) as loyalists to the vanquished Ming dynasty released their cynical rage in monumental, strange, and unrestraint brush strokes. The clear and forceful works of the "Four Masters of the Kangxi reign" (Jiang Chenying [1628-1699], He Zhuo [1661-1722], Wang Shihong [1658-1723], and Chen Bangyan [1678-1752]) showed their debt to Dong Qichang. In painting, Wu Li (1632-1718), Yun Shouping (1633-1690), and the "Four Wangs" occupied the "orthodox" position by synthesizing the past and bringing painting techniques to the highest development. By contrast, a new "individual" style of landscape was pioneered by the "Four Monks" (Shitao [1642-1707], Zhu Da [1626-1705], Kuncan [1612-1673], and Hongren [1610-1663]), the "Jinling schoo" of Nanjing, and the “Huangshan School” of Anhui province.
Mid-Qing scholars embraced the idea of reviving the past to establish the new. The promotion of Jin and Tang rubbings by Liu Yong (1720-1804) and Weng Fanggang (1733-1818) elevated the study of epigraphy. By introducing clerical and seal scripts into calligraphy, Deng Yan (Deng Shiru, 1743-1805) and Yi Bingshou (1753-1815) initiated the study of stele inscriptions. At the court, Western painting techniques were adapted to vary pictorial expression. The emergence of the "Yangzhou School" revitalized painting. In the late Qing dynasty enthusiasm for transcribing and copying clerical and seal scripts from steles increased. Calligraphers He Shaoji (1799-1873), Zhao Zhiqian (1829-1884), and Wu Changshuo (1844-1927) were the most prominent. Works of the "Shanghai School" and the "Lingnan School" were appreciated by both educated and common folks for their lively reflection of the times and raised the curtain on modern painting.


内容简介

《故宫书画馆(第5编)(精)》讲述了:中国书法与绘画艺术源远流长。它们同起源于原始符号,同在华夏文明的土壤中滋长,使用相同的笔墨纸砚,均以线条为基础的造型手,追求共同的笔墨技巧和抒情写意的审美意趣。



目录

匠心只在植柱构梁间
01.顾恺之(传)《洛神赋图》卷
02.安弘嵩《大智度论》卷
03.欧阳询《张涵贴》页
04.蔡襄《自书诗》卷
05.李嵩《钱塘观潮图》卷
06.赵昌《写生蛱蝶图》卷
07.刘松年《四境山水图》卷
08.文天祥《红斋帖》卷
09.钱选《秋江待渡图》卷
10.张雨《题画诗》卷
11.夏永《岳阳楼图》页
12.元人《龙舟夺标图》卷
13.宋克《急就章》卷
14.夏昶《墨竹》轴
15.林良《雉鸡图》轴
16.吴宽《饮洞庭山悟道泉诗》轴
17.王仲玉《陶渊明像》轴
18.王鏊《七律诗》轴
19.吴伟《松溪饮炊图》轴
20.文徵明《兰亭修禊图》轴
21.张路《吹箫女仙图》轴
22.王宠《七律诗》轴
23.文嘉《仿董源溪山行旅图》轴
24.钱毂《虎丘前山图》轴
25.徐渭《四时花卉图》卷
26.宋懋晋《宋之问诗意图》轴
27.孙克弘《耄耋图》轴
28.李士达《岁朝村庆图》轴
29.邢侗《五律诗》轴
30.周之冕《双燕鸳鸯图》轴
31.董其昌《杜诗》轴
32.董其昌《山水图》轴
33.吴彬《菩萨像》轴
34.催子忠《藏云图》轴
35.王时敏《山水图》轴
36.普荷《草书诗》轴
37.王鉴《九峰读书图》轴
38.傅山《七绝诗》轴
39.弘仁《送梅图》卷
40.姜 英《临帖》轴
41.吴历《幽麓渔舟图》轴
42.王翚《秋树昏鸦图》轴
43.恽寿平《松竹图》轴
44.王原祁《仿吴镇山水图》轴
45.宋曹《行书诗》轴
46.石涛《横塘曳履图》轴
47.禹之鼎《王世祯放鹇图》卷
48.谢荪《青绿山水图》轴
49.焦秉贞《历朝贤后故事图》册
50.余省《种秋花图》轴
51.华喦《寒驼残雪图》轴
52.李鱓《松藤图》轴
53.汪士慎《梅花兰石图》轴
54.金农《墨梅图》轴
55.邹一桂《桃花图》轴
56.郑燮《行书诗》轴
57.李方膺《古松图》轴
58.梁同书《录语》轴
59.奚冈《题五柳先生图句》轴
60.铁保《七言联》
61.何绍基《七言联》
62.虚谷《五端图》轴
63.吴大溦《五律诗》轴
64.任颐《葛仲华像》像
65.吴昌硕《天竺水仙图》轴


序言

中国书法与绘画艺术源远流长。它们同起源于原始符号,同在华夏文明的土壤中滋长,使用相同的笔墨纸砚,均以线条为基础的造型手,追求共同的笔墨技巧和抒情写意的审美意趣。虽然尔后它们发展为两个独立的艺术门类,前者更侧重抒写性情,后者更强调传神写照,但二者数千年来始终相互借鉴,共同发展。书中有画,画中有书,相辅相成,相得益彰。也正因此,书画艺术在诸多中国传统艺术门类中,至今仍历久不衰,欣欣向荣。中国书法与绘画艺术以其悠久的历史、独特的表现方法和审美意趣,在世界美术之林中占有重要的地位。
晋唐宋元时期是中国书画艺术构建体系、创造经典的重要时期。晋代王羲之天才的创作实践大大提高了汉字新兴书体的艺术品位,成为后世书法审美的基准坐标。以顾恺之为代表的人物画创作也已达到很高的水平。隋唐画坛在人物画继续发展的同时,山水楼阁、鞍马走兽等画科也相继繁荣,阎立本、展子虔、韩混等人的名作无不呈现一派恢弘富丽的盛世气象。唐代欧阳询、虞世南、褚遂良、薛稷、颜真卿、柳公权楷书大家所确立的汉字结体用笔规范,影响深远,沿用至今。
五代两宋绘画更趋成熟完备,山水、人物、花鸟名家辈出,风格崇尚写实,精能高雅。这与当时皇家设置画院、奖掖人才的措施以及文人士大夫阶层对艺术创作的广泛参与有很大关系。宋元的文人书家,强调在“守法”的前提下张扬个性,表现“书卷之气”,书法在实用的基础上被赋予更深厚的文化内涵,“宋四家”和元代鲜于枢、赵孟頫皆为代表人物。同样,“元四家”高张“文人画”旗帜,提倡抒写性情,不求形似,为明清绘画的发展开辟了广阔天地。
明代是中国书画史上承前启后、流派纷呈的重要阶段。其书法绘画继承了宋元传统,在创作理论和表现技法上都取得了较大发展,并在不同阶段出现了以地域为中心的艺术群体,展现出丰富多彩的艺术面貌。明早期书法以“三宋”草书和“二沈”的“台阁体”楷书为代表;绘画则以戴进、林良等人粗犷纵肆的“浙派”、“院体”风格主导画坛。明中期以后,吴门(苏州)地区成为书画创作的中心,吴宽、王宠等人在书法上摆脱“台阁体”束缚,“吴门四家”以清雅淡丽为主的文人画风代替了宫廷中富丽堂皇“院画”;而陈淳和徐渭在写意花鸟画方面的创新丰富了绘画的表现形式与笔墨内涵。明晚期董其昌完善了书画创作理论,成为文人书画的集大成者,对当时及清代影响颇广;同时,“松江派”的赵左、沈士充,杭州的蓝瑛、陈洪绶,均能领袖一时,白具风貌,为明末社会动荡中的艺坛增添了一抹亮色。
清代书画在传承与创新中形成了繁荣局面。清初王泽、傅山等书家承袭明末书风,以雄奇跌宕的挥写表露孤傲愤世的遗民心态,”康熙四家“清劲秀润”的书风则承续着董其昌的遗韵;绘画上“四王吴辉”以摹古集大成而居画坛主流,“四僧”、“金陵八家”及“黄山画派”等则以自然为诗而开辟山水新境界。清中期盛行崇古立新之风,刘庸、翁方纲等力追晋唐而带来帖学的繁荣,邓石如、伊秉绶等则以金石文字入书而渐开碑学之风;宫廷绘画以西画技法丰富中国画的表现形式,“扬州画派”有以张扬的个性为画坛注入活力。晚清书坛碑学愈盛;“海上画派”和“岭南画派”则以雅俗共赏的画风拉开近代绘画之帷幕。
故宫博物院收藏有丰富的中国古代书画。其中既有晋唐宋元的稀世孤本,也有明清各个画派名家的代表作品,可以清晰、系统地反映中国古代书法与绘画艺术发展的脉络。为了感受经典,分享中国书书画艺术的美轮美奂,展示中华传统文化的博大精深,我们将分批展出历代书画家的精品佳作,以供广大观众研究、欣赏。

9787800478314

9787800478314

This product was added to our catalog on Donnerstag 10 November, 2011.
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