Chinese Art in Europe.

If you enjoy the Chinese Arts, Lingnan, Chao Shao-an or any angle of Traditional Chinese Art then I hope you like what you find here today!
Neil Armstrong. (fmip.fbip.)
Chinese Art in Europe.
by Armstrong




Old Koi, 
Old Military masters, 
and Old Trees

"Ballad of the Ancient Cypress."
by Du Fu Written around c.712a.d.

(Literal Translation)
Remember old road wind brocade pavilion east
Former master war lord together hidden temple
Towering branch trunk open country ancient
Secluded red black door window empty
Spread wide coil entrenched although get earth
Dark far lofty many violent wind
Give support naturally divine strength
Upright reason creator skill

(Embellished translation)
I remember the old winding road, east of Brocade Pavilion,
Military master and his Lord are together in a hidden temple.
Towering branches, old open (tree)trunk; the ancient plain,
Secluded red and black doors and windows... empty. 
Spread wide, coiling down, though it holds the earth,
In the dim and distant heights are many violent winds.
That which gives support must be heaven's strength,
The reason for its uprightness, the creator's skill.

This is a complicated understanding. His attention seems to drift from the temple(2,4,) and back to the tree (3,5)again.
I wonder wether the violent winds are continuing or distand battles OR, as he mentions the Heavens, amongst the many Gods of the time. 
 However... I thought it proper to add an ageing Koi and ancient Characters. One of the hardest projects Ive done yet. The Characters were not always what I presumed they should be so they have been repeatedly changed. 
I am happy with them as they are now.

if you've read this far you'e one on a thousands facebookers because most lose interest after 15 seconds. So well done and good for you. We are the last of the intellectual studious.

Friday, September 27, 2019, 12:05 AM
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Chinese Paper, China, History
The Solitary Goose by Du Fu.
by Armstrong


Tonights Chao Shao-an & Calligraphy Practice.
 RARE RESOURCE - Du Fu Poetry - 5 Translations.

The Solitary Goose
 by Du Fu

Literal translation:-
 Solitary goose not drink peck
 Fly call sound miss flock
 Who remember one now shadow
 Mutual lose myriad layer cloud
 Look utmost seem as if look
 Distressed much like become hear
 Wild duck without state of mind
 Call voices also numerous and confused

Embellished Translation:-
 The solitary goose does not drink or eat,
 But flies and calls - misses flock.
 Who remembers this one shadow,
 They've lost each other in myriad layers of cloud.
 It looks into the distance: seems to see,
 It's so distressed, it thinks that it can hear.
 Wild ducks, by instinct
 Also call with numerous confused voices.

I believe the poet sat and studied the attentive stare Geese have when they're distressed. Heads high, eyes alert. Actions skittish.
 And he was emotionally aware of the Goose's distress.
 As it called in dismay, so did the Ducks return a call or anxious alert.

OK, It's a Kingfisher... Not a goose in my painting. But it was inspired by Lum Weng Kong and I wanted to paint it as he has done a superb Kingfisher recently.
 My calligraphy is simply being practiced. I am not a Master of the Chinese Character.

Neil Armstrong.

Sunday, February 17, 2019, 11:29 PM
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by Armstrong


Tonights' Chao Shao-an & Calligraphy practice.

Verse - "Spring Night" by Du Fu.

Literal Translation:
Flowers hide palace wall dusk
Chirp chirp perch bird go
Star overlook 10,000 door move
Moon near nine heavens more
Not rest hear gold key
Because wind feel jade bridle pendant
Tomorrow morning have letter business
Count ask night like what

Embellished Translation:
Flowers in shadow, palace wall at dusk,
Singing bird flies away.
Stars move above ten thousand doors;
The moon's big nearing the nine heavens.
Not sleeping, I hear golden keys?
(Palace Doors being locked shut by the Guards?)
The wind chimes hanging jade pendants.
Tomorrow morning, I have to present a memorial,
Again and again, I ask about the night.

Sunday, February 17, 2019, 11:11 PM
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by Armstrong

Translation:- If you do not Observe you do not learn!


A lesson I learned by using Chao Shao-an as a Master by Example.

Some people look at a painting and think, "I could never do that!" and walk away.

Let me tell you that everybody who ever did a painting was human.

I was struggling years ago and could not find the way to get the work on paper that my minds eye wished to see.

The solution was to tear my paper in half and paint smaller. Work on making the subjects tinier.

For some reason this worked and suddenly my art became something I felt a little proud of.

Wednesday, September 26, 2018, 11:32 PM
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by Armstrong

Monk under Jasmine Blossom Tree.

Is there such a thing?

Here again I tried to find the real tree  and every time it comes out sidelopped. See two posts below this one for that explanation.

The happier side to these lessons were that I actually liked the way the tree side stepped its blossoms. It was as if the Monk had some kind of value or relevance to the nature of it.

The tree I wandered in and out of the Mustard Seed gardens teachings. I am not a professional I state at the outset just someone who is determined to learn and who enjoys the effort of learning such a diverse education. That education being the education of limb control. training my hand to make the movements that represent the same manner Chao Shao-an used to paint his works.

An understanding of the Lingnan spontaneous style has been the most difficult arena I have entered into.
I would recommend it to anyone eager to try the Chinese Arts. I made all the mistakes the naïve do when they start out. including buying ink stones made of pottery. Ink sticks made of car engine oil and highly highly poisonous. on and on..... lessons quickly learned.

Send me a comment if yo9u have a painting you would like included online somewhere outside f a c e b o o k s soul destroying arena.
Or if you'd like one of your own.


Wednesday, September 26, 2018, 11:27 PM
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by Armstrong

Mustard Seed garden Lesson.

So we try and try  again.

One thing always to remember is to continue to try.
If the initial work does not fit the eye try again. Compare the two. Watch the initial effort while you paint the next. See what you disliked about the initial effort and do not do it again.

here is another attempt and still before I realised that the right sidedness of the tree was a subconscious affair. See previous post for that explanation.

Wednesday, September 26, 2018, 11:19 PM
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Chinese Paper, Paintings
Progress always... Chao Shao-An.
by Armstrong

Mustard Seed Garden Lesson. 

Sometimes the difficulty is stepping outside the standard lessons line and not overvaluing that precious and very expensive piece of Chinese Xuan paper and saying, OK, let's wander off into something different.

It can be very easy to stay on track and keep to the rules. Today I post a p[ainting which in the end took on four different hues because I tried to find out why the image didn't work. the painting.
the reason it didn't work was that the flowers were very off balance. the reason? That the flowers were always off sided???
My Wife has just has  a brain tumor removed. After wakening from the initial operation and having to go into a second emergency operation she awoke finally paralysed down her right side and initially could not speak.

My painting continually came out one sided. This is absolutely true.

So these next few posts are from that period where I tried to find a solution to the painting only to have it pointed out to me by a friend half way across the world.

Neil Armstrong.

Wednesday, September 26, 2018, 11:17 PM
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Ink Sticks, Chinese Brushes, Chinese Paper, China, Paintings, History
Midsummer 2017.
by Armstrong Raggedy Bird Chao Shao-an painting chinese arts

4th August 2017. It's a beautiful world.
Chinese Art Supliers we trust!

If you're determined enough you will slowly start to see the attitude of the brush resemble Chao's work, or whichever Master you work and learn from by Example. It is a slow road for most and I will never claim I am now or ever will be a Master.

That would be foolhardy.

For one thing I have never been brought up in China, nor have I had the life of a Chinese person.
Nor have I worked, eaten, breathed slept and survived in anywhere Chinese.

So, that massive side of Chinese spirituality will always be missing.
I am western conditioned, regardless of the fact that I hate that branding.

Lucky for us, in the 2000's we can purchase from China the art materials we so badly need from any number of outlets advertising across the world. 

Two that I particularly love and trust enough to spend copious fund swith are and because the quality, material range and speed of service as well as the perfect degree of one to one communicationmakes these suppliers the top of anyones list.... if you're serious about the Chinese Arts.

I, for one, cannot stand to use anything that is strictly not traditionally Chinese. Nor do I enjoy using liquid inks, I more prefer to make that black ink from an ink stick because I know that sticks history and I know the forests it came from and I can see it in my minds eye....... and its what the Chinese have done for so many ages past.  

As with the paper. As old as I can afford it. I prefer that off white look to it. Tatty edges and torn into shape.

It's something that starts to grow on you spiritually as you as you study the art more and more. It is as if the fibres of Chinese something slowly integrate and help you see what should be there, as opposed to what you thought ought to be there instead.

It is a gentle journey, and one I respect in that THIS is CHINESE not Western. I use Chinese stone for the seals, Chinese bamboo for the brushes. It is as if something has suddenly repelled me from the western side of Art.

I do not look too deeply as to why I enjoy it so much. I simply enjoy what feels to flourish as time crawls on. I am me. I am English. But not neccessarily by nature.


Wednesday, August 2, 2017, 10:00 PM
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