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
 


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
( 5 / 24 )

Ink Sticks, Chinese Brushes, Chinese Paper, China, Paintings, History
Midsummer 2017.
by Armstrong

Raggedybird.com 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 www.Inkston.com and www.HMayXuanPaper.com 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
( 0 / 0 )

Ink Stones, Ink Sticks, Chinese Brushes, Chinese Paper, Water Bowls, China, Paintings, History
Chao Shao-an Practice. But what of others?
by Armstrong
"In Situ". Studying hard the practice of Chao Shao-an style Chinese Painting!
But Phones are definitely
not worthy of displaying our Works?

It's been a while since I've felt the need to write something inside this Blog.  Actually, its not a blog, it's more of a standard website from the days of the 1990's in so far as it allows full width formatting and shows the Paintings I work on and from in large detail. Big enough to see without pussyfooting about with fade in galleries and giant arrows on the images. I hate that.

Artists need  S P A C E . Not between the ears either.
The ability for other artists to display their work seems to have been crushed with social media sites. I host with HeartInternet utilising the fastest servers on the planet without limits on space or bandwidth because you need something of a vehicle to display what you're doing in the Arts with impact.

Phones are not browsers.
Too many people are sadly dependant on squinched up little images shown on what basically amounts to a Phone site. How on earth we're supposed to impress a client or potential customer with an image three inches across baffles me and the design of sites that are "phone shaped" and only utilise the middle third of a screen...... and that's acceptable?

Size matters.
The only way to seriously browse the web is through a proper desktop device or large laptop. If you're on a "just passing" crusade with your life and its progress and your study levels mimics this.... then so will your life achievements.
I'm afraid a postage stamp sized representation of your achievements...... kind of self declares by its size, the level of achievement to onlookers.

One Taker brave enough.
I'm happy to say that Darlene Kaplan, an American Chinese Art Enthusiast of some note who is quite achieved in this field in the states has taken up the offer I put out on a social site of having a full scale blog to post her work on.
I get the impression that it is a challenge for her as web technologies are not her hot spot but... she is ready for the challenge and already has several online prescences though sadly... some adhere to the failings stated above. 
One of her sites kind of hung off left on 27% of the screen.   Who the hell designs these things? SEE HERE Darlene's newa nd upcoming Blog....... and bookmark it because it will be worth your attention And, as you'll see, it uses the whole of that brand new monitor your new computer came with. Not just the middle third bit.
Her works are seen across the planet andif, like me, you've been in the field a while and enjoy seeing the work of others because you can now appreciate it, her posts will be worth the time it takes to read them.

Old coding still works, it's just called something ridiculous now.
In 1994 we used "variable parameters" on the pages so that it didn't matter what you viewed the site on it organised itself to fit.  Now they call this "Adaptive" as if its some kind of magic programming that's come about but in truth, its been missing for years because programmers and coders and internet designers have been lame, lazy and basically..... crap.  Spewing out nonsense sites and convincing their clientele that "This is the way forwards!"

Let us pray!
I hope that by the next decade's end we have a system where people are once again looking at high definition internet sites on large viewers because if you went to the movies and were handed a three inch handheld pocket device to watch the movie on while you walked around the refreshment booth, you'd want your money back.

Increasing Numbers to the Chinese Arts in the West.
Pleasingly, there are more and more people taking up the Chinese Arts. Sadly, too many are mixing it with Westernisms and this is a contamination not tolerated by the traditionalists in China.  That's a bit like going out for a Chinese meal and then being asked if you want some Bisto poured all over your rice.
You wouldn't.
So why play this game with something that's historically beautiful. No, I have zero toleration for Western Infiltration of pollutants in this most ancient art to the degree there is nothing western on my Art Table at all. I have never indulged in Western Style Painting. only Chinese. I am lucky in this respect as I have no habitual traits to spoil the progressive walk I demand from it.

Are you an Artist looking for a way to display your works? Bigger than the patronising social sites allow you? You can write to me and we can see what can be done.   

Neil Armstrong. 


Friday, September 9, 2016, 10:39 PM
1 comment 1 comment ( 381 views )  |  
( 4.8 / 19 )

Chinese Brushes, Chinese Paper, China, Paintings, History
Wang Fangyu (1913 1997)
by Armstrong

Wang Fangyu (1913–1997)

In looking at the calligraphy of Wang Fangyu it may be useful to bear in mind several tenets of traditional Chinese thought:

1)  Calligraphy and painting have the same origin in the earliest writing of China, which was often pictorial and gestural in form.

2)  Calligraphy is an unmistakable image or aura of the writer, as clear a reflection as his words, his appearance or his public actions.

3)  The forms and gestures of calligraphy are often understood to be in harmony with the natural forms and forces of the world, for example, the wind, the rain, the flight of the birds.

4)  All of the calligraphy of the past – the graphic record of human consciousness – is a vital repository of sources and references.

The art of calligraphy is the most vivid and direct recording of a creative process among all of the arts of the world.  Every stroke and dot is an instant image of a physical action embodying aesthetic and expressive impulses.  It is also the oldest and – measured by number of artists and works – the densest historical body of art extant, rivaled perhaps only by poetry.

These facts make all the more remarkable and exciting the achievement of Mr. Wang.  Forbidding indeed is the challenge of the past for any calligrapher living in the late twentieth century.  To master and change a tradition so dense, brilliant, and ineffable is a goal few have been able to approach, through there has been no dearth of aspirants.  Indeed, it appears that we are in the midst of a true revival of the ancient art of calligraphy, one that will ultimately clarify itself into a major historical era in the evolution of the art.  Why, in a age seemingly preoccupied with the problems of the present and the future, should there be this resurgence of interest in the most ancient of the arts of Asia?  The other traditional arts, notably poetry, painting, and drama, have been buffeted by the cataclysmic events of our time.  Calligraphy alone has remained relatively unaffected, quietly continuing to write out its story.

The answer, I believe, lies in the probability that calligraphy is the tangible embodiment of the racial and cultural memory of the Chinese people.  Its origins lie in the fire of the oracle of Shang; its history draws into its structure the thought and emotion of the countless individuals – artists, scholars, monks, priests, and warriors – whose lives are the history of China; and it exists today as the embodiment of a nation’s mind and memory.

No one understands this better than Wang Fangyu.  In his art is the past and the present, the individual mind and the mind of a people. His perception of experience is the subject of his art, and the history of the art is the space through which his brush writes.  Looking at Mr. Wang’s images of himself, of his world, and his experience is to see one artist reflecting upon his life, his language, his art, and his history – reflecting upon roots sunk into primeval soil, and upon a heritage he himself is continuing to define.


Richard Barnhart
Professor of Art History
Yale University


Thursday, March 3, 2011, 09:14 PM
( 0 / 0 )

Chinese Brushes, Chinese Paper, China, Paintings, History
Introduction of Chen Chi (1912-2005)
by Armstrong

Introduction of Chen Chi (1912-2005)


Many people who have been inspired to write about Chen Chi, including Pearl S. Buck, have dwelled on his mastery of the brush, extraordinary depth of feeling and profound philosophy of life.  When I first met Chen Chi, I was immediately impressed with his energy, indefatigable optimism and quest for peace and harmony in the world.

Chen Chi was born in 1912 in the town of Wuxi, near Shanghai shortly after the 1911 Revolution, a time of never-ending wars, which made survival difficult during his youth. During the 1920’s and 1930’s Chinese artists were deeply affected by the ferment of creative ideas emanating from the West.  In his earliest work Chen Chi was strongly influenced by these new currents, which left an indelible imprint on his approach to art and in 1947 he left China for the United States where he continues to reside and exhibit his paintings.

In April of 1999 the Chen Chi Art Museum was officially opened in Shanghai, not only as a place to display Chen Chi’s painting, but also to promote an international exchange of art and education.  China’s President, Jiang Zemin, himself wrote the dedicatory inscription “Chen Chi Art Museum” as an act of personal respect and tribute to the artist.

Because of the artist’s deep concerns and commitments, it is not coincidental that Chen Chi has been chosen as the first living Chinese artist to be honoured with a one-man retrospective of his oeuvre in Versailles.  This historic exhibition is being held in conjunction with the first World Cultural Summit which took place at the Palace of Versailles in June, 2000.

Chen Chi’s painting embraces a large diversity of styles, ranging from traditional Chinese watercolour techniques to boldly Impressionist modes in which the subject of the painting often disappears in a swirl of intermingled colour masses.  Some of his paintings are naturalistic, and others are more abstractly oriented, but much of his work derives from intense observation of nature such as the changing seasons and the constant presence of the sun and moon. 

Chen Chi has received numerous honors, including the Special Award for the Watercolor of the Year and the American Watercolor Society’s Bicentennial Gold Medal. He has served on the Board of Directors of the American Watercolor Society since 1959 and is a life-long Academician of the National Academy of Design. His works can be found in many public and private collections, foundations, universitites, corporations, and museums, including the Metropolitan Museum of Art in New York City. He has held many one-man exhibitions, both in the U.S. and around the world.


Bertha Saunders
Curator 
The David Rockefeller Collection


Thursday, March 3, 2011, 09:12 PM
( 0 / 0 )



powered by pppBLOG v 0.3.11