Retreat in the Qingbian Mountains and other works by Wang Meng скачать в хорошем качестве

Retreat in the Qingbian Mountains and other works by Wang Meng

In this video, Dr. Joan Stanley-Baker takes a close scrutiny on Wang Meng’s Retreat in the Qingbian Mountains and other works attributed to him. Through thorough pictorial analysis, she concludes with certain stylistic traits of Wang Meng, on which dating and connoisseurship of Wang’s paintings could rely. These traits could as well be understood as the typical brushwork behaviour of paintings in the Yuan Dynasty (1271-1368): a variety of dots, lines and cun (different brushworks) combined in a spontaneous yet coherent way. It conveys a vivid and realistic portrayal of the Nature, and is thus beyond any mechanicalrepetitive brushworks in the following eras. In her estimation, Retreat in the Qingbian Mountains might have been cut off for political and historical reasons back then. Gathering all clues does she try to portrait us a possible complete image. Dr. Joan Stanley-Baker is renowned with her analysis on Chinese paintings in terms of structural form and brushwork behaviour. This video is of particular relevance to this analysis, exemplified with ample high-resolution images and detailed comparisons of paintings from different eras. Hence, it provides the audience with a unique methodology in pictorial analysis. Chinese landscape painting from the 7th - 14th century demonstrates a predilection for realism, reflected particularly in spatial representation. Spaces amid mountains and crevasses are often delineated to be spacious, fluid and dynamic, while the ground plane extends out to the far back along with the receding flanks. This specific comprehension of space is no longer found in paintings after the Ming Dynasty. However, the viewing perspective changes in a circular way throughout the centuries: it had been descending since the 7th century, reaching a lowest point in paintings around 1550, uplifting to a higher level during the Qianlong era (1736-1795). About the Speaker Dr. Joan Stanley Baker was born in 1934 into a Chinese-German family in Nanjing and grew up in a multi-cultural environment. She studied at Bennington College before she specialized in Chinese art history at Princeton, and completed the Ph. D degree at Cambridge. During a 4-year stay in Japan, she involved herself in writing art critics based on the viewing and studies of a large amount of traditional paintings and calligraphies in public exhibitions. After returning to the U.S., she explored issues of brushwork in Chinese paintings under the guidance of the artist and art collector C. C. Wang. In the past decades, she has visited museums and institutions across the world for their collections of Chinese Classical paintings, and accumulated valuable resources in connoisseurship. With a consistent and peculiar focus on the study of traditional Chinese literati paintings, she has developed a unique methodology in dating and connoisseurship by integrating the essence of all her researches and findings. 徐小虎｜〈青卞隱居圖〉與王蒙名下其它的作品 本視頻中，徐小虎先生將王蒙〈青卞隱居圖〉與其名下〈夏日山居圖〉、〈葛稚川移居圖〉、〈具區林屋圖〉等多件作品進行細節比照，試圖從結構形態與筆墨行為兩個方向上，探究王蒙繪畫之特徵，並由〈青卞隱居圖〉一作落款與畫面結構的缺失，推斷其曾被裁割的部分，試圖探尋其原本面貌。 在比照不同時代作品的過程中，徐先生綜論中國古代山水畫的結構形態與筆墨行為的演變，結合大量高清圖片、細節對比，為讀者提示了觀看繪畫的獨特方法。 唐代到元代的繪畫具備強大的寫實力量，山與山之間充盈著流動而擴張的空間。在一座座山脈向後退去時，地平面也隨之延伸至深遠，這種對空間的理解和呈現方式，在明代已是難覓其蹤。山水畫中的視線焦點自唐朝以來，便不斷降低，到1550年左右達到了中國藝術史上最低點，在乾隆時期又回到高處，有著一定的循環規律。 在對〈青卞隱居圖〉細節的剖析中，呈現了元代山水畫多樣化的筆墨行為：不同形態的點、線與皴法，濃淡疏密不一，豐富而自由地組合在一起，繪畫出形態萬千的山林木石，絕非後代繪畫的單一重覆「機械性」筆墨行為可比擬。 講者介紹 徐小虎，1934年生於南京，具中德血統，自幼成長於多元文化的環境。少時曾就讀於美國班寧頓學院，後於普林斯頓大學研修中國藝術史，獲英國牛津大學博士學位。 曾於日本遊學四年，專注撰寫藝術專欄，觀摩各類古書畫展；回到美國後，又跟隨著名收藏家、鉴赏家王季遷，研習中國筆墨的變化和風格。數十年穿梭、到訪全球不同美術館，親訪館藏的中國古代書畫。 徐先生專注於中國傳統文人畫的研究，沉澱下來，建立了一套獨特的古代繪畫鑒賞與斷代方法。