User:Chen Junyu/Graduation Project Seminar/ project proposal/3rd - Revision history

Chen Junyu: /* Chapter II Ancient and Modern */

2015-04-30T14:29:10Z

Chapter II Ancient and Modern

← Older revision		Revision as of 16:29, 30 April 2015
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	==Chapter II Ancient and Modern ==		=='''Chapter II Ancient and Modern''' ==

Chen Junyu: /* Chapter II Ancient and Modern */

2015-04-30T14:28:44Z

Chapter II Ancient and Modern

← Older revision		Revision as of 16:28, 30 April 2015
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	[[File:4221300 6h1o89o l.jpg]]		[[File:4221300 6h1o89o l.jpg\|500px]]
	<br>Hiroshi Sugimoto - Seascape: Baltic Sea, near Rügen, 1996 <br>		<br>Hiroshi Sugimoto - Seascape: Baltic Sea, near Rügen, 1996 <br>
	[[File:1024px-Caspar David Friedrich - Der Mönch am Meer - Google Art Project.jpg]]		[[File:1024px-Caspar David Friedrich - Der Mönch am Meer - Google Art Project.jpg\|500px]]
	<br>Caspar David Friedrich - The Monk By The Sea, 1808 <br>		<br>Caspar David Friedrich - The Monk By The Sea, 1808 <br>
	[[File:2583940286221231160.jpg]]		[[File:2583940286221231160.jpg\|500px]]
	<br>Ma Yuan - A Series Paintings of Water, around 1200 <br>		<br>Ma Yuan - A Series Paintings of Water, around 1200 <br>

Chen Junyu: /* Chapter II Ancient and Modern */

2015-04-30T14:28:00Z

Chapter II Ancient and Modern

← Older revision		Revision as of 16:28, 30 April 2015
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	The power of the combination of magic, reliogion and philosophy probably is barely to find in current China, but I think the respect to nature power, or, as my understanding, the respect to nature has been spread by different traditional arts		The power of the combination of magic, reliogion and philosophy probably is barely to find in current China, but I think the respect to nature power, or, as my understanding, the respect to nature has been spread by different traditional arts


	[[File:对月图.jpg]]		[[File:对月图.jpg]]

Chen Junyu: /* Chapter II Ancient and Modern */

2015-04-30T14:27:36Z

Chapter II Ancient and Modern

← Older revision		Revision as of 16:27, 30 April 2015
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	Thus when we appreciate Chinese paintings, there usually is partly empty space left, whether landscape painting or still life. For example, Ma Yuan, one of my favorite painter who activated in 12th century, is famous for his special composition style “one corner” , in which he only places the subjects of the painting to one corner or one side, and leave the other parts empty.		Thus when we appreciate Chinese paintings, there usually is partly empty space left, whether landscape painting or still life. For example, Ma Yuan, one of my favorite painter who activated in 12th century, is famous for his special composition style “one corner” , in which he only places the subjects of the painting to one corner or one side, and leave the other parts empty.

	[[File:39717 1308392021i0i0.jpg]]		[[File:39717 1308392021i0i0.jpg\|400px]]

	(pic 2 , Lotus, Rocks and Water Fowls, Badashanren )		(pic 2 , Lotus, Rocks and Water Fowls, Badashanren )

Chen Junyu: /* Chapter II Ancient and Modern */

2015-04-30T14:26:59Z

Chapter II Ancient and Modern

← Older revision		Revision as of 16:26, 30 April 2015
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	The power of the combination of magic, reliogion and philosophy probably is barely to find in current China, but I think the respect to nature power, or, as my understanding, the respect to nature has been spread by different traditional arts		The power of the combination of magic, reliogion and philosophy probably is barely to find in current China, but I think the respect to nature power, or, as my understanding, the respect to nature has been spread by different traditional arts
	[[File:对月图.jpg]]		[[File:对月图.jpg]]

	(pic 1, Facing the Moon, Ma Yuan)		(pic 1, Facing the Moon, Ma Yuan)

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	Thus when we appreciate Chinese paintings, there usually is partly empty space left, whether landscape painting or still life. For example, Ma Yuan, one of my favorite painter who activated in 12th century, is famous for his special composition style “one corner” , in which he only places the subjects of the painting to one corner or one side, and leave the other parts empty.		Thus when we appreciate Chinese paintings, there usually is partly empty space left, whether landscape painting or still life. For example, Ma Yuan, one of my favorite painter who activated in 12th century, is famous for his special composition style “one corner” , in which he only places the subjects of the painting to one corner or one side, and leave the other parts empty.

			[[File:39717 1308392021i0i0.jpg]]

	(pic 2 , Lotus, Rocks and Water Fowls, Badashanren )		(pic 2 , Lotus, Rocks and Water Fowls, Badashanren )

Chen Junyu: /* Chapter II Ancient and Modern */

2015-04-30T14:25:53Z

Chapter II Ancient and Modern

← Older revision		Revision as of 16:25, 30 April 2015
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	Thus when we appreciate Chinese paintings, there usually is partly empty space left, whether landscape painting or still life. For example, Ma Yuan, one of my favorite painter who activated in 12th century, is famous for his special composition style “one corner” , in which he only places the subjects of the painting to one corner or one side, and leave the other parts empty.		Thus when we appreciate Chinese paintings, there usually is partly empty space left, whether landscape painting or still life. For example, Ma Yuan, one of my favorite painter who activated in 12th century, is famous for his special composition style “one corner” , in which he only places the subjects of the painting to one corner or one side, and leave the other parts empty.
	~~[[File:对月图.jpg]]~~
	~~(pic 1, Facing the Moon, Ma Yuan)~~


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			[[File:4221300 6h1o89o l.jpg]]
	Hiroshi Sugimoto - Seascape: Baltic Sea, near Rügen, 1996		<br>Hiroshi Sugimoto - Seascape: Baltic Sea, near Rügen, 1996 <br>
			[[File:1024px-Caspar David Friedrich - Der Mönch am Meer - Google Art Project.jpg]]
	Caspar David Friedrich - The Monk By The Sea, 1808		<br>Caspar David Friedrich - The Monk By The Sea, 1808 <br>
			[[File:2583940286221231160.jpg]]
	Ma Yuan - A Series Paintings of Water, around 1200		<br>Ma Yuan - A Series Paintings of Water, around 1200 <br>

	Here are three images depict the “Sea”, done by artists from different ages. They all depict the view of sea, from different aspects, using different construction and mediums. However, since they chose the same topic, we could trace these images to speculate their understanding and motivation for depicting the nature.		Here are three images depict the “Sea”, done by artists from different ages. They all depict the view of sea, from different aspects, using different construction and mediums. However, since they chose the same topic, we could trace these images to speculate their understanding and motivation for depicting the nature.
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	As my understanding, it means live with simplicity, with natural consciousness and without external drive and disttraction. It is a life long process to achieve the goal, and one thing should be done before the journey is to be honest to self. It is the only way to reach the goal -- have natural, simple mind while drawing. It is the ideal and achievable way to draw as natually as I can. As Philip Rawson says, appreciating a drawing is a procedure of “spiritual scanning” done by viewer to the painter. And through this, I can get to make deeper connection with those ancient masters by “spiritual scanning”.		As my understanding, it means live with simplicity, with natural consciousness and without external drive and disttraction. It is a life long process to achieve the goal, and one thing should be done before the journey is to be honest to self. It is the only way to reach the goal -- have natural, simple mind while drawing. It is the ideal and achievable way to draw as natually as I can. As Philip Rawson says, appreciating a drawing is a procedure of “spiritual scanning” done by viewer to the painter. And through this, I can get to make deeper connection with those ancient masters by “spiritual scanning”.


	=='''Chapter III''' ==		=='''Chapter III''' ==

Chen Junyu at 14:21, 30 April 2015

2015-04-30T14:21:15Z

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Chen Junyu at 14:06, 30 April 2015

2015-04-30T14:06:33Z

← Older revision		Revision as of 16:06, 30 April 2015
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	The power of the combination of magic, reliogion and philosophy probably is barely to find in current China, but I think the respect to nature power, or, as my understanding, the respect to nature has been spread by different traditional arts		The power of the combination of magic, reliogion and philosophy probably is barely to find in current China, but I think the respect to nature power, or, as my understanding, the respect to nature has been spread by different traditional arts
	(pic 1, Facing the Moon, Ma Yuan)		[[File:https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQwSaUH92Y85qSFmnt12FdJdxXcPXQCVlioZPq_8HlnAbUfTk28Wg]]
			(pic 1, Facing the Moon, Ma Yuan)

Chen Junyu at 14:00, 30 April 2015

2015-04-30T14:00:29Z

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Chen Junyu at 17:58, 29 April 2015

2015-04-29T17:58:22Z

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