Category:Painters from Henan
Pages in category "Painters from Henan"
The following 18 pages are in this category, out of 18 total. This list may not reflect recent changes (learn more).
The following 18 pages are in this category, out of 18 total. This list may not reflect recent changes (learn more).
1. Emperor Huizong of Song – Emperor Huizong of Song, personal name Zhao Ji, was the eighth emperor of the Song dynasty in China. Born as the 11th son of Emperor Shenzong, he ascended the throne in 1100 upon the death of his brother and predecessor, Emperor Zhezong. He lived in luxury, sophistication and art in the first half of his life, the following year, the Song capital, Bianjing, was conquered by Jin forces in an event historically known as the Jingkang Incident. Emperor Huizong, along with Emperor Qinzong and the rest of their family, were taken captive by the Jurchens and brought back to the Jin capital, the Jurchen ruler, Emperor Taizong, gave the former Emperor Huizong a title, Duke Hunde, to humiliate him. Emperor Huizong died in Wuguocheng after spending nine years in captivity. Despite his incompetence in rulership, Emperor Huizong was known for his promotion of Taoism and talents in poetry, painting, calligraphy and he sponsored numerous artists at his imperial court, and the catalogue of his collection listed over 6,000 known paintings. Emperor Huizong, besides his partaking in state affairs that favoured the reformist party that supported Wang Anshis New Policies, was a leader who spent much of his time admiring the arts. He was a collector of paintings, calligraphy, and antiques of previous dynasties and he wrote poems of his own, was known as an avid painter, created his own calligraphy style, had interests in architecture and garden design, and even wrote treatises on medicine and Taoism. He assembled an entourage of painters that were first pre-screened in an examination to enter as official artists of the imperial court, and made reforms to court music. Like many learned men of his age, he was quite a polymath personality, however, his reign would be forever scarred by the decisions made on handling foreign policy, as the end of his reign marked a period of disaster for the Song Empire. When the Jurchens founded the Jin dynasty and attacked the Khitan-led Liao dynasty to the north of the Song and this succeeded in destroying the Liao, a longtime enemy of the Song. However, an enemy of the more formidable Jin dynasty was now on the northern border. Stricken with panic, Emperor Huizong abdicated on 18 January 1126 in favour of his son, now known as Emperor Qinzong, and departed the capital. The Song Empire, however, had to sign a treaty with the Jin Empire, agreeing to pay a colossal war indemnity. From 1126 until 1138, refugees from the Song Empire migrated south towards the Yangtze River valley, but even such humiliating terms could not save the Song dynasty. Within a matter of months, the troops of both Jurchen vice-marshals, Wolibu and Nianhan, were back again, and this time they were determined to overcome the walls of Bianjing. After a bitter siege, the Jurchens eventually entered Bianjing on 9 January 1127, and many days of looting, rapes, emperors Huizong and Qinzong were demoted to the rank of commoners by the Jurchens on 20 March 1127. Then on 10 May 1127, Emperor Huizong was deported to Heilongjiang, in a humiliating episode, in 1128 the two former Song emperors had to venerate the Jin ancestors at their shrine in Shangjing, wearing mourning dress
2. Guo Xi – Guo Xi Chinese landscape painter from Henan Province who lived during the Northern Song dynasty. One text entitled The Lofty Message of Forest and Streams is attributed to him, the work covers a variety of themes centered on the appropriate way of painting a landscape. He was a professional, a literatus, well-educated painter who developed an incredibly detailed system of idiomatic brushstrokes which became important for later painters. One of his most famous works is Early Spring, dated 1072, the work demonstrates his innovative techniques for producing multiple perspectives which he called the angle of totality. The following is an excerpt from his treatise, mountains and waters, The clouds, in spring they are light and diffused, in summer rich and dense, in autumn scattered and thin, in winter dark and solitary. When such effects can be seen in pictures, the clouds, the mist around the mountains is not the same at the four seasons. Guo Xi was often referred to as a “Northern Song master” when it came to painting and his work inspired many later artists and he even had landscapes dedicated to him. His lesser-known “Deep Valley” scroll painting depicts a mountain valley covered with snow. The ink washes and amorphous brush strokes are employed to model surfaces that suggest the effects of the atmosphere. One of Guo Xi’s techniques was to layer ink washes to build up forms and his “Deep Valley” is a masterpiece of the use of light ink and magnificent composition. His son later described how Guo Xi approached his work, “On days when he was going to paint, he would seat himself at a table, by a bright window, burning incense to right. He would choose the finest brushes, the most equisite ink, wash his hands and he waited till his mind was calm and undisturbed, and then began. ”Culture of the Song Dynasty Chinese painting Chinese art History of Chinese art Barnhart, R. M. et al. Three thousand years of Chinese painting, ISBN 0-300-07013-6 Ci hai bian ji wei yuan hui,1979
3. Li Tang (painter) – Li Tang was a Song dynasty Chinese landscape painter who practised at Kaifeng and Hangzhou. He forms a link between earlier painters such as Guo Xi, Fan Kuan and Li Cheng and later such as Xia Gui. He perfected the technique of axe-cut brush-strokes, already in his early years he earned his living by painting. Sometime after 1100, under Emperor Huizong, he earned the highest rank in the Painting Academy at the court in Bianjing. He survived the invasion by the Jurchen Jin dynasty in 1126–27, and, together with the court, moved to Qiantang and he continued to serve as painter in the court under Emperor Gaozong, and died circa 1130. Li was among the most influential of the early Southern Song landscape artists and had many followers and he represented a vital link between the Northern Song school, and the later Southern Song painters, such as Xia Gui and Ma Yuan, both of whom studied Lis art. He developed and perfected the technique of the so-called ax-cut brushstrokes, as with most Song artists, few of his paintings survive, and most are of questionable authorship. The large hanging scroll Wind in Pines Among a Myriad Valleys is the painting that bears a clear signature by the artist. It reads, Painted by Li Tang of Ho-yang in Spring of the year of the Hsüan-ho Reign of the Great Song. The texture of the rocks in this painting is an example of the ax-cut strokes technique. Culture of the Song Dynasty Chinese painting Chinese art History of Chinese art Barnhart, three thousand years of Chinese painting. ISBN 0-300-07013-6 Richard Edwards, The Landscape Art of Li Tang, archives of the Chinese Art Society of America, Volume 12,1958, pp. 48–60 Richard Barnhart, Li Tang and the Kōtō-In Landscapes. The Burlington Magazine, volume 114, issue 830, May 1972, pp. 304–311, 313-314 Dorothy Perkins, Encyclopedia of China, History and Culture
4. Guo Zhongshu – Guo Zhongshu was a Chinese painter and scholar of the Five Dynasties period and Song Dynasty. He was initially a scholar-official serving the Later Han governor Liu Yun, cui was born in Luoyang in the Henan province. Guo was noted for his paintings of landscapes and structures and he is the author of the first great paleographic compilation Han jian 汗简, which, among other materials, features the inscriptions of the Stone Drums of Qin. The name of the dictionary means making the sweet and refers to the process of preparation of the bamboo slips for writing. Despite being included into the chapter of the Book of Song 宋書. Veracity of some interpretations in the Han jian was not proven until the half of the 20 c
5. Wu Daozi – Wu Daozi, also known as Daoxuan, was a Chinese artist of the Tang Dynasty. Michael Sullivan considers him one of the masters of the century, Some of his works survive, many. Wu traveled widely and created murals in Buddhist and Daoist temples, Wu also drew mountains, rivers, flowers, birds. No authentic originals are extant, though some exist in later copies or stone carvings, Wus famous painting of Confucius was preserved by having been copied in a stone engraving. Numerous legends gathered around Wu Daozi, often concerning commissions by Emperor Xuanzong, in one, he painted a wall mural displaying a rich nature-scene set in a valley, containing a stunning array of flora and fauna and including a cave at the foot of a mountain. The story goes that he clapped his hands and entered the cave, the painter entered the cave but the entrance closed behind him and, before the astonished emperor could move or utter a word, the painting vanished from the wall. The contemporary Swedish writer Sven Lindqvist meditates on this legend and the challenge that it poses to modern aesthetics in his book, The Myth of Wu Tao-Tzu. Another legend states that Emperor Xuanzong sent Wu Daozi to Sichuan to study the waters of the Jialing River in order to complete a mural of its entire course. Supposedly, Wu returned without sketches and rapidly painted the river from memory. It is sometimes added that his technique was foiled by Li Sixun, to the extent that it is grounded in a real event, however, it probably only reflects Wus speed of execution and not a lack of reliance on sketches. Another has it that a painter found one of the last surviving murals of Wu Daozi and he then destroyed the wall, possibly by pushing it into a river, to ensure that no one else could learn the same secrets. The Presentation of Buddha was featured in recent television presentations in China
6. Shang Xi – Shang Xi, was a Chinese mural and scroll painter during the Ming Dynasty. His specific birth and death dates are not known, shang was born in Puyang in the Henan province. He was a court painter who was awarded the title Commander of the Imperial Guards. Three thousand years of Chinese painting
7. Wang Shen (Song dynasty) – Born in the city of Taiyuan, Shanxi Province, Wang rose to a senior military position before marrying Princess Shuguo, the daughter of Emperor Yingzong of Song. Her older brother, Emperor Shenzong of Song, succeeded Yingzong to the throne, in 1079, Wang was implicated in a political scandal by virtue of his friendship with Su Shi and demoted, before later being exiled from the Song capital for three years. Wang was an amateur painter, whose widely accepted surviving works are handscrolls depicting landscape scenes. One of these, painted in ink with light color in the tradition of Li Cheng. A handscroll in the Shanghai Museum called Misty River, Layered Peaks is painted in a blue-and-green palette associated with Tang painter Li Sixun, another landscape handscroll in the Shanghai Museum shares the same title but depicts a different scene. It is noteworthy for a series of poems Wang and Su wrote each other on the scroll, richard Barnhart has proposed that a hanging scroll attributed to Guo Xi in the Shanghai Museum is instead a fourth surviving painting by Wang. Although less remembered as a poet than a painter, Wang Shen traded rhymes with Su Shi, one of the most renowned poets of the Song dynastic era, if not all time. Classical Chinese poetry Crow Terrace Poetry Trial Emperor Shenzong of Song Huang Tingjian Li Cheng Mi Fu Su Shi Xiaoxiang poetry Murck, Poetry and Painting in Song China, The Subtle Art of Dissent
8. Zhang Huan – Zhang Huan is a Chinese artist based in Shanghai and New York City. He began his career as a painter and then transitioned to performance art before making a comeback to painting and he is primarily a performance artist but also makes photographs and sculpture. He received his B. A. from Henan University in Kaifeng, Zhang Huan began his work as part of a small artistic community, known as the Beijing East Village, located on the margins of the city. The group of friends from art school pioneered this particular brand of performance in China, zhang’s performances always involve his body in one way or another, usually naked, occasionally involving masochistic actions. For example, an exhibited photography showed him as a man, his head half-shaved. His skin was wet and covered with flies and his face looked blank but tough, as if he were trying to meditate his way through pain. In a more benign group performance called To Raise the Water Level in a Fishpond, he asked 40 migrant laborers to stand in a pond, their presence, presumably. For another titled To Add One Meter to an Anonymous Mountain, he and nine other artists climbed a mountain near Beijing, stripped and lay down on top of one another to create a second, Zhang involves the body in his sculptures as well. He makes giant copper hands and feet, magnified versions of fragments of broken Buddhist figures that he found in Tibet, by using quasi-religious ritual, he seeks to discover the point at which the spiritual can manifest via the corporeal. He uses simple repetitive gestures, usually regarded as meaningless work-for-work’s-sake chores, Buddhism, with its temple music, sculptures and philosophy are a prevalent theme in Zhang Huan’s work. His sculpture Long Ear Ash Head, for example, consists of a head made of incense ash. It fuses the artist’s image with the lengthened earlobes representing happiness and he continued to explore Buddhism with sculpture Sydney Buddha, an exhibition where two Buddha sculptures were positioned facing each other, One, a headless metal statue. The other, a sculpture made from over 20 tonnes of incense ash. Of Sydney Buddha, the artist said, “The piece conveys the collective memory, soul, thoughts and prayers and it implies a collective ineffectiveness, arising from taking action when none should be taken, upsetting the natural order of things. He has exhibited at shows including the 2002 Whitney Biennial and Rituals at the Akademie der Künste in Berlin. In the nearly 40 different performance art pieces that Zhang Huan performs and he did not have much space for himself, which impressed the idea of China’s overpopulation on him at young age. In 1994, Zhang Huan was in a village in China. He found a public restroom just off the street and went on in, because of a lot of rain the village had been receiving, the restroom wasn’t cleaned recently due to “weather precautions”
9. Zhang Lu (painter) – Zhang Lu was a Chinese landscape painter during the Ming Dynasty. His courtesy name was Tianchi and his pseudonym was Pingshan and he was a student of Wu Wei. Zhang followed the Zhe school of painting and he painted landscapes and human figures in a free and uninhibited style. Ci hai bian ji wei yuan hui (辞海编辑委员会）, Shanghai, Shanghai ci shu chu ban she （上海辞书出版社）,1979
10. Zhao Yan (Later Liang) – Zhao Yan, né Zhao Lin, was an official of the Chinese Five Dynasties and Ten Kingdoms period state Later Liang. He was Zhao Chous second son, and during the resistance against Huang, he served under his father alongside his uncles Zhao Chang and Zhao Xu, and his older brother Zhao Lu. Shortly after Qin was captured and executed by Tang in 889, Zhao Chou, who was by that point the governor of Fengguo Circuit, also died. Nothing was recorded in history about Zhao Yan from this point on for more than a decade. After Zhu Quanzhong seized the Tang throne in 907, ending Tang and starting a new Later Liang as its Emperor Taizu, Zhao Yan was given the titles as minister of the guards. In 908, he was put in charge of Ming Prefecture before being recalled to serve in various command posts in the Later Liang imperial guard army. In 909, he was made the prefect of Su Prefecture, before being recalled to again serve in the imperial guard army. In spring 913, Yuan sent his soldiers into the palace and had Zhu Yougui surrounded, Yuan and Zhao sent the imperial seal to the eastern capital Daliang, where Zhu Youzhen was at the time. Zhu Youzhen accepted and took the throne at Daliang, making it the capital, because of Zhao Yans contribution to the succession of Zhu Youzhen, Zhu made him the director of material pricing, as well as acting minister of census. Because of his contributions and familial relationship to the emperor, Zhao Yan became arrogant and publicly received bribes and gifts, admiring the example of the Tang Dynasty chancellor Du Cong, who was also the husband of a princess, he lived luxuriously. In 923, Later Liang and Later Tang — i. e, as a result, Zhu removed Wang and made Duan the supreme commander. He crushed Wangs and Zhangs army and captured then, and then headed for Daliang. Meanwhile, despite his advice to the emperor, Zhao himself planned to flee, believing that his friendship with Wen meant that Wen would shelter him, he fled to Kuangguos capital Xu Prefecture. Wen initially welcomed Zhao warmly and hid him in the mansion, Zhao Yan was also an accomplished painter, known for painting figures and horses. The National Palace Museum in Taipei includes a hanging scroll attributed to him, History of the Five Dynasties, vol. New History of the Five Dynasties, vol