Asia

Chinese Artist: Wang Bu

“Vases with Bird-and-Flower Painting” by Wang Bu (1898–1968)

Artist

Wang Bu was a 20th Century Chinese artist that specialized in working with Ceramics.  He was officially trained in the blue and white art, working under an expert tutor for several years.  Wang Bu’s first significant work came when popular ceramic artist, Wu Aisheng, hired him to design porcelain items in the style so popular during the Ming and Qing periods.  He would continue working with porcelain and ceramics for the rest of his life, preferring to decorate them in the blue and white coloring his father and mentor had loved.

Wang Bu made two great contributions to the art field.  First, He created the innovative method of using Chinese brush drawing to add the blue and white colors onto his ceramics and porcelain works ~ a technique that many other artists would soon pick up.  Second, he invented a “coloring pigment” by using the Chinese ink painting technique.  This pigment helped the colors used on ceramics to stay bright and colorful, as opposed to dulling and spotting as it dried.  

He briefly abandoned the blue and white style  during the tumultuous period of WWII an the Anti-Japanese War. However, he would later return to his roots, and eventually earned the title “King of Blue and White.  In the sixty years that he worked, he designed millions of works, many of which are still famous today.

Influences

  • His father, Xiuquing, who was an expert in blue and white painting. 
  • Xu Yousheng, his teacheer and another expert artist that worked with blue and white painting.
  • Ming and Qing Dynasty ceramic artists.

Stylistic Characteristics

  • Blue and White Coloring ~ particularly over-glazed with colors underneath or paste on paste.
  • Ceramics and Porcelain canvases.
  • Use of Chinese brush drawing or ink painting.
  • Bright, smooth coloring.
  • He seems to have like flowers, animals, and natural subjects.
  • His signature in his later years was often “the old man Taoqing.” 

Hong Kong’s Art Scene is Growing Better all the Time and Art Basel is Just Part of It

“Hong Kong’s Art Scene is Growing Better all the Time and Art Basel is Just Part of It”

by John Batten via “South China Morning Post

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“It’s a tired cliché constantly heard but, yes, Hong Kong’s art scene is stronger “than before”. There’s now a wider variety of commercial art galleries and Art Basel’s choice for its Asian outpost has made the city a destination for international collectors, curators and art personalities.

However, there are still few domestic collectors dedicated to contemporary art, and there is a dearth of continuing and provocative museum exhibitions charting the contemporary art world. That’s notwithstanding the anticipated opening in 2017 of M+, the planned museum of visual culture at the West Kowloon Cultural District.

Within two years of its inception the art fair has become a magnetic juggernaut attracting international galleries and visitors

(more…)

“Over 1,000 Ancient Buddha Statues Uncovered in China”

“Over 1,000 Ancient Buddha Statues Uncovered in China”

by April Holloway via “Epoch Times

“Archaeologists have discovered more than 1,000 ancient Buddha statues in three stone caves on a cliff-face in Yangqu County, in north China’s Shanxi Province, according to a report in China.org.cn. Although official dating has not yet been carried out, it is believed that the statues date back to the Ming Dynasty.

The Ming dynasty, was the ruling dynasty of China for 276 years (1368–1644 AD) following the collapse of the Mongol-led Yuan dynasty. The Ming, described by some as “one of the greatest eras of orderly government and social stability in human history”, was the last dynasty in China ruled by ethnic Han Chinese. The creation of stone Buddha statues reached its peak during the period from the Northern and Southern Dynasties (420-589) to the Tang Dynasty (618-907), so it is rare to find stone Buddha statues from the Ming Dynasty.

According to traditional accounts, Buddhism was introduced in China during the Han dynasty (206 BC-220 AD) after an emperor dreamed of a flying golden man thought to be the Buddha. Although the archaeological record confirms that Buddhism was introduced sometime during the Han dynasty, it did not flourish in China until the Six Dynasties period (220-589 AD). The year 67 CE saw Buddhism’s official introduction to China with the coming of the two monks Moton and Chufarlan.

The latest finding including stone statues carved into the cave walls and measuring 12 to 25 centimetres long, said Yang Jifu, director of the county’s cultural heritage tourism bureau. Yang said two of the caves had been restored in the Ming Dynasty, according to the record on two steles in the caves. . . . .”

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Current Exhibition: Flowers of the Four Seasons in Chinese and Japanese Art

I Might Actually Get To See This One Myself! ** DB

Who: St. Louis Art Museum

What: Flowers of the Four Seasons in Chinese and Japanese Art

When: February 7, 2014 – September 1, 2014

Where: Gallery 225 at the art museum

One Fine Arts Drive

Forest Park

St. Louis, MO 63110

How Much: Free!

Further Information:

“Saving Guangxi’s Cultural Heritage from Decline”

“Saving Guangxi’s Cultural Heritage from Decline”

via “South China Morning Post”

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Dancers from the Zhuang ethnic group perform at the San Yue San festival in Wuming county, Guangxi Zhuang Autonomous Region, on Wednesday. Photo: Xinhua

 

Residents of Guangxi Zhuang Autonomous Region are enjoying a new two-day official holiday the local government has offered to encourage them to participate in an annual ethnic minority singing festival.

Wednesday was the third day of the third month of the Chinese lunar calendar, when crowds traditionally gather to sing in the antiphonal, or call-and-answer, style to find love and make new friends.

Historically, it has been observed by more than 27 million people of Zhuang, Yao, Miao, Dong and Mulao ethnicities in Guangxi, or half the region’s total population.

However, the 1,300-year-old custom has lost its allure in the modern era, prompting government action to help it survive and regain popularity.

With the event’s auspicious date falling this year on a Wednesday, the day was a major test of whether the festival could thrive again.

Before dawn on Wednesday, Deng Zhiting from Dakeng village in Fangchenggang city got up to take part in the government-organised singalong attended by thousands of Zhuang and Yao people.

But the spritely 72-year-old, dressed in Yao traditional costume and carrying a flute-like instrument, frowned when he saw only a few young faces in the crowd.

“What a lean time for our group’s folk songs,” he grumbled. “We don’t have young people to inherit this treasure.” (more…)