Eastern Landscapes
Eastern landscape artist have both followed and challenged artistic conventions through their use of the natural world being a major focus in their works. By the late Tang Dynasty, which occurred from 618-907, landscape painting had evolved into an independent genre. As the dynasty disintegrated, the concept of withdrawal into the natural world became a major focus of painters. The images of nature remain a potent source of inspiration down to the present day, and it has been transformed by the millennia of human occupation. Chinese artists Kuncan, Yang Yongliang and Cui Jie have explored the genre of landscape in a variety of ways, with Yongliang and Jie’s exploration of the human perception of nature being evident in their …show more content…
He has challenged the conventions of art through the compositional arrangements in his works, with his style of shanshui involving shades and textures being made up of light ink strokes. Therefore, he makes a connection with traditional formats of ink paintings, such as creating surfaces that are rendered with digital motifs, and the entire work ends up taking the shape of a fan or hanging scroll, almost resembling that of Kuncan’s works. With his digital brushstrokes, the tactile surfaces give the audience an impression that it’s a landscape, such as his work “Phantom Landscape I, No.2” a print on fine art paper from 2006. The work establishes a link to the past, between his ethereal creations and ancient Chinese artworks, as this work can be linked to the traditional painting “Untitled” by Shen Zou in 1947. His colour palette also appears to be influenced by traditional art as it mainly consists of black and or grey inks, which greatly contrasts to Cui Jie’s large variety of …show more content…
Her landscapes greatly differ from Yoliang’s she uses a slightly stranger colour palette; such as aqua greens, terracotta browns and oranges that stand out against cream or light grey backgrounds. She pays much attention to and magnifies the architectural details of structures and landscapes, utilising the idea of fragments and layers, in order to convey a sense of alienation. Splinters of geometric shapes indicate the textures of modern buildings are visually conversant with different patterns, making linear and perspective the core focus in her works as she tampers with the rules of reality such as light, space and gravity. She has also stated that in her works, she is “most loyal to change”. For example, in an upcoming urban landscape of a building in Beijing, despite 20 years being considered old for a building, she aims to contain the fractious landscape that it was once was. In this and also her other works, layers of various images are applied, representing the transformation of Chinese urban landscapes through time. They, in a sense, could be described as time capsules that re-imagine the past and
Eastern landscape artist have both followed and challenged artistic conventions through their use of the natural world being a major focus in their works. By the late Tang Dynasty, which occurred from 618-907, landscape painting had evolved into an independent genre. As the dynasty disintegrated, the concept of withdrawal into the natural world became a major focus of painters. The images of nature remain a potent source of inspiration down to the present day, and it has been transformed by the millennia of human occupation. Chinese artists Kuncan, Yang Yongliang and Cui Jie have explored the genre of landscape in a variety of ways, with Yongliang and Jie’s exploration of the human perception of nature being evident in their …show more content…
He has challenged the conventions of art through the compositional arrangements in his works, with his style of shanshui involving shades and textures being made up of light ink strokes. Therefore, he makes a connection with traditional formats of ink paintings, such as creating surfaces that are rendered with digital motifs, and the entire work ends up taking the shape of a fan or hanging scroll, almost resembling that of Kuncan’s works. With his digital brushstrokes, the tactile surfaces give the audience an impression that it’s a landscape, such as his work “Phantom Landscape I, No.2” a print on fine art paper from 2006. The work establishes a link to the past, between his ethereal creations and ancient Chinese artworks, as this work can be linked to the traditional painting “Untitled” by Shen Zou in 1947. His colour palette also appears to be influenced by traditional art as it mainly consists of black and or grey inks, which greatly contrasts to Cui Jie’s large variety of …show more content…
Her landscapes greatly differ from Yoliang’s she uses a slightly stranger colour palette; such as aqua greens, terracotta browns and oranges that stand out against cream or light grey backgrounds. She pays much attention to and magnifies the architectural details of structures and landscapes, utilising the idea of fragments and layers, in order to convey a sense of alienation. Splinters of geometric shapes indicate the textures of modern buildings are visually conversant with different patterns, making linear and perspective the core focus in her works as she tampers with the rules of reality such as light, space and gravity. She has also stated that in her works, she is “most loyal to change”. For example, in an upcoming urban landscape of a building in Beijing, despite 20 years being considered old for a building, she aims to contain the fractious landscape that it was once was. In this and also her other works, layers of various images are applied, representing the transformation of Chinese urban landscapes through time. They, in a sense, could be described as time capsules that re-imagine the past and