Where our painters have chosen wood or canvas as a ground, the Chinese have employed silk or paper. While our art recognizes that drawing itself, quite apart from painting, is a sufficient objective, drawing and painting have always been closely intermingled in the Far East. While the mediums used in Europe for painting in color, distemper, tempera and oil, led to an exact study of form, the colors employed by the Orientals-at times brilliant, at times subdued with an almost studied restraint-preserved a singular fluidity ...
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Where our painters have chosen wood or canvas as a ground, the Chinese have employed silk or paper. While our art recognizes that drawing itself, quite apart from painting, is a sufficient objective, drawing and painting have always been closely intermingled in the Far East. While the mediums used in Europe for painting in color, distemper, tempera and oil, led to an exact study of form, the colors employed by the Orientals-at times brilliant, at times subdued with an almost studied restraint-preserved a singular fluidity and lent themselves to undefined evanescences which gave them a surprising charm. The early paintings were generally done on cotton, coarse silk or paper. In the eighth century, under the T'ang dynasty, the use of finer silk began. The dressing was removed with boiling water, the silk was then sized and smoothed with a paddle. The use of silken fabric of the finest weave, prepared with a thick sizing, became general during the Sung dynasty. Papers were made of vegetable fibres, principally of bamboo. Being prepared, as was the silk, with a sizing of alum, they became practically indestructible. Upon these silks and papers the painter worked with brush and Chinese ink, color being introduced with more or less freedom or restraint.
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Add this copy of Chinese Painters to cart. $17.71, good condition, Sold by Wonder Book - Member ABAA/ILAB rated 5.0 out of 5 stars, ships from Frederick, MD, UNITED STATES.
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Seller's Description:
Good. Good condition. No Dust Jacket (Chinese Art, Painting, Art History) A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains.
