Coloring of Black and White

Coloring of Black and White
It is a method of applying black and white to the glaze of porcelain . The cobalt pigment is coloured onto the inner side of the glaze. Its embryonic form emerged in the Tang and Song Dynasties. The mature colouring of black and white came into being in the Hutian kiln of Jingde Town, Jiangxi Province. The process goes like this: they use cobalt pigment to adumbrate pattern on the mould, and then put the glaze on the mould before it is put into the kiln for burning. The making of the black and white porcelains was in its boom in the Xuande Period of the Ming Dynasty. This kind of Porcelain was in possession of simple and sketchy style. Its contour is finished at one stroke. Since the middle and later periods of the Ming Dynasty, its colours have been become abundant.

Chinese Bamboo Painting

Chinese Bamboo Painting

"... (After development of landscape painting techniques in Sung period, 960-1279, and during Mongol-formed Yuan dynasty, 1280-1368) artists became more and more preoccupied with the effects of individual brush strokes either alone or in carefully studied combinations. Painting and calligraphy drew together than ever before. This marriage of arts found its ultimte expression with the perfection of a specil branch of Chinese art - Bamboo Painting . In this art the bamboo became the favorite theme.

 
 
(One of the first reasons why such a seemingly limited form of artistic expression was admired to the point of reverence) is their respect for the bamboo plant as a symbol for the confucian "superior man" who, like the plant, would bend with prevailing winds but not break. In other words, the ideal man adapted himself to life as demanded by society but did not permit his spirit or integrity to be snapped by it. Then, too, the written world, particularly in poetry, and the art of painting have always been held in higher esteem by the Chinese than even the finest in sculpture, ceramic design, or musical composition. This may seem illogical to Western ways of thinking, but the reason lies again in the high regard of the Chinese for personal expression and in their deep spiritual interest in nature. 
 
Calligraphy, or the art of handwriting, was orginally a development of a series of symbolic figures known today as pictograms; these, fittingly enough, were basically inspired by nature. Individual writing techniques, or the visual manner in which these pictograms were drawn with brush and ink, were as deeply appreciated by serious art lovers as were the traditional scrolls of endless gorges, craggy peaks, nodding chrysanthemums, or darting sparrows. Bamboo painting is closer to calligraphy than any other art form and is so extremely stylized that a special flexible, pointed brush is used so that each leaf may spring to life with one deft stroke. Writing appears prominently in bamboo paintings as poems, title and artist signature..."
 

 349 Bamboo painting
 134Chinese bamboo painting
 41  bamboo chinese brush painting
 39  japanese bamboo painting
 34  bamboo faux painting
 25  bamboo china from painting