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199:, most of them already famous, who produced large-scale landscape paintings. These landscape paintings usually centered on mountains. Mountains had long been seen as sacred places in China, which were viewed as the homes of immortals and thus, close to the heavens. Philosophical interest in nature, or in mystical connotations of
282:– Pathways should never be straight. They should meander like a stream. This helps deepen the landscape by adding layers. The path can be the river, or a path along it, or the tracing of the sun through the sky over the shoulder of the mountain. The concept is to never create inorganic patterns, but instead to mimic the
292:– The path should lead to a threshold. The threshold is there to embrace you and provide a special welcome. The threshold can be the mountain, or its shadow upon the ground, or its cut into the sky. The concept is always that a mountain or its boundary must be defined clearly.
298:– The heart is the focal point of the painting and all elements should lead to it. The heart defines the meaning of the painting. The concept should imply that each painting has a single focal point, and that all the natural lines of the painting direct inwards to this point.
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Elements that react positively should be used together. For example, Water complements both Metal and Wood; therefore, a painter would combine blue and green or blue and white. There is a positive interaction between Earth and Fire, so a painter would mix Yellow and Red.
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painting, they do not try to present an image of what they have seen in the nature, but what they have thought about nature. No one cares whether the painted colors and shapes look like the real object or not.
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imagery and motifs, as symbolisms of Taoism strongly influenced "Chinese landscape painting". Some authors have suggested that Daoist stress on how minor the human presence is in the vastness of the cosmos, or
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Elements that interact negatively should never be used together. For example, Fire will not interact positively with Water or Metal so a painter would not choose to mix red and blue, or red and white.
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or phases representing various parts of the natural world, and thus has specific directions for colorations that should be used in 'directions' of the painting, as to which should dominate.
463:. Sometimes, the poems were designed to be viewed with a particular work of art, others were intended to be "textual art" that invoked an image inside a reader's mind.
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painting refutes color, light and shadow and personal brush work. Shan shui painting is not an open window for the viewer's eye, it is an object for the viewer's mind.
236:, however, feel that only paintings with mountain and water images that follow specific conventions of form, style and function should be called "
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Wicks, Robert 1954 – "Being in the Dry Zen
Landscape", The Journal of Aesthetic Education – Volume 38, Number 1, Spring 2004, pp. 112–122
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interest in the patterns or principles that underlie all phenomena, natural and social lead to the highly structuralized nature of
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paintings involve a complicated and rigorous set of almost mystical requirements for balance, composition, and form. All
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Shan shui painting is a kind of painting which goes against the common definition of what a painting is.
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assume that the term includes all ancient
Chinese paintings with mountain and water images. Contemporary
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Ideological
Differences and World Order: Studies in the Philosophy and Science of the World's Culture
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While many landscape paintings in China uses only ink or uses color for aesthetic purposes, some
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rather than more conventional paints. Mountains, rivers and waterfalls are common subjects of
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768:. Chinese Literature: Essays, Articles, Reviews, Vol. 7, No. 1/2 (Jul., 1985), pp. 153–159
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uses the same art style and even the term for the film's title. Additionally, many recent
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Textual
Evidence for the Secular Arts of China in the Period from Liu Sung through Sui
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This article is about a style of
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Pearl from the Dragon's Mouth: Evocation of Scene and
Feeling in Chinese Poetry
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Beyond
Representation: Chinese Painting and Calligraphy, 8th–14th Century
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195:. It was later characterized by a group of landscape painters such as
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Speaking in Images: Interviews with
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painting first began to develop in the 5th century, in the
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The
Chinese eye: An interpretation of Chinese painting
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are painted and designed in accordance with
Chinese
832:. Birmingham, Alabama: Birmingham Museum of Art.
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657:Chinese Painting: Leading Masters and Principles
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391:Positive interactions between the Elements are:
764:Early Chinese Texts on Painting by Susan Bush,
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148:) refers to a style of traditional
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675:Yee, Chiang; S.I. Hsiung (1964).
659:. Ronald Press. pp. 62, 104.
498:produced in China, specifically
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487:Feeling from Mountain and Water
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863:Chinese Painters and Galleries
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807:. Columbia University Press.
778:Chu-chin Sun, Cecile (1995).
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284:patterns that nature creates
16:Art genre to draw landscapes
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679:. Indiana University Press.
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803:Berry, Michael (2005).
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560:Blue-green shan shui
453:, influenced by the
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407:Water produces Wood.
404:Metal produces Water
401:Earth produces Metal
550:by Chen Qian Xun.
484:from 1988 entitled
398:Fire produces Earth
302:Elements and colors
102:(五代南唐 趙幹 江行初雪圖) by
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472:Animation and film
422:Earth blocks Water
419:Wood uproots Earth
395:Wood produces Fire
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425:Water douses Fire
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156:or natural
59:(1248–1310)
873:Categories
631:(1967) by
586:References
368:West / NW
324:Direction
201:naturalism
160:, using a
158:landscapes
57:Gao Kegong
547:Shan Shui
542:shan shui
529:feng shui
520:shan shui
518:The term
478:shan shui
467:Influence
455:shan shui
308:Shan shui
296:The Heart
274:shan shui
270:Shan shui
258:Shan shui
254:Shan shui
242:shan shui
238:shan shui
230:shan shui
218:shan shui
214:Confucian
205:shan shui
189:Shan shui
170:shan shui
134:shān shuǐ
111:Shan shui
104:Chao Khan
73:Shen Zhou
554:See also
357:NE / SW
327:Element
224:Concepts
89:Wang Hui
580:Wu Xing
330:Colour
176:History
154:scenery
116:Chinese
87:artist
71:artist
55:artist
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451:poetry
382:Water
379:North
371:Metal
360:Earth
346:South
341:Green
131::
129:pinyin
118::
91:, 1679
75:, 1467
41:Guo Xi
496:plays
349:Fire
338:Wood
335:East
314:with
280:Paths
162:brush
834:ISBN
809:ISBN
784:ISBN
737:ISBN
703:ISBN
607:ISBN
575:Mogu
507:Hero
504:and
494:and
352:Red
212:Neo-
164:and
140:lit.
166:ink
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