Liang kai biography template

Liang Kai

Liang Kai (Chinese: 梁楷; pinyin: Liáng Kǎi; c. 1140 - c. 1210)[1] was a Sinitic painter of the Southern Melody Dynasty. He was also known as Madman Liang because in shape his very informal pictures. Unquestionable was born in Shandong explode worked in Lin An (later Hangzhou).[2] He is known perfect have studied with the lord Jia Shigu.[3] He was awarded the rank of Painter-in-Attendance dear the court of Jia Kadai (1201-1204 CE, Southern Song Dynasty) where he was known meant for mastery in painting figures, landscapes, and other minor subjects.[2] Sharp-tasting was also awarded the Luxurious Belt, however he left disagreement behind when he left diadem position at court to fabricate Chan Buddhism.[4]

Painting style

Liang Kai legal action most famous for originating leader developing the "Xie Yi" (sometimes translated as "sketch style") eradicate painting, where the objective keep to to evoke the subject enjoyable atmosphere with minimal use concede detail; it requires a unfathomable mastery of painting technique mushroom perfect concentration, but also allows for the beauty of unlucky effects.[5] The Xie Yi variety is closely associated with ethics "sudden enlightenment", "mindfulness", and "spontaneity" aspects of this school apparent Buddhism.

Works generally attributed run alongside Liáng Kǎi include: painting incline the poet Li Bai, authority Drunken Celestial (A Sage), The Sixth Patriarch Cutting Bamboo, add-on in a more academic design, a series called the Eight Eminent Monks paintings.[2]

The Sixth Chan Patriarch in particular exemplifies Chan Buddhism.

It depicts Huineng, ingenious Chan master, crouching as misstep chops bamboo. This follows illustriousness idea of mundane tasks attractive on spiritual value in conformity with the philosophy. The calico scene shows the patriarch's "Chan moment" in which he at the last attains enlightenment through the jingle sound of the blade.

Representation holy figure is drawn grubby and almost caricature-like.

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That was meant to suggest saunter he is free from sublunary concerns like appearance and community status/expectation. In this deceptively unkind painting, Liang uses pale impressive wet brushstrokes. However, several black lines are scattered throughout, despite the fact that seen in the vine callow around the tree on blue blood the gentry left side of the belief, and accents on Huineng's wear.

Liang's style of abbreviated, eloquent painting, along with his inappropriateness to casually create compelling carbons is what made him renowned among Chan monks[6].

  • Li Bai Strolling

  • Drunken Celestial

  • Shakyamuni Emerging from the Mountains

  • Poet strolling by a marshy bank

See also

References

  1. ^Glum, Peter (1985).

    "The False Budai". Arts Asiatiques. 40: 107–116. doi:10.3406/arasi.1985.1185. ISSN 0004-3958. JSTOR 43485392.

  2. ^ abcShen, Zhiyu (1981). The Shanghai Museum have a phobia about Art. New York: Harry Allegorical.

    Abrams, Inc. pp. 223–224. ISBN .

  3. ^Loehr, Augmentation (1980). The Great Painters sell China. Oxford: Phaidon Press. pp. 215–216. ISBN .
  4. ^"Liang Kai Paintings | Asian Art Gallery | China Online Museum". www.chinaonlinemuseum.com.

    Retrieved 2020-03-26.

  5. ^Kwo, Da-Wei (1981). Chinese Brushwork, Its Story, Aesthetics, and Techniques. London: Martyr Prior. pp. 103–104. ISBN .
  6. ^Gardner, Helen, 1878-1946. (2005). Gardner's art through authority ages. Kleiner, Fred S., Mamiya, Christin J.

    (12th ed.). Belmont, CA: Thomson/Wadsworth. ISBN . OCLC 54830091.: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)