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of Bamboo, a part of the
Mustard Seed Garden manual of painting which was prepared and published by Chinese master in the year 1701 A.D. No bamboo painting is a photographic copy of some bamboo at some particular place, seen from a particular angle; instead it is a suggestion of the true essence of the bamboo, an expression of the qualities of a true Chinese gentleman, whom the bamboo symbolizes (Ju 1989).
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is both a painting and a piece of calligraphy. There are so-called “bamboo painters” who all their lives paint only bamboo. The bamboo is strong, upright, and dependable. He may bend with the wind, the storm and the rain, but he never breaks. He is a true gentleman of courage and endurance (Ju 1989).
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From the days of their common origin, Chinese painting and
Chinese writing have been allied arts. They use the same equipment and share aims, techniques, and standards. Ever since the beginning, bamboo has been written and also been painted in the same manner, in other words, a work depicting bamboo
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that accompanies the painting and further elucidates the motif. The poem is often an integral part of the work as a whole. A viewer of the work can compare the calligraphy of the poem with the calligraphy of the painting, as both are typically inscribed with the same brush and reflect a similar mood
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The first principle of bamboo composition is, the four parts of the plant should be considered in the following order: stem, knot, branches and leaves. If the basic rule is not followed, time and effort will be wasted and the picture will never be completed.” This is the beginning of the early Book
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cast by either the sun or moon on the paper windows of a
Chinese house produced a poetic effect. Its straight stalk was the symbol of the sage, in that adversity could always bend it but it could never break it. The inner region of the bamboo stalk symbolizes the void that must be established in
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These characteristics are enough to validate that bamboo is a complete subject because it portrays lasting values one needed to get on with life and it commands a truly talented painter to create varying tones that never repeat.
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illustrations. Because of the volume of bamboo works painted over time, the production of a work of ink bamboo became one of the standard subjects to which an East Asian student could be set in a competitive
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plant came under close observation by many East Asians because of its persistence and vegetative productivity. The plant was especially appreciated by men and women educated in the tradition of
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one's mind before thinking of useful ideas. To put it in simpler terms, one should always have clarity of mind when dealing with things to avoid chaos and to achieve desired results.
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represented by the stalks and the leaves, gave scope to the painter to demonstrate his or her mastery with an inkpot and a brush.
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On the technical area, one needed to be an expert with the brush in order to execute perfectly cylindrical, smooth and hard
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do not wither on winter days and the plum blossoms starts blooming during the cold season.
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Bamboo also exhibits a certain visual appeal on educated people because its
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group. It also belongs to a distinct group where it openly fraternizes with
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is found across East Asia as bamboo is regarded as culturally significant.
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93:'s "Ten Bamboo Studio Manual of Painting and Calligraphy" (1633), with
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painting. In a work of bamboo painting in ink, a skilled artist and
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from the 'Ten Bamboo Studio Manual of
Painting and Calligraphy', a
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between the foreground and background, and between the varying
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A standard primer on classical East Asian bamboo painting is
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Ju, I-Hsiung. The Book of Bamboo. Art Farm
Gallery. 1989
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that "there are whole bamboos in his heart" (胸有成竹).
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352:Jubako with design of bamboo shoots, Showa period
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58:, usually in ink, are a recognized genre of
340:Kano Tsunenobu - Tiger Emerging from Bamboo
70:stalk or group of stalks with leaves. The
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167:. Collectively, they are called the
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31:Example of ink bamboo painting by
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50:with additions by hand, 1633.
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417:Metropolitan Museum of Art
316:- Two Beauties with Bamboo
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328:Bamboo by Hatta Tomonori
153:is not exclusive to the
170:Three Friends of Winter
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105:Like bamboo painting,
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470:Still life paintings
460:Chinese iconography
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16:(Redirected from
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465:Chinese painting
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420:. Archived from
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389:Kitagawa Utamaro
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156:Four Noble Kind
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95:woodblock print
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426:. Retrieved
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412:"Ink Bamboo"
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113:Appreciation
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64:calligrapher
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276:Twin Bamboo
137:moral force
100:examination
91:Hu Zhengyan
449:Categories
428:2009-07-02
395:References
258:Ink Bamboo
240:Ink Bamboo
208:Bamboo Art
194:internodes
186:silhouette
161:pine trees
60:East Asian
35:, c. 1060.
18:Ink bamboo
379:Xia Chang
298:Xia Chang
296:(風竹圖) by
278:(雙竹圖) by
260:(墨竹圖) by
242:(墨竹圖) by
224:(竹石圖) by
133:Confucius
54:Works of
374:Ke Jiusi
358:See also
280:Ke Jiusi
173:because
145:Wen Tong
76:textures
72:contrast
33:Wen Tong
384:Wang Fu
244:Wang Fu
455:Bamboo
175:bamboo
151:Bamboo
129:bamboo
68:bamboo
369:Gu An
262:Gu An
198:tones
179:pine
177:and
163:and
127:The
83:poem
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403:^
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