铁笔之艺术 明清竹雕 港台原版 纪奕邦 余沛强 香港大学美术博物馆 工艺美术 mobi 下载 网盘 caj lrf pdf txt 阿里云

Durable, flexible and abundant in nature, bamboo has been used as a material and a subject in Chinese art for millennia. Because it bends in a storm but does not break, it was particularly associated with the integrity and personal virtue of the scholarly elite, who embraced its symbolic value by planting bamboo in their courtyards, observing it in the wild, and by producing, acquiring and displaying delicate bamboo objects suitable for various scholarly pursuits, such as painting and calligraphy. During the Ming dynasty (13681644), scholarly and imperial patronage transformed bamboo carving into a major art form. Scholar-carvers and workshops centred around Jiading (in present-day Shanghai) and Jinling (now Nanjing) produced large numbers of brush pots, wrist rests, miniature landscapes, figurines and other objects. Many bamboo carvers also worked in other materials soft enough to be manipulated with the iron brusha term for knives and other carving tools used by li***ti to transfer their brushwork aesthetic to other mediaincluding boxwood, rhinoceros horns and ivory, which shared a kind of loose identity under the heading of diaoke (carving in modern Chinese). Small in scale yet teeming with life, these works reflect prodigious technical skill and great imaginary involvement because of the unique shapes and contorti*** of the materials involved.

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Durable, flexible and abundant in nature, bamboo has been used as a material and a subject in Chinese art for millennia. Because it bends in a storm but does not break, it was particularly associated with the integrity and personal virtue of the scholarly elite, who embraced its symbolic value by planting bamboo in their courtyards, observing it in the wild, and by producing, acquiring and displaying delicate bamboo objects suitable for various scholarly pursuits, such as painting and calligraphy. During the Ming dynasty (13681644), scholarly and imperial patronage transformed bamboo carving into a major art form. Scholar-carvers and workshops centred around Jiading (in present-day Shanghai) and Jinling (now Nanjing) produced large numbers of brush pots, wrist rests, miniature landscapes, figurines and other objects. Many bamboo carvers also worked in other materials soft enough to be manipulated with the iron brusha term for knives and other carving tools used by li***ti to transfer their brushwork aesthetic to other mediaincluding boxwood, rhinoceros horns and ivory, which shared a kind of loose identity under the heading of diaoke (carving in modern Chinese). Small in scale yet teeming with life, these works reflect prodigious technical skill and great imaginary involvement because of the unique shapes and contorti*** of the materials involved.