New Ink Painting Animal · Tiger

Author: Zong Wanhua (Compiler)
Publisher:
Publish Date: 2004-06-01
Features: This book primarily introduces the painting techniques of the tiger's head, the differences and methods of painting each part of the tiger's fur, and every illustration is accompanied by names, dimensions, materials, techniques, and descriptive comments. The long-standing traditional Chinese painting has left behind countless masterpieces for the world. Chinese painting encompasses a wide range of subjects, including figures, landscapes, flowers and birds, and beasts. Tiger painting is no exception, as its emergence is closely tied to celestial phenomena, mythology, totems, religion, vessels, ornaments, and handicrafts. For example, earlier works like "Buddhist Paintings" and "Zen Paintings" served as narrative mediums combining religion and tiger painting, with famous works such as "Immortals Taming Tigers," "Feng Gan Riding a Tiger," and "Arhats Subduing Tigers." The "Two Patriarchs Meditating on the Mind" by Shi Ke, a Zen monk from Western Shu during the Five Dynasties and Northern Song periods, is particularly renowned. In this painting, the Two Patriarchs are depicted sleeping with tigers, and the work bears an inscription from the first year of the Qiande era (943 AD) of the Song Dynasty, with a postscript by Yu Ji of the Yuan Dynasty, which emphasizes the transformative power of Buddhist meditation. The Yuan Dynasty's "Four Sleepers," featuring three eminent monks—Feng Gan, Han Shan, and Shi De—sleeping beside tigers, portrays the supernatural divine power that people aspire to. However, when reviewing tiger paintings across the dynasties from the Yuan, Song, Ming, and Qing periods, numerous shortcomings in tiger representation have been left behind. For instance, Bao Ding's tiger paintings of the Song Dynasty relied heavily on the artist's imagination for their form, with little attention to capturing both essence and appearance. The tiger paintings of Hua (Pin Tu) and Gao Qi Pei during the Qing Dynasty also made little progress in terms of form. Although the Song Dynasty painter Li Gui Zhen showed admirable dedication, he built observation platforms in tigers' habitats to study them closely. Due to the lack of scientific training and research in modeling among ancient artists, they were limited to the self-deprecating saying "painting tigers like cats," making it difficult to compare favorably with the brilliance of Western art, even in the most famous works, which often felt monotonous and uninspiring.
With the introduction of Western painting theory and techniques, traditional Chinese painting methods, tools, and expressive means gradually merged with Western concepts and techniques. The renowned modern painter Liu Kui Ling pioneered a completely new approach to painting, which was initially criticized by the so-called traditionalists. However, Liu Kui Ling disregarded the criticism and prejudice, and as his art grew, matured, and succeeded, he ultimately established a new tradition in Chinese meticulous brushwork, becoming a master of his generation.
Today, the flourishing development of the art industry is influenced by various factors, such as the of art education, advancements in high-tech techniques, publishing, printing, modern media, and the growth of zoo facilities, which have provided artists with boundless creative freedom. This art album compiles the author's years of experience and insights in painting tigers, combining traditional boneless painting techniques with Western approaches to modeling, anatomy, and composition. It strives to fully display techniques and connotations, as well as forms, to inspire and motivate art workers and enthusiasts, especially those deeply passionate about tiger painting, to progress together.