21st Century Master Techniques Series -- Chinese Gongbi Painting Techniques

Author: Xiao Yutian
Publisher:
Publishing Date: 2000-07-01
Features: The history of Chinese figure painting is long, glorious, and rich in heritage. Today, it is in a new period of revival, attracting many learners. There is a great need for an accessible and comprehensive introductory book that covers art history, theory, techniques, and general knowledge. Committed to this goal, the renowned ink-wash figure painter Xiao Yutian, with his extensive knowledge and years of artistic practice, has written this highly valuable and unprecedented work. The book is well-organized, starting with art history, followed by painting techniques, and concluding with general knowledge. It combines theory and practice, presenting complex ideas in an easy-to-understand manner, with clear and concise descriptions, accompanied by illustrations, avoiding empty rhetoric. Acquiring this book opens the door to Chinese ink-wash figure painting, allowing beginners to bypass the struggle of exploration and gain direct access to the core knowledge, enabling them to freely explore. General readers can also acquire multidimensional knowledge about Chinese ink-wash painting, aiding in appreciation, analysis, and understanding. Its unique feature lies in combining practicality with appreciation, which is its essence and value.
From historical records and archaeological findings, Chinese ink-wash figure painting has been the mainstream of Chinese art since the pre-Qin period until the Tang Dynasty, with the Tang Dynasty marking its historical peak. During this time, renowned masters emerged, and masterpieces were abundant. Without the Tang Dynasty, there would be no historical brilliance of Chinese painting. Moreover, ink-wash figure paintings before the Tang Dynasty mostly depicted contemporary life (even religious paintings reflected reality through religious lenses), serving as a mirror of the times. This trend continued into the Song Dynasty, where ink-wash figure paintings extensively depicted the lives of ordinary people in the streets and markets. Later, they gradually declined, becoming confined to the portrayal of scholars and beauties, with Tang-style hats and Song-style robes, regardless of the era. It seemed as though ink-wash figure painting had reached its decline. In reality, this was merely a phenomenon in the art world and should not be generalized. In Yuan, Ming, and Qing dynasty portraiture, as well as in illustrations for Yuan qu (a form of traditional Chinese opera), Ming and Qing novels, and late Qing stone-printed magazines and folk paintings, ink-wash figure painting still maintained its traditional space, though it was often created by folk artists and dismissed by the literati. This situation began to change with the victory of the people's revolution in modern times. The policy of innovating traditional Chinese painting, starting with reforming old folk paintings and (picture scrolls), has driven the innovation of modern Chinese ink-wash figure painting. Over the past two decades, its development has been particularly rapid. In the new century, it will undoubtedly once again become the mainstream of Chinese painting, restoring its historical brilliance.
Several years ago, I proposed the concept of "great Chinese painting," which includes various creations from folk art (as well as the art of ethnic minorities). This is something this classic work does not cover, but Xiao Yutian's book has laid a strong foundation. I look forward to a sequel that will complete the picture.