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210:, most of them already famous, who produced large-scale landscape paintings. These landscape paintings usually centered on mountains. Mountains had long been seen as sacred places in China, which were viewed as the homes of immortals and thus, close to the heavens. Philosophical interest in nature, or in mystical connotations of
293:– Pathways should never be straight. They should meander like a stream. This helps deepen the landscape by adding layers. The path can be the river, or a path along it, or the tracing of the sun through the sky over the shoulder of the mountain. The concept is to never create inorganic patterns, but instead to mimic the
303:– The path should lead to a threshold. The threshold is there to embrace you and provide a special welcome. The threshold can be the mountain, or its shadow upon the ground, or its cut into the sky. The concept is always that a mountain or its boundary must be defined clearly.
309:– The heart is the focal point of the painting and all elements should lead to it. The heart defines the meaning of the painting. The concept should imply that each painting has a single focal point, and that all the natural lines of the painting direct inwards to this point.
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Elements that react positively should be used together. For example, Water complements both Metal and Wood; therefore, a painter would combine blue and green or blue and white. There is a positive interaction between Earth and Fire, so a painter would mix Yellow and Red.
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painting, they do not try to present an image of what they have seen in the nature, but what they have thought about nature. No one cares whether the painted colors and shapes look like the real object or not.
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imagery and motifs, as symbolisms of Taoism strongly influenced "Chinese landscape painting". Some authors have suggested that Daoist stress on how minor the human presence is in the vastness of the cosmos, or
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Elements that interact negatively should never be used together. For example, Fire will not interact positively with Water or Metal so a painter would not choose to mix red and blue, or red and white.
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or phases representing various parts of the natural world, and thus has specific directions for colorations that should be used in 'directions' of the painting, as to which should dominate.
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painting refutes color, light and shadow and personal brush work. Shan shui painting is not an open window for the viewer's eye, it is an object for the viewer's mind.
247:, however, feel that only paintings with mountain and water images that follow specific conventions of form, style and function should be called "
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Wicks, Robert 1954 – "Being in the Dry Zen
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interest in the patterns or principles that underlie all phenomena, natural and social lead to the highly structuralized nature of
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paintings involve a complicated and rigorous set of almost mystical requirements for balance, composition, and form. All
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Shan shui painting is a kind of painting which goes against the common definition of what a painting is.
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assume that the term includes all ancient
Chinese paintings with mountain and water images. Contemporary
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Differences and World Order: Studies in the Philosophy and Science of the World's Culture
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While many landscape paintings in China uses only ink or uses color for aesthetic purposes, some
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rather than more conventional paints. Mountains, rivers and waterfalls are common subjects of
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779:. Chinese Literature: Essays, Articles, Reviews, Vol. 7, No. 1/2 (Jul., 1985), pp. 153–159
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uses the same art style and even the term for the film's title. Additionally, many recent
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Evidence for the Secular Arts of China in the Period from Liu Sung through Sui
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This article is about a style of
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Representation: Chinese Painting and Calligraphy, 8th–14th Century
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painting first began to develop in the 5th century, in the
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are painted and designed in accordance with
Chinese
843:. Birmingham, Alabama: Birmingham Museum of Art.
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418:Water produces Wood.
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412:Earth produces Metal
561:by Chen Qian Xun.
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409:Fire produces Earth
313:Elements and colors
113:(五代南唐 趙幹 江行初雪圖) by
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430:Wood uproots Earth
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70:(1248–1310)
884:Categories
642:(1967) by
597:References
379:West / NW
335:Direction
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171:, using a
169:landscapes
68:Gao Kegong
558:Shan Shui
553:shan shui
540:feng shui
531:shan shui
529:The term
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478:Influence
466:shan shui
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307:The Heart
285:shan shui
281:Shan shui
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265:Shan shui
253:shan shui
249:shan shui
241:shan shui
229:shan shui
225:Confucian
216:shan shui
200:Shan shui
181:shan shui
145:shān shuǐ
122:Shan shui
115:Chao Khan
84:Shen Zhou
565:See also
368:NE / SW
338:Element
235:Concepts
100:Wang Hui
18:Shanshui
591:Wu Xing
341:Colour
187:History
165:scenery
127:Chinese
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352:Green
142::
140:pinyin
129::
102:, 1679
86:, 1467
52:Guo Xi
507:plays
360:Fire
349:Wood
346:East
325:with
291:Paths
173:brush
845:ISBN
820:ISBN
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618:ISBN
586:Mogu
518:Hero
515:and
505:and
363:Red
223:Neo-
175:and
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177:ink
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135:水
132:山
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