關於 chinese painting style ，我們在網路上蒐集到這些相關的討論、資訊與評價

現正展出的 #攬勝—近現代實景山水畫展 有個「盧山真面目」單元，這次特別展出【明 沈周 畫廬山高】，歡迎朋友們一起來欣賞這件氣勢磅礡的國寶級畫作！
【Lofty Mount Lu 】Shen Zhou (1427-1509), Ming dynasty
形式：軸，193.8 x 98.1 cm
國寶級 National Treasure
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畫作賞析：
沈周（1427-1509），字啟南，號石田，長洲（今江蘇蘇州）人，為明四家之首。
本幅作於成化三年（1467），為慶賀其師陳寬七十大壽而作，藉山之崇高象徵老師的德行。沈周取法元代王蒙（1308-1385）的風格，以乾筆層疊皴擦，讓全畫氣勢連貫。前景一人仰望瀑流，應是據李白〈望廬山瀑布〉的詩意創作。畫中棧道，不知何據，與廬山實際樣貌應無涉。
Shen Zhou (style name Qi'nan, sobriquet Shitian) was a native of Changzhou (modern Suzhou) and considered head of the Four Ming Masters.
This painting, dated to 1467, was done to celebrate the seventieth birthday of Shen Zhou's teacher, Chen Kuan. Shen used the great height of the mountain as a metaphor for the lofty virtue of his teacher. He also adopted the style of the Yuan dynasty artist Wang Meng (1308-1385) to create layers of dry brushwork that form the texture rubbing, giving the work as a whole a feeling of continuous momentum. In the foreground below stands a figure gazing up at the cascade, a scene perhaps inspired by the poem "Gazing at a Waterfall at Mount Lu" by the famous Tang dynasty poet Li Bai (701-762). However, it is unknown why Shen depicted the plank bridge in this painting, for it is unrelated to the actual environs at Mount Lu.
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攬勝—近現代實景山水畫展（展期：2020/07/10 ~ 09/23）
Embracing Sites/Sights: Scenic Landscape Painting in Modern Chinese Art (Dates: 10 JULY 2020 ~ 23 SEP 2020)
中文：https://theme.npm.edu.tw/exh109/EmbracingSites/index.html
English: https://theme.npm.edu.tw/exh109/EmbracingSites/en/page-1.html
日本語：https://theme.npm.edu.tw/exh109/EmbracingSites/jp/page-1.html

通常三月的這段時間前後，都是美國大學籃球NCAA的三月瘋狂潮！然而因為新冠病毒席捲全球的重創，讓今年的球賽取消了，替今年即將畢業的球員感到惋惜。

這是我在2017年，剛嘗試出新的筆刷後，開心地亂揮了兩張水墨風格的NCAA傳奇人物，大家認得出來是誰嗎？

大家最近好好防疫～不要出國玩唷！

It's usually March Madness during this time in March; however, the coronavirus is storming the world and the games got canceled.

Stay healthy and take care everyone.

#tbt illustration I did in Chinese expressive painting style to celebrate March Madness in 2017.

Do you know who they are?

#illustration #nbaart #illustrator #artwork #artistneedssupport #branding #figure #advertising #advertisement #advertisingagency #adagency #michaeljordan #magicjohnson #marchmadness #university #vintage #nbaillustration #插畫 #籃球藝術 #legend #legacy #籃球插畫 #水墨

"Year of the Rat" Be@brick by Chinese streetwear brand, Randevent x ACU will be on sale March 5, 2020. Inspired from the traditional Chinese calligraphy painting and opera mask as well as using the image of "Rat" in the Chinese New Year "庚子鼠年 Gengzi Rat Year" to bring you a combination of traditional style and fun .

https://mp.weixin.qq.com/s/EHZhtGqj8OHtBwsZJKNavw

#bearbrick #randevent #acu #designertoys #arttoys #vinyltoys #collectibles #chatacterdesign #rat #chinesenewyear #yearofrat

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明人畫出警圖
絹本　設色畫
縱：92.1公分　橫：2601.3公分

明人畫入蹕圖
絹本　設色畫
縱：92.1公分　橫：3003.6公分

這支盛大的皇家謁陵隊伍，由北京城得勝門出發，直至皇帝謁陵的目的地，離京城四十五公里外的天壽山，這裡是明朝歷代皇帝的陵寢區。
「出警圖」與「入蹕圖」雖是各自分開的二幅長卷，但是所繪的卻同是掃墓、巡視的過程，因而通常被合稱為「出警入蹕圖」。
畫家將皇室謁陵的整個時空歷程出發→抵達→返回，濃縮於二幅長卷之中。傳統觀賞「出警圖」是由右往左；「入蹕圖」則由左往右。「出警圖」繪皇帝騎馬，由陸路出京，「入蹕圖」畫皇帝坐船，走水路還宮。這兩幅圖卷不但是國立故宮博物院所收藏手卷畫作中最長的兩幅（「出警圖」的橫長有26公尺，「入蹕圖」更是超過30公尺），人物眾多，場面宏偉，更是歷代繪畫作品中少見的超級鉅作。
這二幅作品，均未署名作者姓名。但可以確定的是，得出動許多宮廷畫師的合力創作，才能完成這二幅佈局精采生動的鉅作。

Anonymous, Ming dynasty
Departure Herald Imperial Procession Leaving the Palace
Handscroll, ink and color on silk, 92.1 x 2601.3 cm

Anonymous, Ming dynasty
Return Clearing Imperial Procession Returning to the Palace
Handscroll, ink and color on silk, 92.1 x 3003.6 cm

In this handscroll is a great imperial procession making its way to pay respects at the imperial tombs. Departing from the Te-sheng ("Victory") Gate of the Peking city wall, the artists here depicted shops along the way and the appearance of ceremonial guards to the final destination of the imperial tombs, the final resting place for Ming dynasty emperors 45 kilometers from the capital at Mt. T'ien-shou.

"Departure Herald" is actually accompanied by another long handscroll painting entitled "Return Clearing". That work depicts the process of the tomb sweeping and inspection tour. Usually considered as a pair, they are collectively known as "Departure Herald and Return Clearing".

Encapsulated into both scrolls, the artists depicted the entire event over time and space from the departure, arrival at the destination, and return to the capital. The traditional means of viewing "Departure Herald" is from right to left, whereas "Return Clearing" is from left to right. "Departure Herald" represents the emperor riding a horse, taking land route from the capital, while in "Return Clearing", he is shown riding on a boat, taking a water route back to the palace.

These two scrolls are not only the two longest handscrolls in the collection of the National Palace Museum ("Departure Herald" measuring 26 meters and "Return Clearing" more than 30 meters in length), they represent a rare, enormous effort in terms of the number of figures and majesty of the scenery seen among surviving works of Chinese painting.

Neither of these two works were signed or sealed by the artists who painted them. However, judging from the style, content, and great effort, it most likely took a cooperative effort of many court artists in order to complete these two great masterpieces of imperial Chinese painting.

明人畫出警圖
絹本　設色畫
縱：92.1公分　橫：2601.3公分

明人畫入蹕圖
絹本　設色畫
縱：92.1公分　橫：3003.6公分

這支盛大的皇家謁陵隊伍，由北京城得勝門出發，直至皇帝謁陵的目的地，離京城四十五公里外的天壽山，這裡是明朝歷代皇帝的陵寢區。
「出警圖」與「入蹕圖」雖是各自分開的二幅長卷，但是所繪的卻同是掃墓、巡視的過程，因而通常被合稱為「出警入蹕圖」。
畫家將皇室謁陵的整個時空歷程出發→抵達→返回，濃縮於二幅長卷之中。傳統觀賞「出警圖」是由右往左；「入蹕圖」則由左往右。「出警圖」繪皇帝騎馬，由陸路出京，「入蹕圖」畫皇帝坐船，走水路還宮。這兩幅圖卷不但是國立故宮博物院所收藏手卷畫作中最長的兩幅（「出警圖」的橫長有26公尺，「入蹕圖」更是超過30公尺），人物眾多，場面宏偉，更是歷代繪畫作品中少見的超級鉅作。
這二幅作品，均未署名作者姓名。但可以確定的是，得出動許多宮廷畫師的合力創作，才能完成這二幅佈局精采生動的鉅作。

Anonymous, Ming dynasty
Departure Herald Imperial Procession Leaving the Palace
Handscroll, ink and color on silk, 92.1 x 2601.3 cm

Anonymous, Ming dynasty
Return Clearing Imperial Procession Returning to the Palace
Handscroll, ink and color on silk, 92.1 x 3003.6 cm

In this handscroll is a great imperial procession making its way to pay respects at the imperial tombs. Departing from the Te-sheng ("Victory") Gate of the Peking city wall, the artists here depicted shops along the way and the appearance of ceremonial guards to the final destination of the imperial tombs, the final resting place for Ming dynasty emperors 45 kilometers from the capital at Mt. T'ien-shou.

"Departure Herald" is actually accompanied by another long handscroll painting entitled "Return Clearing". That work depicts the process of the tomb sweeping and inspection tour. Usually considered as a pair, they are collectively known as "Departure Herald and Return Clearing".

Encapsulated into both scrolls, the artists depicted the entire event over time and space from the departure, arrival at the destination, and return to the capital. The traditional means of viewing "Departure Herald" is from right to left, whereas "Return Clearing" is from left to right. "Departure Herald" represents the emperor riding a horse, taking land route from the capital, while in "Return Clearing", he is shown riding on a boat, taking a water route back to the palace.

These two scrolls are not only the two longest handscrolls in the collection of the National Palace Museum ("Departure Herald" measuring 26 meters and "Return Clearing" more than 30 meters in length), they represent a rare, enormous effort in terms of the number of figures and majesty of the scenery seen among surviving works of Chinese painting.

Neither of these two works were signed or sealed by the artists who painted them. However, judging from the style, content, and great effort, it most likely took a cooperative effort of many court artists in order to complete these two great masterpieces of imperial Chinese painting.