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清鄒一桂畫墨梅　軸

for his paintings were dictated by the Ch’ien-lung Emperor and experimentation was discouraged, most.....more

271/643

宋緙絲文石錦雞　軸

in the colors exquisite and rich. Brush strokes and colors were added to such finer areas as the bird.....more

272/643

民國吳湖帆竹石　軸

elegance and three-dimensionality. Before the ink had dried, dark dots were dabbed to indicate.....more

273/643

元倪瓚畫譜　冊

in these commentaries, but many concerning methods were unprecedented at the time. This sketchbook was done.....more

274/643

元張雨書七言律詩　軸

in the arts, his painting and calligraphy were influential in the late Yüan. Chang Yü once.....more

275/643

元陸廣仙山樓觀　軸

, leading up into the landscape. The mountain forms were done in light and dark ink, suggesting the effect.....more

276/643

宋人十八學士圖　軸

boys. Their expression is refined and serious, as though they were totally immersed in the painting.....more

277/643

宋人雪棧牛車圖　軸

in the countryside. The slopes and rocks were all done with slanting axe-cut texture strokes. The strong.....more

278/643

元趙孟頫魚籃大士像　軸

The Kuan-yin Chapter" from the Lotus Sûtra or the Diamond Sûtra. As it turned out, many were.....more

279/643

元倪瓚春雨新篁　軸

, sometimes sentiments for the fallen dynasty, and expressed them in painting. Simple compositions were.....more

280/643

元人華嚴海會圖　軸

occurred two weeks afterwards. Of the seven places, three were on earth and four in heaven. This work.....more

281/643

宋許道寧畫雪景　軸

gate, painting landscapes to attract customers. At that time, his works were relatively common. However.....more

282/643

宋郭熙關山春雪圖　軸

to those of Li Ch'eng. The special characteristics of his paintings were the use of crab-claw strokes.....more

283/643

宋許道寧關山密雪圖　軸

were relatively vulgar. During his middle years, he devoted himself to painting, and his style.....more

284/643

元張渥畫十六臂大士像　軸

, while the patterns of the decorative cloth on the back of the beast and the figure's drapery were all.....more

285/643

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