Wednesday, May 21, 2014
Posted by James Yang at 11:02 AM
Wednesday, March 19, 2014
Thursday, March 13, 2014
Posted by James Yang at 5:52 AM
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Monday, August 5, 2013
Posted by James Yang at 10:45 AM
Monday, July 8, 2013
Posted by James Yang at 11:04 AM
Monday, June 24, 2013
Posted by James Yang at 10:13 AM
On June 22, 2013 my friends Linda and Andy are getting married. They both love dancing so much. So I made this "Double Happiness" as a token of our blessing and congratulation to them.
Posted by James Yang at 10:05 AM
Monday, April 29, 2013
Our granddaughter Rachel who visited us in March 2013 with her Mom. She took time out to continue learning Chinese calligraphy, which, accordingly to her, is her favorite activity. Of course, I was happy to teach her this ancient Chinese art form, hoping eventually she would be able to write beautiful calligraphy. She is almost finishing one full page of calligraphy. She looks happy and contented.
Posted by James Yang at 10:23 AM
This is another of my commissioned work--"Longevity" for a friend in Indianapolis who was celebrating his 80th birthday. It is written in extremely cursive style. The regular style looks like this: 壽. See how much they are different from each other.
Posted by James Yang at 10:17 AM
Wednesday, December 26, 2012
Sunday, December 16, 2012
Posted by James Yang at 4:28 AM
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Wednesday, August 22, 2012
Posted by James Yang at 12:57 PM
Wednesday, August 1, 2012
Saturday, July 28, 2012
Posted by James Yang at 1:36 PM
Posted by James Yang at 1:21 PM
Saturday, July 14, 2012
Friday, June 15, 2012
Friday, April 20, 2012
Monday, March 26, 2012
2012 happens to be the Year of Dragon. So I drew 16 different versions of dragon, 2 on each of the 8 sides. I had to take four different photos from different angles, trying to cover all the versions of the dragon--some ancient, some cursive, some clerical, and some.... Hope you enjoy them.
Posted by James Yang at 11:29 AM
Sunday, September 18, 2011
On January 28th 2011 I was giving an erhu concert at IU International Center--"Friday Noon Concert" series.
But the piece you hear is played on Chung-Hu (中胡), similar instrument as Er-Hu (二胡), slightly bigger in size, and five tones lower. By the way, the audio part used to work well until not long ago I totally lost the sound track of my erhu playing. Sorry, if you failed to hear it. My son knows how to fix it. When he comes in July 2012, I will ask him to put it back, if possible. Hopefully we will once again have an audio-visual appreciation of calligraphy, painting as well as music.
Posted by James Yang at 7:04 AM
Then I pitched in some dramatic clouds sweeping across the sky over the landscape. This adds some new emotional dimension to the painting. Now the sky is connected to the land while the fisherman in the boat seems to pay no attention to the ever-changing environment....
Posted by James Yang at 7:01 AM
In mid-September 2011 I checked out a book on Rembrandt and as I was reading it I came upon a landscape painting in black and white, which looks so much like Chinese ink-and-wash landscape painting. So I started to emulate this Western great master's painting. I was amazed by Rembrandt's use of light in sharp contrast to darkness.
A technical term to talk about the contrast between light and darkness in Rembrandt's painting is:
Posted by James Yang at 6:59 AM
Saturday, September 3, 2011
I found this horizontal long scroll landscape painting in a book and was fascinated by it. I started to entertain the idea to emulate it. But after several false starts I realized it was something I could not do at this level of my skill. However, on September 1st I took up my brush and tried once again. In about 8 hours or so I finished half of it, and then next day I worked through the rest and put in the calligraphy and autograph. My version looks very rough and raw to say the least. But it proves true the adage: Where there is a will, there is a way. Only after I completed it did I find out who the original painter (龔賢 Xian Gung)is.
According Mr. Mei（梅墨生）, editor/artist, this long scroll of landscape painting best exemplifies a special constructional technique: moving points of perspective. That is, instead of one perspective as most art work does, this one shows multiple perspectives, as if one is viewing the endless landscape by sitting in an airplane flying along.
Posted by James Yang at 12:50 PM
Who is Mr. Gung after all?
梅墨生, editor of 山水畫述要 (A Concise Book on Chinese Landscape Painting) introduces him as an artist of Qing Dynasty (1644-1911). But not quite so if you look at his dates (1599?-1689?). The two question marks signify that people are not so sure about his exact dates of birth and death. Anyway he thought himself a citizen loyal to Ming Dynasty. When Ming dynasty was overthrown, Mr. Gung, who then was 45 years old and lived in Nanjing, was very upset. He tried to turn back the historical tide with no avail. Later he remained in Nanjing as a recluse, doing nothing but painting. He was highly regarded as the leader of a group called "Nanjing Eight Painters".
Gung's painting skill was outstanding. His specialty comes from a 皴法 (ways to put shadow in through different techniques) he discovered himself: 積墨法, that is, he would paint the shadows by pitching in several layers of tones to achieve it. In his darkest area, he could leave some white spots to show the special effect of contrast.
I happily noticed that while doing the emulation. I told myself that is something I could not do. Indeed, I was not able to do however hard I tried.
Posted by James Yang at 12:34 PM
I don't know the size of the original long scroll painting, but mine is roughly double the dimension of the picture found in the book. Mine goes: 75in x 4in, pretty narrow but long, which, I thought, will give me some trouble when I try to mount and put it in a picture frame.
Posted by James Yang at 12:33 PM
The size of this painting: 158.3cm X 108.1cm, done on silk cloth dyed to orange color.
If you examine the painting carefully, you will find a faint seam that goes midway vertically from top to bottom. That is: someone once cut the painting into two halves and later someone put the two halves back into one again. Things like this, according the editor, did happen, and happened often. But, of course, it is gratifying to know that the painting now remains whole and complete in National Palace Museum in Taipei, Taiwan.
During my current visit to Taiwan (Oct. 2011-Feb. 2012), I was surprisingly happy to see a copy of this painting among others on the daily paper in Nov. 2011....
Posted by James Yang at 12:32 PM
Monday, August 22, 2011
More dark tone is added to the left front rocks, and some more details are pitched in on the left side to bring the painting towards a sense of completion. As I sat back and looked at what I had done so far, I realized I needed to work more details into the painting as found in the original. Lots of things are beyond my grasp... So, I said to myself I might as well put the project aside for a while and come back to it as I recuperate a little later.
I still have to work on the clouds and water. Finally I have to dye the whole paper to light orange color as close as possible to the color of original painting on silk cloth.
Posted by James Yang at 1:48 PM
More dark tone is added to the rocks on the front right. Then, as I looked more carefully to the middle right section of the original painting, I found houses constructed along the cliff, in the shape of small village... There are two fishing boats anchoring on either side of the rocky landscape, to give the impression that fishermen are dwelling here....
Posted by James Yang at 1:45 PM
One unique feature of Guo's landscape painting, as I quickly found out, is his drawings of so many pine trees--some near, some halfway up the cliff, some on the very top of the mountain, to the right and to the left, here and there. It has become such a challenge to draw them and give them life. Sometime along the way I felt so frustrated and almost to the point of giving up the whole project. Alas, I chose to go on a little bit to see if I could repair a little of my sense of hopelessness.
Posted by James Yang at 1:44 PM