Liang kai biography template
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Résumé (fre)
Cette étude concerne le Budai dansant, du musée Kôsetsu à Kobe, considéré au Japon comme un des chefs- d'œuvre de la peinture Chan, traditionnellement attribué à Liang Kai, célèbre peintre chinois du XIIIe siècle.
Nous savons peu de choses sur Liang- Kai. Selon Speiser, il vécut à peu près entre 1140 et 1210. D'autres auteurs reculent sa mort jusqu'en 1224. La légende en a fait un esprit fort, indépendant, refusant l'honneur de la ceinture d'or et quittant l'Académie impériale. On se plait à souligner son penchant pour le vin. Lui-même prit le surnom : Liang Fengzi « enfant du vent », c'est-à-dire vagabond. Il se fit moine et travailla au Liutongsi, un temple Chan près de Hangzhou. Peintre, il fut loué, selon un poème du maître Chan, Jujian (mort en 1246), pour n'utiliser l'encre qu'aussi parcimonieusement que de l'or.
Quant à Budai, c'était peut-être un moine historique de la fin des Tang, récupéré par la légende qui dit que son nom était Qici. Budai, « sac de toile », était son surnom. Toujours selon la légende, il avait un gros ventre, mendiait au marché, mettait les aumônes reçues dans un gros sac jeté sur son épaule et savait prédire le temps et l'avenir. Trois siècles plus tard, il fut considéré comme une incarnation de Maitreya, le Buddha de l'avenir,
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The Form go No-Form: Reconstructing Huineng bit Two Paintings by Liang Kai
INTRODUCTION
In Native Buddhism, seeable depictions including paintings unacceptable sculptures lose famous
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«The genre of narrative painting in China reached full maturity as early as the fourth century and continues to thrive today. The exhibition Show and Tell: Stories in Chinese Painting—on view at The Met Fifth Avenue through August 6, 2017—explores how Chinese painters have told stories that promote political and cultural agendas or communicate personal thoughts. Presenting more than 60 paintings and prints dated from the 12th century to the present, this exhibition demonstrates the continuing vitality and relevance of the genre.»
Show and Tell is organized into three sections, with each featuring a different type of narrative. The most familiar of these is the long handscroll format used to illustrate a story in multiple scenes. As each of the handscrolls unrolls section by section from right to left, either in a continuous landscape setting or in scenes punctuated by corresponding texts, the viewer is transported through time and space. Measuring more than 39 feet in length, Eighteen Songs of a Nomad Flute: The Story of Lady Wenji (fig. 1) depicts the traumatic experience of Lady Wenji (Cai Yan), who was abducted by Mongolian nomads in 195 A.D. and returned to China 12 years later. The recurring sight of south-flying geese alludes to her homesickness, while intim