ART02 - Chinese Calligraphy Painting and Architecture

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CONTENTS
Lesson 1
Chinese Calligraphy, Painting and Architecture

Introduction How do you appreciate Chinese architecture
Tse Has Six Principles
Spirit resonance
Heaviness and lightness of brush stroke
Correspondence to the object
Applying colours in accordance with the type
Be particular about the composition
Following prototype with adaptation
| Chinese Calligraphy, Painting and Architecture| Lesson 1 Chinese Calligraphy, Painting and Architecture
Lesson 1
Chinese Calligraphy,
Painting and Architecture
| Chinese Calligraphy, Painting and Architecture| Lesson 1 Chinese Calligraphy, Painting and Architecture
Introduction
How do you appreciate
Chinese architecture?
| Chinese Calligraphy, Painting and Architecture| Lesson 1 Introduction
How do you review the design

and setting of Chinese architecture?
Sam Tung Uk, Tsuen Wan

Coloured in red: Sam Tung Uk (threebeam dwelling)
The 3 halls - the Entrance Hall, the

Assembly Hall and the Ancestral Hall,
separated by 2 courtyards, formed the
central axis.
Side houses were built around the older

houses
Symmetrical layout
Sam Tung Uk Walled Village Layout Plan
Department of Architecture, The University of Hong Kong

Visible bones and standardized structure
Roof ridges and exposed structure form the
visible bone of Chinese architecture.
A prototype of standardized traditional
Chinese architecture with adaptation.
Exposed roof structure
Relationship between Chinese Calligraphy,

Painting and Architecture
Chinese architecture is an artistic expression that has been shaped by the
development of Chinese culture, lifestyles, traditions and beliefs over an
extended period of time.
Great harmony between heaven, earth and human ( ) beings.
In traditional Chinese buildings, the site context, building forms and spatial
layouts are developed in relation to each other.
Methodology of Chinese Calligraphy,

Painting and Architecture Appreciation
The first systematic methodology of Chinese painting appreciation:
The Southern Qi painter Tse Has Six Principles in the Category of Ancient
Paintings ( )
The six principles: an aesthetic-political standard that can be applied to
historic paintings or to the appreciation of Chinese art and architecture even
today.
Methodology of Chinese Calligraphy,

Painting and Architecture Appreciation
A Chinese painting by Wang Ting-chi ( )

Wang Ting-chih
Painters shall treat paintings as a means of teaching the people and recording the rise and fall of their
country. Even though an event has passed for thousands of years, it could be studied and understood
from old paintings.
Tse Ha, The Category of Ancient Paintings
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Six Principles in the Category of

Ancient Paintings
| Chinese Calligraphy, Painting and Architecture| Lesson 1 Tse Has Six Principles
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Tse Has Six Principles in the Category of

Ancient Paintings
1. Spirit resonance ( );
2. Heaviness and lightness of brush stroke ( );
3. Correspondence to the object ( );
4. Applying colours in accordance with the type ( );
5. Be particular about the composition ( )
6. Following prototype with adaptation ( ).
The first principal is spiritual connection while the others are technical skills.
Chinese architecture can be reviewed in the same way.
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Spirit resonance ( )
Principle
Vibrancy forms the spiritual basis of a painting.
During the Period of Disunity, painters paid special attention to:
Shan shui (mountain-water),
figure
flowers-and-birds
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Tse Ha said that a printing was not worth a glance if it had no spirit resonance.
In order to achieve a high level of vibrancy, a painting had to express the
artists energy while maintaining harmony.
The Rain and Mist Pavilion by Zhang Guchu.

Hong Kong Museum of Art
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Application in Chinese Architecture
Vibrancy is established through planning of spatial sequences.

Spatial experience is always emphasized in Chinese architecture.
This is the essence on the underlying conceptual thoughts behind art

and architecture to achieve delight that is passed to the audience.
Paintings of architecture was a subject that received minimal
respect until the Song Dynasty.
From these old paintings, we can see how ancient architecture sought
to achieve a spatial vibrancy.
15
Visitors pass through first the Entrance Hall,

then the Assembly Hall and finally the most
important place of the walled village, the
Ancestral Hall. The Entrance Hall and the
Assembly Hall are acting as a prologue before
entering the climax in the walled village - the
Ancestral Hall.
Sam Tung Uk Wall Village layout plan

Department of Architecture, The University of Hong Kong
16
The main hall of Chi Lin Nunnery is situated in the middle of the whole complex.
Two pavilions were placed on the sides at the front. The shaped setting encloses an
open mediating space in front of the main hall. The layout of the building reveals a
vibrancy of space.
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Principle
Heaviness and lightness of brush

stroke ( )
The application of the brush with

power and skill.
A painters brush is extension of his
arm, belly and mind.
In Tse Has view, each stroke should have

different weights and thickness
according to the topic and objects of
the painting.
Huang Bin Hongs Scenes of Mount Huang.

18

stroke ( )
In calligraphy, these
properties appear not only
in the skill of writing, but
also an axial approach in
lining text.
Rubbing of Chinese Calligraphy written in

running & cursive script by Wang Hsi-chih.
19

stroke ( )
The painterly gesture lies in the use of an axis, local symmetry and
expression of structure.
Visible gestures can be seen in roof ridges, brackets and exposed
structures.
Spatial hierarchy and structural importance are shown in a

systematic way, like a skeleton.
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stroke ( )
Sui Dynastys pottery house in the He Nan

Museum Collection. Roof ridge and tiles are
axially aligned.
Symmetric layout of Forbidden City along a

central axis.
Tommy Chen-Wikipedia User
Henan Museum
21

stroke ( )
The stone bridge piers and horizontal crossbeam of

Jiangdong Bridge at Fujian were constructed in 1190
Zhangzhuang-Wikipedia User
22
Correspondence to the object ( )

Principle
A painting should show the spirit and life of people through their
appearances and gestures.

Specific building forms are created for different functions and for
specific groups of users.
This principal is also find in the motto of modern architecture Form
Follow Functions.
23
Correspondence to the object ( )
Xiao Yi was the Emperor Yuan of Liang, the first Chinese emperor-cum-painter.
However, his Portraits of Periodical Offering of Liang are not considered successful because the figures
are so still and lifeless.
National Museum of China
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[Discussion]
In terms of architecture, specific forms of buildings are created for different
functions. Do you think the following buildings fulfil the principle of Correspondence
to the object? (Keywords: Reaching heaven, place of gathering)
Giant Wild Goose Pagoda, Shaanxi

Bobak HaEri - Wikipedia User
Shaxi theatre, Yunnan

Li Li-Wikipedia User
25
Applying colours in accordance with the type ( )

Principle
Colours should be selected either to match an objects natural appearance or
to emphasize some symbolic meaning.
For example, a painter paints leaves in red to represent autumn
In Shan shui painting, water and fog make up large, evenly coloured areas of
the image.

Specific colours and ornamental details are set in accordance with
rank and symbolism.
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[Discussion]
How do the colours influence the atmosphere in the following drawings?
Parts of the leaves are red in

Autumn Landscape, a very realistic
scene.
The color of white is used in Visiting a Friend in

Snow by Li Guixin to represent the snow
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Calligraphy can be done in different styles, which are guided by different geometries
and forms. Each style and geometry has its own meaning, just as in architecture.
Ngan Siu-Mu
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Temple of Heaven in Beijing has a dark blue circular roof.

Circular geometry represents heaven in Chinese culture.
Charlie Fong - Wikipedia User
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The Forbidden City is roofed in yellow glazed tiles. Golden yellow was
long a symbolic colour of the Chinese royal family.
30
Original roof is made of gray or green tiles.

The photograph above shows a pavilion in Hangzhou.
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Be particular about the composition ( )

Principle
Composition is about the relationship between space and form.
A painter renders three-dimensional space two-dimensionally on paper.
Depth of field - to express the distance between objects.
The painter s priority is that the images subject matter and proportion be
pleasing to the eye. The left-over white space forms an important part of the
composition of Chinese painting.
32

the importance of proportion of elements;

solid-and-void relationship; and
spatial composition.
In architecture, function and space are always in dialogue.

Space enclosed by buildings is always an important element.
33

The spatial relationship of objects
by Wang Ting-chih
Wang Ting-chih
By arranging the rocks near and far,

the painting presents a depth of field on plain paper.
34

Leaving blank space is an important technique in Chinese painting.
The top-left part of the painting is

left blank while the branch and
the caligraphy occupy the right
and bottom parts of the paper.
Dragonfly and Root by Zhao Shaoang.
35

The composition of virtuality and reality is another important techinique in
Chinese painting.
The river and body of the oxen are

presented vitually while the boy is
presented in a real way
Oxen by Li Keran
36
The Forbidden City has a large open space for the emperor to hold court. At the same
time, there are smaller spaces and open corridors to separate major palaces and
buildings. These spaces have different functions, such as circulation division, garden,
gathering space and buffer between public and private spaces
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The Forbidden City

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Following prototype with adaptation ( )

Principle
Though a painter should observe and follow the natural environment,

Tse Ha put imitation of predecessors as the sixth principle because the
technical skill of painting can be learnt easily from teachers.
The spirit of the prototype could never be copied.
A good painter could adapt an old work in a creative manner, giving new
life to the tradition of painting.
By imitating an old painting, a student can slowly master Chinese painting

and achieve a high level of taste.
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Standardization of construction methods saves materials and
time, and also prevents corruption.
Chinese building structure in Treatise on

Architectural Methods or State Building
Standards, the first Chinese book about
architecture and craftsmanship.
40
Even when the painters imitate

from the same painter Shitao,
none of the paintings are exactly
the same since painters apply
their own style and skills.
Landscape in the Style of Shitao

by Lu Shoukun
by Zhu Nianci
41
Putuo Zongcheng Temple inside the Chengde

Mountain Resort at Hebei
The temple was modelled after the Potala Palace of Tibet.

Allen Mok
Peng Li - Wikipedia User
42
The tangent circle pattern of King Yin Lei (left) is adapted from the Forbidden City (Right Gisling Wikipedia User). It has a similar pattern, but different colours and proportions.
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[Discussion]
We have learnt Tse Has Six Principles in the Category of

Ancient Paintings.
Do you think Tse Has principles could be applied to
Western painting or not? Why or why not?
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Summary
Chinese architecture can be evaluated using

many of the same principles that were
traditionally used to evaluate painting. Both
forms of art are concerned with nature, tradition,
and skill.
Tse Has six principles are
Spirit resonance;
Heaviness and lightness of brush stroke;
Correspondence to the object;
Applying colours in accordance with the type;
Be particular about the composition; and
Following prototype with adaptation.
| Chinese Calligraphy, Painting and Architecture|
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1

Chinese Calligraphy, Painting and Architecture

| Chinese Calligraphy, Painting and Architecture| Lesson 1 Introduction

How do you review the design

Sam Tung Uk, Tsuen Wan

| Chinese Calligraphy, Painting and Architecture| Lesson 1 Introduction

How do you review the design

Coloured in red: Sam Tung Uk (threebeam dwelling)

The 3 halls - the Entrance Hall, the

Side houses were built around the older

| Chinese Calligraphy, Painting and Architecture| Lesson 1 Introduction

How do you review the design

Exposed roof structure

| Chinese Calligraphy, Painting and Architecture| Lesson 1 Introduction

Relationship between Chinese Calligraphy,

| Chinese Calligraphy, Painting and Architecture| Lesson 1 Introduction

Methodology of Chinese Calligraphy,

| Chinese Calligraphy, Painting and Architecture| Lesson 1 Introduction

Methodology of Chinese Calligraphy,

A Chinese painting by Wang Ting-chi ( )

Six Principles in the Category of

Tse Has Six Principles in the Category of

The Rain and Mist Pavilion by Zhang Guchu.

Vibrancy is established through planning of spatial sequences.

This is the essence on the underlying conceptual thoughts behind art

Visitors pass through first the Entrance Hall,

Sam Tung Uk Wall Village layout plan

Heaviness and lightness of brush

The application of the brush with

In Tse Has view, each stroke should have

Huang Bin Hongs Scenes of Mount Huang.

Heaviness and lightness of brush

Rubbing of Chinese Calligraphy written in

Heaviness and lightness of brush

Spatial hierarchy and structural importance are shown in a

Heaviness and lightness of brush

Sui Dynastys pottery house in the He Nan

Symmetric layout of Forbidden City along a

Heaviness and lightness of brush

The stone bridge piers and horizontal crossbeam of

Correspondence to the object ( )

Application in Chinese Architecture

Correspondence to the object ( )

Giant Wild Goose Pagoda, Shaanxi

Shaxi theatre, Yunnan

Applying colours in accordance with the type ( )

Application in Chinese Architecture

Parts of the leaves are red in

The color of white is used in Visiting a Friend in

Hong Kong Museum of Art

Applying colours in accordance with the type ( )

Applying colours in accordance with the type ( )

Temple of Heaven in Beijing has a dark blue circular roof.

Applying colours in accordance with the type ( )

Applying colours in accordance with the type ( )

Original roof is made of gray or green tiles.

Be particular about the composition ( )

Be particular about the composition ( )

the importance of proportion of elements;

In architecture, function and space are always in dialogue.

Be particular about the composition ( )

By arranging the rocks near and far,

Be particular about the composition ( )