鲁菜 鲁菜，又叫山东菜。历史悠久，影响广泛，是中国饮食文化的重要组成部分。鲁菜发端于春秋战国时的齐国和鲁国（今山东省），形成于秦汉。宋代后，鲁菜就成为“北食”的代表。 鲁菜是中国覆盖面最广的地方风味菜系，遍及京津塘及东北三省，更以其味鲜咸脆嫩，风味独特，制作精细享誉海内外。 齐鲁大地依山傍海，物产丰富，是经济发达的美好地域，为烹饪文化的发展、山东菜系的形成，提供了良好的条件。 山东古为齐鲁之邦，地处半岛，三面环海，腹地有丘陵平原，气候适宜，四季分明。海鲜水族、粮油畜牲、蔬菜果品、昆虫野味一应俱全，为烹饪提供了丰盛的物质条件。庖厨烹技全面，巧于用料，注重调味，适应面广。鲁菜常用的烹调技法有30种以上，其中尤以“爆、炒、烧、塌”等最有特色。爆瞬间完成，营养素保护好，食之清爽不腻；烧有红烧、白烧，著名的“九转大肠”是烧菜的代表；“塌”是山东独有烹调方法，其主料要事先用调料腌渍入味或夹入馅心，再沾粉或挂糊，两面塌煎之金黄色。放入调料或清汤，以慢火\尽汤汁，使之浸入主料，增加鲜味。山东广为流传的锅塌豆腐、锅塌菠菜等，都是久为人们所乐道的传统名菜。 鲁菜讲究调味纯正，口味偏于咸鲜，具有鲜、嫩、香、脆的特色。十分讲究清汤和奶汤的调制，清汤色清而鲜，奶汤色白而醇。用肥鸡、肥鸭、肥肘子为主料，经沸煮、微煮、“清哨”，使汤清澈见底，味道鲜美。奶汤则成乳白色。用“清汤”和“奶汤”制作的数十种菜，多被列入高级宴席的珍馔美味。 烹制海鲜有独到之处。对海珍品和小海味的烹制堪称一绝。在山东，无论是参、翅、燕、贝，还是鳞、介、虾、蟹，经当地厨师妙手烹制，都可成为精彩鲜美的佳肴。仅胶东沿海生长的比目鱼（当地俗称“偏口鱼”），运用多种刀工处理和不同技法，可烹制成数十道美味佳肴，其色、香、味、形各具特色，百般变化于一鱼之中。以小海鲜烹制的“油爆双花”、“红烧海螺”、“炸蛎黄”以及用海珍品制作的“蟹黄鱼翅”、“扒原壳鲍鱼”、“绣球干贝”等，都是独具特色的海鲜珍品。 善于以葱香调味。在菜肴烹制过程中，不论是爆、炒、烧、熘，还是烹调汤汁，都以葱丝（或葱末）爆锅，就是蒸、扒、炸、烤等菜，也借助葱香提味。 著名的菜肴有： 九转大肠：色泽红润，大肠软嫩，有酸、甜、香、辣、咸五味。此菜系山东传统风味。 糖醋黄河鲤鱼：此菜选用黄河鲤鱼烹制而成，成菜后外焦里嫩，香酥、酸甜、稍咸。 德州扒鸡：鸡皮光亮，色泽红润，肉质肥嫩，热吃时，手提鸡骨一抖，骨肉随即分离，香气扑鼻，味道鲜美，是德州传统风味。 Shandong Cuisine As an important component of Chinese culinary art, Shandong cuisine, also known as Lu Cai for short, boasts a long history and far-reaching impact. Shandong cuisine can be traced back to the Spring and Autumn Period (770-221BC). It was quickly developed in the South and North Dynasty (960-1279), and was recognized as an important style of cooking in the Qing Dynasty (1644-1911). Shangdong cuisine is representative of northern China's cooking and its technique has been widely absorbed in northeast China. Shandong is a large peninsula surrounded by the sea, with the Yellow River meandering through the center. As a result, seafood is a major component of Shandong cuisine. Shandong's most famous dish is the sweet and sour carp. A truly authentic sweet and sour carp must come from the Yellow River. Shangdong cuisine is famous for its wide selection of material and use of different cooking methods. The raw materials are mainly domestic animals and birds, seafood and vegetables. The masterly cooking techniques include Bao (quick frying), Liu (quick frying with corn flour), Pa (stewing), roasting, boiling, using sugar to make fruit, crystallizing with honey. Condiments such as sauce paste, fistulous onion and garlic are freely used, so Shangdong dishes usually taste pungent. Soups are given much emphasis in Shangdong dishes. Clear soup (or thin soup) features clear and fresh while milk soup (or creamy soup) looks thick and tastes strong, both of which are often choicely made to add freshness to the dishes. The dishes are mainly clear, fresh and fatty, perfect with Shandong's own famous beer, Qingdao Beer. In addition to sweet and sour carp, typical courses in Shandong cuisine include braised abalone with shells, fried sea cucumber with fistulous onion, fragrant calamus in milk soup, quick-fried double fats (a very traditional Shandong dish consisting of pork tripe and chicken gizzards), and Dezhou stewed chicken. Dezhou stewed chicken is known throughout the country; the chicken is so well cooked that the meat easily separates from the bone although the shape of the chicken is preserved. 粤菜 粤菜是中国著名菜系之一，其烹饪技艺精湛，独特的风味饮誉四方。 广东省内物产丰富，多奇珍异兽，食料与中原地区迥异。粤菜由广州菜、潮州菜、东江菜组成，注重清鲜、爽滑、脆嫩的风味特点，讲究清而不淡，鲜而不俗，脆嫩不生，油而不腻。 粤菜烹调技艺多样善变，如煲、泡、烤、炙等；用料奇异广博，如蚝油、沙茶、咖喱、鱼露等，这为粤菜的独特风味起了举足轻重的作用。 广州菜是集南海、番禺、顺德、中山等地方风味的特色，兼京、苏、扬、杭等外省菜及西菜之所长而融为一体、自成一家的烹饪菜式。广州菜最突出的特点是用料广泛，选料精细，技艺精良，善于变化。 味道浓郁的地方风味瓦煲类菜式，如瓦煲山瑞、瓦煲葱油鸡、瓦煲炔鲤鱼、瓦煲大鳝（鳗鱼）、什锦煲、煲仔饭系列等，还有如“杏元凤爪炖水鱼”之类的汤羹，以南杏、元肉，加上鸡脚、水鱼炖出来的汤汁，十分适合粤人崇尚冬春“滋补身体”的习俗。 夏秋时节，岭南酷暑炎热，时令的菜肴如“八宝鲜莲冬瓜盅”、“百花酿鲜笋”、“蚝油鲜菇”、“白灼鲜鱿”、“白灼海虾”、“油泡鲜虾仁”、“清蒸海鲜”、“白切鸡”、“明炉乳猪”、“挂炉烧鸭”等广州名菜，最体现南国的风味特色及广东人喜爱清淡、爽口的食性。 近年来，广州菜也追求“新派”。但几千年所形成的选料广博奇杂，菜肴讲究鲜、爽、嫩、滑的南国风味对创新的变化影响颇深。“万变不离其中”，传统的美点薄皮鲜虾饺、干蒸烧卖、糯米鸡、娥姐粉果、荔脯秋芋角、马蹄糕、叉烧包、蟹黄包、奶油鸡蛋卷以及名小吃肠粉、炒河粉、艇仔粉、及第粥、猪红汤、伦教糕、萝卜糕、咸水角、凤爪、卤牛杂、薄脆、白糖沙翁、德昌咸煎饼、大良崩砂等更是历久不衰。这表明广州菜系植根的土壤是十分深厚的。 著名的菜肴有：三蛇龙虎凤大会 五蛇羹 盐锔鸡 蚝油牛肉 烤乳猪 干煎大虾 Chaozhou Cuisine Chaozhou is the name of a coastal region around the Shantou district of eastern Guangdong Province. One of the major schools in Guangdong cuisine, Chaozhou cuisine originated from Chaoshan Plain about one thousand years ago. Naturally, as a fishing area, seafood features prominently in Chaozhou cuisine, which is often enhanced by piquant sauces, such as tangerine jam for steamed lobsters and broad-bean paste for fish. The mouthwatering prawns, oysters, crabs and eels, combined with home-made pickles, play a symphony of traditional cuisine and leave people with everlasting impression. Such richly flavored dishes reflect the culinary influence of the Chaozhou people's northeastern neighbors, the Fujianese. Yet Chaozhou cuisine has also been greatly influenced by its southwestern neighbors, the Cantonese. Many Chaozhou classic dishes are light and tasty, with the abundant use of vegetables. The crisp delicacy of deep-fried leaf vegetables in Chaozhou dishes adds a gleaming green, edible garnish to many dishes. Chaozhou cuisine stresses unique combinations of various soy sauces and flavorings: salty, sweet, sour, spicy, or astringent. Fish sauce and oyster sauce are favorite seasonings. Chaozhou dishes are usually cooked over a slow fire, stewed, deep fired, steamed, stir-fried or pickled. The dishes boast the skill of local chefs in vegetable carving. Magnificent designs -- flowers, birds, dragons and phoenixes made from carrots and gingers -- adorn Chaozhou banquets, especially the cold dishes. The tasty dishes are not only yummy but also presentable. The region's chefs are also acknowledged masters in the preparation and cooking of two delicacies, namely, shark's fin and bird's nest. Chaozhou cuisine is famous, too, for its shellfish dishes and wide variety of sweet dishes (with pumpkin and taro). Other famous dishes include salt-baked goose with vinegar juice, steamed shrimp with orange juice, black-bean chicken, vegetarian soup and crabs. A tea ceremony is held during the serving of dishes, not just for performance but also to aid digestion. 浙菜 浙菜有它自己独特的烹调方法。除人们的地域性口味偏爱外，富饶的特产也是其中因素之一。 浙江东濒大海，有千里长的海岸线，盛产海味，如著名的舟山渔场的黄鱼、带鱼、石斑鱼、锦绣龙虾及蛎、蛤、虾、蟹，还有淡菜、象山青蟹、温州蝤蛑和近年发展的养殖虾等。又是大米与蚕桑的主要产地，素有“鱼米之乡”的称号。中部为浙江盆地，即金华大粮仓，闻名中外的金华火腿就是选用全国瘦肉型猪之一的“金华两头鸟”制成的。加上举世闻名的杭州龙井茶叶、绍兴老酒，都是烹饪中不可缺少的上乘原料。 浙菜的历史，可上溯到吴越春秋。越王勾践为复国，加紧军备，并在今绍兴市的稽山，办起大型的养鸡场，为前线准备作战粮草用鸡。故浙菜中最古的菜要首推绍兴名菜“清汤越鸡”。其次是杭州的“宋嫂鱼羹”，这系典籍中所记载的“因而五嫂鱼羹”，它距今至少有880年的历史。浙菜的烹饪原料在距今四五千年前已相当丰富，东坡肉、咸件儿、蜜汁火方、叫化童鸡等传统名菜均离不开这些烹饪原料。 浙菜由杭州菜、宁波菜、绍兴菜组成。菜式小巧玲珑，清俊逸秀，菜品鲜美滑嫩，脆软清爽。运用香糟调味。常用烹调技法有30多种，注重煨、焖、烩、炖等。现在一些传统菜加创新，绍菜仍占主位。宁波发挥了靠海鲜的优势，温州菜发展了许多以海鲜为原料的名菜。 杭州规模较大的有西湖楼外楼，开设于清道光年间，以西湖醋鱼、龙井虾仁闻名。有城内清和坊的王润兴，人称“皇饭儿”。以鱼头豆腐，人称木榔豆腐，件儿肉、腌督笋拿手。绍兴有兰香馆，蓑衣虾球、专门烹制头肚醋鱼等标准绍菜。浙东宁波有东福园，咸菜大汤黄鱼、冰糖甲鱼等名菜是正宗的宁波地方传统菜。浙菜以其浓郁的文化特色享誉海内外。 著名的菜肴有：西湖醋鱼 生爆蟮片 东坡肉 龙井虾仁 干炸响铃 叫化鸡 清汤鱼圆 干菜焖肉 西湖醋鱼是源于西湖渔家叔嫂除暴安良的民间故事，又名“叔嫂传珍”。是杭州历久不衰的传统名菜。 此莱采用活鱼，烹饪前先将鱼饿养过，这样鱼肉变得结实，其体内杂物及泥土气也排泄除掉，厨师火候掌握严格，菜肴烧成后，鱼的形态仍保持鲜活，菜色泽红亮，肉质鲜嫩，酸中藏甜，味美如吃蟹肉。 Zhejiang Cuisine Zhejiang cuisine, also called Zhe Cai for short, is one of the eight famous culinary schools in China. Comprising the specialties of Hangzhou, Ningbo and Shaoxing in Zhejiang Province regarded as land of fish and rice, Zhejiang cuisine, not greasy, wins its reputation for freshness, tenderness, softness, and smoothness of its dishes with mellow fragrance. Hangzhou cuisine is the most famous one among the three. Hangzhou cuisine is characterized by its elaborate preparation and varying techniques of cooking, such as sauteing, stewing, and stir- and deep-frying. Hangzhou food tastes fresh and crisp, varying with the change of season. Ningbo food is a bit salty but delicious. Specializing in steamed, roasted and braised seafood, Ningbo cuisine is particular in retaining the original freshness, tenderness and softness. Shaoxing cuisine offers fresh aquatic food and poultry that has a special rural flavor, sweet in smell, soft and glutinous in taste, thick in gravy and strong in season. Each of the three sub-cuisine traditions is noted for its special flavor and taste, but they are all characterized by the careful selection of ingredients, emphasizing minute preparation, and unique, fresh and tender tastes. Zhejiang cuisine specializes in quick-frying, stir-frying, deep-frying, simmering and steaming, obtaining the natural flavor and taste. Special care is taken in the cooking process to make the food fresh, crispy and tender. Thanks to exquisite preparation, the dishes are not only delicious in taste and but also extremely elegant in appearance. Zhejiang cuisine is best represented by Hangzhou dishes, including Hangzhou roast chicken (commonly known as Beggar's chicken), Dongpo pork, west lake fish in vinegar sauce, Songsao Shredded Fishsoup, etc. Legend has it that Beggar's chicken was invented by a Hangzhou thief. The story goes that because the thief had no stove, he wrapped the stolen bird in clay and baked it in a hole in the ground; another version explains that he was a hungry thief who found a way to cook his bird and keep it and its aroma secret! The famous restaurants in Hangzhou are: Louwailou Restaurant, Hangzhou Restaurant, Xizhongxi Restaurant, etc. Louwailou Restaurant boasts a history of over 100 years and is noted for west lake fish in vinegar sauce, fried shrimps with Longjing tea. 苏菜 苏菜即江苏菜。它起始于南北朝、唐宋时，当时经济发展，推动饮食业的繁荣，苏菜成为“南食”两大台柱之一。明清时期，苏菜南北沿运河、东西沿长江的发展更为迅速。沿海的地理优势扩大了苏菜在海内外的影响。 苏菜由扬州菜、南京菜、苏州菜、镇江菜组成。其味清鲜，咸中稍甜，注重本味。在国内外享有盛誉。 江苏为鱼米之乡，物产丰饶，饮食资源十分丰富。著名的水产品有长江三鲜（鲟鱼、刀鱼、鲴鱼）、太湖银鱼、阳澄湖清水大闸蟹、南京龙池鲫鱼以及其它众多的海鲜品。优良佳蔬有太湖莼菜、淮安蒲菜、宝应藕、板栗、鸡头肉、茭白、冬笋、荸荠等。名特产品有南京湖熟鸭、南通狼山鸡、扬州鹅、高邮麻鸭、南京香肚、如皋火腿、靖江肉脯、无锡油面筋等。 江苏菜的特点是：用料广泛，以江河湖海水鲜为主；刀工精细，烹调方法多样，擅长炖焖煨焐；追求本味，清鲜平和；菜品风格雅丽，形质均美。 江苏菜以重视火候、讲究刀工而著称，尤擅长炖焖煨焐，著名的“镇扬三头”（扒烧整猪头、清炖蟹粉狮子头、拆烩鲢鱼头）、“苏州三鸡”（叫花鸡、西瓜童鸡、早红桔酪鸡）以及“金陵三叉”（叉烤鸭、叉烤桂鱼、叉烤乳猪）都是其代表之名品。 江苏菜式的组合亦颇有特色。除日常饮食和各类筵席讲究菜式搭配外，还有“三筵”具有独到之处。其一为船宴，见于太湖、瘦西湖、秦淮河；其二为斋席，见于镇江金山、焦山斋堂、苏州灵岩斋堂、扬州大明寺斋堂等；其三为全席，如全鱼席、全鸭席、鳝鱼席、全蟹席等等。 著名的菜肴有：清汤火方 鸭包鱼翅 水晶肴蹄 松鼠桂鱼 西瓜鸡 盐水鸭 清炖甲鱼 鸡汁煮干丝 鸡汁煮干丝 此菜干丝绵软，色彩美观、清鲜爽口，饶有风味，为扬州传统名菜。 Huai-Yang Cuisine Huai-Yang Cuisine originated from the Pre-Qin Period (221-206BC), became famous during the Sui (581-618) and Tang (618-907) Dynasties, and was recognized as a distinct regional style during the Ming (1368-1644) and Qing (1644-1911) Dynasties. This cuisine includes dishes from Huai'an, Yangzhou, Suzhou, and Shanghai. Raw materials of Huai-Yang dishes include fresh and live aquatic products. The carving techniques are delicate, of which the melon carving technique is especially well-known. The flavor of Huai-Yang cuisine is light, fresh and sweet. If Shandong cuisine is characterized by stirring and frying over a hot fire, Huai-Yang cuisine is characterized by stewing, braising, and steaming over a low fire for a long time. Famous dishes cooked this way are chicken braised with chestnuts, pork steamed in lotus leaf, duck stewed with eight treasures, meatballs with crab meat in Yangzhou style, and butterfly sea cucumber (sea cucumber cut into butterfly shapes and cooked with flavorings). Other famous dishes include stewed crab with clear soup, long boiled dry shredded meat, crystal meat, squirrel with mandarin fish, Sauteed Eel Shreds and Liangxi crisp eel. The vegetarian banquet is a special feature of Huai-Yang cuisine, and the vegetarian dishes in Beijing cuisine are mostly variants of Huai-Yang cuisine. Huai-Yang snacks and refreshments are exquisite, such as boiled, shredded, dried bean curd; steamed dumplings with minced meat and gravy; steamed meat dumplings with dough gathered at the top. 闽菜 闽菜是福建菜的简称，它是中国烹饪主要菜系之一，在中国烹饪文化宝库中占有重要一席。福建的经济文化是南宋以后逐渐发展起来的，清中叶后闽菜逐渐为世人所知。 闽菜由福州、闽南、闽西三路菜组成。福州菜路流行于闽东、闽中、闽北地区；闽南菜则广传于厦门、泉州、漳州、闽南金三角；闽西菜则盛行于闽西客家地区，极富乡土气息。闽菜的风格特色是：淡雅、鲜嫩、和醇、隽永。口味偏重甜、酸和清淡，常用红糟调味。 闽菜的特点主要表现在四个方面： 一、烹饪原料以海鲜和山珍为主 由于福建的地理形势倚山傍海，北部多山，南部面海，苍茫的山区，盛产菇、笋、银耳、莲子和石鳞、河鳗、甲鱼等山珍野味；漫长的浅海滩涂，鱼、虾、蚌、鲟等海鲜佳品常年不绝。平原丘陵地带则稻米、庶糖、蔬菜、水果誉满中外。山海赐给的神品，给闽菜提供了丰富的原料资源，也造就了几代名厨和广大从事烹饪的劳动者，他们以擅长制作海鲜原料，并蒸、氽、炒、煨、爆⒄ā?康确矫娑谰咛厣！ 二、刀工巧妙，一切服从于味 闽菜注重刀工，有“片薄如纸，切丝如发，剞花加荔”之美称。而且一切刀工均围绕着“味”下功夫，使原料通过刀工的技法，更体现出原料的本味和质地。它反对华而不实，矫揉造作，提倡原料的自然美并达到滋味沁深融透，成型自然大方、火候表里如一的效果。 三、汤菜考究，变化无穷 闽菜重视汤菜，与多烹制海鲜和传统食俗有关。闽厨长期以来把烹饪和确保原料质鲜、味纯、滋补联系起来，从长期积累的经验认为，最能保持原料本质和原味的当属汤菜，故汤菜多而考究。有的白如奶汁，甜润爽口；有的汤清如水，色鲜味美；有的金黄澄透，馥郁芳香；有的汤稠色酽，味厚香浓。 四、烹调细腻，特别注意调味 闽菜的烹调细腻表现在选料精细、泡发恰当、调味精确、制汤考究、火候适当等方面。特别注意调味则表现在力求保持原汁原味上。善用糖，以甜去腥膻；巧用醋，因酸能爽口，味清淡则可保持原味。因而有甜而不腻，酸而不淡而不薄的盛名。 著名的菜肴有：佛跳墙、醉糟鸡、酸辣烂鱿鱼、烧片糟鸡、太极明虾、清蒸加力鱼、荔枝鱼肉。 佛跳墙起源于清朝末年，为福州“聚春园”名师郑春发所创制，至今已有100多年的历史。它采用多种精料精心煨制而成，程序复杂，各料互为渗透，味中有味，质地软嫩脆润、浓郁荤香，营养丰富，是福州传统名菜之首。 Fujian Cuisine Fujian cuisine, also called Min Cai for short, holds an important position in China's culinary art. Fujian's economy and culture began flourishing after the Southern Song Dynasty (1127-1279). During the middle Qing Dynasty around 18th century, famous Fujian officials and literati promoted the Fujian cuisine so it gradually spread to other parts of China. Fujian cuisine comprises three branches -- Fuzhou, South Fujian and West Fujian. There are slight differences among them. Fuzhou dishes, quite popular in eastern, central and northern Fujian Province, are more fresh, delicious, and less salty, sweet, and sour; South Fujian dishes, popular in Xiamen, Quanzhou, Zhangzhou and the golden triangle of South Fujian, are sweet and hot and use hot sauces, custard, and orange juice as flavorings; West Fujian dishes are salty and hot, prevailing in Hakka region with strong local flavor. As Fujian people emigrate overseas, their cuisine become popular in Taiwan and abroad. Generally speaking, Fujian dishes are slightly sweet and sour, and less salty, and often use the red distiller's grain for flavoring. Fujian cuisine is characterized by the following four aspects: (1)Ingredients of seafood and mountain delicacies: Fujian cuisine emphasizes seafood and mountain delicacies. Fujian Province has a favorable geographical location with mountains in its north and sea to its south. Many mountain delicacies such as mushroom, bamboo shoots and tremella are often found here. The coastal area produces 167 varieties of fish and 90 kinds of turtles and shellfish. It also produces edible bird's nest, cuttlefish, and sturgeon. These special products are all used in Fujian cuisine. The local people are good at cooking seafood, featuring in methods of stewing, boiling, braising, quick-boiling, and steaming, etc. (2) Fine slicing techniques: Fujian cuisine stresses on fine slicing techniques so much that it is reputed as sliced ingredients are as thin as paper and shredded as slim as hairs. Everything sliced serves its original aroma. Fine slicing techniques may better show the aroma and texture of food. Cutting is important in Fujian cuisine. Most dishes are made of seafood, and if the seafood is not cut well, the dishes will fail to have their true flavor. (3) Various soup and broth: The most characteristic aspect of Fujian cuisine is that its dishes are served in soup. (4) Exquisite culinary art: Fujian dishes are tasty because of their emphasis on a series of delicate procession: selecting ingredients, mixing flavors, timing the cooking and controlling the heat. When a dish is less salty, it tastes more delicious. Sweetness makes a dish tastier, while sourness helps remove the seafood smell. Typical dishes are Buddha-jumping-over-the-wall, flaked spiral shell lightly pickled in rice liquor, litchi fish, and mussels quick-boiled in chicken broth, of which Buddha-jumping-over-the-wall is the most famous; the name implies the dish is so delicious that even the Buddha would jump over a wall to have a taste once he smelled it. A mixture of seafood, chicken, duck, and pork is put into a rice-wine jar and simmered over a low fire. Sea mussel quick-boiled in chicken soup is another Fujian delicacy. 湘菜 湘菜简称湖南菜，它历史悠久，源远流长，逐步发展成为颇负盛名的地方菜系 湖南地处长江中游南部，气候温和，雨量充沛，土质肥沃，物产丰富，素称“鱼米之乡”。优越的自然条件和富饶的物产，湘菜在选料方面提供了物质条件。 湘菜由湘江流域、洞庭湖区和湘西山区为基调的三种地方风味组成。湘江流域菜以长沙、衡阳、湘潭为中心，其中以长沙为主，讲究菜肴内涵的精当和外形的美观，色、香、味、器、质和谐的统一，因而成为湘菜的主流。洞庭湖区菜以常德、岳阳两地为主，擅长制作河鲜水禽；湘西地区菜则由湘西、湘北的民族风味菜组成，以烹制山珍野味见长。 湘菜品种繁多，门类齐全。就菜式而言，既有乡土风味的民间菜式，经济方便的大众菜式；也有讲究实惠的筵席菜式，格调高雅的宴会菜式；还有味道随意的家常菜式和疗疾健身的药膳菜式。据有关方面统计，湖南现有不同品味的地方菜和风味名菜达800多个。 湘菜的基本刀法有十几种之多。厨师们在长期的实践中，手法娴熟，因料而异，具体运用，演化参合，切批斩剁，游刃有余。使菜肴千姿百态、变化无穷。整鸡剥皮，盛水不漏，瓜盅“载宝”，形态逼真，常令人击掌叫绝，叹为观止。 湘菜历来重视原料互相搭配，滋味互相渗透。湘菜调味尤重酸辣。因地理位置的关系，湖南气候温和湿润，故人们多喜食辣椒，用以提神去湿。用酸泡菜作调料，佐以辣椒烹制出来的菜肴，开胃爽口，深受青睐，成为独具特色的地方饮食习俗。 湘菜的烹调方法历史悠久，到现在已经形成几十种烹调方法，在热烹、冷制、甜调三大类烹调技法中，每类技法少则几种，多的有几十种。相对而言，湘菜的煨\功夫更胜一筹，几乎达到炉火纯青的地步。煨，在色泽变化上可分为红煨、白煨，在调味方面有清汤煨、浓汤煨和奶汤煨。小火慢\，原汁原味。有的菜晶莹醇厚，有的菜汁纯滋养，有的菜软糯浓郁，有的菜酥烂鲜香，许多煨\出来的菜肴，成为湘菜中的名馔佳品。 著名的菜肴有： 腊味合蒸 东安子鸡 麻辣子鸡 红煨鱼翅 汤泡肚 冰糖湘莲 金钱鱼 东安子鸡 早在唐玄宗开元年间，湖南东安人就开始烹制东安鸡，至今已有1200多年的历史。此菜造型美观，色泽鲜艳，营养丰富，具有香、辣、麻、酸、甜、脆、嫩等特点。 Hunan Cuisine Also known as Xiang Cai, Hunan cuisine has already developed into a famous culinary school in China. Hunan dishes consist of local dishes from the Xiangjiang River area, Dongting Lake area and Western Hunan mountain area. Hunan's culinary specialties are akin to those of the chili-rich Sichuan dishes. It is also characterized by thick and pungent flavor. Chili, pepper and shallot are usually necessaries in this division. However, Chili, peppers, garlic (suan) and an unusual sauce, called "strange-flavor" sauce (guai wei jiang) on some menus, enliven many dishes, with a somewhat drier intensity than that of their Sichuan counterparts. Sweetness, too, is a Hunan culinary passion, and honey sauces are favored in desserts such as water chestnut or cassia flower cakes. Hunan is known as "the land of fish and rice". Like the west in latitude, it has the added bonus of lowlands for rice cultivation and a rich ocean's edge for fish. Hunan food is characterized by its hot and sour flavor, fresh aroma, greasiness, deep color, and the prominence of the main flavor in the dishes. Hunan food is hot because the climate is very humid, which makes it difficult for human body to eliminate moisture. The local people eat hot peppers to help remove dampness and cold. The main cooking methods for Hunan dishes are braising, double-boiling, steaming and stewing. It is also renowned for its frequent use of preserved meat in cooking. Rice is the staple in Hunan, but northern-style side dishes and fillers are also popular: bean curd "bread" rolls or dumplings and savory buns. They are further signs that Hunan is one of China's culinary heartland, incorporating many flavors and regional influences. Typical courses include: Dong'an chick; peppery and hot chick, stir-fried tripe slivers, tripe in duck's web soup, lotus seed with rock candy, Xiaoxiang turtle, steamed pickled meat, and hot and spicy frog leg. 徽菜 徽菜系又称“徽帮”、“安徽风味”，是中国著名的八大菜系之一。 徽菜的原料，由于资源丰富、质地优良、取之不尽用之不竭。安徽地处华东腹地，气候温和雨量适中，四季分明、物产丰盈，皖南山区和大别山区盛产茶叶、竹笋、香菇、木耳、板栗、山药和石鸡、石鱼、石耳、甲鱼、鹰龟、果子狸等山珍野味，著名的“祁红”、“屯绿”是驰名于世的安徽特产；长江、淮河、巢湖是中国淡水鱼的重要产区，为徽菜提供了鱼、虾、蟹、鳖、菱、藕、莲、芡等丰富的水产资源。其中长江鲥鱼、淮河肥王鱼、巢湖银鱼、大闸蟹等都是久负盛名的席上珍品；辽阔的淮北平原、肥沃的江淮、江南圩区盛产各种粮、油、蔬果、禽畜、蛋品，例如，砀山酥梨、萧县葡萄、涡阳苔干、大和椿芽、宣城蜜枣、安庆豆酱等都是早已蜚声中外，给徽菜的形成和发展提供了良好的物质基础。 徽菜的传统品种多达千种以上，其风味包含皖南、沿江、沿淮三种地方菜肴的特色。皖南以徽州地区的菜肴为代表，是徽菜的主流与渊源。其主要特点是喜用火腿佐味，以冰糖提鲜，善于保持原料的本味、真味，口感以咸、鲜、香为主，放糖不觉其甜。沿江风味盛行于芜湖、安庆及巢湖地区，以烹调河鲜、家禽见长，讲究刀功，注重形色，善于以糖调味，擅长烧、炖、蒸和烟熏技艺，其菜肴具有清爽、酥嫩、鲜醇的特色。沿淮菜是以黄河流域的蚌埠、宿县、阜阳的地方菜为代表，擅长烧、炸、熘等烹调技法，爱以芫荽、辣椒调味配色，其风味特点是咸、鲜、酥脆、微辣，爽口，极少以糖调味。 其总体风格是：清雅纯朴、原汁原味、酥嫩香鲜、浓淡适宜，并具有选料严谨、火工独到、讲究食补、注重本味、菜式多样、南北咸宜的共同特征。 徽菜的烹饪技法，包括刀工、火候和操作技术，徽菜之重火工是历来的优良传统，其独到之处集中体现在擅长烧、炖、熏、蒸类的功夫菜上，不同菜肴使用不同的控火技术是徽帮厨师造诣深浅的重要标志，也是徽菜能形成酥、嫩、香、鲜独特风格的基本手段，徽菜常用的烹饪技法约有20大类50余种，其中最能体现徽式特色的是滑烧、清炖和生熏法。 徽菜经过近千年的发展，不仅拥有一大批脍炙人口的名菜名点、美味佳肴，还涌现一批著名的餐馆。如合肥的黄山徽菜馆、淮上酒家、合肥饭店、逍遥酒家、庐州烤鸭店、华侨饭店；蚌埠的金山饭店、淮河餐厅；芜湖的同庆楼、耿福兴、马义兴（回族）菜馆、镜湖餐厅、丰富酒家；安庆的京津菜馆、新兴餐厅、江万春饼面馆；淮北的上海餐厅；铜陵的同乐酒楼；黄山的屯溪徽菜馆；阜阳的凤凰酒楼、亳州的皖北饭庄；全椒的望屏楼等。 著名的菜肴有：符离集烧鸡 火腿炖甲鱼 腌鲜桂鱼 火腿炖鞭笋 雪冬烧山鸡 红烧果子狸 奶汁肥王鱼 毛峰熏鲥鱼 生仔鸡 Anhui Cuisine Anhui cuisine (Hui Cai for short), one of the eight most famous cuisines in China, features the local culinary arts of Huizhou. It comprises the specialties of South Anhui, Yanjiang and Huai Bei. The highly distinctive characteristic of Anhui cuisine lies not only in the elaborate choices of cooking materials but also in the strict control of cooking process. Most ingredients in Anhui cuisine, such as pangolin, stone frog, mushroom, bayberry, tea leaves, bamboo shoot, dates, games, etc., are from mountain area. Huangshan Mountain has abundant products for dish cooking. Huangshan Chukka has tender flesh and a sweet taste. It can be boiled in clear soup or braised in soy sauce. The dishes help relieve internal fever and build up vital energy. The white and tender bamboo shoots produced on Huangshan Mountain can be made into very delicious food. Xianggu, a kind of top-grade mushroom grows on old trees, is also very tasty. Anhui cuisine chefs pay more attention to the taste, color of dishes and the temperature to cook them, and are good at braising and stewing. They are experts especially in cooking delicacies from mountains and sea. Anhui dishes preserve most of the original taste and nutrition of the materials. Generally the food here is slightly spicy and salty. Some master dishes usually stewed in brown sauce with stress on heavy oil and sauce. Ham is often added to improve the taste and sugar candy added to gain freshness. High up on the menu are stewed soft shell turtle with ham, Huangshan braised pigeon, steamed stone frog, steamed rock partridge, stewed fish belly in brown sauce, bamboo shoots cooked with sausage and dried mushroom, etc. 1. Stewed soft shell turtle with ham One whole soft shell turtle, pork, ham, bamboo shoots, a clove of garlic, shallot, ginger, soy sauce, salt, rice wine, black pepper, lard are all stewed together in a pot on charcoal fire. The dish is not greasy and can lead diners to endless aftertastes. 2. Steamed stone frog Inhabited in caves, stone frog is a special product in Huangshan Mountain. It weights 250 grams or so, whose belly is white and back black with stripe. Stone frog is rich in protein, calcium and so on. It has the functions of clearing heat, improving vision and nutrition. It is one of the best exotic dishes from mountains. 3. Bamboo shoots cooked with sausage and dried mushroom It is one traditional flavor in Huizhou mountainous area. Cooked with sausage and dried mushrooms, the bamboo shoots are more fragrant. It is delicious, and noted for its good color, juicy meat and thick soup. 4. Li Hongzhang Hotchpotch Li Hongzhang hotchpotch is a popular dish named after one of Anhui's famous personages. Li Hongzhang was a top official of the late Qing Dynasty (1644-1911 AD). When he was in office, he paid a visit to the US and hosted a banquet for all his American friends. As the specially prepared dishes continued to flow, the chefs, with limited resources, began to fret. Upon Li Hongzhang's order, the remaining kitchen ingredients were thrown together into an impromptu stew, containing sea cucumber, squid, tofu, ham, mushroom, chicken meat and other less identifiable food materials! Thus appetites were quenched and a dish was created. 风味特色小吃 Flavornosh 第二品。到了唐德宗贞元年间（公元785－8O4年），在顾渚山下就设有规模宏大的贡茶院，从事采制的夫役在旺产期达三万人；固定的制茶工人也有千余人，茶院内用于置“茶碓”的房屋达三十间，还有烘焙的工场百余所。更多>> "When a guest comes to my home from afar on a cold night, I light bamboo to boil tea to offer him." — Ancient Chinese poem China is the home country of tea. Before the Tang Dynasty, Chinese tea was exported by land and sea, first to Japan and Korea, then to India and Central Asia and, in the Ming and Qing dynasties, to the Arabian Peninsula. In the early period of the 17th century, Chinese tea was exported to Europe. more>> = Home | History | Techniques | Paintings | Artists | Galleries |Museums | Art Books | Art Supplies | Contact us Artistic Character and Techniques One of the important factors contributing to the evolution of the distinctive style of traditional Chinese painting has been the close relationship between the materials used and their influence on artistic forms and techniques. Chinese Brush Chinese Ink Paper and Silk Chinese Color Composition and Space Seal and Calligraphy Chinese Brush First, there is the Chinese brush.Though similar to the brush used for watercolor painting in the West, it has a finer tip suitable for dealing with a wide range of subjects and for producing the variations in line required by different styles. Since the materials used for calligraphy and painting are essentially the same, developments in calligraphic styles and techniques can also be used in painting. Brush Techniques and Strokes The ancients used the expression yu pi yu mo(tohave brush, to have ink).These show the significance of the meaning for the two terms pi(brush) and mo(ink). The brush techniques so much emphasized in Chinese painting include not only line drawing but also the stylized expressions of shade and texture (cunfa) and the dotting methods(dianfa) used mainly to differentiate trees and plants and also for simple embellishment. The brush strokes give the painting rhythm and beauty and depict the subject's outward and inner qualities.At the same time, they reveal the individuality and style of the painter himself. Type of Painting Brushes: Hsieh chao pi: Crab claw brush, large and small sizes Hua jan pi: brush for painting flowers Lan yu chu pi: brush for painting orchids and bamboo Brushes used for writing: T’u hao pi: rabbit's hair brush Hu ying pi: Hunan sheep's hair brush Holding Chinese Brush Chinese Ink Second, there is the ink.Ink has been used in calligraphy and painting for over two thousand years.When the ink cake is ground on the painter's stone slab with fresh water, ink of various consistencies can be prepared depending on the amount of water used.Thick ink is very deep and glossy when applied to paper or silk.Thin ink appears lively and translucent.As a result, in ink-and-wash paintings it is possible to use ink alone to create a rhythmic balance between brightness and darkness, and density and lightness, and to create an impression of the subject's texture, weight and coloring. Chinese Paper and Silk Third, there is paper or silk Chinese painting may be done either on Chinese paper or silk. Chinese Paper The original paper(around 100 AD.)was made from many different materials including pulp, old fishing nets and bark.Modern paper is often machine made.It is classed in degrees of weight and amount of size used.The paper is very absorbent and the amount of size in it will dictate the quantity of ink used for strokes on the paper. Different paper produce different results; some are rough and absorb ink quickly like a sponge, others have a smooth surface which resists ink.Chinese paper is usually known as rice paper in English. Chinese Silk Before painting on silk, the silk should be treated with alum and glue before use.This methodmakes silk less absorbent than paper. Brushstroke is best shown on paper. Because of this reason and the paper's variety of texture and finish, paper quickly became favored by artists and calligraphers. Chinese Color Fourth, there are the colors.There are differences in the use of color between Chinese painting and modern western painting.Chinese painting aim is not to express the various shades of color of the subject in relation to a fixed source of light, but to express the characteristics of the different subjects. For example, the adding of traces of brown or green to rocks, trees, leaves, grass and moss in a painting is used to reinforce the feeling of a particular season or state of the weather. Composition and Space Fifth, there are composition and space.Since the creative requirements of Chinese painting do not demand strict adherence to reality or to a particular angle of view or source of light, the painter has complete freedom in terms of artistic conception, structural composition and method of expression.To give prominence to the main subject, it is quite permissible to omit the background entirely and simply leave it blank.At the same time, since the sizes and shapes of the spaces in the painting are different, the very absence of content can itself create rhythm and variety.Sometimes the variety and balance created in this way is further enriched by the addition of inscriptions in the empty space. Chinese landscape painters’ aim is to depict the familiar mountains and rivers of China from the perspective of nature as a whole and on the basis of their understanding of the laws of nature.In artistic conception and structural composition, most landscape paintings create the impression that the scene is viewed from high in the air, as if seen through the eyes of a bird. With flower-and-bird paintings, sometimes a single flower hangs as if suspended in space, or the flowers and plants of different seasons appear together.Explained by one of the Ming painters, Wang Fu(1362-1416), as “likeness through unlikeness” and Qi Baishi(1863-1957) as “subtlety of a good painting lies in its being alike and yet unlike the subject”Chinese painters attach great importance to reality, science, space and time and yet manage to disregard them at the same time.The laws of these things must come second to the requirements of artistic creation and should not become shackles that bind artistic expression. Seals and Calligraphy on Chinese Paintings Calligraphy and Seals One of the distinctive characteristics of Chinese painting is the use of inscriptions in poetry of calligraphy and of special seals as part of the painting itself.This was a major contribution made by scholar painters.Its significance lies in its ability to express the theme and artistic conception of the painting more clearly and deeply while, at the same time, giving great insight into the artist's individuality, emotions and views on art and life.In ink-and-wash paintings, the bright red seal adds a final touch of beauty.When preparing the inscription and seal, therefore, the Chinese painter, in addition to considering their content, has always given great thought to the placement, length and dimensions of the inscription and the position of the seal on the painting. The simplest inscription consists of the artist's name and the date.Sometimes the inscription could include the occasion for the painting and the name of the person for whom the painting was done.It could be about the subject and style of the painting. Quite often the artist might include a piece of poetry or a literary allusion. These are all followed by the artist's own seal. The seals can be carved in stone.It can contain a name, poetical saying, a design or symbol which has a connection with the painting.The seals are pressed into a pot or tin of cinnebar paste, a scarlet red color, and are impressed onto the painting.The paste contains mercuric oxide, ground silk and oils. It required a careful stamp as it is rather permanent.When using red seal on a monochrome painting, it is said to be "adding the eye to the dragon". Rules of Painting "See the great in the small” and “See the small in the perspective of the great” “Among those who study painting, some strive for an elaborate effect and others prefer the simple.Neither complexity in itself nor simplicity is enough. Some aim to be deft, others to be laboriously careful.Neither dexterity nor conscientiousness is enough. Some set great value on method, while others pride themselves on dispensing with method.To be without method is deplorable, but to depend entirely on method is worse. You must learn first to observe the rules faithfully; afterwards, modify them according to your intelligence and capacity.The end of all method is to seem to have no method.” Lu Ch'ai(Wang Kai), Master of Ch'ing Tsai T'ang, XVII-century …If you aim to dispense with method, learn method …If you aim at facility, work hard ....If you aim for simplicity, master complexity Lu Ch'ai(Wang Kai), Master of Ch'ing Tsai T'ang, XVII-century The Six Qualities of Painting To display brushstroke power with good brushwork control To posses sturdy simplicity with refinement of true talent To possess delicacy of skill with vigor of execution. To exhibit originality, even to the point of eccentricity, without violating the li(the principles or essence) of things. In rendering space by leaving the silk or paper untouched, to be able nevertheless to convey nuances of tone. On the flatness of the picture plane, to achieve depth and space. "Lu Ch'ang", quoted from an early XI-century work of biographies of painters of the Five Dynasties and Northern Sung Periods. The Twelve Things to Avoid in Painting To avoid is a crowded, ill arranged composition (composition) Far and near not clearly distinguished (composition) Mountains without Ch’i, the pulse of life Referring not only to the need for pictorial vitality created by composition with a quality of spirit, particularly since mountains were symbols of life. Of the Yang(of Heaven and the Spirit) Water with no indication of its source The element regarded as a source of life and associated with the Yin. Scenes lacking any places made inaccessible by nature(natural and logical) Where man has ventured, paths are a sign of his presence and should naturally lead somewhere. Paths with no indication of beginning and end Stones and rocks with one face The rock has 3 faces, referring to the third dimension and technical skill in rendering it . Trees with less than four main branches The tree has four main branches and is represented as having solidity, roundness, and unity Figures unnaturally distorted Emphasize fitness based on naturalness, contributing to the harmony of the parts and the whole of a painting.Figures not only should be undistorted but should be shown in action, their position and mood in tune with the rest of the painting and thus with the order of nature. Buildings and pavilions inappropriately placed Houses, pavilions, bridges, waterwheels, or boats, never overshadow other elements in the picture but contribute to its main theme, usually some aspect of nature rather than of human activity. Atmospheric effects of mist and clearness neglected Color applied without method Mountains and water are not only the main structural elements in a landscape painting, but serve as symbols of the Yin and Yang.They are structural ideas, hence the significance of the term ShanShui (mountain water) for landscape pictures. "Shih Erh Chi", quoted from a XIII-century work by Jao Tzu-jan. Chinese Brush Painting - Origins Starting around 4000 B.C. traditional Chinese painting has developed continuously over a period of more than six thousand years.Its growth has inevitably reflected the changes of time and social conditions.In its early stage of development, Chinese painting was closely related to the other crafts, from pottery to the decorations used on the bronzes, carved jade and lacqerware. Following the introduction of Buddhism to China from India during the 1st century A.D. and the consequent carving of grottoes and building of temples, the art of painting religious murals gradually gained in prominence. The range of subject matters dealt with in figure painting was extended far beyond religious themes during the Song dynasty(960-1127),.Paintings of historical character and stories of everyday life became extremely popular.Techniques were also further refined. Landscape painting had already established itself as an independent form of expression by the 4th century.Then gradually developed into the two separate styles of “blue-and-green landscapes” and “ink-and-wash landscape”.The blue-and-green landscape used bright blue, green and red pigments derived from minerals to create a richly decorative style.The ink-and wash landscape relied on vivid brushwork and varying degrees of intensity of ink to express the artist's conception of nature, and his own emotions and individuality. Flower-and-bird paintingwas separated from decorative art to form an independent genre around the 9th century.A great many artists painted in this genre during the Song dynasty and their subject matter included a rich variety of flowers, fruits, insects and fish.Many of the scholar painters working with ink and brush used a great economy of line.Theyproduced paintings of such things as plum blossoms, orchids, bamboo, chrysanthemums, pines and cypresses, using their subject matter to reflect their own ideals and character. Modern painters have often mixed several colors on one brush or mixed their colors with black inks.As a result, they have obtained more natural and richly varied colors.Such techniques have been widely adopted and further developed in the contemporary period. CHINESE INK AND INKSTONE For a traditionally trained Chinese and even many “modern” leaders in government, business and the arts today, the Chinese brush, ink and inkstone used in writing of characters, calligraphy and painting has a much deeper cultural significance than most outsiders would at first appreciate.One of the fascinating and intriguing characteristics of traditional Chinese society is the reverent manner in which a scholar was encouraged to think of all things concerning literature and the library including his writing materials.Over the years numerous rules were developed and popularized in relation to the making of brushes, ink, inkstones and paper.The literature called these four items the “four precious things of the library” and many Chinese even today are taught to give attention to writing of characters in a way very unlike the status of penmanship in this rapidly increasingly technological world. The Chinese brush is believe to have been invented by one Ming Ti’en in the Third Century B.C. Paper is believed to have been developed at approximately this time although archaeological records show that painting on silk dates from an even earlier date. The character in Chinese for ink, “mo”, is a combination of two characters, “hei” or black, and “t’u” which means earth.Ink held a fascination for Chinese scholars and there are a plethora of books and treatises on the subject.Some of the classics written over the ages are the “Mo Ch’ing”, which translates as the Ink Classic, which was written in the twelfth century by Chao Kuan-chih.Another is the “Mo pu fu shu” or Handbook of Inkmaking written by Li Hsia-su of the Sung dynasty.Other works written contemporaneously or somewhat later about ink include the “Fang shih mo p’u”, the “Ch’eng shih mo yuan” and the “Mo fu chi yao.” The chief ingredients of high quality ink according to these works are lampblack and glue.The finest lampblack is supposed to come from the burning of vegetable oils.In ancient times the best soot was made from burning of specially selected pines in an ink furnace that had inverted pottery jars over the smoke.These jars trapped the soot which was then removed with feather brushes.The soot was then mixed with glue, which could be made from horn or animal hides.According to the ink classic, the glue made from the horns of young deer was of the highest quality because of its purity.Good ink depended upon good glue, which gives the ink texture and life. Because of the laborious process noted above, ink was difficult to make and because of this very expensive.In the tenth century, Li’Ting-kuei of Huichou in Anwei province revolutionized the ink making process so that ink could be made from the soot or lamp black from an oil lamp.This greatly reduced cost and increased availability. Chinese ink differs significantly from western ink in composition and also in it ability to stand the tests of time.It does not fade to the extent that western ink does when exposed to light and ancient pictures and calligraphy still retain their resilience after centuries of display.Chinese ink in ancient times was sold in solid inksticks or inkcakes, which were most frequently round or rectangular but also often shaped like a canoe.The ink was then ground on an inkstone and mixed with water for use.Ancient or antique inksticks are a collector’s item and are in demand by collectors and fetch high prices at auction. Museums in China and also those overseas collections with larger holdings often have examples of these inksticks, many of which date to the Sung, Yuan and Ming dynasties. Considering the reverence traditionally educated Chinese scholars had for the brush and ink, their interest in the inkstone was even greater. The inkstone, which was used to grind the ink, was considered the very soul of a scholar’s library.These stones were selected with the greatest of care and were often decorated with elaborate symbols or literary phrases thought to encourage the scholar’s production of higher sentiments.While there are many exceptions, most inkstones are rectangular or rounded.Most are in fact made of stone but examples of pottery also exist.The definitive work on this subject is probably Mi Fu’s “Yen shih” or Account of Inkstones.This work gives the proper name for all portions of the Inkstone and sets out the various characteristics of Inkstones and their use.Later but also fascinating works on Inkstones include the “Yen lin” or Forest of Inkstones by Yu Huai, which was written in the 1600s.This was followed by“Pao yen t’ang yen pien” or Discussion of Inkstones from the Hall of Treasured Inkstones” by Ho Chu’an-yao and “Tuan his yen shih” or Account of Tuan Hi’s Stones by Wu Lan-hsui, both of which were published in the 1830s. Inkstones are an acquired taste like several other facets of Chinese culture.They are generally black or dark in color and do not draw the attention of the eye.Their beauty oftentimes is not so much in how they look but in how they work together with the ink and the paper and brush to achieve a particular color or texture.However, for those fortunate enough to have learned to master the brush, ink, inkstone and paper, “the four precious things of the library” are a passion.Holding an antique inkstone, it is hard not to feel the power that emanated from the previous painter or scholar who possessed this stone.For this reason, inkstones are avidly collected and treasured by Chinese and some foreigners.Prices vary greatly and are often based on stories as to prior owners, which are difficult if not impossible to verify. Chinese Calligraphy The history of Chinese calligraphy is as long as that of China itself.Calligraphy is one of the highest forms of Chinese art.In studying Chinese calligraphy one must learn something of the origins of Chinese language and of how they were originally written.However, except for those brought up in the artistic traditions of the country, its aesthetic significance seems to be very difficult to grasp. Chinese calligraphy serves the purpose of conveying thought but also shows the 'abstract' beauty of the line. Rhythm, line, and structure are more perfectly embodied in calligraphy than in painting or sculpture. Artistic Characters and rules: Every Chinese character is built up in its own square with variety of structure and composition. There are drawing of only three basic forms: the circle, the triangle, and the square. For each character there is a definite number of strokes and appointed positions for them in relation to the whole. No stroke may be added or deleted for decorative effect. Strict regularity is not required. The pattern should have a living movement Calligraphy Training: Learn how to handle the brush and to grid the ink Practice strokes and lines by write over in black ink the trace lines of characters. Copy from the good calligraphy models, using graph paper. Learn to raise the wrist and elbow in making a stroke. This is the method for writing medium sized or larger characters. Practice, practice and practice. Calligraphy Technique and Training Learn how to handle the brush and to grid the ink Practice strokes and lines by write over in black ink the trace lines of characters. Copy from the good calligraphy models, using graph paper. Learn to raise the wrist and elbow in making a stroke. This is the method for writing medium sized or larger characters. Practice, practice and practice. Calligraphy in different styles: Embroidery is a very long established art form in China.It was never classified as a solely female activity and men and women have both been involved in embroidery.The items embroidered are quite diverse and include robes, theatrical costumes, purses, shoes, spectacle cases, banners, alter cloths and many other pieces.Some of the pieces were so finely stitched that the pieces took 5-6 people several years to complete.Embroidery was also used as a means of decorating silk clothing and for silk flags and banners as a means of denoting rank or station.The finest pieces of work were very expensive.Gradually, embroidery developed, as a pastime for wealthy ladies and many members of the court were renowned for their intricate work. According to the Chinese there are two main divisions of embroidery, “chih wen” and “tuan chen”.“Chih wen” uses the long and short stitch, while “tuan chen” involves the seed stitch used in Beijing which is also known as the French knot.The stitches most commonly used by the Chinese include 1) satin stitch – which is further classified into long and short 2) Beijing stitch or French knot 3) Stem stitch; 4) Couching; 5) Chain stitch; and 6) Split stitch.All of these stitches are known in the west.Many westerners find Chinese embroidery a little over done.The Chinese satin stitch when done to perfection is exquisite in its fine detail.The use of gold thread for the French knot, for which the Chinese have a special gift, is characteristic of their work.Sometimes even such light material as gauze and paper were embroidered to demonstrate the fineness of the work. It is difficult to be precise as to when embroidery first was practiced in China but based on archeological excavations of tombs it at least dates back to the early Han dynasty which based itself near Lake Baikal in the early second century B.C.Many Tang embroideries continue to be preserved both in China and in Japan.One of the most famous representations of the embroiders’ artistry is the piece that came from the Thousand Buddhas at Tun Huang and that dates from the tenth Century. There are also many fine pieces of embroidery from the Sung dynasty.We know from historical records that the Sung Emperor Hui Tsung (1101-1126) established an embroidery bureau called the “Wen Hsiu Yuan”.It also is well known that many of the finest pieces were copied in the Ming and Ching period and it is therefore difficult to definitely attribute many of these pieces. Chinese Literature records the names of many famous embroidery artists.Among these are Kuan Fu-jen, the wife of the painter Chao Meng-fu and the ladies of the Ku family in Shanghai such as Ku Shou-ch’ien who worked their artistry in Ming times.The painters Tung ch’i-ch’ang and Wen Cheng-ming and more recently Sh’en Chou who died in 1910 are all considered great embroiders. Embroidery is still practiced in many sections of China.Suzhou is well known for the quality of its work.Additionally other areas have a reputation for embroidery but few can match the precision, art and charm of the work produced in China prior to the Modern period. |
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