Chinese Fashion The healing prowess of the aloe plant is not a recent discovery. The aloe has been used, concocted, minced, mixed with drinks, and eaten raw for centuries due to the vast diseases, illness, and maladies that it has proven to cure and get rid of. With its medicinal effectivity and use dating back around four thousand years ago, aloe and its use has been made known even by the Sumerians as pointed out by the clay tablets discovered by researchers and historians. With the Sumerians' extensive economic and political relationship with the Egyptian region (although having originated in Africa), the plant was easily propagated and spread among the various regions of the world. With the dug-out ruins and remains of early Persian and Indian civilization, aloe vera is evidenced to have been part of traditional healing among these cultures for generations and generations. Not only that, even the Russian, Chinese, Zulu, and Japanese early civilizations have taken advantage of the many medicinal characteristics that the plant is innately blessed with. Between AD 40 and AD 90, aloe has been made known to be utilized by Roman as well as Greek physicians to prevent and cure a wide variety of diseases and ailments. Aloe arborensis, aloe ferro, aloe perryi, aloe saponaria, and aloe vera are just among the 360 species of the aloe plant that posses healing properties. The United States and the United Kingdom lead in the continuous study and research on the plant and its amazing composition. Aloe is naturally composed of enzymes and chemicals that are innately beneficial to the human health. The aloe vera gel is therefore a natural moisturizer, anti-inflammatory, a natural body cleanser, a bactericidal, promotes cell division, harmlessly penetrates the skin, is a local anesthetic, reduces bleeding, reduces itching and burning, and does a whole lot more. In fact, one can have an endless list of the many functions that this magical plant has. = Everytime you wash your face, remember to avoid these 7 mistakes... 1. Do not wash face too often. Washing your face doesn't mean you have to wash it every hour of the day... Experts recommend ONLY 2 or 3 times per day. Frequent washing may dry out your skin thus increasing your risk to irritations that may even cause acne. Moreover, if the skin is too dry, your glands will produce more oil to compensate for this loss. This means that the risk of getting too much sebum also increases. 2. Do not use harsh soaps and cleansers. Never use bar soaps or bar cleansers. The ingredients that keep these soaps and cleansers in bar form can clog your pores and irritate your skin... plus, they can help foster breakouts. Harsh soap and cleansers can strip off the skin's natural lipids thus irritate your skin. Choose cleansers that are mild and non-comedogenic, hypo-allergenic, and soap-free. Discover the most effective acne skin care treatment products that meet these criterions. Dilute your cleanser with enough water when you wash... The less concentrated your cleanser, the gentler it will be. 3. Do not use too much cleanser. Even if you are using mild cleansers, it is best to dilute it with water (a palmful will be sufficient). The less concentrated your cleanser, the gentler it will be for your face. 4. Do not use cleansers containing alcohol. Alcohol will upset your face's natural ph level, thus causing irritation. Using toners and astringents may feel wonderful... but over-using these will irritate your skin! 5. Do not just use products. Instead, know your skin type. For dry skin, look for products with cocoa butter or glycerin. For oily skin, look for products with benzoyl peroxide, citric acid or salicylic acid. For sensitive skin, look for aloe vera, almond oil or chamomile. 6. Do not under rinse. Residues left behind can actually clog your pores. Facial cleansers can leave an invisible residue behind which can clog your pores. Rinse three times, then rinse again! 7. Do not exfoliate often. Removing dead skin cells can make your skin less dull but you should not overdo it or you will injure your skin. Too much scrubbing will make your skin dull and flaky. Avoid abrasive facial pads and grainy facial scrubs. Remember, in everything that you do, simplicity and moderation is often that key. Do not abuse your skin. Go easy and gentle. And put your best face forward. = Ancient Chinese proverbs have taught us that beauty is only skin deep. By delving deeper into the soul of a person, you will learn if they are really beautiful. In the movie "The Truth about Cats and Dogs", Ben Chaplin's character said: "You know how someone's appearance can change the longer you know them? How a really attractive person, if you don't like them, can become more and more ugly; whereas someone you might not have even have noticed... that you wouldn't look at more than once, if you love them, can become the most beautiful thing you've ever seen?" This is true because real beauty glows from within and is a matter of perception. You do not need to spend a great amount of money for beauty products or artificial procedures to make you look good: it all comes from within. An example is: you undergo liposuction to remove or reduce the fat in your "tummy" but after that is done you find another flaw that you want to correct, etc. It is a vicious cycle where you are not, nor will you ever be content with your appearance because of low self esteem. On the other hand, if you completely accept who you are and know how to emit your good points, then your satisfaction will reflect on the outside, creating a positive and vital aura. Here are some tips on how you can maintain your beauty from within and not merely settle for skin-deep beauty. 1. Stay happy! This is the number one rule for looking and feeling beautiful. If you have a myriad of problems and you think that you carry the world on your shoulders, it will reflect on your appearance. There will be "circles" under your eyes from lack of sleep, and you will look harassed and distressed. By staying happy and feeling young, you will exude an air of confidence and contentment that will make your skin glow. Since the 1950s, we have been concerned about major areas of body alteration and enhancement. Find out more about fat workouts that keeps you in good, healthy shape. 2. Be healthy. If you have a desk job and are tied to a desk for eight hours a day, you need to participate in extracurricular activities and spend some time outdoors under the sun. Engage in a physical sport with your friends to burn calories. Giving yourself a break will help boost your spirits Eat healthy to avoid illness. 3. Have a positive outlook in life. Negative vibes are never good for anyone. Having a positive outlook on life, no matter what problems may occur, is a sure way to achieve happiness and stay beautiful. = Did you know that our skin is the largest organ of our body? It accounts for approximately sixteen percent (16%) of an adult's overall weight. Its primary components are water (70%), proteins (25.5%) and fats (2.0%) It is a dynamic and living organ that sheds it outer layer through a process called exfoliation. Our skin actually replaces itself every twenty-seven days! Skin performs a number of vital roles. * It is a barrier against micro-organisms and toxic compounds entering our body. * It permits a selective exchange of fluids necessary for our survival. * It is our natural radiator: by regulating our body's loss of fluids, our skin helps us to maintain our body temperature. * Skin is involved with our sense of touch as well as defines so much of the outer beauty we seek and desire. Skincare is an important part of our overall health. Healthy skin is a foundation for the beauty we desire. It is important that the lotions, masques and creams that we use on our skin provide nutrition and healing for our skin. Any skin care regimen is only as good as the foundation you build. Improper nutrition causes chaos for our skin and bodies as it increases free-radical oxidative stress. To ensure that we maintain optimal health, we should ensure we have a diet that has an adequate supply of antioxidants; maintain a healthy exercise regime and use good nutritional supplements. A basic skincare regimen is relatively easy to start. First, cleanse your skin to remove any impurities, excess oils and dirt. Second, tone the skin and prepare it to accept nourishing agents. The toner removes lingering impurities, balances your skin's pH levels and helps sooth the effects of environmental exposure. Third, renew your skin to diminish the signs of aging and replenish your skin's moisture levels. Cleansing the skin involves bathing the skin's surface with a gentle cleanser. * Avoid the use of strong soaps * Your face might feel "squeaky clean", that is because you have stripped away the protective oils from your skin. * Sucrose-based emollients and cleansers are preferred to ensure dermal hygiene. * Try to cleanse your skin with the minimum of disruption to your skin's natural pH balance. Toning the skin completes the cleansing process by rinsing away any leftover impurities. * Skin pores are cleared by removing the excess oils. * Your skin becomes receptive to the nutrients which are added during the next stages of your regimen. * Your skin tightens with the application of a light astringent which draws your pore openings together. * Quality toners minimally impact your skin and include moisturizers (such as sodium PCA) to maintain your skin's hydration. Renewing the skin with moisture is the final step in a skin care regimen * Deep moisturizers hydrate and diminish the appearance of fine lines and wrinkles. * Stabilizing oils restore proper pH-balance. * Protective lipid emollients will nurture this balance and minimize dehydration until your next cleansing. Moisturizing requirements differ from day and evening. * Daytime moisturizer should have an ability to protect your skin against oxidative stress. * A high quality moisturizer like defends your skin against oxidative stress, Ultraviolet A (UVA) and Ultraviolet B (UVB) radiation. This moisturizer contains vitamins, flavonoids and phytonutrients to nourish your skin as well as enhance its natural defense mechanisms. * Evening nourishment differs from the morning formula, as it uses your natural circadian rhythms to retexture and restore your skin and reduce signs of aging. Healthy and beautiful skin is possible for anyone when you follow a consistent skin care regimen, use natural skin care products free of harmful chemicals and maintain your physical health through healthy eating, nutritional supplementation and exercise. = Different countries of the world have different clothing styles which are specific to their respective countries. Their traditional clothing will be something other people from other parts of the world will be pretty interested in wearing and using. Some people wear costumes and garments from different countries for a themed party, a wedding or just for the fun of it. To get the best of the dress you intend to buy, it is better to buy the garment from a local manufacturer or tailor. If you are interested in buying and wearing Chinese garments, it is always better to buy it from companies specialized in Chinese garments. You can use the Internet to find websites and online stores of stores specialized in Chinese garments. With the Internet, anyone can easily and conveniently buy Chinese garments sitting in the comfort of their own homes. Choose the more reputed sites, and on browsing through the site, and finding Chinese garments that interest you, you just have to send an email for a quotation from the company to verify if the company has Chinese garments that meet your requirements and size. There are also some companies that are more than ready to develop counter samples of Chinese garments of your preferred design or sample. The most traditional Chinese garments worth buying are the cheongsam or qipao as they are better known. The cheongsam is a female dress having distinctive Chinese features that is growing very much popular in the international world of fashion. This is a body hugging dress that has its origins in the Manchus, early in the 17th century. It was then modernized and improved in Shanghai around 1900.This is a dress that fits well with the Chinese female figure and has a high neck, closed collar and the choice of long, short or medium sleeves depends on you. The cheongsam is buttoned on the right or left side, has a loose chest, a fitting waist with slits on the sides to set off the elegance of the female body. The cheongsam is one of the Chinese garments that are easy to make with minimal material and has no accessories to use like belts, sashes, scarves or frills. This dress is usually the first choice in Chinese garments, and many people even suggest making it the national dress of women in China. Men are usually seen wearing the traditional long gown in formal occasions, and women, the cheongsam. Though the design is the same, it is with variations in height, length, width and the ornamentation of the collar, sleeves and cut of the Chinese garment that produces Chinese garments of different designs and styles. Macramé is sometimes used to decorate the shoulders, pockets, seams and openings of Chinese garments. Some combinations of traditional and modern fashion elements are the modern bridal tiara and the embroidered sash using the traditional colors of blue, red and green. Today when creating Chinese garments, fashion designers usually use a mixture of traditional and modern ideas to make new fashions. These fashions use age-old motifs like lions, masks of Chinese opera characters and guardian deities. Sometimes distinctive designs of dragons, phoenixes, lightning and clouds are also used in Chinese garments = All acne begins with one basic lesion: the comedo, an enlarged hair follicle plugged with oil, dead skin cells and bacteria. Chinese medicine looks upon acne generally as a result of the environmental force of heat. The typical name for acne in Chinese medicine is "fei feng fen ci", or "lesion of the lung wind." In the theory of Chinese medicine, skin is closely related to the lung organ as it depends upon the lungs to supply the "essential substances of water and grains." The skin in turn can affect the normal process of respiration, as in the case when feng (evil wind) and cold gaining access into the body through the sweat-pores. Chinese medicine generally categorizes acne into three types: the blood-heat type, the phlegm-accumulation type, and the toxic-heat type. The main symptoms and signs of the blood-heat-type are: There are red papules, tubercles, acnes and inflammatory infiltration around them, accompanied with burning sensation, red tip of the tongue with thin and yellow fur and slippery and rapid pulse. The main symptoms and signs of the phlegm type are: Skin lesion is mainly characterized by acne, indurative acne and cystic acne, accompanied with white and greasy fur on the tongue and slippery pulse. The main symptoms and signs of toxic heat type are: Malar flush, scattered inflammatory nodules, acne, abscesses and furuncles on the face, accompanied with red tongue with yellow fur and slippery and rapid pulse. At the beginning, diseases were cured by individual herbs. As time progressed, formulas developed. The Acne Formula is an herbal formula. The formula of Chinese medicine consists of two parts: prescription of ingredients and preparation. Preparations refer to the forms of herbs prepared according to the prescription, such as soup, pills, powder, jelly, pellets, etc. Acne can be treated by the application of a well-prepared medicine. = By: Ken Wison People have been fighting with the problem of weight control for centuries. Various diets were introduced but very few of them seem to have the desired results, only when combined with intense physical activity. Traditional Chinese medicine is considered as a positive alternative and it is seen as extremely efficient when it come to slimming. There are many excellent effects brought by natural herbal Chinese treatments. They work on various levels of the organism and help people to lead a normal, healthy life. Chinese medicine promotes the importance of physical activity, a balanced diet and encourages the use of natural slimming products. Herbal medicine has a lot of things to offer on that subject and recent discoveries have shown the multitude of benefits such products have. Teas, capsules and tablets help the organism to eliminate toxins and remain healthy. They reduce the body's percent of fat and increase the level of energy. The digestive system works betters under the constant care of slimming products, made from natural ingredients. Vitality is essential for any healthy organism and natural herbal medicine is ready to aid in that matter also. Lots of people are having a hard time in reducing the calorie intake and they also have to face the stress of everyday life. Herbal slimming treatments are famous for reducing ones appetite, boosting the immune system and improving various other functions of the organism. People are able to participate in a weight loss program and perform their daily activities, forgetting all about issues such as stress or anxiety. The most important thing about the products promoted by Chinese medicine is that they are 100% natural and thus they have no side-effects. Many people feel comfortable using such treatments and declare they have managed to lose weight effectively, in a short period of time, without increased effort. The herbal ingredients seem to have a wonderful effect, especially when mixed with natural slimming teas. When it comes to teas that have the amazing ability to help in the weight loss problem, Feiyan is one of the most popular products. Made from natural Chinese herbs, Feiyan is advertised online as a tea made particularly for people with slimming problems, having unbelievable effects. Herbal teas are renowned worldwide for their effects, including the improvement of metabolism and reducing the appetite. Feiyan is a natural herbal tea that has a very old tradition. The legend says that is was named after a model of beauty in the Chinese history and that her figure was unique. Today, people from every corner of the world drink this tea and enjoy its many benefits. It doesn't have any caffeine, it helps one with detoxification and it successfully eliminates the additional fat. The organism feels a lot better after taking the recommended dosage and the effects are truly seeable. As it is commonly known, Chinese medicine is today used globally for the treatment of terminal diseases and various other ailments. People use it because it has many advantages and it promotes the concept of healthy living. There is a strong connection between the body and the soul, not to mention the natural balance of the body. Herbal products maintain this balance and help with diverse problems it may face, including weight loss. Teas made from Chinese herbs are seen as valuable help for slimming and Feiyan is one of the best choices possible. All the products used by the traditional Chinese medicine are great. They are recommended only by specialists, who are well aware of the wonderful effects of medicinal plants and who offer only natural ingredients. The fact that there are so many choices online is outstanding, as people have an effective way to learn about this kind of medicine and how it can be put to good use. = All acne begins with one basic lesion: the comedo, an enlarged hair follicle plugged with oil, dead skin cells and bacteria. Chinese medicine looks upon acne generally as a result of the environmental force of heat. The typical name for acne in Chinese medicine is "fei feng fen ci", or "lesion of the lung wind." In the theory of Chinese medicine, skin is closely related to the lung organ as it depends upon the lungs to supply the "essential substances of water and grains." The skin in turn can affect the normal process of respiration, as in the case when feng (evil wind) and cold gaining access into the body through the sweat-pores. Chinese medicine generally categorizes acne into three types: the blood-heat type, the phlegm-accumulation type, and the toxic-heat type. The main symptoms and signs of the blood-heat-type are: There are red papules, tubercles, acnes and inflammatory infiltration around them, accompanied with burning sensation, red tip of the tongue with thin and yellow fur and slippery and rapid pulse. The main symptoms and signs of the phlegm type are: Skin lesion is mainly characterized by acne, indurative acne and cystic acne, accompanied with white and greasy fur on the tongue and slippery pulse. The main symptoms and signs of toxic heat type are: Malar flush, scattered inflammatory nodules, acne, abscesses and furuncles on the face, accompanied with red tongue with yellow fur and slippery and rapid pulse. At the beginning, diseases were cured by individual herbs. As time progressed, formulas developed. The Acne Formula is an herbal formula. The formula of Chinese medicine consists of two parts: prescription of ingredients and preparation. Preparations refer to the forms of herbs prepared according to the prescription, such as soup, pills, powder, jelly, pellets, etc. Acne can be treated by the application of a well-prepared medicine. = In America, nose jobs are consistently among the top three cosmetic surgeries requested by the Asian population. There are different requirements typical to Caucasian and non-Caucasian rhinoplasty. For instance, whereas many Caucasians seek to reduce the size of their nose, Asians characteristically request augmentation of the nose. Asian noses are generally wider and flatter than a ‘Roman’ nose. Therefore, nose jobs to increase the projection of the nose are common among this ethnic group. This is achievable through the insertion of implants. In order to achieve a natural looking nose which does not conflict with the ethnicity of the face, the surgeon will generally confine the implant to the bridge of the nose while leaving the tip unchanged. Implants are often made from silicone, which has been used for this cosmetic procedure for over 50 years and has proved very safe. Surgery to narrow the appearance of the nostrils is also frequently requested by Asian patients. This will result in scarring, but in most patients the scarring will fade and become unnoticeable. If the patient feels their nose in general is too wide, the bones can be broken and reset to narrow the appearance of the nose. This can simultaneously achieve nasal projection without the use of implants, if desired. Increasing the tip of the nose can also be accomplished through using natural tissue, such as tissue removed from the inside of the septum (inner nose), as an implant. This is preferred by many surgeons to using artificial implants as the incidence of rejections is much lower. When undertaking non-Caucasian rhinoplasty, the surgeon will take care to ensure the end result is subtle and will try to avoid producing a more typical ‘Caucasian’ nose, which may not flatter the face. Changing the ethnicity of the face is more likely to cause post-operative depression as the patient struggles to come to term with their new appearance, with Asian males being among the patients statistically most likely to undergo revision rhinoplasty. All forms of rhinoplasty require a highly skilled plastic surgeon. However, with Asian rhinoplasty it is particularly important to spend time locating an experienced surgeon, preferably one with Asian rhinoplasty experience, in order to achieve a natural result. Whatever the ethnic origin of the rhinoplasty patient, the desired result is the same – the end result should enhance the face by producing a nose which compliments the other features. = By: Sacha Tarkovsky Your hairstyle is one of your major assets so you need to use it to its full advantage. Here we will give you some hairstyle and hair care tips that are guaranteed to make you hair your crowning glory. So here are your hair care tips to make you look younger instantly. Here we will look at tips that will make your hair look youthful and in many instances they will have a positive affect on your face and complexion to. 1. Use Highlights Our hair color darkens as we age so an instant way to bring your youth back is to go lighter. By lightening your hair you will make your skin look instantly more radiant and give it a healthy glow. 2. Layers highlight the skin If you have heavy hair that falls close to the face it will put your skin in the shade and make your complexion look dull and lifeless. If you want to look younger don't shade your face. You should go for shorter layers to allow movement and allow your skin to come forward and shine. Short hair is back in fashion in a big way and there is a cut for everyone so go short and show your face. 3. Hair Products to highlight the skin The right body in your hair can also have an affect on your skin tone. For example, if you have fine hair that sits on your head give it some body with lotion and blow dry to give it body. This will have a dramatic affect on your skin tone. Hair scrapped to close to the scalp simply makes you look harsh. On the other hand frizzy hair does nothing for skin tone, so take the frizz out of your hair with serum. 4. Shiny hair is healthy It makes you look full of vitality and youth. You can keep your hair in great condition by Rinsing it in cold water after conditioning your hair, this will ensure shine as it will shut down the cuticles in the scalp. Towel dry your hair to cut down drying time and when drying, use a nozzle on your hairdryer (to prevent damage) and when dry give it a blast of cold ail which will really make it shine. Brush regularly and always before you go to bed to distribute the oils in the hair to act as a natural conditioning agent. To keep your hair healthy and make sure you condition once a week even if you have fine hair. 5. Dark hair Can make you look older but if it is shiny and glossy that's fine. Color glazes can be used to great affect to give your hair shine and will instantly make you look younger. The simple tips above will not only make your hair look great but also have a positive affect on your skin and face as well and both will combined will make you look younger instantly. = by: Tracy Wilen Conducting business overseas is a necessity today for executives who seek the upper ranks in management. With over 50% of women in the workforce today you should be aware of the challenges and advantages that you have in global business. Asia is one of the fasted growing business regions and for many female executives their first business experience. Many American women are surprised to see how few women are in management in Asian firms and they do not expect the cultural role biases that they face. Females do not necessarily walk into the business meeting with the same level of credibility that their male colleagues might have. There are steps which you can take to help ensure your credibility with Asia: Have an introduction before you go from upper management or a credible third party. This can be done by a fax, a phone call, email or at the first meeting if necessary face to face through a formal introduction. The introduction should highlight your credentials and show that your company is endorsing you to do business on their behalf. If you are an entrepreneur send a fax and literature on your company in advance of your first meeting. Include your bio if you have a strong background (education, titles, honors etc.). One woman entrepreneur sent a video tape of herself at work with her employees in additional to company literature to illustrate this size and credibility of her firm Bring business cards and a lot of them. Business cards overseas have a lot of significance as they indicate what your position is within the company. Your Asian counterparts will want to understand how you fit into the corporate hierarchy. Make sure your title is clear. Good examples of titles are Marketing Manager, Vice President etc. Titles such as consultant or specialist may not clearly translate into a position in their firm. Have your business cards translated to the local language on the back of your card. Be aware that a Japanese translation for example, is not appropriate for countries outside of Japan. If your trip is last minute have your cards translated at the hotel you are staying at in Asia. Many hotels have overnight translation services. A translated business card indicates that you are interested in doing business with this country and that your company has made the investment to translate your business cards so that you can be more effective. If you are traveling with a group make sure each person understands their role in the business meeting. To ensure this initiate a pre-meeting before you to discuss the roles and responsibilities of each team member. It is important for women to do this so that their role is clearly understood by both sides. In actual meetings in Asia, dialog and eye contact may be directed toward men. You need to make your peers aware that they should resist answering inquiries which are best handled by you. Dine with your counterparts when you are overseas and when they visit here. Dinner is often viewed as an extension of the business meeting. While business many not be discussed it will be a time for you and your counterparts to establish a relationship which is the basis of conducting business in Asia. With all this advice, do know that women are successful in business in Asia. They are frequently viewed as different than the local women and men setting them apart as business executives. Women indicate that due to their adaptive styles they learn more quickly then their male colleagues to foster strong working relationships which is necessary for Asian business = Oriental therapy finds its genesis in the concept of the flow of 'Chi' or energy through the body. Working simultaneously on the body, mind and spirit, it believes that this universal energy pervades within all living beings. A body is said to have ailed when the free flow of this energy is blocked within the body for some reason. Oriental therapy uses conventional techniques to release the obstruction in the flow of chi with the help of muscle treatment, finger and palm pressure, and a range of stretch exercises. The oriental techniques first flush out the toxins, and then build up and maintain the energy flow of the body. At the same time, diet and lifestyle modifications are necessary to enjoy complete benefits of this therapy. Oriental therapies can be broadly classified into acupuncture, acupressure, massages, Chinese herbal formulations, exercises and lifestyle alteration. Acupuncture Acupuncture is puncturing of specific points in the body with thin, solid needles to stimulate body's immune system to a point of self healing. It can be performed with or without moxibustion and electro stimulation. Moxibustion is the burning of specific herbs and special acupuncture points or along specific meridians. Performed with or without needles, it helps in bringing the therapeutic goodness of the herbs into the body. Electro stimulation, as the name suggests, uses micro or milli ampere power to stimulate specific points and meridians of the body. The latent electromagnetic nature of the body is aroused through electro stimulation to cure ailments, lessen pain and induce healing of tissues. Acupressure Acupressure is similar to acupuncture except for the fact that instead of puncturing specific points of the body, pressure is applied on them or along meridians, which sets in the healing process. Cupping and oriental massages are also a part of acupressure. Open ended glass balls applied with suction to the body comprise cupping, which improves blood circulation and, in turn, healing. Massages such as shiatsu and tui na are also popular oriental therapies. Chinese herbal formulations An assortment of Chinese herbs are combined in a particular proportion according to individual requirement, and are made into pills, capsules, dissolvable powders, tinctures, or boiled decoctions. Creams and other applications for the skin can also be made from these herbs. Massage therapy Among the abovementioned, oriental massage is one of the most popular techniques to maintain good health. Massage improves blood circulation, activates the hormonal and immune systems, flushes out toxins and releases tension from the muscles. Not to mention the effect it has on the emotional and mental well being of the recipient. Touch is the medium of communication between the recipient and the practitioner of massage, and it is up to the practitioner to determine the right amount of pressure required for a particular body through his experience and intuition. Expert in massage techniques, the practitioner establishes a bond of care through touch which marks the beginning of the healing process. Tui Na Choosing Tui na to relax and pamper yourself would prove to be a wrong choice because of its vigorous nature. It is a comprehensive and serious healing therapy. The first session of Tui Na often leaves the body aching or sore, but subsequent sessions are increasingly less painful and more advantageous. Tui Na gives you a feeling of lightness and energy so much so that it becomes easily addictive after initial sessions. The success of the Chinese Olympic teams can be attributed to Tui na bodyworks. Shiatsu The shiatsu massage originated in China and revolves round the hara diagnosis. Located in the abdomen, hara is considered to be the energy centre of the body, and reflects the condition of the body on a whole. Original shiatsu comprised of fewer methods which led to the borrowing of some stretches from Thai massage. Apart from pressure application, stretches and joint rotations are involved in this massage. A hyperbolic sense of touch is required on the part of the practitioner to read the body's clues guiding the course of massage. A thoroughly relaxant massage, it is more effective in treating stress and emotional ailments than physical ones. Thai massage With one movement seamlessly and rhythmically merging into another, the Thai massage pressures all energy channels known as 'Sen' and the muscles through which they pass. Sustained pressure relaxes the muscles allowing free flow of energy and setting ground for the impending stretches. Treatment of injuries is enhanced by this massage. An advanced yoga type workout is then given to the patient, after which a feeling of being lifted in the air is common. For truly discovering the real meaning of flexibility, it is necessary that everybody try the Thai massage at least once in a lifetime. Indonesian massage Centered on the spine, the Indonesian massage is oil based one. A bit more brisk than a characteristic Thai massage, it typically comprises of spinal twists. It is particularly effective in treating abdominal ailments including constipation, indigestion, bloating, heartburn and irritable bowel syndrome. = FREEING THE MIND The upper cinnabar field , the energy-centre between the eyebrows, is the place of the true self, the inner guide - our access to the intuitive mind and to universal wisdom. The third eye is known in many cultures as the eye of knowledge and vision, which is able to see past, present and future. In the Chinese alchemical body map, it is the place where Lao zi sites in meditation; the place beyond the division of Yin and Yang, beyond duality - the place of the impartial observer, the true alchemist. It is above the influence of the five elements, which create movement and transformation which in the physical and energy bodies. In the Indian tradition, it is the Ajna chakra ('ajna' means 'to know and to command'). Its trigger point is between the eyebrows, but its root is deep within the brain at the pineal gland. In the Indian system, this is also seen as the place above duality and the place above the interactions of the five elements. Here the Idea and Pingalanadis, the lunar and solar channels, merge and dissolve into each other. It is the centre of consciousness, which relates to the causal body which is above the distinction of gender. It exists outside time and space. It is also above karma. Situated at the centre between the eyebrows is the knot of Rudra, sometimes called the know of shiva. This is the last knot, which creates a blockage between the brow centre represents complete union with divine consciousness. Working with the upper dan tian brings mental clarity. It allows us to rise above the demands of the body and the emotions and to see with detachment. Once we access this part of our mind, it can act as our guide, our contact with intuitive wisdom/ When working with the Brow centre, physical exercise does not seem to be appropriate, although it is important to ensure that the energy channels flowing through the neck and shoulders are free of obstruction. The following sequence of exercises ensures free-flow of energy into the head, the brain and the sensory orifices. Sit comfortably with the spine straight, or stand in the basic qi gong position. More details Yoga 1.Shoulders: With the hands hanging loosely at the side, pull the shoulders up towards the ears, the shoulders up towards the ears, then let them go, releasing any tension keep the shoulders straight, not hunching forward, or stretching back, repeat five times. Bring the hands to the shoulders and rotate the arms, bringing the elbows together, then stretching away in as large a circle as possible. Repeat the opposite way. 2.Shoulder message : With the right elbow loosely supported in the palm of the left hand, make a first with the right hand and gently tap the top and back of the left shoulder. Release the first and tap the shoulders with the palm. Make sure that the elbow is well supported and the hand completely relaxed. Repeat for the opposite side. 3.Neck stretches: with the hands relaxed in the lap, breathe quietly. Take a breath in and exhaling bring the chin down to the chest, This should be a slow controlled movement, coordinated with the breath. Breathe in and return to the upright position. Breathe out as you allow the head to fall backwards. These movements should always be slow and controlled, allowing the weight of the head to stretch the muscles. Repeat for ten full breaths five complete movements. 4. Relax and take a few breaths. Breathe in and as you exhale, allow the head to fall slowly to the side bringing the ear towards the shoulder. Do not force. Breathe in as you bring the head back to the central position. Repeat on the other side. A very gentle movement is sufficient to stimulate the meridians and to relax the muscles. Repeat for ten full breaths, five complete movements. 5.Relax again at the centre. Take a deep breath in. Keeping the head vertical, slowly rotate the head around to look over your right shoulder as you exhale. Keep the eyes open wide and look around as far as you can to the back. Make sure that the top of your head remains in the centre, the neck stretches upwards as if being pulled by a rope from the top of the head the chin is pulled slightly in as you breathe in, slowly bring the head back to the centre. Breathe out and move slowly to the left/ Repeat for ten breaths, five complete movements 6.Ears: Rub the hands together, until they are warm and place them over ears. With the thumb and index finger pull the ear lobes then gently squeeze around the rim of the ear. With the hands still loosely over the earl, allow the thumbs to rest in the hollow behind the ears at the base of the skull. Keeping the shoulders relaxed, gently push the thumbs upwards. Relax and repeat breathing out as you stretch the neck. 7.Eyes: sitting in a relaxed position with the spine straight rub the hands together vigorously until they are hot. Place the hands over the eyes, the centre of the palm over the centre of the eyeball. Remain still for two to three minutes with the eyes closed. Repeat three times. With the thumb and forefinger, pinch along the eyebrows from the centre outwards. 8.HeadL: Shake the hands with the wrist loose. Keeping that same loose action , lift the hands above the head, and pat the head with the fingertips, beginning at the centre front and working slowly to the nape of the neck; gradually separate the hands and repeat, moving about an inch further from the centre line each time/ 9. With the same loose wrist movement , tap the base of the skull with the fingertips. 10.Qi Sweeping: Place the palms of the hands over the eyes, then stroke the hands backwards, around the head, down the back of the neck across the shoulders and down the front of the body in one long sweeping movement as if you are brushing the body down. Repeat three times and remain sitting quietly for a few movements. = Introduction:: Chinese painting has its origins in the pictographs inscribed on bronze during the Xia, Shang and Zhou dynasties. Paintings on silk, possessing linear effecyts, had appeared during the period of the Warring States (475-221BC) and by the late Western Han era (206BC-AD24), paintings in rich colours were being done, such as the murals discovered in Han tombs. In the history of Chinese painting, figure painting was the first genre to appear. The earliest examples, during the Warring States period, were on silk. (Paper began to be manufactured only in the first century AD.) By the prime Tang (AD740-70), figure painting was already well advanced. Mountains, rivers, flowers and birds served only as the background or embellishment of a painting; they developed into independent genres at a much later date. In time, however, landscape painting became the most important genre and numerous schools,theories and techniques relating to it evolved. The earliest extant Chinese landscape is Spring Excursion by Zhan Ziqian of the Sui(AD 581-618),an artist who paid special attention to brushwork and used dots and lines as his principal method of expression. Today, many artists believe that a mastery of landscape painting makes it easier to learn figure and flower-and bird painting because techniques learnt for the former can be used in the latter. = Xu Xi and Huang Quan may be the best representatives of Chinese flower-and-bird painting from the era of the Five Dynasties(907-60).The former was noted for his quiet elegace and the latter for his brilliant colours. In the Yuan dynasty(1271-1368)artists such as Qian Xuan and Wang Yuan broke feresh ground with their vigorous but supple brush strokes and quiet colours, a style that was followed by many later artists. In my opinion, flower-and-bird(and figure)painting can be categorized in a same wasy as landscape painting, by the brushwork of famous artists of different periods. Chinese painting, which ranges from strong-colour realism to softcolour xieyi, from meticulous brushwork to free and uninhibited styles, has developed through thousands of years. Traditionally, Chinese paintings have been divided into four categories: animated, skilful, ingeious and natural.An animated painting is one that has successfully captured the spirit or essence of a subject. A skilful painting accurately reproduces the subjest's form while an ingenious one possessed the subject's intrinsic charm and appeal.A natural painting has something of the origianl aura of the subject. I think there should also be a fifth category, called'crude'.I do not mean clumsy or naive but unsophisticated in appearance because seeking a higher artistic plane. 'Poetic sentiments, picturesque language', 'painting in poetry, poetry in painting'-these are some common sayings on the affinity between painting and peotry. Put another way ,a painting must have a soul and that is the artist's original conception. A good landscape painting is one that gives the viewer the feeling that he is actually in it. It should hve an ever-present aura. It can be compared to a good portrait in which not only the physical likeness of the sitter is captured but also, more importantly ,the spirit. There are similarities between Chinese and Western painting as far as types of brush mark are concerned, but the two are very different in their methods of presentation. In both Chinese and Western painting, a distinction is made between formal likeness and spiritual likeness, and in both forma likeness is achieved dirst. But Chinese painting has long freed itself from the constraints of form and shifted its focus to the spirit. However, the process of mutual assimilation between Chese and Western styles has been going on for at least a thousand years; it is a matter of international cultural exchange as well as an aesthetic problem and is,of course, on-going. No doubt new schools and style will appear in Chinese painting in the future. = Chinese landscape painting flowered during the Song dynasty (AD 960-1279)but its two major schools,Northern and Southern, had originated with the Tang(AD 618-907)artists Li Sixun and Wang Wei (Wang mojie) respectively. The former,together with his son, created the technique known as goule(contour drawing), with rich colours. Wang Wei began the style of bold and vigorous brushstrokes softened by light ink-washes. Dong Qichang,art critic of the Ming (1368-1644),was the first to define the two major schools of Chinese landscape painting.Though he tended to favour the Southern school and disparage the Northern style, he did put forward some views that were original, objective and constructive.He distinguished the two schools on the basis of the brushwork of famous artists of different historical periods.The brushwork of the Southern or Literary, school, characterized by a strle known as xieyi(literrally, to 'write ideas'),was supple in general appearance, but the individual strokes were firm. It is akin to Western Impressionism with free brushwork and little attention to form and form and detail. Most of today's painters in Chinese work in the style of this school. In the Northern, or Academic, school, characterized by a style known as gongbi(literally 'fine brushwork' )and which antedated the xieyi style, it was the reverse: the individual strokes were supple, but the overall appearance was firm. It is more like Western realism-meticulous brushwork and close attention to detail. Gongbi artists normally signed their paintings 'made by' whereas xieyi autists would put 'written by'. Landscape painting of the Ming dynasty is best represented by the Wu(Suzhou) school. This was a period when Literary painting flourished. Some Ming painters espoused the Northern school, but they had few followers. The six great painters of the early Qing(1644-1911) also all favoured the Southern school. = Chinese brush skills have been tempered, tested and improved from generation to generation until they have reached a stage of near-perfection. the student is advised to think and plan carefully before taking up the brush. As a rule, when painting a land scape, the nearer objects should be done first and the trees before the rocks. All these should be done in ink, to which colour may be added later. However, if the scene is satisfactory in ink alone colour is not necessary. Flower-and-bird paintings can also be executed in ink alone or in both ink and colour; or they can be done in colour alone without any ink. The standareds still generally used to judge the quality of paintings and guide the student are the six principles formulated by Xie he (Hsieh Ho) of the Southern Dynasties(420-589 AD): 1,spiritual and rhythmic vitality 2,disciplined brush work 3,proper representation of objedects 4, true colouring 5,good composition 6, copying old masters. In my opinion, having learnt how to handle the brush,you should begin by copying old masters ,from which you can learn 'disciplined brush work' and traditional techniques. It is better to copy simple paintings first and processd gradually to more intricate ones, to copy parts of paintings before attempting whole works, and to copy paintings of the realistic(gongbi) school before learning other styles. If you begin with paintings in bold, impressionistic style or in splashed ink, which may seem easier because they tend t ignore details, you may acquire some general knowledge of painting but will not have a chance to study its finer points. For you must learn thoroughly how to do a proper representation of objects and be versed in the many forms of 'disciplined brushwork'. Inadequate training in these areas will be a great handicap later on. To sum up, I suggest you start by working hard at making copies. After some time, while continuing to copy the old master, begin dong sketches from nature. One the one hand ,you should make bold 'transplants',assimilating into your work the good points you have learnt from the old masters. One the other and ,you should give full play to your own creative ability, and learn the art of 'good composition', which means the proper arrangement and positioning of objects in a painting. Your first sketches may not look right, but you must persevere in the spirit of a pioneer. Otherwise you will only know how to make copies and your ability to create will be stunted. Soem pelple say that student should learn form only on e school of painting. I do not see any harm in learning from more than one school; this allows you to assimilate the best of each and , in time ,cultivate your own style. If someone asks, 'Are there any tricks of the trade.' my answer is that the only trick is to practise hard and constantly review what you have learnt. = The first seal placed by the artist, shows its authenticity and may be followed by another differeft one, possibly to depict another facet of the artist, in the form of a nom-deplume or artistic symbol. These two almost certainly would be of the basic two types; one with the characters on the seal carved in relief, giving red characters on a white ground with a red bouder, cameo form, and the other being carved to produce white characters with a red background, intaglio form-yet another oriental preoccupation with Yin and Yang. Many seals are themselves works of art and if made in ivory or jade, greatly prized. Owners of paintings or their friends would posibly add their own chop, partlly to show their approval, but also to give a visible record of the pedigree of the painting, who owned it and when. The owner or collector could also add a written dedication (a colophon) to any painting he liked, but these frequently became cumbersome or ill-placed and destroyed the basic beauty of the original painting. A good seal colour will not run or fade for hundreds of years, but needless to say the quality of the ink may vary and can be an expensive item. It is a very thick sticky ted paste made of cinnebar(mercuric oxide) which gives the red coloru, ouls and shredded raw silk and to use it properly requires practice and patience. The seal is pressed into the ink a few times and is then transferred onto the painting, making sure that firm even pressure is applied to gain an imprint which will remain legible for a considerable period of time. As in the case of all materials used in Chinese brush painting, the seal used , the colour of the ink and the actral application are all part of the artist't ritual. The seal makes the painting complete; the small splash of distinctive red often stands out quite prominently and it is, for beginners as well ad the experienced artist, a touch of realism and authenticity. But to obatin a handmade chop (and all are individual in both manufacture and creation)is not only expensive, but a long drawn-out process. Therefore to make yur own is a useful and interesting exercise. = Brushes vary according to their function. There are brushes for landscape, for flowers and birds, for xieyi paintings, and for gongbi works. There are three main qualities: soft, stiff, intermediate, and they come in a range of sizes. They are made from the hair of an animal-goat, rabbit, wolf, weasel, horse-or a combination of hair.Brushes made of goat hair are soft, pliant and non-resilient; because of their pliancy, they are good for spreading ink and applying colour washes, and they are indispensable for painting flowers and leaves. Rabbit hair is slightly stiff. Wolf hair is stiffer, highly resilient and is the most versatile; it is ideal for painting landscape, and, in brushes of a different size, for painting orchids and bamboo. Horse-hair brushes are used to produce a rough, dry line. A large area in a picture, such as the sky or sea, is sometimes painted with a number of brushes fastened together in a row, called a pai bi(row of brushes). Some strokes should be made with a stump brush, made by slightly searing the tip of a new brush in a flame. There are no fixed rules governing the length of hairs in a brushes. Long and short tufts can be used equally well, so it is largely a matter of preference. However, the handle, or stem, of the brush should be relatively long, with about one third of the length of the hairs inserted into it to ensure a firm grip. The quality of a brush can be tested by soaking the tuft in water and spreading out the hairs. The hairs on a good brush spread evenly at the tips. New brushes are sized to maintain their shape and must be soaked before use. Because of the sizing, it can be difficult to determine the quality of a brush in the shop. Good-quality brushes are essential and the price usually tells you this. The higher the price, the better the quality. A new, unuaed brush can be stored with the cap removed if mothballs or camphor powder are placed nearby. After use, the brush must be washed clean and dried with paper, then hung on a rack, or stored wrapped in a bamboo mat. = Ink is very important in Chinese painting. There are various kinds of ink, but the best type for painting is soot ink made from carbon and mixed with glue. It is black and lustrous; even light tones rendered with it have a spirited appearance. The darkest ink is lacquer soot ink, of which the chief ingredient is lacquer; it is used to depict the prominent parts, the 'highlights', of a painting, but should be used only in moderate amounets. Chinese ink is solidified and supplied in the form of small sticks, which are easy to store and handle. Liquid ink for writing and painting is prepared by grinding an ink stick in clear water on a stone slab called an inkstone. The best ink sticks are fine grained and low in glue content. They have a slight bluish-purple tint and a fresh odour. Though old ink sticks are often of better quality, the glue tends to deterriorate with age, causing the surface of the stick to crack and tiny bits to flake off. To prevent or slow down this process of deterioration, ink sticks should be kept in a dark, dry palce. You should only grind as much ink as you need at any one time. The ink stick should be held perpendicular to the inkstone with one hand; it should not be allowed to slant. A large ink stick can be capped with paper to avoid staining the fingers during grinding. (The old Chinese adage, 'an ink stick can be bround at both ends', is only a joke, not a technique to be useed in practice. Surplus ink left overnight is never very good, except when you want to create a particular effect . If the weather is not too hot, it may not make much difference, but when painting on fans, gold paper or sild, only fresh ink should be used. The consistency of ink may be varied in order to give different shades of black. Concentrated, or gluey, ink (jiao mo) is made by grinding the ink stick on an inkstone with a few drops of water until the water becomes a thin paste. Thick ink (nong mo ) is slightly diluted gluey ink. Heavy ink (zhong mo)contains a greater volume of water than ink paste. Light ink (qing mo) is made by adding just one or two drops of ink paste to a cup of water; when brushed on paper, it is barely discernible. Ink is also now avaiable from Japan in liquid form ,but is no substitute for freshly ground ink. Liquid writing ink is not suitable for painting. = Two kind of inkstone are avarilable: round with a lid and a hole to drain off the ink not used,and rectangular with a slope. These come in various sizes. Do not get one too small otherwise you will not be able to grind enough ink at any one time. Liquid ink ground on a good inkstone is thick but smooth and flowing. Ink left overnight on an inkstone will clot, so the inkstone should be washed frequently to remove the clots. The ink stick should never be left on the stone after grinding because it contains glue and will stick to the stone if not removed right away. If this does happen, however, do not remove the stick by force as this may damage the surface of the stone. Pour away the liquid ink, then splash some hot water on the stone, once or twice, and the stick will come off. = Traditionally, the colours used in Chinese painting are made from mineral and vegetable.Today, pigments are sold in tubeds which are both easy to carry and convenient to use. however, the solid colours sold in chips or as cakes in ceramic dishes are more econom ical. The chips should be dissolved in sufficient warm water so that the colour has a smooth and even appearance when it is applied. Yellow is an exception-it is made from the eongealed resin of the sub-tropical rattan plant; it is poisonous and should be used with care. It is not necessary to dissolve the lump of resin when you are painting; just pass a wet brush over it .Remember to use a different brush for each colour. Colours are also a available in boxed sets of sticks of colour (like the ink sticks ) but you will need many inkstones to grind them upon. If you find it difficult to obtain Chinese colour, whether it be the tubes, chips or sticks, you can substitute Japanese colours which are more widely available, although some of the colours are slightly different. Western watercolours and gouache colours can also be used. Students can use Winsor and Newton Cotman water colours and progress on to the more expensive Artists' water colours. The basic colours for Chinese painting are as follows: indigo, rattan yellow, umber (raw and burnt), rouge,carmine, cinnabar, mineral blue, mineral green lead white. Some western alternatives are: indigo, ultramarine, cadmium yellow, yellow ochre, raw umber, burnt sienna, alizarin crimson,scarlet vermilion, cadmium red,viridian, Chinese white. = A bolw, with or without partitions, for washing brushes or holding clear water. White bowls are best. A colour-mixing basin, large and heavy enough to remain steady when a brush is stirred in it. Again, white is preferable. Plates and trays with partitions for mixing colours; small cups for various uses. Plates for storing colours; these have lids and can be stackecd. Brush racks,paperweights, brush holders. Racks have indenttations for several brushes and are made of mahogany. When painting outdoors, it is best to warp your brushes in the bamboo mats used for storage,so that they will not wet or soil the other items in your kit. Some painters like to place a piece of lelt under the paper on which they are painting. This is all right for a quick painting in the xieyi style, but for n elaborate gongbi painting that takes a long time to finish, the felt may discolour the paper. A sheet of white paper inserted between the felt and the painting paper will prevent this. Newspaper can be used instead of felt, if need be. A painter should also keep on hand seals and red ink paste. The seal stands for name or phrase and you can have one carved. The seal is usually supplied in a small case and the paste in a procelain container.The ink paste is usually reddish brown or bright vermilion. When using the seal, make sure that the red ink is spread evenly over the surface. Press the seal down quickly on the painting, but lift it up slowly. After use, wipe the seal clean with a piece of soft cloth before putting it back into the case. If you sue more than one seal, it is better to keep each one in a separate cloth or paper bag, with the upper part of the seal exposed for easy identification. = In the age when the Yuan Dynasty was under the rule of the Mongolian nationality,the intellectuals of the Hun nationality felt a heavy psychological blow.This was something thatwent without saything.Therefore,the trend of hermitage and ease seeking came to be in great vogue,promoting the landscape painting to be turned into articles for diversion for the sake of experssing their mood and indulging in self-admiration. The special features of literati paintings were that likeness in spirit is better than likeness in form,pen and ink work excels mouding,and the chief thing is concept,with the pictures only for self amusement.NiZan even put likeness in form at a place of no importance at all,which mirrored the attitude of literati paintings as something to suit their dispositions and to enjoy themselves with True,the influence of calligraphy on painting had long been at work,but those who clearly pointed out and self-consciously utilized it were the scholar painters of the Yuan Dynasty.They introduced calligraphy into pictures,causing painting to become more equipped with the nature of script writhing,the inking and the strokes to roam inside and outside the images,and the subjective will power of the painters of the painters to tend to come to the surface.In fact,the Yuan Dynasty paintings lay stress on conception.Besides the conception on the face of the pictures,they also contained the conception in between the inking and the strokes,which,when becoming the objects of aesthetic apperciation themselves,would endow paintings and independent nature in the true sense of the word. = The painter in the Yuan Dynasty,a native of Datong,Shanxi province.His style name was Yan Jing and his sobriquet was Fang Shan.He was an Uygur nationality.He first studied painting under Mi Fu and Mi You ren,later referred to the style of Dong Yuan then created his own style.He established his fame for his moutains and clouds painting.He created a new style of Landscape painting in the Yuan Dynasty with Zhao Meng fu. = The painter in the Yuan Dynasty,a native of Changsu,Jiangsu province.His style name was Zi Jiu and his sobriquels were Yi Feng,etc.He was an official but was put into prison for involving by others,later he believed in Yuanzhen religion and made a living on fortune-telling.First following the style of Dong Yuan and Ju Ran,later he obtained Zhao Mengfu's guide and referred the style of Li Cheng,he created his style which expressed by simple ink strokes with light reddish brown colors and fully demonstrated his preeminent talent for painting landscapes.He was honored as the Four Great Masters in the Yuan Dynasty with Wu Zhen,Ni Zan and Wang Meng.His works were included "The key of painting landscapes"which was regarded as classical works of landscapes painting. = The painter in the Yuan Dynasty,a native of Wuxi,Jiangsu province.His style name was Yuan Jing and his sobriquets were Yun Lin,etc.He was addicted to drink.He was born in a rich family,but later his family fell into reduced circumstances,he sold off his property and roamed in the area of Lake Tai.Following the style of Dong Yuan and Zhao Mengfu,he created a new technique of painting.He was talented in painting landscape and ink bamboo which executed elegant and simple strokes with free atmosphere.He advocated that painting should not seek being similar to shape,but should execute in free atmosphere.He was honored as the Four Great Masters in the Yuan Dynasty with Huang Gongwang,Wu Zhen and Wang Meng.He was also excelled in calli-graphy which executed elegant strokes. = The grandson of Zhao Mengfu.His style name was Xiangguang Jushi.After studying the style of Dong Yuan and Ju Ran,he fully demonstrated his preeminent talent for painting landscapes which executed elegant and great momentum with his individual style.He created a new technique of painting named "Raveled Rope Style".He was honored as the Four Great Masters in the Yuan Dynasty with Huang Gongwang,WuZhen and NiZan.His style gave great influent to later painters = The painter in the Yuan Dynasty,a native of Jiaxing,Zhejiang province.His style name was Zhong Gui and his sobriquet was plum Taoist monk,etc.Following the style of Dong Yuan and Ju Ran,he fully demonstrated his preeminent talent for painting landscapes and ink bamboo.His masterpiece was "Fisherman" which executed simple but elegant strokes and special composition with free atmosphere.His ink bamboo followed the style of Wen Tong and expressed by free and easy strokes with cursive script atmosphere.He was honored as the Four Great Masters in the Yuan Dynasty with Huang Gongwang,WuZhen and NiZan. = A native of Huzhou,Zhejiang province.His style name was Zi Ang and his sobriquets were pine snow Taoist Monk,etc.He was a high official.He was the leader of calligraphy and painting at that time.His calligraphy and painting at that time.His calligraphy followed the style of Two Wang and his paintings was honored as the best in the Yuan Dynasty.His wife,Guan Daosheng,and his son,Zhao Yong, were also talented in painting and calligraphy. = The Ming Dynasty carried on the system of the Song Dynasty and meanwile set up the imperial court painting academy.The court artists took the Southern Song style as their model,seeking trenchancy and right-angle turns of strokes.Dai Jin,an early-stage artist,and some others were considered as matchless ones at the time,but their successors persisted in seeking vigour and sheer showery without reser-vation.In addition to that,their inkings and strokes appeared slapdash and coares,for which later generations of painters had quite some veiled criticism showing disapproval.Another mainstream of the Ming-dynasty paintings ran outside the count academy.On the credit of the extending development through the Song and the Yuan years,scholar paintings became step by step a decisive force in the art circles.The Wumen School headed by Shen Zhou,Wen Zhengming,Tang Yin and Qiu Ying held sway in the painter' circles.After going through the baptism of the Yuan dynasty academic paintings,even those who had inherited the count academy style began to be particular about the makings of the scholars characterized by dilution and placidity. Therefore,various styles of moderation,reservation,softness and gracefulness,and meticulousness were then flowing with lustre and brimming with splendour.The Ming dynasty art circles were known for the multiplicity of schools and sects,each boasting its own different style.There was the style of vigour and sternness typical of the Zhejiang School and the Academy,and so there was that of temperateness and refinedness belonging to the Wumen and the Songjiang Schools.There could be seen the scrupulous true-to-reality depictions of Lu Ji and Lin Liang,and likewise the free impressionist ink-splashes of Chen Chun and Xu Wei.As for figure paintings,it was known as the Southern Chen(Hongshou) and the Northern Cui(Zizhong),the two artists at the time.A figure painting specialist could also be found in the person of Zeng Jing.All of them succeeded in adding radiance to the Ming dynasty paintings with their distinct individualities and exquisite works = A native of Wu county,Jingsu province.His style name was Qi Nan and his sobriquet was Shi Tian.He was born in a aristo-cratic family,but he had no interesting to be an official and was absorbed in painting and poem.First studying painting under Du Qiong,he was talented in painting landscapes and human figures.His landscapes paintings followed the style of Dong Yuan and Ju Ran.His paintings were called as "Wide Shen" or "Slender Shen" due to his meticulous or free strokes.His flower-and-bird paintings created the new style of freehand drawing in the Ming Dynasty.He was the leader of the "Wu Men"school literati and was honored as the Four Great Masters in the Ming Dynasty with Wen Zhenming,Tang Yin and Qiu Ying. = The painter of the imperial Art Academy of the Ming Dynasty,a native of Wu country,Jiangsu province.His style name was Zhen Zhong and his sobriquets were Ting Yun Sheng,etc.First he studied prose under Wu Kuan,studied painting under Shen Zhou and studied calligrahy under Li Yingzhen.He was talented in painting landscapes,human figures and flowers.His landscapes paintings followed the style of Wang Meng and Wu Zhen,his green and blue painting followed the style of Zhao Mengfu.He was the leader of "Wu Men School literati"and was honored as the Four Great Masters in the Ming Dynasty with Shen Zhou,Tang Yin and Qiu Ying.He was also excelled in running and cursive script which following the style of Two Wang,Zhao Mengfu and Huang Tingjian,especially skillful at formal script = The painter in the Ming Dynasty,a native of Wu country,Jiangsu province.His style name was Bo Hu and his sobriquets were Bo hu,etc.He had been put in prison for malpractice in civil recruitment examination.He was talented in painting landscape,human figures and flower-and-bird which following the style of Zhou Chen.He was honored as the Four Great Masters in the Ming Dynasty with Shen Zhou,Wen Zhen'ming and Qiu Ying.His works were included in "the collections of Liuru Jushi." = The court continued to patronize a royal painting academy, but the majority of its output lacked any significant qualities beyond the ability to imitate Sung styles. As had been the case in previous centuries, the most important painting came from the literati. Two distinct schools of wen-jen hua emerged in the Ch'ing: One group of painters clearly based its work on the masters of the Y?n period; the other, known as the individualists, practiced a freer, less restrained form of painting. The school that drew on Y?n inspiration included many notable artists. Wang Hui produced a massive number of works in the style of such painters as Huang Kung-wang and Tung Chi'i-ch'ang, but he also developed his own style of complex brushwork. Other painters, such as Hung-jen, mastered a single Y?n artist (in this case, Ni Tsan) by copying and working exclusively in that individual's style. The other school of Ch'ing wen-jen artists rejected the orthodoxy of the adherents to Yuan models. Instead, emphasis was placed on the cultivation of a distinctly individual brushwork. Chu Ta, a Buddhist monk, worked in an unrestrained manner recalling the Zen painters of the Southern Sung. Although many of his figures appear distorted, they never become abstract; his rapidly executed birds and rocks retain their organic form. In a similar way, Tao Chi, also called Shih T'ao, infused his style with an understanding of nature, producing a sense of movement and vitality. He often increased the dynamism of his work by adding areas of blue or pink wash. = A native of Nanchang, Jiangxi, Fu Baoshi entered the Tokyo School of Fine Arts in 1933. He settled in Nanjing after he returned to China and was hired by Xu Beihong to teach art history and painting at National Central University. He translated works by Japanese art historians and engaged in his own art historical research. = Three samples of his seal carvings. In the seven years beginning from 1902, he left home five times to wander around many famous mountains, lakes and rivers throughout the country and painted numerous landscapes. In 1910, when he finally came home, he created "Jieshan View" and 51 other landscape paintings. Since 1918 he resided in Beijing and lived by his painting and calligraphy. Most of the subjects he painted were flowers, birds, insects and fish. In 1928 he began to sign his name on the paintings as ( Bai-shi means literally "White Stone," which implies "Snow Mountains"). He said, at one time, "I learned finger-painting in my youth; landscape painting after 30; and specialized in flowers, insects and birds after 40." After that , he resolved to paint "all the insects and birds in the whole world." During his lifetime he had painted countless number of flowers and birds. He changed his painting styles several times before settling down finally to create his own unique style. In 1952 he was appointed Honorary Professor of the Central Academy of Fine Arts, Beijing. In 1953 the Ministry of Culture of the People's Republic of China conferred on him the honorable title of "People's Artist." He was elected President of the Chinese Artists' Association at the Second National Congress of Writers and Artists. In 1954 he was a deputy of the First National People's Congress. In 1955 he was awarded the World Peace Prize by the World Peace Council. Qi Bai-shi died in Beijing on September 16, 1957 at the venerable age of ninety-six. Qi Bai-shi is also known as Ch'i Pai-shih in the western literature. = At the age of 21 he studied under Tseng Hsi and Li Jui-ching. Taking Shih Tao and Pa-ta Shan-jen as his starting point, he sought out as many paintings by famous artists of past centuries as he could to copy. Beginning with an impressionistic style and progressing to meticulous brushwork, he developed the ability to move between these techniques with complete master. In 1941 he traveled to DunHuang where he spent two years and seven months copying wall paintings. Here he studied traditional coloration and line drawing methods, being particularly moved by the grand scale and complex layout of the high Tang style. The sumptuous splendor of high Tang art inspired him with the desire to create great art. Besides copying from old masters Chang Dai-chien was also expert at painting from life. Chang Dai-chien traveled widely in Europe and America, where he came into contact with the contemporary art movement in the West. This spurred a sea change in his methods of painting, and he created unique splashed-ink and splashed-color styles, expanding the potential of plane surfaces and coloration. In his later years, he combined splashed ink and splashed color with the masterly texture strokes and liberation of his early years to form a new synthesis. Hovering between concrete and abstract, reveling in freedom and unpredictability, Chang Dai-chien's work created a whole new style of modern Chinese painting. |
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