klonk wrote:Perspective drawing was in use (though not universally) by the sixteenth century in Europe, was known there earlier, and I see is no reason to suppose Chinese artists were unaware of its value.
The saber is a Persian weapon, brought to Europe by the jihad of the month club, refined by (depending on whom you ask) by the Hungarians or the Poles into a well-practiced weapon.
thebamboosea on May 31, 2012 wrote:M. Shahar wrote:… in 1828 prominent Manchu official named Lin Qing (1791-1846) visited the Shaolin Temple. By then, bare-handed techniques had completely eclipsed the monastery’s ancient staff methods, and instead of an armed display, the distinguished guest was entertained by a sparring demonstration:Lin Qing wrote:. . . I proceeded to ask the monks about their hand combat method (quan fa), but they refused to utter a word about it. I made it clear that I had heard about the Shaolin Fist long ago, and I knew it had been relied upon solely for guarding monastic regulations and protecting the famous temple. Therefore they need not make pretence.
The abbot laughed and assented. He selected several sturdy monks to perform in front of the hall. Their “bear-hangings and bird stretchings” were indeed artful. After the performance the monks retreated. I sat facing Mt. Shaoshi’s three peaks, which resembled a sapphire tripod. Watching the shaded forests, misty mountains, and emerald green thickets, my body and spirit were equally at peace. I resolved to stay overnight.
Published in 1849, Lin Qing’s account of his visit was accompanied by a woodblock illustration of Shaolin monks practicing hand combat. The martial artists were shown under the gigantic shadow of their tutelary deity, Vajrapani (Kimnara), who still wielded his staff of old. The Manchu official, in ceremonial cap and robes and surrounded by his entourage, appeared in the picture as well. Apparently he was fascinated by the performance. Whereas the elderly abbot remained sitting under the hall’s eaves, Lin Qing rose from his seat to watch the martial artists up close.”
(M. Shahar, ‘The Shaolin Monastery: History, Religion, and the Chinese Martial Arts’, 2008, pp 126-128.)
According to Shahar, some scholars believe the renowned murals in Shaolin were painted to commemorate this visit:M. Shahar wrote:Lin Qing’s woodblock illustration leads us to another, more elaborate, artwork, which depicts a similar scene: Shaolin’s White-Attired Mahâsattva Hall (Baiyi dashi dian) is decorated with an early nineteenth-century mural of fighting monks, who are demonstrating their bare-handed skills to visiting dignitaries, probably government officials. The guests, identified by their queues, are entertained by the abbot in a central pavilion, which is surrounded by the performing artists. The gorgeous fresco was executed with such attention to detail that some modern practitioners are able to identify in it the bare-handed postures they practice today. (ibid.)
Fig. 28. Shaolin monks performing for visiting dignitaries; early nineteenth-century
Shaolin fresco.
[/quote][/quote]marvin8 wrote:
Fig. 28. Shaolin monks performing for visiting dignitaries; early nineteenth-century
Shaolin fresco.
Users browsing this forum: No registered users and 10 guests