Similarities Between Wang Jian And Rembrandt Van Rijn
Wang Jian and Rembrandt van Rijn
Ink strokes on landscapes between the Eastern and Western Worlds
Outline
Thesis Statement
As one of China’s most well-known artists, Wang Jian (born in Taicang in the Jiangsu province 1598-1677) established a unique style of East Asian artwork compared to that of Rembrandt van Rijn showing a different use of strokes from the Western World. The artistic styles of the East Asian cultures can be distinguished by the brush strokes and influences Shan Shui (“mountain- water”) paintings, such as in White Clouds over Xiao and Xiang by Wang Jian in 1668, compared to Cottage among Trees (1650) by Rembrandt van Rijn which has completely different pen and ink strokes that are seen in the Western world.
I. Introduction
a. Art can be date back to the cavemen until today where we continue to develop new methods and utensils to create artwork.
b. Most simplest utensil is the pen and pencil altered to convey detail, dimension, etc by different brush strokes.
c. Wang Jian and Rembrandt van Rijn use ink strokes in order to convey landscape paintings.
d. Thesis statement: see above
II. Wang Jian
a. Influence of Shan Shui compared to Western World, …show more content…
depicted bird’s eye view of landscapes; artwork did not depict directly what the actual landscape was
b. “dry” brush strokes compared to “wet,” which is used with some sort of liquid to establish dimension and texture onto the paper (or material)
III. Rembrandt van Rijn
a. Artwork collection began from portrait paintings of his bosses
b. Used pressure strokes to define the dimension and textures
i. More lines and pressure was used for darker shading ii. Lighter touches used for fading away and such
IV. Brush strokes
a. Both artists use ink in a different way from each other, which can be identified through the trees in each drawing.
b. General drawing differ in that the theme of landscape is trying to be portrayed but the Western World chooses to draw in the view that most people would see versus the bird’s eye view that Wang Jian attempts, that has been followed by many others after him.
V. Conclusion
a. Eastern and Western artists show distinct differences but can still manage to use same methods and techniques in their artwork.
b. Wang Jian is one of many examples in Eastern while Rembrandt is also of the Western
c. Both are able to demonstrate similarities and differences as they draw around the same concept and theme of landscapes.
Conclusion
While comparing artworks that were both revolved around landscapes, Wang Jian demonstrated different brush strokes in his White Clouds over Xiao and Xiang, using ink strokes at a bird’s eye view to that of Rembrandt van Rijn’s Cottage among Trees which was pen and ink in the audience’s view as if they were actually there.
Wang Jian and Rembrandt van Rijn
Ink strokes on landscapes between the Eastern and Western Worlds
Paper
Art can be traced back to the time of cavemen and be found all around the world. There are distinguishable marks that can be identified between the artwork of the Eastern World and the Western World, such as themes, ink strokes and many more. For certain, throughout the world, there has been a development of methods and utensils to create artwork. Today, we can say anything is considered artwork, from a finger-painting to a photograph to architecture. The simplest tool would be considered a pen or pencil. A pen uses ink which influences the uses of paint and liquids, while a pencil involves transferring solid material, such as graphite and lead, onto another material and transformed into a new form, which influences artwork such as sketches with colored pencils to a unique artwork such as macaroni art.
In two artists, Wang Jian and Rembrandt van Rijn we can see the differences of the two worlds using similar subjects in their artwork, which would be landscapes. As one of China’s most well-known artists, Wang Jian (born in Taicang in the Jiangsu province 1598-1677) established a unique style of East Asian artwork compared to that of Rembrandt van Rijn showing a different use of strokes from the Western World. The artistic styles of the East Asian cultures can be distinguished by the brush strokes and influences Shan Shui (“mountain- water”) paintings, such as in White Clouds over Xiao and Xiang by Wang Jian in 1668, compared to Cottage among Trees (1650) by Rembrandt van Rijn which has completely different pen and ink strokes that are seen in the Western world.
Wang Jian is known as a member of the “Four Wangs,” who are the most well-known Chinese artist to develop the brush styles seen throughout the Eastern World. They are also known to share a common theme of landscape, also known as Shan Shui as mentioned earlier. Shan Shui became a popular focus in the Eastern World. Unlike Western artists, the Eastern World artists base their artwork on what could be real topography or more along the lines of a flow through the artwork that gives the audience a more artistic feel, such as his “White Clouds over Xiao and Xiang” (Getlein 69). Wang Jian chose the Xiao and Xiang rivers as a primary subject but uses his own judgment in order to make more flow in a bird’s eye view. This method has been used by many other Chinese artists who followed in Wang Jian’s footsteps.
More importantly from the subject, Wang Jian used a specific brushstroke that he learned through his education and family connections from an Orthodox-school (Oberlin).
The Orthodox- School demonstrated a “dry” brush stroke in which the ink was dry and concentrated. This allowed a textured appearance to give the artwork some type of dimension without using other supplies compared to the “wet” brush strokes which requires the use of liquid to saturate and graduate the ink. This effect also gave the artwork more detail. Instead of a broad drawing showing a bunch of leaves, for example, the audience would able to view artworks, like “White Clouds over Xiao and Xiang” and be able to picture the types of tree through the mountains as if they were walking through a trail in the
picture.
Rembrandt van Rijn was an artist that could be categorized from the Western World who used many different techniques. Rembrandt’s artwork had more purpose than anything. He was raised in a family that wanted him to become educated in literature, mathematics and such. Rembrandt chose his own pathway in art and began through portraits, which began his life’s work beginning with his self-portraits his first collection (Janson). After that he was hired by many to use his technique in his use of light to capture other people’s portraits.
Aside from the portraits, his simple sketches and drafts were also considered to be a work of artwork, although only drawn with the use of either a pen or pencil. With the use of multiple brush strokes, he was able to create texture onto the paper and create dimension, such as in his “Cottage among Trees” (Getlein 149). He was able to maneuver his utensils to apply different amounts of pressure onto the paper to create the effect, such as particularly on the roof. For a softer tone, a softer touch was required versus the dark shadows drawn to add dimension required more pressure and natural pen strokes.
In examining both artists’ drawings, the common theme is the use of ink. Rembrandt uses the ink in the pen to portray his art while Wang Jian simply uses the “dry” ink, which is similar considering the minimal amount of liquid used in it. In viewing both artworks, the trees are the most noticeable difference. Wang Jian portrays more detail into his artwork, where the audience may be able to difference the leaves from the branches whereas Rembrandt uses more natural strokes to show the leaves in general. Although the method is the same, the difference in strokes gives an idea of what can be seen in the Eastern and Western World.
Also, while the strokes differ, the drawing overall can show a difference in the Eastern and Western World. While Rembrandt chooses to capture a landscape in a personal perspective, Wang Jian attempts the bird’s eye view that is followed by many other Eastern artists after him. Although both drawings share a theme of landscapes, the artists show places in their mind and location which distinguishes the drawings itself as where the location may be/ or is.
Most artwork contains the same concepts and methods, but still has some types of variations in order to keep certain individualities in them as well. While the most noticeable differences that can be seen is between the Western and Eastern styles, artists are still able to capture similarities while using similar but still different techniques. Wang Jian demonstrates the stereotypical artwork that could be found in the Eastern World while Rembrandt is one of many artists who could be compared to. While comparing artworks that were both revolved around landscapes, Wang Jian demonstrated different brush strokes in his White Clouds over Xiao and Xiang, using ink strokes at a bird’s eye view to that of Rembrandt van Rijn’s Cottage among Trees which was pen and ink in the audience’s view as if they were actually there.
Works Cited
Getlein, Mark, and Rita Gilbert. Living with Art. New York, NY: McGraw-Hill, 2010. Print
Janson, Jonathan. "REMBRANDT VAN RIJN Life, Paintings, Etchings, Drawings & Self Portraits." Rembrandt Van Rijn: Life and Work. 8 Oct. 2011. Web. 20 Nov. 2011. .
"Rembrandt Van Rijn (1606 - 1669) - Dutch Painter - 17th Century." The Worldwide Art Gallery. The Worldwide Art Gallery, 2001. Web. 20 Nov. 2011. .
"Wang Jian Biography, Works of Art, Auction Results | Artfact." Bid Online in Live Auctions - Antique, Collectible & Estate Auctions | Artfact. Oxford Art Online, 2003. Web. 22 Nov. 2011. .
"Wang Jian - China Culture." Arts - China Culture. Long River Press. Web. 22 Nov. 2011. .
"Wang Jian_Landscape." College of Arts and Sciences & Conservatory of Music - Oberlin College. Oberlin College. Web. 20 Nov. 2011. .
White Clouds over Xiao and Xiang, 1668
Ink and color on paper
Wang Jian
Cottage among Trees, 1648–50
Rembrandt (Rembrandt van Rijn) (Dutch, 1606–1669)
Pen and brown ink, brush and brown wash, on paper washed with brown
Ink strokes on landscapes between the Eastern and Western Worlds
Outline
Thesis Statement
As one of China’s most well-known artists, Wang Jian (born in Taicang in the Jiangsu province 1598-1677) established a unique style of East Asian artwork compared to that of Rembrandt van Rijn showing a different use of strokes from the Western World. The artistic styles of the East Asian cultures can be distinguished by the brush strokes and influences Shan Shui (“mountain- water”) paintings, such as in White Clouds over Xiao and Xiang by Wang Jian in 1668, compared to Cottage among Trees (1650) by Rembrandt van Rijn which has completely different pen and ink strokes that are seen in the Western world.
I. Introduction
a. Art can be date back to the cavemen until today where we continue to develop new methods and utensils to create artwork.
b. Most simplest utensil is the pen and pencil altered to convey detail, dimension, etc by different brush strokes.
c. Wang Jian and Rembrandt van Rijn use ink strokes in order to convey landscape paintings.
d. Thesis statement: see above
II. Wang Jian
a. Influence of Shan Shui compared to Western World, …show more content…
depicted bird’s eye view of landscapes; artwork did not depict directly what the actual landscape was
b. “dry” brush strokes compared to “wet,” which is used with some sort of liquid to establish dimension and texture onto the paper (or material)
III. Rembrandt van Rijn
a. Artwork collection began from portrait paintings of his bosses
b. Used pressure strokes to define the dimension and textures
i. More lines and pressure was used for darker shading ii. Lighter touches used for fading away and such
IV. Brush strokes
a. Both artists use ink in a different way from each other, which can be identified through the trees in each drawing.
b. General drawing differ in that the theme of landscape is trying to be portrayed but the Western World chooses to draw in the view that most people would see versus the bird’s eye view that Wang Jian attempts, that has been followed by many others after him.
V. Conclusion
a. Eastern and Western artists show distinct differences but can still manage to use same methods and techniques in their artwork.
b. Wang Jian is one of many examples in Eastern while Rembrandt is also of the Western
c. Both are able to demonstrate similarities and differences as they draw around the same concept and theme of landscapes.
Conclusion
While comparing artworks that were both revolved around landscapes, Wang Jian demonstrated different brush strokes in his White Clouds over Xiao and Xiang, using ink strokes at a bird’s eye view to that of Rembrandt van Rijn’s Cottage among Trees which was pen and ink in the audience’s view as if they were actually there.
Wang Jian and Rembrandt van Rijn
Ink strokes on landscapes between the Eastern and Western Worlds
Paper
Art can be traced back to the time of cavemen and be found all around the world. There are distinguishable marks that can be identified between the artwork of the Eastern World and the Western World, such as themes, ink strokes and many more. For certain, throughout the world, there has been a development of methods and utensils to create artwork. Today, we can say anything is considered artwork, from a finger-painting to a photograph to architecture. The simplest tool would be considered a pen or pencil. A pen uses ink which influences the uses of paint and liquids, while a pencil involves transferring solid material, such as graphite and lead, onto another material and transformed into a new form, which influences artwork such as sketches with colored pencils to a unique artwork such as macaroni art.
In two artists, Wang Jian and Rembrandt van Rijn we can see the differences of the two worlds using similar subjects in their artwork, which would be landscapes. As one of China’s most well-known artists, Wang Jian (born in Taicang in the Jiangsu province 1598-1677) established a unique style of East Asian artwork compared to that of Rembrandt van Rijn showing a different use of strokes from the Western World. The artistic styles of the East Asian cultures can be distinguished by the brush strokes and influences Shan Shui (“mountain- water”) paintings, such as in White Clouds over Xiao and Xiang by Wang Jian in 1668, compared to Cottage among Trees (1650) by Rembrandt van Rijn which has completely different pen and ink strokes that are seen in the Western world.
Wang Jian is known as a member of the “Four Wangs,” who are the most well-known Chinese artist to develop the brush styles seen throughout the Eastern World. They are also known to share a common theme of landscape, also known as Shan Shui as mentioned earlier. Shan Shui became a popular focus in the Eastern World. Unlike Western artists, the Eastern World artists base their artwork on what could be real topography or more along the lines of a flow through the artwork that gives the audience a more artistic feel, such as his “White Clouds over Xiao and Xiang” (Getlein 69). Wang Jian chose the Xiao and Xiang rivers as a primary subject but uses his own judgment in order to make more flow in a bird’s eye view. This method has been used by many other Chinese artists who followed in Wang Jian’s footsteps.
More importantly from the subject, Wang Jian used a specific brushstroke that he learned through his education and family connections from an Orthodox-school (Oberlin).
The Orthodox- School demonstrated a “dry” brush stroke in which the ink was dry and concentrated. This allowed a textured appearance to give the artwork some type of dimension without using other supplies compared to the “wet” brush strokes which requires the use of liquid to saturate and graduate the ink. This effect also gave the artwork more detail. Instead of a broad drawing showing a bunch of leaves, for example, the audience would able to view artworks, like “White Clouds over Xiao and Xiang” and be able to picture the types of tree through the mountains as if they were walking through a trail in the
picture.
Rembrandt van Rijn was an artist that could be categorized from the Western World who used many different techniques. Rembrandt’s artwork had more purpose than anything. He was raised in a family that wanted him to become educated in literature, mathematics and such. Rembrandt chose his own pathway in art and began through portraits, which began his life’s work beginning with his self-portraits his first collection (Janson). After that he was hired by many to use his technique in his use of light to capture other people’s portraits.
Aside from the portraits, his simple sketches and drafts were also considered to be a work of artwork, although only drawn with the use of either a pen or pencil. With the use of multiple brush strokes, he was able to create texture onto the paper and create dimension, such as in his “Cottage among Trees” (Getlein 149). He was able to maneuver his utensils to apply different amounts of pressure onto the paper to create the effect, such as particularly on the roof. For a softer tone, a softer touch was required versus the dark shadows drawn to add dimension required more pressure and natural pen strokes.
In examining both artists’ drawings, the common theme is the use of ink. Rembrandt uses the ink in the pen to portray his art while Wang Jian simply uses the “dry” ink, which is similar considering the minimal amount of liquid used in it. In viewing both artworks, the trees are the most noticeable difference. Wang Jian portrays more detail into his artwork, where the audience may be able to difference the leaves from the branches whereas Rembrandt uses more natural strokes to show the leaves in general. Although the method is the same, the difference in strokes gives an idea of what can be seen in the Eastern and Western World.
Also, while the strokes differ, the drawing overall can show a difference in the Eastern and Western World. While Rembrandt chooses to capture a landscape in a personal perspective, Wang Jian attempts the bird’s eye view that is followed by many other Eastern artists after him. Although both drawings share a theme of landscapes, the artists show places in their mind and location which distinguishes the drawings itself as where the location may be/ or is.
Most artwork contains the same concepts and methods, but still has some types of variations in order to keep certain individualities in them as well. While the most noticeable differences that can be seen is between the Western and Eastern styles, artists are still able to capture similarities while using similar but still different techniques. Wang Jian demonstrates the stereotypical artwork that could be found in the Eastern World while Rembrandt is one of many artists who could be compared to. While comparing artworks that were both revolved around landscapes, Wang Jian demonstrated different brush strokes in his White Clouds over Xiao and Xiang, using ink strokes at a bird’s eye view to that of Rembrandt van Rijn’s Cottage among Trees which was pen and ink in the audience’s view as if they were actually there.
Works Cited
Getlein, Mark, and Rita Gilbert. Living with Art. New York, NY: McGraw-Hill, 2010. Print
Janson, Jonathan. "REMBRANDT VAN RIJN Life, Paintings, Etchings, Drawings & Self Portraits." Rembrandt Van Rijn: Life and Work. 8 Oct. 2011. Web. 20 Nov. 2011. .
"Rembrandt Van Rijn (1606 - 1669) - Dutch Painter - 17th Century." The Worldwide Art Gallery. The Worldwide Art Gallery, 2001. Web. 20 Nov. 2011. .
"Wang Jian Biography, Works of Art, Auction Results | Artfact." Bid Online in Live Auctions - Antique, Collectible & Estate Auctions | Artfact. Oxford Art Online, 2003. Web. 22 Nov. 2011. .
"Wang Jian - China Culture." Arts - China Culture. Long River Press. Web. 22 Nov. 2011. .
"Wang Jian_Landscape." College of Arts and Sciences & Conservatory of Music - Oberlin College. Oberlin College. Web. 20 Nov. 2011. .
White Clouds over Xiao and Xiang, 1668
Ink and color on paper
Wang Jian
Cottage among Trees, 1648–50
Rembrandt (Rembrandt van Rijn) (Dutch, 1606–1669)
Pen and brown ink, brush and brown wash, on paper washed with brown