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Gui Lin, China: 3rd December 2011

December 4, 2011

I stood on the opposite bank, with my sketchbook on the balcony rail, and within 10 minutes captured the scene.

This is a typical skyline all around the city, everywhere you look. Local residents take the skyline for granted.

There seem to be an emotional attachment by the residents with the “magical atmosphere” that the undulating skyline cast on the environment. All along the river shoreline people gather to sing, dance and practice Tai Chi, as if they are elated by being present in this early morning surround.




From → Sketching

  1. Charlie Chan permalink

    How would you compare, sketching the Oriental landscape with the Western’s which you are more familiar?

  2. Errol Hugh permalink

    I have been to many Oriental Landscape Painting Exhibitions by distinguished artists as well as by upcoming artists, and I must say that the style, execution and philosophical approach are in an artistic realm by themselves.

    I would also venture to say that they should not be compared. Oriental painting either done on-site or in a studio is vastly different in approach to Western painting and sketching. I was lucky to observe a painting session by an artist where his approach and emotional preparedness took on a Zen meditation ritual before starting. On one hand some Oriental paintings take on a “form” that is naturally generated by the artist material and not totally controlled by the artist him/herself. On another hand Oriental paintings tend to follow a prescribed order. However they are all master pieces individually by themselves.

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