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This thing was constructed on July 11, 2007, and it was categorized as art, china.
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Photographer and artist Don Hong-Oai explored life and the environment in China and Vietnam in a way that blended traditional Chinese art with a sense of photography’s potential. Don learned photography as an apprentice in a Vietnamese portrait studio. He began taking pictures of landscapes in his spare time, but was disappointed by the results. To give the images more depth he experimented with layering negatives.
His work drew heavily from the traditional elements of Chinese painting–particularly an awareness of the beauty, majesty, and dynamism of nature–as reflected in this tribute to Song Dynasty artist Guo Xi by Chang Dai-Chien at right. Following classical examples, Don’s sense of composition also contrasted human activities with the scale and richness of the natural world. In the painting by Ma Yuan below, the man contemplating the moonlit pine is almost lost beneath the twisting trunk of the tree, just as the mountains overwhelm the two boatmen in Don’s photo.
Structurally similar to classical art, Don Hong-Oai further melded photography and classical art by adding calligraphy and seals to his work. He blended art forms, supplementing the precision of the camera with the organic flourishes of the brush.
Don’s reputation grew in the years before his death in 2004. His work appeared in exhibitions the Ansel Adams Gallery and Gallery 71, and at the Santa Fe Gallery .
. Historian Shae Davidson's research interests include public policy and the relationship between culture and civil society. His publications range from articles on industrial history to absurdist poetry.
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Don learned photography as an apprentice in a Vietnamese portrait studio. He began taking pictures of landscapes in his spare time, but was disappointed by the results. To give the images more depth he experimented with layering negatives. 
