Shane waters final presentation


Published on

  • Be the first to comment

  • Be the first to like this

No Downloads
Total views
On SlideShare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide

Shane waters final presentation

  2. 2. Unlike Western ideas in painting, the concepts of Chinese Landscape painting focus on process. Painting in Europe were often used as a tool to narrate biblical stories or as a type of photographic record. The primary goal being to capture realism. In Chinese Painting the experience of painting is of great importance. Artists did not strive for perfection but for a spiritual journey. WINTER LANDSCAPE Li Gongnian Northern Song Dynasty
  3. 3. WINTER LANDSCAPE Li Shan Jin Dynasty (115-1234)
  4. 4. The ancient Chinese landscape artist paints the landscape in order to achieve a spiritual relationship with the subject. As the Chinese artist paints the mountains he travels through them and climbs to peaks that may be otherwise unreachable. REMINISCENCE OF JIAN RIVER Dong Qichang Ming Dynasty (1368-1644)
  5. 5. It is no revolutionary idea that the act of painting can help an artist achieve more than completing an aesthetically pleasing art work. Many cultures in addition to the Chinese use painting as a spiritual or philological tool. DRUNK IN AUTUMN WOODS Shitao (Zhu Ruoji) Quing Dynasty (1644-1911)
  6. 6. When discussing Jackson Pollock’s work one can easily see relationships to Chinese Landscape paintings. Not only are there similarities when it comes to gesture, color palette and compositional, but the artist’s presence is apparent. You can visualize the artists hand making brush strokes and marks. ENCHANTED FOREST Jackson Pollock 1947
  7. 7. In attempts to fight his alcoholism, Pollock underwent Jungian psychotherapy which included engaging him through his art. Carl Jung’s theories relied heavily on the idea that the human mind is inherently religious; that in order to maintain mental health religion is necessary. When thinking about the physicality and concentration involved in Pollock’s work, one can see relationships to other cultural methods of prayer or meditation such as Navajo and Tibetan Sand Painting. POLLOCK’S “PRAYER”
  8. 8. ENCHANTED FOREST Jackson Pollock 1935-1936 “Today painters do not have to go to a subject matter outside of themselves. Most modern painters work from a different source. They work from within.” –Jackson Pollock
  9. 9. Jackson Pollock studied Navajo Sand Paintings; The similarities are apparent. Navajo Medicine Men create Sand Paintings as a religious rite. The ceremony is performed to strengthen or heal an individual. Sand is made of ground flower, corn and rocks. NAVAJO SAND PAINTING
  10. 10. A sick Navajo child takes part in the Sand Painting ceremony.
  11. 11. During the ceremony the individual must sit within the painting. Illness is sucked out through this process. Afterwards the sand painting must be destroyed. The idea being that the painting contains the poison. Completed Sand Paintings are not to be preserved physically or through photograph because is would enable evil or sickness to live on. Two Navajo medicine men create a sand painting
  12. 12. Tibetan sand paintings are created with sand made from precious stones. After the mandala is completed it is destroyed symbolizing the impermanence of material objects. Three Buddhist monks from the Deprung Loseling Monastery in India working on a sand mandala.
  13. 13. The mandala serves as a tool for guiding monks to the path to enlightenment. Monks achieve a state of meditation through intense focus ; they visualize the mandala as a three dimensional palace with deities within.
  14. 14. BIBLIOGRAPHY     Jackson Pollock, Collective VISION Statesman Photo & Multimedia Blog, Hurvitz, Leon. "Tsung Ping's Comments on Landscape Painting." (1970): pages 146-56. Freer Sackler Smithsonian Museum of Asian Art Website,  45. Navajo Sand Paintings, Kenneth E. Foster, Man , Vol. 63, (Mar., 1963), pp. 43-44 Published by: Royal Anthropological Institute of Great Britain and Ireland