0134484592 ch25

Copyright © 2018, 2014, 2011 Pearson Education, Inc. All Rights Reserved
Art History
Sixth Edition
Chapter 25
Chinese and Korean Art after
1279

Learning Objectives (1 of 2)
25.a Identify the visual hallmarks of Chinese and Korean art after 1279
for formal, technical, and expressive qualities.
25.b Interpret the meaning of works of Chinese and Korean art after
1279 based on their themes, subjects, and symbols.
25.c Relate artists and art of China and Korea after 1279 to their cultural,
economic, and political contexts.

Learning Objectives (2 of 2)
25.d Apply the vocabulary and concepts relevant to the art, artists, and
art history of China and Korea after 1279.
25.e Interpret a work of Chinese or Korean art after 1279 using the art
historical methods of observation, comparison, and inductive reasoning.
25.f Select visual and textual evidence in various media to support an
argument or an interpretation of a work of Chinese or Korean art after
1279.

Wang Hui A THOUSAND PEAKS AND MYRIAD RAVINES
Qing dynasty, 1693. Hanging scroll with ink on paper, 8′2-1⁄2″ × 3′4-1⁄2″ (2.54 × 1.03 m).
National Palace Museum, Taibei, Taiwan, Republic of China.
Photo © National Palace Museum, Taipei, Taïwan, Dist. RMN-Grand Palais/image NPM.
[Fig. 25-01]

Foundations of Chinese Culture (1 of 2)
• Chinese history traditionally begins with three dynasties: the Xia,
Shang (c. 1700–1100 BCE), and Zhou (1100–221 BCE).
• In 221 BCE, rulers in Qin triumphed in uniting China as an empire for
the first time.
• During the Han dynasty, Confucianism was made the official state
ideology.

Foundations of Chinese Culture (2 of 2)
• Daoism also developed under the Han dynasty.
• Following a period of disruption, the Sui dynasty and Tang dynasty
both united China and connected it to the outside world.
• The Song dynasty reacted to the martial vigor and foreign influence of
the Tang with inward focus.

The Mongol Invasions and the Yuan
Dynasty (1 of 4)
• Mongol invasions at the beginning of the thirteenth century had
traumatic, long-lasting effects on China.
• The period during the Song dynasty called for rejecting foreign ideas in
favor of "true" Chinese qualities.
• China's inward gaze intensified in spiritual resistance to the threat of
foreign occupation.

CHINA AND KOREA
The map shows the borders of both contemporary China and Korea. The colored areas
indicate the historical extent of the Qing-dynasty empire (1644–1911), including its
tributary states. [Map 25-01]

Dynasty (2 of 4)
• The Mongols established their capital in what is now Beijing.
– The Song had been located in the south, which separated China's
political and cultural centers, including the arts.
• For literati, painting was grouped with calligraphy and poetry to create
a style separate from court taste.

Dynasty (3 of 4)
• Zhao Mengfu
– His well-known Sheep and Goat portrays animals painted in two
different styles; the goat is fully lifelike and the sheep seems
almost flattened.
 The positions of the animals would likely have been a
metaphor for Zhao's feelings toward the Yuan Dynasty.
– Literati painting treasured the educated taste for the "spirit of
antiquity," as well as unassuming brushwork, subtle colors, and
the intended audience of a close friend.

Dynasty (4 of 4)
• Zhao Mengfu
– Literati painting treasured the educated taste for the "spirit of
antiquity," as well as unassuming brushwork, subtle colors, and
the intended audience of a close friend.

Zhao Mengfu SHEEP AND GOAT
Yuan dynasty, c. 1300. Handscroll with ink on paper, 9-7⁄8 × 19″ (25.2 × 48.4 cm). Freer
Gallery of Art, Smithsonian Institution, Washington, DC. Bridgeman Images.
[Fig. 25-02]

Yuan Dynasty
• Ni Zan
– Ni Zan's most famous surviving painting is The Rongxi Studio, a
work done entirely in breathy ink.
– He was known for his eccentric behavior and aloofness later in life
after having become frustrated by a brief stint as a government
official.
 This ideal of casting off governmental restriction was prized by
literati painters.

Ni Zan THE RONGXI STUDIO
Yuan dynasty, 1372. Hanging scroll with ink on paper, height 29-3/8" (74.6 cm).
National Palace Museum, Taibei, Taiwan, Republic of China. Photo © National Palace
Museum, Taipei, Taïwan, Dist. RMN-Grand Palais/image NPM. [Fig. 25-03]

Technique: Formats of Chinese
Painting
• Most Chinese paintings were created from ink and water-based colors
on silk or paper.
• An album comprises a set of paintings mounted in a book; such
paintings may also be mounted as a handscroll, or hanging as a wall
scroll.
• Creation of scrolls was time-consuming and required a professional
mounter.

TECHNIQUE: Formats of Chinese Painting
Handscroll and hanging scroll.

The Ming Dynasty (1 of 2)
• The founder of the Ming rose from a family of peasants.
• Though he enlisted the help of scholars to achieve leadership, he grew
to distrust intellectuals and ruled as a despot.
– Scholars were alienated from the government they were trained to
serve.

The Ming Dynasty (2 of 2)
• Ming Blue-and-White Wares
– Imperial kilns in Jingdezhen became the most world-renowned
center for porcelain.
– Subtle shape, vigorous decoration, and flawless glazing of the
flasks on the next slide represent the achievements of Ming
ceramic artists.

PAIR OF FLASKS
Ming dynasty, 1403–1424 (reign of Yongle emperor). Porcelain with decoration painted in
underglaze cobalt blue. Percival David Foundation Collection of Chinese Art, British
Museum, London. © The Trustees of the British Museum. All rights reserved. [Fig. 25-04]

Technique: The Secret of Porcelain
• It is said that Marco Polo named the ceramic he found in China after
the cowry shell, porcellana in Italian.
• True porcelain was perfected during the Song dynasty.
– Blue pigment of cobalt oxide was painted directly on the unfired
vessel in a technique known as underglaze, then a layer of clear
glaze was applied.

Court and Professional Painting (1 of 2)
• An example of Ming court taste is typified in Hundreds of Birds
Admiring the Peacocks by Yin Hong.
– The subject symbolizes homage of court officials to the imperial
state.
• A bolder and less constrained landscape style, sometimes called the
Zhe, is represented in Returning Home Late from a Spring Outing.

Yin Hong HUNDREDS OF BIRDS ADMIRING THE PEACOCKS
Ming dynasty, late 15th–early 16th century. Hanging scroll with ink and color on silk, 7'10-
1/2" × 6'5" (2.4 × 1.96 m). The Cleveland Museum of Art. Purchase from the J.H. Wade
Fund (1974.31). Bridgeman Images. [Fig. 25-05]

Attributed to Dai Jin RETURNING HOME LATE FROM A SPRING OUTING
Ming dynasty. Hanging scroll with ink on silk, 5'6" × 2'8-3/4" (1.68 × 0.83 m).
National Palace Museum, Taibei, Taiwan, Republic of China. © Corbis. [Fig. 25-06]

Court and Professional Painting (2 of 2)
• Qiu Ying
– The long handscroll Spring Dawn in the Han Palace is based on
Tang-dynasty representations of courtly women.
 With refined technique, brilliant color, and controlled
composition, Qiu Ying inspired generations of imitators.

Qiu Ying SECTION OF SPRING DAWN IN THE HAN PALACE
Ming dynasty, 1500–1550.
Handscroll with ink and color on silk, 1' × 18'-13/16" (0.3 × 5.7 m).
National Palace Museum, Taibei, Taiwan, Republic of China. Photo © National Palace
Museum, Taipei, Taïwan, Dist. RMN-Grand Palais/image NPM. [Fig. 25-07a]

A CLOSER LOOK: Spring Dawn in the Han Palace
DETAIL OF FIG. 25-7A by Qiu Ying.
Photo © National Palace Museum, Taipei, Taïwan, Dist. RMN-Grand Palais/image NPM.
[Fig. 25-7b]

Architecture and City Planning (1 of 2)
• Many early Chinese architectural monuments have been destroyed
over time.
• The most important remaining example is the Forbidden City imperial
palace compound, located in Beijing.
– It was primarily constructed during the Ming dynasty.

THE FORBIDDEN CITY
Now the Palace Museum, Beijing. Mostly Ming dynasty.
View from the southwest. © View Stock/Getty. [Fig. 25-08]

Architecture and City Planning (2 of 2)
• The Forbidden City
– Mongols laid out the capital city on a rectangular grid with evenly
spaced north–south and east–west streets.
– The third Ming emperor, Yongle, rebuilt the City as we see it today.
– An impressive walled enclosure contains the monumental
Meridian Gate as well as important ceremonial spaces.

Art and Its Contexts: Poet on a
Mountaintop
• Shen Zhou composed the poem featured on this work with a relaxed
style of calligraphy.
• The painting visualizes Ming philosophy, which argued the mind was
the basis for reality.
– The poet who has scaled the mountain dominates the landscape
as he projects his thoughts.

Shen Zhou POET ON A MOUNTAINTOP
Leaf from an album of landscapes; painting mounted as part of a handscroll. Ming
dynasty, c. 1500. Ink and color on paper, 15-1/4" × 23-3/4" (40 × 60.2 cm).
The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase: William Rockhill
Nelson Trust (46-51/2). [Fig. 25-09]

The Literati Aesthetic (1 of 4)
• Literati painting dominated the artistic trends in the south and was
associated with the educated men who served the court as
government officials.
• Shen Zhou was a prolific painter who studied Yuan painters.
– The motif of a poet surveying the landscape from a mountain
plateau is his creation.

• Literati Influence on Furniture, Architecture, and Garden Design
– The armchair shown on the next slide is constructed without glue
or nails and emits a simple, clear, symmetrical, and balanced
style.
– Landscape gardening flourished, evident in the largest surviving
example, Garden of the Cessation of Official Life, which featured
strings of pavilions with poetic names.

ARMCHAIR
Ming dynasty, 16th–17th century. Huanghuali wood (hardwood),
39-3/8" × 27-1/4" × 20" (100 × 69.2 × 50.8 cm).
The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase: William Rockhill
Nelson Trust (46-78/1). [Fig. 25-10]

GARDEN OF THE CESSATION OF OFFICIAL LIFE (ALSO KNOWN AS THE HUMBLE
ADMINISTRATOR'S GARDEN)
Suzhou, Jiangsu. Ming dynasty, early 16th century.
© Meiqianbao/Shutterstock. [Fig. 25-11]

• Dong Qichang, Literati Theorist
– His views divided Chinese schools of art into northern and
southern categories, unrelated to actual geographic location.
 The southern school was unorthodox, radical, innovative; the
northern school emphasized technical skill and decoration.
 Proper training included a careful study of the great masters.

• Dong Qichang, Literati Theorist
– He believed the success of a painting lies in its expressive power.
– Additionally, he brought painting closer to the realm of calligraphy
by describing art criticism with similar terms.
– The Qingbian Mountains is based on the style of Dong Yuan, but
compresses all the elements into a flattened, semiabstract form.

Dong Qichang THE QINGBIAN MOUNTAINS
Ming dynasty, 1617. Hanging scroll with ink on paper.
21'8" × 7'4-3/8" (6.72 × 2.25 m).
Cleveland Museum of Art. Leonard C. Hanna, Jr., Fund. Bridgeman Images. [Fig. 25-12]

From the Qing Dynasty to the Modern
Era
• Armies of the Manchu people reached Beijing by 1644.
• While Chinese citizens acted as though it were the end of their
civilization, Manchus had already adopted many Chinese customs and
institutions and would show a great respect for Chinese tradition.

Orthodox and Individualist Painting
(1 of 3)
• Scholars followed Dong Qichang's recommendations and studied
antique styles.
• Qing emperors were painters who collected others' paintings as well.
– Their taste was shaped by artists such as Wang Hui.
– They also valued a style of bird-and-flower painting by Yun
Shouping.

Yun Shouping AMARANTH
Leaf from an album of flowers, bamboo, fruits, and vegetables. 1633–1690.
Album of 10 leaves; ink and color on paper; each leaf 10" × 13" (25.3 × 33.5 cm).
Collection of Phoenix Art Museum, Arizona. Gift of Marilyn and Roy Papp (2006.164).
[Fig. 25-13]

(2 of 3)
• Individualist Painting
– Many Ming loyalists sought refuge from the early Qing dynasty in
monasteries or worse, through committing suicide.
– Painting as an expression of the artist's personal feelings was an
idea that led to the individualist style.
 Artists expressed their own anger, defiance, frustration, and
melancholy in their work.

Zhu Da (Bada Shanren) QUINCE (MUGUA)
Qing dynasty, 1690.Album leaf mounted as a hanging scroll; ink and colors on paper,
7-7⁄8 × 5-3⁄4″ (20 × 14.6 cm). Princeton University Art Museum. © 2016. Princeton
University Art Museum/Art Resource, NY/Scala, Florence [Fig. 25-14]

(3 of 3)
• Shitao
– A descendant of the first Ming emperor, Shitao developed near-
abstraction in his paintings.
– Reminiscenes of Qinhaui River shows a monk stands in a boat,
looking up at the mountains that seem to be reaching downward
toward him, lined by inverted trees.

Shitao REMINISCENCES OF QINHUAI RIVER
One of eight leaves from an album. Qing dynasty, c. 1695–1700. Ink and color on paper,
10 × 8” (25.5 × 20.2 cm). Cleveland Museum of Art.
Bridgeman Images. [Fig. 25-15]

The Modern Period (1 of 2)
• China discovered it was no longer at the center of the world in the mid
and late nineteenth century, recognizing Western and Japanese
threats as real.
• The first decades of the twentieth century brought Chinese artists to
Japan and Europe to study art.
• Individual artistic freedom was curtailed in 1949 due to Communism.

The Modern Period (2 of 2)
• Wu Guanzhong
– This artist combined French artistic training with a Chinese
background to develop semiabstract depictions of landscape.
– Pine Spirit reflects a scene in the Huang Mountains in a technique
linked to Abstract Expressionism.

Wu Guanzhong PINE SPIRIT
1984. Ink and color on paper, 2'3-5/8" × 5'3-1/2" (0.70 × 1.61 m).
Spencer Museum of Art, The University of Kansas, Lawrence. Gift of the E. Rhodes and
Leonard B. Carpenter Foundation (1991.0003). © Wu Guanzhong. [Fig. 25-16]

Arts of Korea from the Joseon Dynasty
to the Modern Era
• General Yi Seonggye established the Joseon dynasty in 1392 and
espoused Neo-Confucianism as the state philosophy.
• It was a period of cultural refinement and scientific achievement.

Joseon Ceramics (1 of 3)
• Potters excelled in the manufacture of ceramics.
• While they took cues from contemporaneous Chinese wares, they
often did not copy them directly.

• Buncheong Ceramics
– Stonewares made with white slip are embellished with calligraphic
brown-slip brushwork.
 Wine Bottle features pictorial decoration of a bird catching a
fish.
– Japanese armies destroyed many buncheong kilns between
1592–1597, but Japan adopted aspects of buncheong into tea
ceremonies.

HORIZONTAL WINE BOTTLE WITH DECORATION OF A BIRD CARRYING A NEWLY
CAUGHT FISH
Korea. Joseon dynasty, 16th century.
Buncheong ware: light gray stoneware with decoration painted in iron-brown slip on a
white slip ground, 6-1/10" × 9-1/2" (15.5 × 24.1 cm). Museum of Oriental Ceramics,
Osaka, Japan. Gift of the Sumitomo Group (20773). [Fig. 25-17]

• Painted Porcelain
– The Korean court dispatched artists from the royal painting
academy to porcelain kilns to train porcelain painters.
– Underglaze in iron-brown was unique to Korean works.
– The jar on the next slide depicts a fruiting grape branch in
asymmetrical design.

BROAD-SHOULDERED JAR WITH DECORATION OF A FRUITING GRAPEVINE
Korea. Joseon dynasty, 17th century. Porcelain with decoration painted in underglaze
iron-brown slip, height 22-1/5" (53.8 cm).
Ewha Women's University Museum, Seoul, Republic of Korea. Courtesy of Ewha
Woman's University Museum, Seoul. [Fig. 25-18]

Joseon Painting (1 of 2)
• Early Joseon examples reflect Chinese influence, with subject matter
including landscapes, figures, and animals.
• Dream Journey to the Peach Blossom Land illustrates the journey of
nature poet Tao Qian as he discovers a secluded utopia.
– It is the earliest extant and dated secular painting from this period.

An Gyeon DREAM JOURNEY TO THE PEACH BLOSSOM LAND
Korea. Joseon dynasty, 1447.
Handscroll with ink and light colors on silk, 15-1/4" × 41-3/4" (38.7 × 106.1 cm).
Central Library, Tenri University, Tenri (near Nara), Japan. Photo courtesy of Central
Library, Tenri University, Tenri, Japan. [Fig. 25-19]

Joseon Painting (2 of 2)
• The Silhak Movement
– The "practical learning" movement emphasized the study of both
Korean and Chinese classics.
 Views of the Diamond Mountains became a popular landscape
subject.
– Kim Hongdo (1745–1806) painted genre scenes that showcased
the everyday lives and occupations not of the nobility, but of
commoners.
 Roof Tiling shows a team of six laborers engaged in various
aspects of their roofing job .

Jeong Seon PANORAMIC VIEW OF THE DIAMOND MOUNTAINS (GEUMGANG-SAN)
Korea. Joseon dynasty, 1734.
Hanging scroll with ink and colors on paper, 40-5/8" × 37" (130.1 × 94 cm).
Lee'um, Samsung Museum, Seoul, Republic of Korea. National Treasure # 217.
[Fig. 25-20]

Kim Hongdo ROOF TILING
From Album of Genre Paintings. Korea.
Joseon dynasty,18th century. Ink and light colors on paper, 10-5⁄8 × 8-7⁄8″ (27 × 22.7
cm). National Museum of Korea, Seoul, Republic of Korea. Treasure No. 527. National
Museum of Korea, Seoul, Republic of Korea. [Fig. 25-21]

Modernist Painting (1 of 3)
• Japan's annexation of Korea in 1910 closed the Joseon dynasty but
prolonged Korea's seclusion from the outside world.
• Korea's artistic and cultural development was further impeded during
the first half of the twentieth century by World War II and the Korean
War.

• A Modernist Painter from Korea
– Gim Hwangi was an artist who became influenced by
Constructivism and geometric abstraction, which was brought to
Korea indirectly through China and Japan.
– His painting 5-IV-71 consists of radiating circular patterns
composed of small dots.

• A Modernist Painter from Korea
– While appearing wholly Western, 5-IV-71 is tied to East Asia's
tradition of monochrome ink painting.
– The painting illustrates the dilemma of modern artists to find a
distinctive, personal style from a slew of traditional, international,
or hybrid options.

Whanki Kim UNIVERSE 5-IV-71 #200
Korea. 1971. Oil on canvas, 8’4" × 8’4” (254 × 254cm).
Whanki Museum, Seoul, Republic of Korea. © Whanki Foundation - Whanki Museum.
[Fig. 25-22]

Think About It
• Discuss the place of Dong Qichang's The Qingbian Mountains (Fig.
25–12) within the history of Chinese landscape painting, drawing
specific comparisons with works that came before and after it.
• Examine a work commissioned by the court at Beijing and distinguish
which of its features are typical of court art.
• Characterize the culture of the literati, including their values and their
art patronage
• Theorize reasons for the emergence of individualist painting in China,
using specific works to support your argument.

0134484592 ch25

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