Celebrating Japanese Art From The Mary Griggs Burke Collection

Characteristics Of Chinese Literati Painting
Chinese literati painting The literati painting is the ideal form of the Chinese scholar–painter who was more interested in personal erudition and
expression than in literal representation or an immediately attractive surface beauty. First formulated in the Northern Song period (960–1127)–at which
time it was called shidafuhua (scholar–official painting)–by the poet–calligrapher Su Shi, the ideal of the literati painting was finally and enduringly
codified by the great Ming dynasty critic and painter Dong Qichang, who identified two great lineages of painters.(Chinese online museum)[ Literati
painting, Chinese online museum. http://www.comuseum.com/painting/schools/literati–painting/] This literati painting is "Ting Hu landscape" which
painted by Chang Dai–chien, who was one of the best–known and most prodigious Chinese artists of the twentieth century. As the most famous As the
most famous twentieth century literati painter, Chang Dai–chien learned the characteristics of ancient Chinese literati painting, especially the Tang,
Song, Ming, QING Dynasty, formed his own style ––––– Daqian style. To analysis the "Ting Hu landscape" better, I divided it to two part. For the
upper half of this painting, It painted mountain and village. The technique of painting mountain is unique. To the left, the line and shape of the
mountain are fine and smooth. Some of the lines are vertical, some of the lines are obliquely upward. Those lines shape the mountain ridge, which make
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Arnold Chang Research Paper
"I paint landscapes in the traditional Chinese manner. I employ traditional materials and traditional techniques and, for the most part, I mount and
display my works in the traditional scroll format." Arnold Chang considers himself a traditional artist that is in search of his ethnic identity through
exploring the middle ground between traditional art and contemporary art. Chang is, more or less, a half Asian who was born in New York City in
1954. Although, his mother was half Chinese and his father was full Chinese, Chang was hardly exposed to the Chinese language or culture as a
child. Chang found his love for art when he visited an exhibit featuring a six panel screen of lotus flowers by Zhang Daqian (Silbergeld 161). After his
father recognized Chang's interest in Chinese art, Chang began taking lessons from his neighbor, Wang Jiyuan, a Chinese renowned artist living in
New York City at the time. While studying with Wang, Chang focused heavily on calligraphy and brushwork (Silbergeld 162). Chang eventually went
off to college to... Show more content on Helpwriting.net ...
Wang who taught him to analyze traditional art pieces (Silbergeld 163). This led to Chang's methods of recreating traditional pieces with his own
personal style. Chang's earlier exposure to calligraphy and his analysis of traditional art works are the beginnings of what connect him to literati
tradition. In general, Chang compared art to calligraphy. Each stroke is an element that is building a character or a subject within thepainting which will
eventually become a completed piece comprised of many brush strokes (Silbergeld 165). This is a traditional mindset. Although, Chang's style is
traditional, it is popular in Europe and Chang continued to target his "elite" audience. His pieces are a synthesis of Chinese culture and hardly depict
western influence (Silbergeld

Analysis Of Fishing Villages By Riverbanks
Fishing villages by riverbanks is a hanging scroll, ink and light color on silk painting from Qing dynasty, created by Yuan Jiang. This painting have a
massive dimensions coming in with overall length of 120 inches and with width of over 48 inches. With this massive dimensions, Yuan Jiang created a
masterpiece that not only have precise and delicate details, also it have the visual that seamlessly connect the top to the bottom. As said, I will be
analyze Fishing villages by riverbanks by Yuan Jiang to features of artworks that from the pass and future. The first thing that came to my mind when I
discovered this paint was the word massive. It was incredible how the size of this painting became a way to present the art work. While looking at the
art work standing far way, I was captured by not the scenery of the mountain and garden, but the use of white background, the emptiness that it bring
out. Just like Shen Zhou's Poet on a Mountaintop, that uses lines and white background to create sense of cloud flowing in the sky. Although, Yuan
Jiang uses something that Shen Zhou did use on his painting, something that I find really magnificent, the use of shadow. Unlike those lines that define
clouds in Poet on a Mountaintop, Yuan Jiang uses something similar to Dong Qichang's The Qingbian Mountains, which white out in between
mountain, create sense of cloud. By doing so, it is far more realistic compare to just use of line. Though, Yuan Jiang did not just white out the
background,

Auspicious Cranes: The Song Dynasty
Auspicious Cranes is considered a masterpiece from the Song Dynasty. In this painting from 1112, created by Zhao Ji, it shows a flock of 18 cranes
flying around a roof of a palace, with two cranes sitting peacefully on opposite sides of the roof, along with a poem form Zhao Ji himself. Cranes are
sacred and are seen as omens of good luck in China, which is what this painting symbolized to the Emperor Huizong. It is a brush painting on a
Chinese traditional silk handscroll, with ink and colors. I decided on this art piece, because I enjoyed the beautiful use of color, from the greens of
the building, to the simple blue sky in the background. In addition to how the cranes looked realistic in their body movement, and also how elegant the
clouds look, hovering over the building. This painting is considered to be a very important art piece to the Song Dynasty's art movement or the "Chinese
Renaissance" era. ... Show more content on Helpwriting.net ...
His imperial name was Emperor Huizong, given that; when he was younger he became extremely interested in painting, calligraphy and music and
assumed he would not become Emperor. However, Zhao Ji became Emperor when his half–brother died. From 1100 to 1126, Emperor Huizsong was a
careless ruler, focusing his time on making and collecting art. Consequently, he was at fault for the failure of the Northern Song Dynasty. One day,
Huizsong witness a flock of cranes hovering over the palace, which gave him comfort that good luck would come to him and inspired him, eventually
it would take him a few months to finish his famous Auspicious Cranes painting. In 1127, he was captured, along with his son, and died as a prisoner
at the age of 53. Thus, ending the Northern Song Dynasty. He left behind more than 600 known paintings, most of them are paintings of realistic birds
and

Summary OfThe Dwelling In Fuchin Mountains
''The Dwelling In Fuchin Mountains'' was created by Haung Dongwang. It's a hand painted scroll using ink to paint during the yanug dynasty. This
piece shows the area between Fuchin river, its mostly He painted this peace in his later years. This piece gives you a feeling of a larger landscape that
could stretch even further than most would think. It makes me think of Fan Kauns Travelers By Streams and Mountains. The compositions are
different, but the idea of using a sort atmosphere feeling that you get from a lot of Chinese ink painting. As author Hung Sheng explains Haung
Dongwang used many ink and brush techniques. Two of the main techniques shown are hemp fiber textural strokes and alum head textural strokes.
Hemp fiber strokes were mostly used to describe boulders, while alum head strokes were mostly used small angular rocks on top of hills.
These painting techniques show the influences of master ink paintings done by Dong Yaung and Jaurn. Huang's Dwelling in Fuchin Mountains shows
not only that, but beautiful composition that enhances the brush strokes. Daiost painting like this show off the purity of the landscape almost like its
untouched and seems like we're looking at a remote part of the world that no one else has ever seen. Culture this painting shows something different
than what we have seen in early landscape painting in class or most American paintings after this time which depict the day or a specific event. While
Chinese painting showed a sort of journey

Art Of Jap The Mary Griggs Burke Collection
Semaje Sherman
Prof. Shelly Baul
Orientation in Art–06
November 28, 2016
Museum – The MET
Celebrating the Arts of Japan: The mary Griggs Burke Collection
Walking through the journey of Japanese arts in the Met's new exhibition, "Celebrating the Arts of Japan, the collection by Mary Griggs Burke. The
exhibition features works such as an exceedingly rare Jiz, Bosatsu sculpture signed by the sculptor Kaikei, and other pieces of Buddhist art. Also, Shinto
iconography. Its opening coincides with Asia, it is the Met's celebration of the Department of AsianArts.
This exhibition of Japanese works of art is at The MET. The exhibition opened fall of 2016. In this exhibition, that is featuring works of art drawn
from the recent landmark gift to the Museum by the Mary and Jackson Burke Foundation. Which opened on October 20th, is a tribute to the discerning
New York City collector who built what is widely regarded as the finest and most encompassing and private collection outside Japan. The works on the
exhibition will includepaintings, sculpture, ceramics, calligraphy, lacquerware, and so more from the 10th to the 20th century. Among the highlights
are a powerful representation of the Buddhist deity Fud & My, from the studio of the celebrated sculptor Kaikei, a sumptuous set of early 17th–century
screens showing Uji Bridge from Kyoto, and It ?Jakuch? 's tour–de–force ink painting of plum blossoms in full bloom illuminated by Moonlight. I
think this was organized by a theme and

Landscape Painting In The Early Song Dynasty
–The Chinese term for "landscape" is made up of two characters meaning "mountains and water." It is linked with the philosophy of Daoism, which
emphasizes harmony with the natural world. Khan –By the late Tang dynasty, landscape painting had evolved into an independent genre that embodied
the universal longing of cultivated men to escape their quotidian world to commune with nature. Such images also convey specific social,
philosophical, or political convictions. During the early Song dynasty, visions of the natural hierarchy became metaphors for the well–regulated state.
At the same time, images of the private retreat proliferated among a new class of scholar–officials. These men extolled the virtues of
self–cultivation–often in response to

Muromachi Period Essay
The Muromachi style of Zen Buddhism has influence art and design ever since it's beginning in the 14th century. Although it was influenced by the
Chinese styles at a parallel time, they both are still influential and noticed in today's world.
For years Japanese Ink Painting continued to be consistent with a basis on nature, and simplicity. Was the beginning of Minimalism in Japan? Was it
intentional? The open composition of space and content on paper is a key of today's design. The simplicity of monochromatic work is still appreciated
in almost every art form.
This is a contrast to the Renaissance that occurred during the same time period. There was never work similar in Europe, ... Show more content on
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The monochromatic tones, and vivid, thick lines provide a lot of contrast. It uses washed tints for more texture on the rock surfaces and shadowed
areas, and leaves the paper clean where snow and space are depicted. The planar view divides the foreground, while the jolt in the cliffs split the entire
upper half of the painting. This provides a stability and balance to the work.
As in most works of this time, he is expressing the simplicity and serenity of the landscape, which is a parallel to the intended lifestyle of a monk. It is
very particular to their culture in the Zen Buddhism was an important theory of that time. Although, some aspects of the work might be claimed to have
been influenced by the Chinese practices of the same genre.
Ni Zan , and Yuan painter from China, created the "Rongxi Studio" painting, the most famous piece of his time. The monochromatic ink painting was
very personalized to Ni Zan's self. He was a very carefree individual. He was very careless in his depiction of his homeland's natural scenery. Contrary
to styles of that time, he was not intending on satisfying any viewer. He solely wanted to paint, and the brush, ink, and paper were free in his hands.
The "Rongxi Studio" painting was done in 1372, and is a hanging scroll. Its height is around 30",

Post Warhol : A New Idea
POST WARHOL IT WAS NOT UNTIL MID
–20TH CENTURY, THAT THE MODERNIST NARRATIVE WAS REPLACED BY A NEW WAY TO
THINK ABOUT ART. THE NEW THINKING SUGGESTED THAT THERE COULD NO LONGER BE A MASTER NARRATIVE; COULD NO
LONGER BE A SET OF RULES WHICH FORMED A BASIS FOR JUDGEMENT ABOUT ART. IN FACT, THE QUESTION "IS IT ART?", MAY
HAVE BEEN VIEWED AS MEANINGLESS. A NEW IDEA EMERGED: ANDY WARHOL TOLD US: ART IS WHAT ARTISTS DO
–AND,
"ARTISTS" ARE PEOPLE WHO CALL THEMSELVES ARTISTS. OR, AS JOSEPH BEUYS PUT IT, "EVERYONE IS AN ARTIST." IF "ART"
WAS SOMETHING WE COULD RECOGNIZE AND DEFINE, DOES THIS CHANGE TO "ANYTHING GOES" SIGNAL THE END OF "ART?"
WERE THERE ANY STANDARDS BY WHICH WE COULD MAKE JUDGEMENTS ABOUT VALUE AND QUALITY? NEW FORMS,
PRESENTATIONS AND IDEAS ARE EVERYWHERE. PERFORMANCE, DIGITAL OFFERINGS, SPOKEN WORDS, ETHNOGRAPHY,
STORYTELLING, FOUND OBJECTS AND EVERYTHING ONE CAN IMAGINE IS NOW CALLED ART. INTELLECTUAL ACCESSIBILITY
TO THE PRESENTATIONS AND UNDERSTANDING OF THEIR MEANING IS UNCLEAR, AND OFTEN OBSCURED BY ARCANE
ACADEMIC THEORIES AND INDECIPHERABLE EXPLANATIONS. "BEAUTY" IS NO LONGER A DEFINING FACTOR. THE NEW
STANDARD SEEMS TO BE "MEANING." SO I ASK HOW WE DISCOVER MEANING. OFTEN THE MATERIALS AND PHYSICAL
PRESENTATION DO NOT PRESENT A CLUE . . . NEITHER AN ENTRY POINT TO AN ARTIST'S INTENTION NOR A REFERENCE TO THE
MEANING OF THE ART. WE ARE AT A LOSS WITHOUT A HISTORY, A CONTEXT OR PERHAPS, AN EXPLANATION ON A MUSEUM
WALL. THIS IS THE GLOBAL

Analyzing Yue Minjun's Art
Yue Minjun
Art has many faces, and windows to be seen at from. You can choose to look at paintings that represent thoughts from the artist mind, or you can
choose to look at art that is meant to pleas the eyes. My favorite is when you can see the battles going in the artist mind when he created his art
reflecting on the work, and you can feel that in Yue Minjun work.
At the first glance his work might seem to you very happy and amusing with the blue skies, and bubble–pink faces, but after a couple moment in front
one of the pieces you can start to feel the underlying sense of uneasiness, and it can get to a point where you cannot escape the tenseness. His work
variety between paintings on giant canvases with vibrant colors, and sculptures, they both featuring almost exclusively laughing male figures with
unchanging traits, most of the time these figures are self–portraits presented either as single figure or replicated ... Show more content on
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He described the series as "sense of the absurdity of the ideas that govern the sociopolitical protocol surrounding hats.", and that is exactly why I
like it. In all of the paintings in the series the futures of his face are identical, the same laugh, the closed eyes, even the angle of the head. The only
thing that is different is the hat. The reason why I like the series as whole is because it reminds me of how the society is running on "hats" and
labels, people run after power or names rather than work on their individual identities. I think we live in a world where it is more important to form a
socially acceptable image rather than being your true self, under all these hats we all just the same, made out flesh and blood.The absurdity of the
hysterical laugh is also a huge element in the painting, laughing at the reality, mocking the

The Tang Dynasty : The Classical Age Of Art
The Tang dynasty was retroactively viewed as the classical age of art. Later generations would try to return to the styles displayed during this era. The
earliest variations of shanshui paintings (literally translated as mountain–water) emerged at this time . Figurative drawing was stronger during this
dynasty in a way than it ever would be again. These drawings often fell under the style of gong–bi (literally meaning "meticulous") which were highly
detailed, often brightly colored narratives with many subjects, often depicting the royal court. Murals, cave paintings, and court paintings were prolific.
The landscape took claim over the culture's heart and never relinquished it. An unofficial, primitive form of plein air painting (meaning "open air", to
paint outside instead of in a studio) also came when painters would sometimes paint the landscapes they viewed before them (the main difference
being that they used calligraphy ink instead of plein air's signature tubes of oil). This is when Buddhism began to flourish in the country, despite the
initial imperial resistance. Its effects can be seen in alsdkfj Dong Yuan's landscapes were more realistic than his predecessors' by far thanks to his use
of crosshatching and pointillism as shading techniques and better attention to perspective. Li Sixun Wang Wei Wu Tao
–Tzu was a favorite of the
emperors, often painting imperial life and figures. He preferred working in ink, and it was said that his paintings were so perfect

Quilty In China
Does the studio function differently in China than in Australia? What can we attribute these differences to?
I would contend that there are several major differences between how contemporary artists' studios function in China and Australia. In considering this
question I will compare the studio operations of Shen Shaomin and Ben Quilty, the former being located in a purpose built artists' commune on the
outskirts of Beijing, and the latter set up in isolation, in the Southern Highlands of New South Wales. As to identifying the sources of these variances, it
will be essential to outline the unique machinations of both commercial art markets. Also, how cultural norms inform how the artistic process is
perceived and, in turn, how artists present ... Show more content on Helpwriting.net ...
The show comprised of renowned restaurateur/artist Michael Chow's collection of modern portraiture, in addition to ephemera from the Qi Beijing
Opera school and several recent works by Chow himself. Light, marketing–friendly, easily digestible and attractive to local palates, the exhibition must
have been seen as a major boon for the fledgling museum's otherwise patchy programming. Unfortunately the exhibit, hung sparsely in three cavernous
rooms, was no more an exercise in critical curatorship, than the interior design of one of Mr Chow's eponymous restaurants. Realised in the museum
space, the disparate collection of portraiture by well–known Western artists, Chow's large–scale experiments in abstract expressionism, and the
personal/historical images of Chow's operatic father, seemed united by no other discernable thread, than one man's ego. But I don't wish to lay all
criticism exclusively at the door of the show's curator, Xiang Liping. It is my contention that shortcomings in this exhibition are a result of a lack of
professionalism at several levels within the institution. And as Hanru foretold, the museum has fallen back on an entertainment–style market ploy, in
this instance relying on the celebrity factor of the exhibition's benefactor/contributor/subject.
Does the collapse of the distinction between the primary and the secondary market

Women 's Beauty : The Toilette Scene
Since ancient times, women's beauty has long been a common topic for literature and art. Appreciating women's charming appearances and behaviors
is free to talk about both in privacy and public. However, it should be pointed out that as what the painting Admonitions of the Instructress to Court
Ladies reflects to people, due to the effect of old Chinese cultures and traditions, women's inner self actually plays a more signifiant role than their
external appearances, which echoes on a similar idea from Upanishads that attaining self(atman) is a major goal for people while the body is unreliable
and not long lasting.
The painting, Admonitions of the Instructress to Court Ladies: The Toilette Scene, is a famous art work created by an outstanding Chinese painter, Gu
Kaizhi, in Jin Dynasty(265–420). The original art work is composed of 12 different pieces, but due to careless preservation, only 9 of them remains
nowadays, and Thee Toilette Scene is one of the remained. The idea of Admonitions of the Instructress to Court Ladies originates from a poetic text,
Nushijian, written by Zhang Hua, a Western–Jin–dynasty court official who intended to utilize this text to teach women basic rules and rituals(Hinsch
51). Therefore, Gu Kaizhi transformed this text into painting to further illustrate and benefit future generations of the virtues that ancient Chinese
women should possess in order to be a qualified woman, hold a position in the court, and serve for the empress.
When we look

Ceremonial Court Robe And Leonardo Da Vinci
This paper looks at the similarities of two portraits namely Portrait of Qianlong Emperor in Ceremonial Court Robe by an anonymous artist in 1736
and Leonardo da Vinci's Mona Lisa 1503–1505. Most historic museums associate the painting of the Qing emperor with Italian Guiseppe Castiglione
who was a court painter for Qianlong. The painting of the Chinese emperor follows dominant practices of the art era, which was Baroque Art while
Leonardo da Vinci captures tenets of Renaissance Art in his artwork. Both artworks represent different cultures in two opposite points of the world in
equally divergent eras. However, of significance in the two is how both paintings in their unique way point out the aristocracy of men as the primary
theme. Moreover, the portraits highlight how Baroque art went to introduce Renaissance art.
Key Stylistic Characteristics
There is inevitable formality in the painting of Qianlong. The subject ruler sits on a dragon throne and is dressed in embroidered yellow silk
ceremonial robes. Surrounding the emperor are gold incense burners, carved steps and metalwork cranes. The portrait frame is 278.5 times 143 cm in
dimensions (McDonald 3). The artist uses a hanging scroll as the canvas and uses ink and color on silk. The portrait depicts the ruler with a sense of
wealth, but no emotions given the blunt look of the weary emperor. As... Show more content on Helpwriting.net ...
The artwork is oil based, 31 by 21 inches and framed on a wooden panel. According to Orford, Leonardo deviated from popular artistic techniques at
the time and used the sfumato method (2). In the approach, translucent layers of oil paint are placed subtly on top of each other to an extent there is no
recognizable transition (Orford 2). The artist employs optical illusion to make the viewer focus on the woman as opposed to the background (Orford 2).
The illusion makes creates an unconventional representation of a woman during the artist's

The Discipline of Chinese Painting: An Internal Reflection...
When one comes into contact with a Chinese painting, the style is almost instantly recognizable. The attention to detail, craftsmanship, and vast
depictions of elaborate landscapes appear to pay homage to mother earth in an attempt to reach a state of eternal balance with nature and life. Before
this equilibrium could be achieved, one must attain internal discipline. This was required before one began mastering their brushwork in Chinese
culture. In Mai Mai Sze's "The Way of Chinese Painting," 1959, New York: Vintage Books, Random House, Sze discusses the philosophy known as
Daoism/Tao, or "the way." Before one became a skilled painter, one trained in the personal disciplines of poetry, art, calligraphy, and internal
... Show
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Mai Mai Sze presents a logical methodology breaking down the often–misunderstood complexity of Daoism. Sze describes tao "in the simplest
sense...path" (The Way of Chinese Painting, 17). Continued, "Step–by–step progress requires care and deliberation and, by extension, careful and
deliberate conduct or behavior from an inner motivation." This journey was not something one could accomplish overnight; instead it is understood as
a way of living out ones life to the fullest. This journey was not only into one's own mind, but also into what surrounds them. Including tools, control
of the medium was a necessity, just as restrain over the sensitivity of the brush was needed when writing Chinese characters. A minor error in a
character could change the entire meaning of the symbol. Symbols are often associated with Chinese culture. From the calendar year to writing,
Chinese symbolism is utilized significantly. One symbol often recognized by the Western world is the Yin Yang; however the meaning is often
misunderstood. The theory of the Yin Yang is presented as a balance between Male Principle (sun, right) and Female Principle (moon, left). As the two
converge inward, they also radiate outward reflecting the ideology of Tao itself. This development of proportion and attention to fine detail required

My Passion For Art
When I was a little girl, under the influence of my mother, I enjoyed reading. Especially, I liked to read some fairy tales, which increased my
curiosity about the world and encouraged me to be a brave girl. Then, I tried to paint some pictures from these stories. These involvements inspired my
love of painting. Since then, the passion for art has continued to now. Therefore, experiences from my childhood have a deep impact on my personal
values, which are adventure and learning. And my passion of art allowed me to develop more professional knowledge to be an arts manager.
In my childhood, I looked at fairy tales and these stories inspired me to paint some pictures. These stories increased my curiosity about the world,
encouraged me to ... Show more content on Helpwriting.net ...
As an arts management student at George Mason University, the prime advantage is that there have various arts organizations in Washington DC. I
chose national gallery of art as my case study from the heavy art organizations. National gallery is a nonprofit art organization, which is open to the
public for free. The mission of the national gallery is using high–level museum and scholarly standards to collect, exhibition, education, protection and
research to promote public understanding of art works. The vision is though mission serving art for the United States (National Gallery of Art, 2017).
The national gallery of art relies on private donations to obtain artwork, attends exhibitions, increases education publicity, and carries out academic
research. Moreover, this gallery is relied on public and private relationships, it depended on the government funding and private donations to support
the museum's operations and maintenance. The foundation is a major partner for this gallery. However, this gallery makes profit by running cafes and
shops. And this gallery also lives off private donations. Therefore, this gallery not motivated for profit, but it uses these profits to invest in the
development of the entire gallery.
This gallery collects drawings, prints, photographs, sculpture, decorative arts, and new media. Temporary exhibitions of art, culture and

Art Analysis: Hung Liu
Hung Liu is a Chinese–American contemporary artist. In the Scales of History exhibition, her artworks mostly illuminates Chinese history. However,
Dirty Pink expresses an American issue. From my perspective, this is the most striking artwork that she had created. It is an oil on canvas media. The
painting was created in 2015. Although this painting does not eminently reflect Chinese history, it provides a sense of history throughout Liu's lifetime.
Taking this to account, she incorporates American history in Dirty Pink. Through shading, Liu creates volume to show a forlorn emotion. The line
quality also expresses apathy. Besides, she uses the subtractive color system to control light with the mixed pigments. In this oil painting, the mixed ...
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It is apparent that a cypsela fruit seed shot out of the dandelion's capitulum. The fluffy white ball of the capitulum harnesses the fruit seeds. The seeds
of the dandelions causes weed to spread sporadically after it flies and lands on an optimal environment. Although this flower is a common weed,
superstitions convey that the dandelion symbolizes hope and survival through difficult challenges. Typically, a person blows out the fluffy white ball
from the dandelions in order to make a wish. These dandelions are also known as the wishing flower. In this case, the painting depicts that the Dust
Bowl was a challenge to Americans in the past. This historical moment is captured by the painting to commemorate the adversity Americans had
experienced. Weeds grow unwantedly and compete with crop plants. Despite the negative effects of weeds, they represent prosperity. In comparison,
the double standard of dandelions indicate that success still prevailed during the Dust Bowl. Without this historical period, Americans would not have
been able to learn and grow from the Dust

Cciv
Prominent Painters and Painting from Song to Qing Dynasty Hee Dam Yoon (52775031)
Song Dynasty
The Song Dynasty was the golden age of landscape painting in Chinese history. Many artists developed landscape painting during Five Dynasties so,
the development in the Song period was smoothly started. Especially emperor Song Huizong enjoyed contribution on art cultivation during the Song
Dynasty, so, the soaring of Chinese landscape painting was possible (Hough, "Sung Dynasty (1960–1179)"). Features of this period are vision of nature
and scholarly officials' participation in the art field. These officials expressed their political view and cultivated themselves through natural images
(Department of Asian Art). Guo–Xi was one of the ... Show more content on Helpwriting.net ...
Also, he used Blue and Green coloring style from the Tang Dynasty. As a traditionalist, Zhao used Tang's feature in a revival meaning. Besides the
simplified style, he successfully described beauty of this region by giving a sense of classical elegance and calmness (Autumn Colors on the Que
and Hua Mountains). The impression that I got from this painting is beauty of the simplicity. Compare to previous and later Chinese landscape
painting, Zhao's simple brushwork makes me to approach easily and appreciate the overall painting. Also, not just drawing the overall mountain
included by numerous trees, I like how Zhao described each tree's feature like its leaves, brunches or color. Zhao painted the mountain with color
blue instead of green and I think this is creative and beautiful at the same time. He had an innovative choice which makes him more special. The
reason why this painting is so popular and unique is because of Zhao's innovation using calligraphy in landscape painting. The use of calligraphy is
also shown well in other paintings by Zhao. We can see several written calligraphy around mountains and trees. For example, Four Anecdotes from the
Life of Wang Xizhi is a great example of Zhao's devotion on Calligraphy in Chinese art History.
Zhao Mengfu. Four Anecdotes from the Life of Wang Xizhi. 1310. Ink on paper. The Metropolitan Museum of Art. New York. Zhao claimed to follow
old style

It Could Explain What Sumi E?
it could explain what Sumi–e? It literally means "black ink" (sumi) and "painting" (e). It indicates an art form in which subjects are displayed using
black ink, with a large variety of variables gradations; from pure black to all the nuances that can be obtained by diluting it with water. This does not
mean that every painting with such features might deserve the title of "sumi–e." The true "sumi–e" must meet certain characteristics, such as, the
simplicity and spontaneity that directly strike the viewer 's sensitivity. in this regard an old adage says that those who are versed in painting will live
longer because "the life created by means of the brush touch It strengthens life itself ". In the tradition of ancient China, in fact, the harmony of an
artistic product mirrors the universal harmony of the Tao (in Japanese Do), supreme and inscrutable principle that created the world and governs the
secret rhythm of nature. 2) Can you tell us some of the highlights in the history of the Sumi–e? To introduce to Indian ink painting (sumi–e), it is
necessary to mention briefly the importance of painting in China, because it is in this cultural context, philosophical and artistic born the monochrome
painting. Among all the arts, in China, certainly the painting comes first and the eyes of the Chinese, it is the art of painting that reveals, par
excellence, the mystery dell ' 'universo. at its base is a fundamental philosophy, Taoism, dictating precise cosmological conceptions

Compare And Contrast Western And Western Painting
Art, in different races has a different interpretation and a different way to express. There are never be unified to one kind of way to develop because
the variety of nation brings variety of visual attitude. Even only in European art, artists' imaginative beholdings could be so distinct, when we compare
a Westernpainting with a Chinese painting, the contrast would be even more obvious. However, this two natures have their common kind of expression
too.
The following remarks will be analysing one Western paint and one Chinese painting. The Western one would beCaspar David Friedrich's A Wanderer
above the Sea of Fog and the Chinese one would be Guo Xi's Early Spring. Although this article is not making comparison of this two master pieces,
but I will still mention about some similarity of them by my interpretation.
To start with the Western Painting,... Show more content on Helpwriting.net ...
After A Wanderer above the Sea of Fog, lets discuss about the Guo Xi's Early Spring. The most obvious difference between a Western Painting and a
Chinese Painting is that the former usually use oil with colour and the latter ink and usually with no colour but only black and white. Although no
colour, Chinese painting has never ever be eclipsed.
Guo Xi, from 1020 to 1085, a Northern–Sung Chinese landscape painter. Because he is talented in Chinese painting, he had been a court painter for
Emperor Shenzong. He was a good Chinese painter that he painted landscape for his own satisfaction. Early Spring is his most famous work
finished in 1072. Before his career as an artist, he loved Li Cheng's painting, so he put so much effort on copying Li's painting. He learned Li's
paintings especially his "crab claw" form of trees of painting, and then he developed his own style of

Plum Estate Kameido Analysis
Worksheet 1:
Title: Plum Estate, Kameido by Ando Hiroshige
Form: two–dimensional painting
Medium: woodblock print, ink and color on paper
Size: 1' 1 Вј " x 8 в…ќ "
Original location and date: Japan, 1857
Line
There are contour lines used in the painting on the tree trunks and branches. There are lines in the background of the painting implying trees with
branches, but the trunks of these trees do not reach the ground. There are horizontal and vertical lines being combined in the background to form a
fence. 2. Shape
There are natural shapes being used in the artwork, such as the tree branches, which are somewhat rectangular and linear. The flowers on the tree are
circular and some of the petals have oval shapes. 3. Forms
The roof of ... Show more content on Helpwriting.net ...
Nature both in art and in real life has been shown to make people feel more relaxed. As the piece is of a nature scene, it induces these feelings of
relaxation and serenity in the viewer. The sign in the upper left of the painting can lead the viewer to interpret the scene as taking place in a public
attraction or landmark, as it shows that there would be strangers learning information about the trees from the sign. The Japanese calligraphy can
cause the viewers of the artwork to interpret the piece as taking place in a Japanese setting or of being created by someone with a Japanese

The Relationship Between Persian Painting And Chinese...
1.Introduction
KamДЃl al–DД«n BehzДЃd (c.1450–c.1535), who served royal princes of Timurid (1370–1507) and Safavid (1501–1736) dynasties, is one of the
famous painters in Islamic world. Historical records and paintings related to him are so numerous. From the beginning of 20th century, art historians
challenged again and again to define the style of his paintings and to attribute the non–signed works to him. However, the characteristics thought as
BihzДЃd style are vague, so the re–examination of his style is needed. In this essay, I would like to re–examine what is called "BihzДЃd style", by
comparing the Persian painting with Chinese painting.
2.The Relationship between Persian Painting and Chinese Painting
Before reviewing the study history ... Show more content on Helpwriting.net ...
However, this is not true, because as mentioned above, the taste for Chinese landscape motifs was already seen in the 13th century. It would be more
appropriate to see the works of BihzДЃd's figural paintings rather than landscape paintings to define the BihzДЃd style. According to the one of the
contemporary historical records, BДЃbor–nДЃma, BДЃbor wrote BihzДЃd was good at portraits of beard man. The statement by BДЃbor means
people who lived in the same period thought BihzДЃd's strong point was drawing figures. Figure 1 is the portrait of Dervish, which is attributed to
BihzДЃd. The brush work is similar to the techniques of Chinese nail head–rat tail (й‡ й йј е°ѕin Chinese) (see fig 2). Compared to classical style of
Persian painting (see fig 3), the depiction of hairs, mustaches and beard are so fine. The shadowing and the realistic depiction of ears, nose and mouth
are also rarely seen in the classical Persian painting. The Chinese derived features of this painting (fig 1) mean, in this period, Persian painters imitated
the works of Chinese paintings. And by doing so, they gradually introduced some traces of Chinese painting techniques to Persian painting. The
influence of Chinese painting had great impact before the Timurid dynasties, but according Sugimura, Persian painters started to borrowing the
physiognomy for the first time in this period. From his indication and the comparison between BihzДЃd practice drawing (fig 1) and Chinese painting
(fig 2), BihzДЃd style could be defined by the depiction of figures rather than landscape painting

Francois Boucher's The Chinese Garden
Francois Boucher's The Chinese Garden The Chinese Garden by Francois Boucher was painted in France in 1742 and is an oil on canvas painting.
This painting is painted in the "Chinoiserie" style that was popular in the 17th and 18th centuries in Europe. Boucher was one of the most proliferated
"Chinoiserie" artists in the 18th century. Francois Boucher was born in Paris, France on September 29, 1703. His father was a lace maker and
apprenticed Francois at the age of 17 to Francois Lemoyne, which didn't last long. Francois became an instructor at the Royal Academy of Painting and
Sculpture in 1731 and later became the First Painter of the King in 1765. He favored the Rococo style of painting and adopted the "Chinoiserie"
style of painting as well. Tapestries, costumes,and theater sets were also a passion of Boucher's and his work was often replicated and reproduced on
porcelains. Boucher died on May 30, 1770 in his beloved France,leaving behind an amazing art legacy ... Show more content on Helpwriting.net ...
Asymmetry, scrolling forms and an element of fantasy characterize both styles" (www.vam.ac.uk) In the 18th century, many artists appropriated the
Asian culture because it was popular, sought after,new, and meshed well with the Rococo style of art. Where the "Chinoiserie" style of art reflected the
idyllic Asian culture, Boucher concentrated his focus on Chinese culture. Boucher and his contemporaries learned about Chinese culture from Jesuit
missionaries who colored their dispatches about China and the people in order to remain in the country to convert the people to Christianity (Davis 16).
Boucher took this flowery designation of Chinese culture and ran with it. He took the Jesuits descriptions of China and mixed it with Rococo style to
show the Western world what China was like, from his point of view, even though he had not seen it first hand. In a way,Boucher and his fellow artists
promoted the Jesuit propaganda without even realizing

Distinctively Visual Analysis Essay
This chapter looks at the various stylistic aspects in the prints which can be identified as Chinese or portraying Chinese origin and a plenty of factual
detail and local narrative.
Landscape
Location plays an important role in the scenes and one sees a lot of familiar landscapes while looking at the images. The reason behind the portrayal
of the accurate locations or certain specific locations for the scenes could be to justify the realism of the conquest, or rather to confirm that they did
actually happen in the way it is shown in the prints. It would also mean to introduce the audience to the landscape of the north–western frontiers of
China, similar to the importance of landscape in the southern tour scroll, which aims at introducing the southern landscape to people in the capital and
north.
The plate 1 in the series is named "Receiving the surrender of the Ili". Even though the scene captures the surrender in utmost detail, one sees further
away to the right side, Chinese and Mongols cross a river, possibly the river Ili, by boat or by swimming, ... Show more content on Helpwriting.net ...
When considering the viewpoint of the artist in the two paintings, it is not hard to notice that the artist of the model painting for the print is actually a
part of the ceremony, possibly sitting in the pavilion on the meridian gate not visible in the picture. The bird's eye view of the ceremony might be due
to the first–hand account of the ceremony. As mentioned earlier, the preparations for the victory commemoration had already begun during the
campaign. So, it would not be surprising if the Jesuit artists, Castiglione and the others, who made the original large–scale paintings, attended the
ceremony in order to document the event. Then Xu Yang's painting seems to exclude the artist from the ceremony, and could have been based on either
the large–scale painting of the ceremony or an account by an official or a person who attended the

Western Painting
Many people say that arts come from life. Whatever you face in your daily experience, all of them would become the source, the inspiration, the soul
of the artwork.In this essay,I would like to focus on the paintings form of art. How do the paintings reflect the attitude of the artists? How do the
paintings reflect the philosophy and value of the world? No matter you are eastern or western people,paintings are just not about the skills, but they
also convey the feelings of the artists. Needless to say, there is still a great divergence of traditionalChinese painting and Western painting. Generally
speaking, Chinese painters love to use realistic techniques to express unrealistic things and their feelings in addition to the fact that they want ... Show
more content on Helpwriting.net ...
So I would combine them together as to compare with Chinese painting style more sophisticatedly. Abstract expressionism is the pioneer of western
abstract painting style.It was to use exaggerating brushwork to express emotions, so it is similar to Xieyi. However,the level of thinking may be quite
different. Most of the artists would like to express their personal feelings like happiness,sadness rather than national feelings by using
objects.(Seitz,1983) By contrast, Color–field painting was the development of Abstract expressionism and the purpose was similar in addition to the
fact that background was tremendously crucial. (Wilkin,2007) The only difference is that the subject matter in color–field painting is the color, the
object is not necssarily important.(Artstory foundation) Willem De Kooning represented the Abstract expressionism while Kenneth Noland
represented the color–field painting.Willem De Kooning was the prominent Abstract expressionism painters and urgely objected to the restrictions
imposed by naming movements.He said "I'm not interested in 'abstracting' or taking things out or reducing painting to design, form, line, and color. I
paint this way because I can keep putting more things in it – drama, anger, pain, love, a figure, a horse, my ideas about space. Through your eyes it
again becomes an emotion or idea."(Artstory foundation). It means he like the freedom of painting to tell people his emotions.Some of the famous
paintings were the women features. In the other way, Kenneth Noland was an significant painter who insisted on producing his paintings in soak–stain
technique.He focused on the choice of color, to determine how the background integrated with the subject to become a full subject.(Webb,2011)I will
use each one of the paintings for the two style to illustrate its difference and the value

Aesthetic Features And Influence Of Figure Paintings By...
Aesthetic Features and Influence of the Figure Paintings by Chen Hongshou Cao Jing Xu Guangtong Abstract: Chen Hongshou was a comprehensive
and proficient painter in late Ming and Qing Dynasty, who was creative and unique in his own style. He made attempts to get rid of the "fashion of
resplendent" by "traditional style" and was refereed to as the representative of artists with unique style and an influential figure in the 17th century. Key
words: figure painting; grotesque style; influence Chen Hongshou (1598–1652), Zhanghou as as his style name and "Old Lotus"as esteemed name, was
a prominent painter, who inherited the tradition and created new style in painting. With the unique aesthetic values, his paintings, especially figure
paintings occupied a very important position in Chinese figure painting. His style in painting has a far reaching effect on both Chinese and the
world's art. Figure painting played a dominant position since Tang Dynasty and declined in Song Dynasty. Chen Hongshou is not only a great figure
painter in Ming Dynasty but also revitalized figure painting which had declined for 600 years. In his paintings, we can see the giant bodies of the
characters with clear and fine... Show more content on Helpwriting.net ...
In his paintings, the characters have strange appearance: big head and short body. As we know, the methods selected by artists usually have something
too do with their experiences, opinions and philosophies. Their life perspective are shaped by their special time and environment and determines the
way they view the world–––– It is what they feel. So life is not simple records of the objective world, but a mental world. From the above analysis we
can see that the grotesque figures in Chen Hongshou's paintings reflect his mentality and wild emotion. There is a unique beauty in the characters of
his paintings and this style is the formed with the change and maturity of the

The Period Of The Qing Dynasty, Shanghai School Of Painting
At the end of the Qing dynasty and the beginning of the Ming dynasty, Shanghai and Guangzhou started to open the port business and attracted a great
variety of painters there. They first accepted the foreign culture and thought, and made the contribution to the innovation of the traditional Chinese
painting. Those artworks reflected the atmosphere of life at that time and had the integration of western art techniques. All of these led to the formation
of Shanghai School and Lingnan School of Painting.
As for the Shanghai School of Painting, the painters at that time were deeply aware that the traditional art of Chinese calligraphy and paintings needed
to bring in bold innovation in the new social environment to explore new development. ... Show more content on Helpwriting.net ...
His style of painting or even the subject matter varied a lot. The self–portrait [see fig. 1.2] one shows the naturalistic rendering of the face and the
half–bared body with the western techniques chiaroscuro of the use of light and shade. However, the way he painted the garment was totally different
with dramatic dynamic and exaggerate black outlines, which could refer to Chen Hongshou's style. It was obvious that the painting had the
combination of western and traditional Chinese painting techniques. Nevertheless, in another painting, which, the landscape painting called The Ten
Myriads shows that he was influenced by the Japanese manners of screen painting, and function of the work started to change into the decorative one.
Moreover, Ren Yi was a painter that famous for his portrait drawing. He was interested in painting the portrait of his friends. He continued to use
exaggerate manner in Ren Xiong's work to depict the drapery, but in a more naturalistic way with light and shadow and has the pine tree to set as the
background, which has the symbolization of longevity. Later, he started to incorporate the western style of watercolor via traditional color and ink in
his own work and started to abandon the outline and use the boneless washes manner to bring his works to another style and stage. 1.3 Xugu
(1823–1896), Album of Various Subjects, leaf 1, 1895, Qing Dynasty, album of ten

Xu Daoning's Essay
I selected Xu Daoning's (ca. 970–1052 B.C.) renown 'Fishing in a Mountain Stream' (also known as 'Fishermen's Evening Song' ) to analyze for my
final exam essay. This is a 19 x 80 in. hand scroll piece, consisting of ink and very slight color on silk. This is a work of art that was made during the
Northern Song dynasty, which was a sub–era that persisted through the majority of the overall Song dynasty (divided into Northern and Southern eras)
and controlled (what is currently) most of Eastern China. Daoning's 'Fishing in a Mountain Stream' has been referred to as one of the finest surviving
examples of Chinese landscape art. This work was made near the end of the "Great Age of Chinese Landscape" (ca. 907–1127 B.C.). Landscapes
originating

A Thousand Peaks Vs. The Maids Of Honor
At first glance, the 17th century paintings of the Baroque period, India, and China may not have much in common, but upon closer inspection there
are relationships and divergences to consider beyond the surface. These details can be seen between Bichitr's Jahangir Preferring a Sufi Shaykh to
Kings, Wang Hui's A Thousand Peaks and Myriad Ravines, and Diego VelГ
Ўzquez's Las Meninas (The Maids of Honor). While each carries the style
of its own location of origin, they all showcase influence and subject matter similarities and differences worth making note of, most specifically the
presence of duality in focus within the paintings.
The first painting is 17th century art from India, Bichitr's piece depicts Jahangiri being seated among an ... Show more content on Helpwriting.net ...
(Sullivan).
The third of the paintings stemming from the Baroque period done by VelГЎzquez is one of his many works for the court, setting the tone in the
particular area, while not extending much further (49, Bazin). The court employing VelГЎzquez was that of King Philip IV, with the focus of this
painting being the king's daughter. This particular piece has not only the artist himself depicted, the children of the court scattered about, but also a
mirror in the back showing the King and Queen standing as the painter is depicted to be painting their portrait. Each point of attention draws way from
the former, then pushing to the next in a cycle of focus. Once VelГЎzquez started using almost strictly the style of portraits, he mastered the art using
the available means to the fullest. The painting at hand in particular uses his mastery of portraiture to the fullest in varying who is being painted and
their positions on the canvas (59–60, Bazin).
Each painting draws influence from their individual location of origin, mostly in subject, to appeal to the patrons of the time. While each piece was
created within the 17th century, there are obvious differences from place to place in how they were meant to be created. This is evident in the
materials used for the paintings, VelГЎzquez's piece being oil on canvas, Hui's being a hanging scroll consisting of ink on paper, and

Essay about The Classic of Filial Piety Analysis
The Classic of Filial Piety is a highly influencial piece of art from acient China that many use, along other acient Chinese arts, to portray how art in
China was effected by the beliefs and events surrounding the artist. However, not many mention on how it was a major factor in influencing China to
accept painters and paintings as arts that could be used for artists to express themselves, thus being both affected by the current events and being the
event that affected other arts. The Classic of Filial Piety was painted by Li Gonglin and is different than modern art, mixing both pictures and text. The
art was painted in the Northern Song Dynasty, which lasted from 960 to 1279. China was in the later half of the Dynasty, as thepainting ... Show more
content on Helpwriting.net ...
Paintings had little meaning compared to other arts such as sculpting and music. Artists turned to those arts to express themselves, and paintings rarely
had meaning in them. China did not consider them very important compared to other civilizations. After Li painting was put in a more favorable light.
They soon became reconized as a legitimate form of art. Painters soon took to painting to express themselves and observers began to appreciate
meaning and symbolism in paintings. This helped different forms of storytelling to blossom and for painters to become more reconized. Li's painting
influenced an art to become loved by the public, and many believe it's due to the meaning Li put into the painting.
The painting has deep meaning in it, and the lesson expressed is the focal point of the painting instead of background symbolism. Filial Piety means
to respect one's parents and ancestors. The painting is based off a piece of Confucian classic written in approxiametly 400 BC. The exact author is
unknown, but it's claimed to be a conversation between Confucius and Zengi. The book, like the painting, describes how to behave towards one's
superiours. Filial Piety is the main focus of the painting. In the painting, several different scenes are showed. One scene shows Filial Piety
relationships in a "levels of a contemporary society"(Maxwell, 40). It shows a son saying goodybe to his parents. Another

Paintings In Medieval China
Paintings in medieval China included landscape painting, delicacy painting, spontaneous painting, figures and illustration along with calligraphy. The
landscape paintings are wordless poems that are meant to be read from bottom to top, often representing the harmony between heaven and earth, yin
and yang. These paintings often have a high point of view and are full of ambiguity and indirect meaning. Landscape painting also features mountains in
the middle and background and water dominates the foreground and unites all grounds. If figures are included, they are small and insignificant which
is reflective of the Taoist/Buddhist idea that we are all part of nature, inseparable from it, and not more important than any element of nature. Often the
painting includes a poem is part of ... Show more content on Helpwriting.net ...
The subjects of these paintings are symbolic: flowers are passive and represent the female; butterflies and birds are aggressive and represent the male;
cranes represent longevity; ducks represent marriage; and the Phoenix and dragon represent the concept of yin and yang, the relationship between male
and female. Spontaneous painting was the most important in Medieval Chinese painting tradition. These paintings were a scholarly and religious
activity, an act of meditation meant to help a scholar work through a religious or philosophical idea. These paintings may also feature ink paintings
with calligraphic lines; simple scenes presented in an abstract style such as flowers, birds, trees or bamboo. The figures and illustration paintings had
subjects outlined in ink and filled with color, they had very little in the way of background and were very flat. Often these were portraits of important
people or illustrations of religious or secular texts or stories. Calligraphy was used as a central element of paintings and was an extremely important art
form of the

The Western Artistic Tradition By Stephen Owen
The Western artistic tradition is limited to normative operations of representing reality through mimesis while the Chinese were concerned with its
hermeneutics. The "Great Preface" to the Book of Songs claims that what a poem is consists in its articulation of inner intent (zhi еї—). More
importantly, Stephen Owen points out that this zhi is something of an intense and involuntary fixture on reality. With this in mind, Guo Xi echoes the
words of the ancients by noting that "a poem is a painting without form and a painting is a poem with form." However, one can go even further by
speculating that human interpretations of reality call for a necessary mediation by 'form' before they can be organized into language. Thus, there is an
immediate crossing over of spatial boundaries in the process of perceiving reality, internalizing it, and manifesting it through a painting. Su Shi's notion
of immediate reaction complements the idea of zhi as involuntarily manifested, concerning a spontaneous movement of the essence of reality from
Nature to the human heart–mind and finally into the painting.
The implication of this process is twofold, the first one being that the painter displaces an essential Truth from the external world onto the silk scroll
which says something about the world in which man dwells. The second is that what the painting (including the process of painting) does is mediate a
necessary association between humans and the external world. The literati of Northern Song

Muqarnas By Nancy Steinhardt: An Analysis
The book Between China and Iran, which was published in 1985, is considered a standard reference on all aspects of the Hazine albums. There are
several articles in the book on Chinese influences on the albums, and further ideas on this subject have been published in an article in the journal
Muqarnas by Nancy Steinhardt. Nancy Steinhardt in her article "Siyah Qalem and Gong Kai:", which was published in 1987, focuses on Chinese
paintings as sources for Siyah Qalam's paintings and finds connections between these paintings and authentic paintings by specific Chinese painters of
the Yuan era. This author identifies four subjects in Siyah Qalam's paintings in common with the purposeful works of two Chinese painters: she writes,
"in searching for a cultural milieu that might explain the often bizarre imagery of the Istanbul album paintings, one is, however, tempted to see in them
something of a documented context of the four Yuan period models". Steinhardt clarifies a contrast theme and a political protest for introduced Chinese
paintings that were inspirations for Siyah Qalam's paintings. Finally, she suggests that "if it could be shown that... Show more content on
Helpwriting.net ...
Building the argument on Steinhardt's work, this paper will analyze a number of features in the paintings in order to link their content to a certain
historical period. Which socio–political reality might connect to these paintings? It is essential to mention a few points: First, in this paper, among all
the paintings attributed to Siyah Qalam, the paintings of demons are researched (Steinhardt's work is not restricted to the paintings of demons and
includes other paintings attributed to Siyah Qalam). This paper assumes that one painter is the creator of all paintings in this specific group of Siyah
Qalam paintings, but this assumption does not exclude the idea that the corpus was executed by a group of painters or a

The Qingming Handscroll: Scene Analysis
The Qingming handscroll depicts a bustling Chinese city prior to the late twelfth century. The scroll's starting scenes are of a beautiful landscape,
and the city's level of activity is first conveyed in the bridge scene of sections 13 and 14. Through close analysis of this scene, it seems that the artist's
perspective in this scroll is an idealistic rather than realistic one, portraying things as they should be rather than as they are. This can be seen in his
choices to depict an all–male crowd, to portray an unrealistically spotless road, and to highlight the coordinated actions of those on an off–course boat.
An element that is present throughout the scroll, but especially crucial in this scene, is the scarcity of women. This is in line

The Development Of Japanese Landscape Painting
This Paper will be an analysis of the development of Japanese landscape painting, analyzing the historical context behind these paintings and what led
to the changes in style. Both of these paintings are representative of their specific culture during this rapidly changing time and these changes will be
discussed in relation to the artwork. I am going to be discussing Japanese landscape painting, the outside influences shaping Japanese landscape
painting but also focusing on the internal elements of Japanese culture shaping the style of artworks. The changing techniques and styles as well as the
changing political climate will all be looked at.
Japanese landscape painting developed from a multitude of influences and incorporated many themes and ideas, from native beliefs in japan to
influences from China and Korea and even from Europe all which gradually changed painting in japan. The main artistic influence in Japan up to the
mid 19th century was China and and Chinese Landscape painting in Japan was brought over by traders and became very influential to academics,
scholars and the aristocracy, far from merely copying Chinese painting japan was able to bring their influences to create a very unique type of painting.
Here we are going to talk about our two paintings in more detail and The First Landscape Painting for discussion is Uragami Shunkin, Spring
landscape, 1821, Ink on silk. This large painting has many Japanese traits but also carries over numerous Chinese

Dong Qichang, in the Shade of Summer Trees, 17th Century,...
Lindsay David
Art History 6D
3 June 2008
Dong Qichang, In the Shade of Summer Trees, 17th century, Ming Dynasty
This painting is from the Ming Dynasty, and very clearly depicts and captures the essence of The Southern School, or Literati painters. The first thing
to note is the overall composition of the painting. First and foremost it is a landscape painting. The colors are very monochrome; the space is stretched
to reveal a depth to the painting that the eye cannot capture; and there is stillness to the art that embraces nature and serenity of life. In the right–hand
corner of the painting there is calligraphy. The calligraphy lacks the precision, but is very clear in its form, much like the depiction within the painting
... Show more content on Helpwriting.net ...
The painting takes what the eye can see and extends it further, to a realm that cannot be captured by someone unless they have the patience and
diligence to see beyond the obvious and capture more than the eye permits. Dong Qichang is revealing his discovery of nature and its importance
and relevance to himself at a particular moment in time. There is an inner truth and realization that is depicted with every stroke of the brush and as
each different element is unveiled, a different realization of life and nature is put down as a record. After attempting to emulate the techniques of
Dong Qichang, and create a literati painting using the California scenery, I have realized many things. One is that I would never make it as a painter.
The other things revolve around the life of the painting. The painting seems to resonate with a vitality that is captured through the depiction of a
moment in time. The wind moves all the trees, and forces them to take on a life of their own and assume a position that seizes a particular moment,
even though the layout and the trees themselves seem to lack the likeness to what we would expect to see in nature. The water is caught in a single
moment, and we can see the life in it as it tries to get past the rocks and settle below. We know that the water is only in that particular position for a
miniscule amount of time, and we can see that the painting truly captures a very distinct and precise time. The painting

Sunflower And Twelve Plants And Calligraphy
Sunflower and Twelve Plants and Calligraphy Being an artist takes time, dedication and commitment, especially to become as talented as Xu Wei and
Liu Dan. These famous Chinese artists put in the time, dedication and commitment and their hard work has paid off. Xu Wei, from Saoxing, Zhejiang,
did not grow up in the ideal situation, he was orphaned at a young age, but escaped his problems in life by painting and writing calligraphy; where he
excelled the most. (BOOK pg. 208) Later during the Ming dynasty, he began to paint flowers and plants. One of his famous works in which we will
focus is called Twelve Plants and Twelve Calligraphers (1). (BOOK 209). Another well
–known artist from this century is Liu Dan. Liu Dan is also
from China and was a fan of studying Confucian classics, poetry and calligraphy with his grandfather. He enjoys creating new perspectives on his
pieces and one of his artworks that hits close to home is called Sunflower (2). This artwork is found right here in Minnesota at the Minnesota Institute
of Art. In this paper, I will explore the similarities and differences found in the composition of Xu Wei's Twelve Plants and Twelve Calligraphers and
Liu Dan's Sunflower. The composition can be broken down into space, shape and overall composition. First, the space that is present throughout the
artwork can be very important in depicting positive and negative space, scale and perspective. In Xu Wei's Twelve Plants and Twelve Calligraphers, the
positive and

Art During The Qing Dynasty
The art during the Qing dynasty was very different from those throughout China. During the Qing Dynasty art was coveted over greatly. Many people
respected art during this Time. There were many scholars, poets, painters, and potters during this time that took their work very seriously. Painters
during this time were either individualist or traditionalist. They focused in wars and what was going on in the real world, other than what people
wanted to see. The Manchus, who had already adopted many Chinese practices before ruling as the Qing, continued to show respect for Chinese art
that was based on the study of old styles and masters. Literati painting in the Qing thus became orthodox and stereotyped, especially as represented by
the prestigious "Four Wangs" of the late seventeenth and early eighteenth ... Show more content on Helpwriting.net ...
Chinese ceramics made a very significant impact on the rest of the world. China's long history of advanced ceramic technique culminated in the
perfection of smooth white and green celadon in the Song and true porcelain in the Ming. Ceramic was appreciated as some object d'art by both court
and literati. Art historians have generally regarded the nineteenth century in Chinese art as a period of stasis, if not decline, but this characterization
may be oversimplified. The cultural changes that slowly began to influence Chinese artists at the end of the Qing dynasty can best be understood by
reviewing the dark period that began with foreign invasions and civil wars in the mid–nineteenth century. After the First Opium War of 1839
–1842 the
Chinese conceded five treaty ports where foreigners could live and trade. The opening of treaty ports brought new visions of the world through books,
magazines, technologies, and materials. Photography and various printing techniques, including Japanese–style woodblock printing helped to
disseminate new

Xu Bing's Book From The Sky
Xu Bing is a contemporary artist from the country of China, whose work often includes the use of text, and is regularly linked with the past. Xu Bing's
Book from the Sky, was a revolutionary installation piece that was first presented in 1988 in Beijing. Xu Bing is able to create complex riddles with his
work, which make the viewer ask questions about its tradition, workmanship, meaning, propaganda, and cultural preconceptions. In Xu's earlier series
entitled Landscripts, he explores the meaning of written characters and the connection between painting and calligraphy.
One of Xu's later installations entitled Background Story, deviates from his past interest in language and the written word; however, he continues to
explore matters from China's ... Show more content on Helpwriting.net ...
Many early forms of Chinese calligraphic art were also illegible, but are still regarded as masterworks because calligraphy is considered an extension
of the writer and conveys more than physical motion. The artist, Chen Xiangzheng (1428–1500) and his work entitled Song of the Fisherman, is a great
example of how the emotion conveyed in his work, held more weight than its legibility, "Chen Xiangzheng wielded the brush with vigor and freedom
in a wild cursive style of writing. Although Chinese calligraphy is most often admired for the balance and harmony created by the placement of the
strokes within each character and the relationship of one character to another, the Chinese also appreciate the wildness of some of their more eccentric

Celebrating Japanese Art From The Mary Griggs Burke Collection

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Celebrating Japanese Art From The Mary Griggs Burke Collection