I learned about many significant artwork and artist in this class. This class provided me with a better understanding of the history of the world Art, but also helped me understand the development of art style. However, among all of these precious pieces of artwork, there are two special ones that caught my attention: The Chinese Qin Terracotta Warriors and The Haniwa. Each of them represents the artist’s stylistic characteristics and cultural context. Although they represented different art of rulers, historical values, and scenes, there were visible similarities. Chinese Qin Terracotta Warriors and Horses is a significant sculpture that represented the armies of Qin Shi Huang (the first Emperor of China). It is also know as the eight wonder of the world. It described a strong personalty and a specific characteristics from that era. This amazing artwork not only shows the remarkable historical value but also the great artistic achievement. Qin Terracotta art is a
Haniwa warrior was made during the Kofun period (300BC-552BC). It was build from basic clay cylinders and more abstract shapes, such as human figures, houses, and animals. These sculptures always several feet in height with a built up forms. Japanese also used coil method to form the overall shape which makes the result tens very similar with the Qin Terracotta. This figure is wearing similar outfits compare with the northern horsemen during the Six Dynasties period (220 BC–589 BC). It shows the influence of culture context. Unlike Qin warrior, the Japanese placed Haniwa on the top of the grave mound. According to the Gardner’s Art through the Ages, the variety of figure types suggests that haniwa functioned not as military guards but as a spiritual barrier protecting both the living and the dead from contamination. It is very clear that haniwa is treated as a door which separate people from the living and the
Discovered in 1974 a group of farmers digging wells near Xi'an, China stumbled upon the tomb of Qin Shi Huang which is located 22 miles east of Xian Shi Huangdi. (259 BC - 210 BC), the first emperor of China, inherited the throne at the age of 13, when construction of his tomb began. He was responsible for several immense construction projects built by his people, including the Great Wall of China. The laborers came from three groups of people, craftsmen, prisoners and people who were repaying a debt. Sima Qian, a great historian who wrote in early Han dynasty, offered archeologists great insight on the mausoleum's construction. We learned from him that the tomb is huge. Moreover, booby traps with automatic-shooting arrows and crossbow booby traps were
For my book project I chose to read a book called, The First Emperor: China’s Terracotta Army, and was edited by Jane Portal. The purpose of this book is to answer mystery questions about the first emperor’s tomb and his under ground army of terracotta soldiers. And to discover more details about the emperor who built it and what he achieved.
Qin Shi Haung Di was the first emperor of the Qin Empire in China during the 3rd century BCE. Born in 261 BCE, Haung inherited the throne from his father at the early age of 13 and showcased his ambitious spirit by unifying China and creating his empire (Swart 1984). While he is known mostly for building the Great Wall of China, he also left quite a legacy when it comes to his elaborate burial grounds. In 246 BCE, thirty-six years before his death in 210 BCE, Emperor Qin started planning the construction of his extravagant final resting place (Swart 1984). The Emperor’s mausoleum was essentially a small, underground city showcasing Qin’s power and influence using different artistic mediums.
The stela is deemed to be a round-topped stela because the top is curved while the sides and bottom remain straight. It is 33 cm high and is 24 cm wide; its thickness is estimated to be 2 to 3 cm. It was carved from limestone and has only a few traces of red and black pigment. The bodies of the Egyptian gods Horus and Thoth still have the red pigment on their bodies as well as the solar disc of the uraei. The stela has a border all around it with a patter that interchanges between one wide red bar and three small black bars. At the top there are two-winged cobra called uraei (Capel, Markoe, Cincinnati Art Museum, & Brooklyn Museum, 1996). There is also an inscription below the uraei. The center of the stela depicts a woman, who is Ta-Khaa-En-Bastet, standing on the right and on the left revering the Egyptian gods Horus and Thoth. The central scene also has two small inscriptions above Horus and Thoth. The bottom has three rows of hieroglyphs, which are an offering prayer, details about Ta-Khaa-En-Bastet’s family, and her title as “Mistress of the House” (Capel, Markoe, Cincinnati Art Museum, & Brooklyn Museum, 1996, p. 166).
The Los Angeles County Museum of Art, or LACMA as it is commonly known, is among the world’s largest art collections in North America, and to be specific enough the most prevalent artwork in the western United States (Compton 165). This massive art museum has a collection of over 100,000 artworks, which extends from the ancient times to present days (Gilbert and Mills 174). These collections, which are mainly from Asia, Africa, Europe, Latin-America and America itself, are grouped into several departments within the museums buildings, depending on the region, culture, media, and time period. This paper analyzes the different genres of art and explains the main features that make the Islamic artworks distinguish themselves as historic masterpieces, by using stylistic and interpretive analysis methods.
Secondly, Emperor Huizong was a patron of arts and in his painting academy he highlighted 3 aspects of painting: realism, systematic study, and poetic idea. (source dri buku yg foto di library) These 3 aspects were clearly shown in Cranes above Kaifeng: Auspicious Cranes which indicates the amount of control Emperor Huizong had on the visualization of auspicious events.
In this image you can see the detail the artist went into with the sculpture of the Warrior and his Hoarse. The characteristics of this sculpture and that of the Sarcophagus of the Spouses bare striking similarities in the face and body. The lifelike appearance of the hoarse is also
The Terracotta Army was built for the first emperor Qin Shi Huang as an army for his afterlife, others think it was a show of Emperor Qin Shi Huang’s glory and others believe it was as substitutes for actual human sacrifice so to use the terracotta figures instead of actual humans.
Interregnum, painted by the Chinese artist Hung Liu, is a massive oil painting created circa 2002. With the intentional application of several principles and elements of art in her work, Liu effectively depicts her late Asian culture’s traditional aspects while also exposing the harsh reality of China’s Communist society. Hung Liu incorporates a variety of styles into Interregnum while also utilizing color and line to visually communicate the subject matter to the viewer. In a formal interpretation of this work, the overarching theme of Interregnum will be explored and described, focusing on the particular values sought out by the artist Hung Liu.
"Heilbrunn Timeline of Art History." Altarpiece Dedicated to Buddha Maitreya (Mile) [China] (38.158.1a-n). N.p., n.d. Web. 15 May 2014.
The vast army of Terra Cotta Soldiers that surrounds Qin Shi Huangdi tomb is magnificent, not only because of the seven thousand plus soldiers created, but in addition an attention to detail to each individual soldier. With a variety of variation of soldier from kneeling archer to charioteer, there are also terra cotta horses that pulled wooden carts and chariots. The sheer number of individuals is alone breath taking, but than taken in to account that the figures are life size and has many variations from sculpture to sculpture it is hard to imagine that they were produced in 247 to 210 BCE. This work of art as a whole depicts the power and wealth that Qin Shi Huangdi had during his reign over China. Emperor Qin shows his wealth with this
In conclusion, although Mycerinus and Kha-merer-nebty II and Augustus of Primaporta, do appear very different, come from entirely different geographic regions and were separated by thousands of years, they do have many things in common. When we consider subject, style, and function; perhaps other works of art have more in common than they appear to have.
Being able to possess ancient dynasty objects has been seen as a sign of the legitimate ruler. Qianlong as the commissioner and the subject of this painting, intentionally representing himself of Han Chinese culture seems to communicate one message to the viewers just as what he once expressed about himself: ‘I, having grown up in the court and studied for twenty years, am in reality a scholar.’ Therefore, him, as the emperor, understands, protects and restores Han Chinese culture, and possesses the true treasures of Chinese culture, is the ultimate ruler of China.
All in all, the artworks of Mesopotamia, Ancient Egypt, Aegean cultures, and Ancient Greece have similarities that not only reflect objects and images, but also the media, style and representation, these cultures are vastly exclusive works ranging from triangular depictions of form, to breezy depictions of nature, to sturdy architectural innovations for their citadels. Because of the existence of these major cultures of art in our world, it has made what art is today. These four unbelievable time periods have learned from each other and improved the way they accomplish their art techniques. These amazing cultures set a foundation that we were able to build on for thousands of years now with much more to come.
Traditional Chinese art is deeply rooted in its philosophy, encompassing Daoist, Buddhist and Confucian schools of thought. The goal of many traditional Chinese landscape artists, as described by Professor To Cho Yee of Michigan-Ann Arbor, is to “reveal the highest harmony between man and nature” through a balance of likeness and unlikeness (Ho). This metaphysical philosophy borrowed art as a vehicle to search for the truth or the “dao”, which is the path to enlightenment. As early as the 5th century, scholar artists such as Su Shi (1037-1101) of the Song dynasty realized that to create likeness, one must understand the object beyond its superficial state and instead capture the spirit of nature; only then can a point of harmony with nature