Part A.
Descriptions of Fan Kuan’s Travelers by Streams and Mountains
Fan Kuan’s Travelers painting is a painting of someone’s personal view of a large mountain and the streams that lie in front of it. In the background of this painting that we see it is occupied by a large side of a mountain. The mountain sits in front of clear skies. The mountain is large and covers most of the surface of the painting. It is finely detailed and seems to be extending its side toward us. The side seems to be simply hard surface rock and on top of the mountain there are tree and vegetation. On the right side of the mountain there is a crack that water seems to be flowing down from. At the base of the mountain it is the lightest but also the most unclear. From the base of the mountain a stream comes in to view but it is difficult to see where it begins. On both sides of the streams there are risen rock formations that are covered in trees and other shrubs. On the right side of this section, surrounded and almost hidden by trees, there is a building. It looks like some sort of temple or retreat. The building has the curved and pointed rooftops. The stream flows over rock and pours into a calm and smoother stream at the bottom. To the right of the stream, at the very bottom you can see tiny figures. They appear to be a man walking along with a couple of donkeys. The object closes to us is a large boulder/rock the viewer seems to be standing at level with it, look straight into the scene in front of him. The whole image is naturalistic in its details and very neutral in its color.
Interpretation of Chinese Values
Based on this painting I think the Chinese value two things, nature and order in nature. The nature of this painting is composed primar...
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...authority of it over us. The view that he gives us makes us feel like nature has the control and we are merely small figures in its presence. In Durand’s painting, I values I interpreted is rising civilization and prospering. He has a lot of the same nature elements like Fan Kuan’s, such as trees, large mountains/hills, and water, but it does not have the same presents are meaning. Durand’s painting gives us the perspective of being above the scenery, at level with the mountains/hills and looking over beyond the trees and the river. The people in his painting are cutting through the trees, creating pathways, and taking up the land. They are building homes from the trees and they’re herding cattle, this is the early roots of civilization. The Chinese values and honors nature and its elements, while the American’s want to rise above it and use it to satisfy our needs.
...ngly opposite, the Chinese Landscape Painting depicts a boulder-filled mountainside with a waterfall, a river, a Chinese house, and trees spread throughout. The quote underneath is from Lao-tzu, (the founder of the Daoism philosophy). The complexity of the sentences by Lao-tzu is much higher than the sentence of Socrates.
When looking at the painting it gives us a glimpse of the past. It looks almost like a photograph. The fine detail from the building on the right with the statue on top. The citizens walking around.
First, the size of the painting drew me in before all. It measures at 339.1 by 199.5 cm, surrounded by a large golden frame. The size alone is enough to bring in any person passing by. Once getting close, the really wonder happened. The story told by the painting
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.
Cao Xueqin’s Story of the Stone is a classic in Chinese literature, showcasing the life and exploits of the wealthy Jia clan during the feudal era. Through Cao’s depiction, the reader is afforded a glimpse into the customs and lifestyle of the time. Chinese mode of thought is depicted as it occurs in daily life, with the coexisting beliefs of Confucianism and Taoism. While the positive aspects of both ideologies are presented, Cao ultimately depicts Taoism as the paramount, essential system of belief that guides the character Bao-yu to his eventual enlightenment. As was the case in China, Cao depicts the two forms of belief existing alongside one another, and not necessarily practiced exclusively to one another.
This week I am choosing to write my piece on the bronze “Incense Burner,” from the tomb of Prince Liu Sheng. I choose this because the depiction of life and harmony in this artifact contrasts deeply with the art from previous regions, where their sculptures emphasized mainly on masculinity, heroism and death. I thought this piece to be very phenomenal, and I believe it captures the essence of this human and nature like bond, the gold outline tracing on the waves of water like arches bringing in this feeling of enlightenment. In this chapter much of the artwork depicts nature as the mother,protector, and also the ruler of life. They send to viewer’s different aspects and the profound connection between the beauty of nature and human. Above the outline ocean waves of the “Incense Burner,” are these
The two artworks I decided to discuss are A thousand peaks and myriad ravines by Wang Hui for the Chinese artwork and View of Kojima Bay by Ike Taiga as the Japanese artwork. Both these share a few similarities including the subject of the artwork being the landscape and naturalism. In A thousand peaks and myriad ravines by Wang Hui you can notice very clear detailing and lining from the top trees of the mountains to the very small fishers and scholars portrayed towards the bottom and center of the artwork. Primarily, this artwork emphasizes the detail. The portrait is mostly taken up by the mountains and that around it. The range of colors used in this hanging scroll consist of the grey scale and a golden bronze done with a very thin brush.
Ancient Chinese philosophy has since it beginnings relied on the theory of a natural order to things. They believed that nature determined human intelligence and ability. This is what provided the basis for China’s political and social order. Ancient Chinese developed a system of deities and spirits they associated with the natural elements such as rivers and mountains and so on. They believed in a “unity” between the Heaven and Earth, which these spirits only guided humans along not inter-fearing in their affairs. The an...
From the piece of artwork “Rain at the Auvers”. I can see roofs of houses that are tucked into a valley, trees hiding the town, black birds, clouds upon the horizon, hills, vegetation, a dark stormy sky and rain.
Hung Liu is successful in creating a juxtaposing image that tells a story about the many aspects of her Chinese origins. According to the painting, not all life in China is surrounded by beauty and elegance, like many believe it to be based on the traditional historical customs. Liu makes her point using a brilliant yet subtle progression, moving from the ideal to reality. Making use of the various principles and elements of art in her work creates a careful visual composition that benefit and support the painting’s achievements as a whole. This oil painting, being approximately 13 years old now, will hold a special place in Chinese history for the rest of its existence. The ideas Hung Liu portrays in Interregnum may help reform a social movement in the country by making her viewers socially aware of the cruel conditions the Chinese are facing under Communist rule, and this is all made possible through the assimilation of the principles and
Qiu Ying had a special talent for duplicating famous paintings and thus, his work was in great demand. However, for the most part, his paintings were different and inventive, novel and witty, while staying within the parameters of acceptability. When considering why Qiu Ying copied Zhang’s Along the River During the Qingming Festival, there are three main purposes: First, Qiu Ying may have appreciated Zhang’s work, and the outstanding detail and the composition of this painting, so he may have copied this painting as a means of preserving old compositions. Second, to copy this painting, the artist needs to have skill and dexterity to balance the whole composition and every detail, therefore, Qiu Ying may have copied this work to practice the ancient techniques of the craft and to develop his personal style. The last reason why Qiu Ying made duplicates of famous masterpieces is that collectors in the Ming period had a compelling desire to own famous antique paintings, even if only in reproduction. Furthermore, it is possible that Qiu Ying wanted to show his love of Suzhou
Created on paper with ink in the year 1610 during the Ming dynasty in the form of a handscroll, Wu Bin’s Ten Views of a Lingbi Stone displays ten different perspectives of one stone. The Side View of the Stone from the Front Right (從右前右側觀) is painted in a monochromatic color scheme with no additional colors added to it. The foreground and background of the stone has a lighter shade when compared to the middleground of the stone. The stone is covered with a fluid loop and twisting pattern, and its edges are jagged and rough. Among the ten views, the Side View of the Stone from the Front Right portrays a feeling of seclusion to the world to the audience while possibly referencing to Daoist ideologies and beliefs of immortal beings, or deities, and the connection with nature through the presentation of mountains and water.
In his poem, “Notes from the City of the Sun”, Bei Dao utilizes obscure imagery consistent with the Misty Poets and veiled political references to illustrate the struggles in Chinese society during the Cultural Revolution. The poem is sectioned into fourteen short stanzas containing imagery that are symbolic of the cultural hegemony in China under the rule of Mao Zedong. Bei Dao, born Zhao Zhen-kai, is an anti-revolutionary poet and one of the founders of a group known as the Misty Poets. The Misty Poets wrote poems that protested the Cultural Revolution led by Mao Zedong. Therefore, a lot of Bei Dao’s poems speak out against the Cultural Revolution and the restrictions that it placed on any form of art. Bei Dao’s poetry is categorized as “misty” because of the ambiguity in its references to Mao Zedong and the Cultural Revolution. An obscure imagery that occurs twice in “Notes” is the sun imagery. Another imagery that depicts the injustice of the Cultural Revolution is the description of freedom as scraps of paper. In the poem, Bei Dao also equates faith to sheep falling into a ditch; this is a depiction blind faith during the Cultural Revolution. The purpose of this essay is to analyze how Bei Dao’s use of the Misty Poet’s ambiguous imagery and implicit political context in the poem “Notes from the City of the Sun” to illustrate the cultural hegemony in China under Mao.
... The styles and creativity of the art express what the Chinese people were feeling at the time they made it. The Chinese showed great skill in every piece of artwork which they beautifully displayed. Chinese art began many centuries ago and will continue to flourish for many years to come.
Chinese art went through many different stages starting from the year 1842. But the massacre of Tiananmen Square in the year 1989 was a turning point in the political life of China and in the country's art. Until the year 1992 art in China was underground, but it kept expanding. As a result of that, some Chinese artists started to do art works that rebel against their government and express their feelings towards China. One of these artists is the famous Chinese artist Ai Weiwei who expressed in each piece of art he did, his feelings that China should let its people break away from the rotten traditional, in order to express their thoughts freely.