The Qingming Shanghe Tu Scroll is viewed by many individuals as an illustration of a realistic portrayal of the Qingming festival in Kaifeng (Hsingyuan 155). After reading “soundscape” (Schaefer) and “city of elements” (Lynch), it can be interpreted in numerous ways, but for certain as a visual narrative. In our case, Athena and I decided to capture five specific areas of the scroll and go from a large scale to a smaller scale, focusing on the interactions involving trade and animals within the scenes. Throughout the video, we try to emphasize that socializing is part of the daily routines, generally in regards to the commerce and the specific elements that contribute, such as nodes, edges, and paths.
The video begins with the bridge where the bridge
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Literally, the bridge is a path with a massive amount of people from all walks of life engaging in the market atmosphere. This is our main node because it is a junction between the people and the river, which the river is also another path. There is a continuous movement, and the interactions going from the zoom-out picture into the zoom-in picture that has interesting one-on-one interactions. Example, the man purchasing something from a selling stand. The sounds of people talking blend in with the animals’ footsteps and the river that everything is occurring along it. Right from the start of the video, the viewer can see a woman in a carriage. By including the women throughout the video, we emphasize their separation from the rest of the movements and traffic of people occurring. The women are distinctive
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.
Jean-Jacques Annaud directed the film Seven Years in Tibet. Mandalay Entertainment was the studio that produced the film. The two main stars are Heinrich Harrer and Peter Aufshnaiter. Brad Pitt plays Heinrich Harrer. Peter Aufshnaiter is played by David Thewis. The fourteenth Dalai Lama also stars in this true film. Harrer starts a five thousand mile journey by train to the Himalayas from Austria. He travels with several other men hoping to climb to the top of Nanga Parbat. They are put in prison because they land in a town that doesn’t welcome foreigners. Harrer’s pregnant wife sends him a letter about divorcing him. In September, the men successfully escape prison and head back home except for Harrer and Aufshnaiter. A kind homeowner in
"An Occurrence at Owl Creek Bridge" is a story of illusion, decision, and fate. It presents one with a very powerful scenario - one that questions the protagonist 's ultimate destiny, and the concept of good vs. evil. It defines the grey area of deeds by which most humans live, and uses powerful thematic concepts and devices to convey the author 's own value while leaving some space for the reader to make their own choice. Furthermore, this story discusses the life of a man who ended up on the wrong side of history, humanizing yet criminalizing him for his beliefs. This can all be attributed to a wide array of symbols and interactions- all which support the theme of illusion vs. reality. The complex thematic value of this piece stems from multiple aspects – the most important of which are the bridge through both its literal and symbolic meaning, the colour grey in all its depth and broad variations, the essence of time in all of its distortion, and the story 's style of writing.
Anthropology is the study of the development of humankind within their different cultures. When one looks inside a culture, they can see the true aspects and meanings behind a societies behavior and traits. By following the principle that is cultural relativism, one can also determine that no culture truly surpasses another culture, and that each society has key differences that are important to its culture and location. This is a method that can also be seen in many intriguing films from this semester, one in particular being The Emerald Forest. Throughout this essay, this film will be analyzed around one character who greatly represents what it means to truly immerse oneself into a different culture to gain a new perspective, and many key terms in anthropology will be explored through 4 different films from the semester.
Physical elements such as composition, position of figures in space, brush work, color, viewpoint, and surface treatment all contribute to this separation of similar subject matter. The composition of The Weeders is un cropped, fairly balanced and symmetrical. The foreground is bold, the middle ground is expansive and the back ground strong and deep. Our view is that of perhaps a weeder on the field. Homer’s Carnival is cropped and less symmetrical with figures emerging from off the canvas. Less emphasis is placed on use of foreground, in turn creating less depth. Breton’s figures hold much movement and expression, women working the field are crouched close to the viewer. Farther back a woman stands alone, basket full, gaze and body positioned toward the setting sun. The women weeding are bent and tired.
Cai Gup-Qiang’s ‘Head on’ is overall an extremely large display. It consists of 99 wolf replicas and a glass wall. The wolves are running up then overhead then smash off a glass wall just to get up and start again. A single wolf by itself is a life size scale sculpture that is covered with fur; each one stands in a different pose some bearing their teeth others crashing into the glass wall. Many of the wolves are suspended on cables as to give the appearance of running. Then several are posed against the glass to give the look of crashing into it. The few wolves that are left look to be going back to the end of the line to begin again. There seems to be an inconsistency in the look of the wolves in the piece some look very ferocious and realistic, while
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.
...irected, I take a drink from the drinking fountain while some others who were also observing the site hesitated or even refused to drink from it. I could taste the metallic tinge of the fountain water, but the heat of the sun made it nonetheless a refreshing drink. This can be connected to taste because I found the drinking fountain to be remarkable based on my cultural background and identities, which is my culturally specific taste. Others who visited the fountain that do not share this “experiences relating to one’s class, cultural background, education, and other aspects of identity.” (Cartwright 56) might find it hard to appreciate the drinking fountain in the manner I did. Nonetheless, viewers do have the right to experience, interpret, and use this cultural representation differently by being situated in a set of actual and relational social practices.
Mile, this summer Chicago was embellished by a new landmark, or landmarks to be more exact. Nearly 300 cows have found a temporary home in the streets of downtown and its buildings. This extensive public art project, organized by the Chicago Public Art Program , commemorates the city’s industrial history, while bringing a sense of community and beauty to Chicago’s citizens and tourists. In this “parade”, every cow is full of meaning as well as artistic value. Although many might argue, I, to the contrary, would like to applaud the City of Chicago for the implementation of this great project.
The story explores many vital concepts accompanied by beautiful illustrations. I felt a strong sense of cultural understanding, spirituality and connection to family and land as though I was on this journey too. I could sense an underlying meaning in each dance, holding great importance to Bertie’s family and a strong connection to their culture. Pryor has attempted to fuse the then and now, by speaking of changes in the land, from a once spiritual gathering place, to a now busy town street where through food, they keep the culture alive (Pryor, 2010).
"Spring Silkworms" is about the trials and tribulations of an old farmer named Lao Tong Bao and his family during the silkworm raising season. The story raises the issue of the changes occurring to the Chinese agricultural traditions due to modern influences. It is a tale that "represents Mao Dun's historical dialectic that highlights the confrontation of modern machinery with provincial handicraftsmanship; of western know-how with native values; and of capitalist money with rural struggle for cultural and socioeconomic autonomy." (Wang xviii) In my paper I will highlight several confrontations between modernity and tradition. I will also analyze how modernity and tradition were portrayed in the story.
I had an opportunity to visit the oriental institute museum . During my visit to the museum I was made aware of its location and the importance of it to chicago. The museum housed many exhibits of historical value dating civilization back to the paleolithic period of 2,500,000-100,000 B.C. Below you'll find examples of mans rise through the use of tools and refined skills from cave living to structured living throughout evolution. This is an experience that has grounded me to a new interest in structures that we have devised to become the homes we use today for the rest of my life.
Baraka is a non-linear environmental documentary released in 1992 and directed by Ron Fricke. The film is full of sweeping shots of breathtaking landscapes, intimate scenes of individuals in their environment, and time-lapse sequences of both natural and man-made structures. Without dialogue or a linear structure, the film successfully uses visual context to tell several stories that weave into the film’s overarching theme. First, Baraka tells the story of the importance of ritual and religion in the human experience, with a focus on indigenous cultures. Then, the narrative shifts focus and Baraka tells a new story, one about human modernization and the consequences of modern society. Finally, the film makes apparent its overarching theme:
During this festival, one will witness the disturbing scenes at the Dongkou Market where dogs are burned and skinned alive. Looking through the conflict theory lens, the main clash is between the Yulin locals and animal activists. Undoubtedly, such a cruel practice is frowned upon by many but the locals are set on celebrating this festival
The view my window offers may not appear intensively interesting at first, as, for the most part, it consists of wayfarers’ legs moving in opposite directions. However, after several hours of observation, it is possible to notice that the pace of people is at variance not only according to hour of the day, but also shifts throughout the week and year. And the pattern in the manner of how the passer-by’s gait changes embodies the city life’s rhythm.