Abstract
The purpose of this essay is to investigate the use of perspective and pictorial value in traditional Chinese ink painting of Song Dynasty (960- 1279). Traditional Chinese ink paintings are known for depicting landscapes in a unique and profound style, but are usually not credit for their accuracy in depicting scene in a realistic way. Some may even consider that traditional Chinese ink paintings do not have the “correct” use of perspective and pictorial value in them. Did ancient Chinese artists have a clear awareness of pictorial value and perspective? This essay will examine the use of perspectives and value in traditional Chinese ink paintings from artists in Song dynasty.
The scope of this essay is period of Song Dynasty, for
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Without the disturbance of constant warfare and economic crisis, the demand of craftsmanship and art boosted. The demand of paintings among the civilian increased since paintings are favored by most middle class and upper class civilians. As well as nobilities as symbol of wealth, status, and most importantly prove the owners to be well educated and have literary pursuit. Paintings are sold in grand events in Song dynasty such as the temple fairs in Bianjing (the capital of Northern Song dynasty) and night markets in Linan (the capital of Southern Song dynasty). And in different festivals, paintings of deities and other mythical figures are hanged in people’s houses, such as the paintings of door- god and Zhong Kui at the end of year. Restaurants and stores also used valuable paintings to attract upper-class customers. And paintings on fans, screens, and other furniture were used in people’s …show more content…
This situation was mainly facilitated by the eighth emperor of Song dynasty, Emperor Huizong. Emperor Huizhong (1082- 1135) was famous for his passion and attainments in painting and calligraphy. He himself was an excellent painter, expert in painting realistic birds and flowers. The status of artists rose to an unprecedented level during the era of Emperor Huizhong. He established a governmental department Hanlin Huayuan (the Imperial Academy Painting department) just for painters and included painting in the Chinese Civil Service Examination to select court painter. Which spurred the industry of painting and caused the number of professional painter to increase massively.
- The Graphic Perspective and Value
Perspective, as an art professional term, is the way of depicting a 3- dimensional object on a 2- dimensional surface in the way, which the object is bigger as it’s closer to the viewer’s eyes and smaller as the object is further away.
- Types of Linear
...ossessed with three dimensional attributes. The optical effect may be explained by the fact that the human eyes see an object from two viewpoints separated laterally by about six centimeters. The two views show slightly different spatial relationships between near and near distant objects and the visual process fuses these stereoscopic views to a single three dimensional impression. The same parallax view of an object may be experienced upon reflection of an object seen from a concave mirror." (http://www.freepatentsonline.com/4229761.html).
Huizong was a literati artist, well trained in poetry and calligraphy often looking at paintings in terms of these two arts, adopting many of the aesthetic concepts set forth in Ershisi Shipin (The 24 aspects of Poetry). As a literati artist he believed in “depth and primitive simplicity” in his work, and that painting was an enjoyable activity intended to please one’s self and one’s friends (Barnhart, p.3). His development as an artist was oversaw by three friends, all of high social rank, but of different interests. Zhao Lingrang was a painter and assisted the Emperor in his continual search for scrolls to adorn his colle...
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.
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
Major changes in political structure, social and economic life define the Sui, Tang, and Song dynasties. Each period laid the foundation for the next, with changes and improvements to create a new order.
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
recover these lands so they were forced to make peace with the Khitans and the
In order to familiarise myself with the above topic, I have invested much time reading vast selection of the portraiture art themes with aim to get acquainted with the knowledge and the language used in this particular subject. It was very challenging and entertaining to read comprehensive range of various critiques and analysis of the world best paintings stretching from ancient classic to contemporary western image. Developing understanding of the diverse art expressions and social and political influences tha...
It will define that Zhang used traditional Chinese charcoal drawing aesthetic to show the subtext of his artworks in contemporary Chinese art. By tracing the traditional Chinese charcoal drawing aesthetic in Chinese Painter Zhang Xiaogang artistic development in the past two decades, his art as a whole can be interpreted in presenting his concerns of the foregone society and showing his own feelings towards the public history with a unique form of expression.
In 1127, after a prince of the Song Dynasty fled across the Yangtze River to Hangzhou, the Southern Song Dynasty was established. The Southern Song Dynasty achieved a period of economic success, prosperity, and artistic creativity, despite the fact that the military was not exactly strong. The Southern Song Dynasty’s downfall did not come from problems within, but was overthrown by Mongols in 1279, marking the end of the Song Dynasty.
Through time due to advancements in material and painting techniques combined with the ever-increasing talent of the artists, paintings representing people have become very lifelike and are extremely realistic. Some painted portraits have as much detail as modern photographs. However, there are also paintings of people that are representational in which the artist is trying to convey a message. This paper discusses the two types through the comparison of two paintings, Abaporu and Portrait of a Lady.
The Song Dynasty (960-1279) was a ruling dynasty in China. This dynasty is divided into two periods: Northern Song and Southern Song. Social life was vibrant in the Song dynasty. Literature and knowledge were enhanced by wood block printing and movable type printing. Confucianism infused with Buddhist ideals emphasized a new organization of classic texts brought out the core doctrine of Neo-Confucianism. The civil service examinations became more prominent in the Song period. Administrative sophistication and complex organization was during this era. Song Dynasty was prosperous in many respects of the society. Even though this dynasty was technologically and culturally advanced, Song people were not militarily powerful.
...d landscape materials in the galleries. Some of the large land art works can only be accurately enjoyed from some height by a plane or so. According to opponents, an art work should be open for every class of society. As viewing a large land art piece from the air is beyond the reach of poor person. But photographs are the best option to represent the huge and unreachable land artworks.
Perspective has its roots in Latin it comes from the word ‘perspicere’ or translates literally as ‘to see clearly.’
When analyzing artwork, in any form, there are often times social contexts in which can be interpreted. Not always does the history behind the painting need to be revealed to fully understand the concept of the artwork, yet it is helpful in determining if the artwork is truthful in its representation. Although in analyzing artwork it is likely that there are drawbacks to considering the social context. To illustrate this point, I'm going to use the visual arts as my medium of choice. Understanding the social context can be an important tool. An advantage of knowing the history of the painting or sculpture can really enrich our knowledge, being in the 21st century, about some of the social periods from previous times. It can demonstrate how traditions were carried out, how they had an impact on the different social classes. It's a visual teaching aid of a sort. Even in the time period of which the artwork was created can be used as a tool to show how the life was in different parts of the world. It was also used as a hammer in the realist movement to show the upper classes that life for the poor was horrible. The visual arts is the only medium in which the pictorial image creates a universal language in which anyone, regardless of nationality or social class can interpret. The text which is created by this language often creates a context which is left open to interpretation. Contexts are created by the artist, critics, judges, the public, essentially, any one who views the work and forms an opinion relating to it. The contexts stem from subject or content of an artwork, and are usually facts regarding the content. Yet, the contexts almost always have backgrounds themselves, therefore making the original contexts, texts. This will be more clearly illustrated later. The chain is seeming to be a never ending process. There are always more conditions to the previous ones. All context, therefore, is in itself, textual. This concept of all context in itself textual is a post-structuralist strategy. A man named Derrida is a man who has developed this idea that the post-structuralist concept of every statement made, can be interpreted in infinite ways, with each interpretation triggering a range of subjective associations. Every statement has an association, therefore it's a sort of domino effect.