Walking through the Museum Store doors of the Pacific Asia Museum and past the Mosher Gallery, viewers will find themselves surrounded by beautiful porcelain wares from earlier civilizations of Korea and also China.
It is elaborated in the article, Global China: Material Culture and Connections in World History: " The significance of porcelain for the study of world history is due in part to its unique physical properties. Fired at very high temperatures, porcelains can withstand the ravages of time and nature, surviving for centuries to tell their stories, regardless of the seas or soils in which they are submerged and which quickly destroy items of cotton, silk, wood, and paper. The malleability of the [fine white] clay and the hard, white surfaces of the bodies render porcelain a material that can cater to demands and tastes from all over the world, making it a highly exportable commodity that easily crosses geographical and cultural boundaries" (Pg.4)
In the Galley of Korean Art one may be struck by a particular piece titled, "Bottle with Dragon Motif." from the Joseon Dynasty (1392-1910). Korean ceramics worlds during this period were heavily influenced by and fashioned in the Chinese Ming Dynasty ceramic style pertaining to shape, color, and technique; and more specifically, they were profoundly inspired by Chinese white and blue wares. This vase is the perfect example of that connection between the two cultures. The cobalt blue under glaze was used by the artist to fluidly paint on the monochromatic flows, rolling clouds, and a dragon that wraps itself around the body of the vase. It undoubtedly resembles that of Chinese pottery at the time with some limitation on the color range and dimensio...
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...n of this porcelain to the blue and white bottle because it appealed, personally, to me more in that it showed more personality and variety or that it appears to be more layered and dynamic. Additionally, I appreciated that the skillfulness used on this vase is just as undeniable as the previous one.
Overall, I enjoyed both works thoroughly. I think each one clearly conveys the essence of skill, symbolism, discipline, beauty, and tradition. For this reason, I think both works more than adequately represent the integrity of the interrelated cultures that they belong to.
Works Cited
Charles, Victoria. Chinese Porcelain. Parstone Internation, 2011.
Gerristen, Anne, and Stephen Mcdowall. 2012. " Journal of World History 23, no. 1: 3-8. Academic Search Premier, EBSCOhost (accessed February 4, 2014).
Kleiner, Fred S. Garder. Boton, MA: Thomson Wadsworth,2009
Which is more artistic can be debated each way. Truly,
William R. Keylor and Jerry Bannister. The Twentieth-Century World An International History Canadian Edition. 2005.
The Shang Dynasty invented and, over the years, perfected the technique of casting a bronze vessel from a clay mold assembly, which this wine vessel has also been made from using those techniques (Cantor). This mold was formed around a model of the vessel and was then cut into sections that were carved or impressed in the desired design, in this case the braided or grid design, on the inner or outer surfaces. The decorated clay piece-mold was then fired and reassembled around a clay core. Small bronze spacers were used to hold the piece-mold and the clay core apart. Then, molten bronze was poured into the mold. Using this piece-mold casting technique helped the bronze worker to achieve greater sharpness and definition in any intricate design
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
The statue of King Khafre Seated , from the fourth dynasty of the Old Kingdom, 2520 - 2492 BCE, was created by an unknown artist in the smooth permanence of graywacke stone. Although the statue is currently at the Metropolitan Museum of Art as number 56 in the Special Egyptian Exhibition, its true home is at the Egyptian Museum, in Cairo. The man being portrayed, King Khafre, ruled Egypt for approximately thirty years, during which he commissioned the single most recognizable monuments of Egypt, the a fore mentioned Pyramids at Giza and the Sphinx. These monuments of symmetry and solidity characterize the focus of popular architecture and sculpture from the Old Kingdom in Egypt.
Wilson Quarterly 2.4 (2000):110. History Reference Center -. Web. The Web. The Web.
Both pieces to me seem to represent godlike features. For example, in the palette the king is shown as larger than his enemies and in the stele the king is standing over the people and is much higher than them. As rulers, they are both depicted as strong and heroic and as humans, they are depicted as
...or historical records and scribing. In this manner, each section showcased the idea of purpose behind each Egyptian artifact; while all items are very ornate and artful, this separation proves the Egyptians lack of embodying “art” so much as embellished items of practicality and function.
Classzone.com. Retrieved February 7, 2011, from http://www.lmoskal.net/worldhistory/whtext/ch22/W5E22BAD.pdf
To conclude, both sculptures do not have much in common, but it is obvious that the artists had knowledge in human anatomy and was able to sculpt them spectacularly. It is also obvious the break from somewhat idealistic to realistic human nature. The change is so drastic that one might not believe that both sculptures come from the same Greece because it is so well-known for its astonishing artworks found in temples, building, etc.
Chang, Kwang-chih 1968 The Archeology of Ancient China Yale University Press, New Haven & London
...ce, although both writings are interesting in their own ways, the most interesting aspect of both writings together is that they both have a similar plot and theme. It is rare that two
Ellis, Elizabeth Gaynor, and Anthony Esler. World History: The Modern Era. Boston: Pearson Prentice Hall, 2007. Print.
Beck, Roger B., Linda Black, Larry S. Krieger, Phillip C. Naylor, and Dahia I. Shabaka. World History: Patterns of Interaction. Evanston, IL: McDougal Littell, 2009.
Duiker, William J. , and Jackson J. Spielvogel. World History . 6th. Boston, MA: Wadsworth Pub Co, 2010. print.