Characteristics Of Chinese Literati Painting

During the Han period, poetry had started to flourish. The most popular form of poetry was fu, it is a mixture of rhyme and prose. At the time, poems were thought to be a more creative form of writing. Music and dancing was also a very important part of the Han culture. Many of the instruments required the user to pluck string. Many of the dancing contained many upper body movement and had many meanings to convey. Many forms of art also came out at the time. Many of which being wall painting, and embossed silk. Although artists were not high up in the social structure, they still were close to the

Texture and pattern are very easy to identify in this painting. The street’s cobblestones show texture and pattern in the way that they are arranged. Texture is also demonstrated through the paint strokes on the buildings, the tree, and even the sky. These thick, uneven strokes add a layer of depth and texture to all elements of the painting.

eventually melded some styles to have the art and work in general brought to a

Beauty is an incredibly subjective thing; what might seem appealing to one’s eyes may be horrendously ugly in the eyes of another. However, the status of “beautiful” or “ugly” can be assigned rather objectively when art is examined from the perspectives of different philosophies. The beliefs and values of different philosophies can be used to find meaning and beauty in various art forms, allowing for a more straightforward determination of beauty. Because of the many layers of meaning most paintings entail, they are a perfect example of an art form that can be analyzed by numerous philosophical viewpoints to find meaning and beauty, and Ma Yuan’s painting Walking on a Mountain Path in Spring, which comes from the Song dynasty of Chinese and depicts a sole figure standing in a natural surrounding, is no exception. Ma Yuan’s painting is beautiful because it represents the ultimate achievements for the Buddhist, Daoist, and Confucian philosophies.

The artist paints a work of art “Chiapas Paz Mexico” which is influenced by the way of life of the people living in a river valley in Mexico. For the composition, he paints the mural by dividing two main parts by using flat form style to tell the story. He doesn’t show perspective or overlap objects on the mural. However, the right side of the mural, he paints an unrealistic shape and forms little village with buildings, trees, hills and people into the background of the mural, making them appear far away. At the top of mural, there is an army standing above the mountains of the village. The other interesting part is the old woman at the left side of the mural. She has the biggest portrait on black the background and is separated from a part of the village by the 3 soldiers. However, there is a rainbow ribbon connecting two parts together and the woman is a starting point of the rainbow. The rainbow ribbon shows the movement from the old woman to the river at the bottom right and continues moves

The Han China and Classical Athens’ culture also had a huge different to how the arts were created. The arts of the Athenians were more focus on themselves, the human body. For example, on the front cover page, there is a drawing or statue of a Greek man, the Greek man is standing in a weird position with his arms pointing down, there are a few lines emphasizing his muscles, torso, biceps, etc. (Front Cover). While the art of the Han China were more focus on the landscapes and scenes surround them, along with the serenity and balance of the world drawn on to canvases in great details (document L). In most paintings, the five Chinese elements called Wu Xing will most likely be included in the paintings; the five elements are wood, fire, earth, metal, and water. Looking at Ch’iu Ying’s painting, you can clearly see the how Wu Xing is being presented in the painting, how the trees and mountains were presented in the background (document L). However, as you can see in the painting, there are only two men in the painting, this could mean that humans were inconsiderable in their arts (document L). As a conclusion, the two artistic styles were complete different from each other, the Han’s arts were more focus on nature in great details, while the Athenians’ art were more focus on the human body.

“The mind changes, the word changes, time doesn't stay still, history is a verb, it is ongoing, there is no past tense, future tense, history is constant” Hung Liu told interviewer Rachelle Riechart (Riechart). Hung Liu is a Chinese woman who was born in Changchun, China in 1948. She was born during the age which we call the Chinese Cultural Revolution, which heavily impacted her life. She lived in China for 36 years and then left for the United States. She now resides in Oakland, CA, where she teaches art at Mills College (“A World of Art”). A lot of her artwork is based on photographs and memories she has from China and photographs she’s taken in the United

This paper will employ close visual analysis of the The Vase that was created by skilled craftsmen [Tang dynasty (618–907)] describing how it’s minimalist design represents that it was a time when they focused on non-controversial themes when painting.

Zhao Mengfu, a main calligrapher of his time, set the course of researcher painting by solidly building up its two essential precepts: restoration through the investigation of antiquated models and the use of calligraphic standards to painting. In Twin Pines, Level Distance the scene figure of speech of the Northern Song experts Li Cheng and Guo Xi has turned into a calligraphic style. Instead of essentially portray nature as it gives off an impression of being, Zhao tried to catch its quintessential rhythms. The attributes of rocks and trees, felt by the craftsman and carried on through his calligraphic brushwork, are saturated with an increased feeling of life vitality that goes past insignificant representation.

It is the first modern landscape in Western art. Though the humans seem to be the main focus, the landscape is just as important.

Zhang Zeduan’s masterpiece depicts the landscape of his hometown, Kaifeng and the life of its people during the Song dynasty. Nearly 500 years later, Qiu Ying portrayed his hometown Suzhou in a similar way, but in his version, the scenes are different to the original version. Compared to Zhang, Qiu Ying added more blue-and-green landscape patterns, and the feeling of the artisan is not strong in this work. The most important thing is that both artists show different visual perspectives of the culture and customs of the city.

Here we are going to talk about our two paintings in more detail and The First Landscape Painting for discussion is Uragami Shunkin, Spring landscape, 1821, Ink on silk. This large painting has many Japanese traits but also carries over numerous Chinese

To introduce to Indian ink painting (sumi-e), it is necessary to mention briefly the importance of painting in China, because it is in this cultural context, philosophical and artistic born the monochrome painting.

These painting techniques show the influences of master ink paintings done by Dong Yaung and Jaurn. Huang's Dwelling in Fuchin Mountains shows not only that, but beautiful composition that enhances the brush strokes. Daiost painting like this show off the purity of the landscape almost like its untouched and seems like we're looking at a remote part of the world that no one else has ever seen. Culture this painting shows something different than what we have seen in early landscape painting in class or most American paintings after this time which depict the day or a specific event. While Chinese painting showed a sort of journey

When one comes into contact with a Chinese painting, the style is almost instantly recognizable. The attention to detail, craftsmanship, and vast depictions of elaborate landscapes appear to pay homage to mother earth in an attempt to reach a state of eternal balance with nature and life. Before this equilibrium could be achieved, one must attain internal discipline. This was required before one began mastering their brushwork in Chinese culture. In Mai Mai Sze’s “The Way of Chinese Painting,” 1959, New York: Vintage Books, Random House, Sze discusses the philosophy known as Daoism/Tao, or “the way.” Before one became a skilled painter, one trained in the personal disciplines of poetry, art, calligraphy, and internal