Concealed Self In Tang

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This art analysis will argue in favor of the dissenting “literati” of the Song Dynasty that sought to underscore the “concealed self” of governmental punishment and the re-discovery of self in landscape paintings of the Yuan and Ming Dynasties. During the Song Dynasty, governmental scholar-officials were often expected to challenge the policies of the government, which caused some officials to “self-edit” themselves due to fear of punishment from the Emperor. Song era landscape painters concealed their literary symbolism in the landscape paintings produced by scholar-officials. However, some scholar-officials chose to “re-discover the self” by retreating to the countryside to create landscape paintings as a form of public dissent against the new Mongolian government of the Yuan Dynasty. This form of dissent defines the strong political…show more content…
In essence, an analysis of the “concealed self” in Northern Song paintings will be contrasted by the “re-discovery of self” in the public dissent of Yuan and Ming literati painters in the landscape painting style. After the fall of Tang Dynasty, Song Dynasty scholar-officials sought to re-discover the self through the paintings of Northern Song Dynasty painters, such as Su Shi, define the desire of scholar-officials to find peace and harmony in the rural retreat from urban life at the royal court. For instance, Su Shi’s “Ancient tree and Rock” is a famous work of the Northern Song period, which breaks with academic or courtly traditions in art by applying simple brush strokes as a form of silent dissent against the authority of the Emperor. In this context, the concealed dissent of Su Shi’s painting is defined in the resistance to
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