How Did Chinese Culture Influence The Development Of Art During The Ming Dynasty

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

Confucian scholars were expected to master the skills of poetry since it was the most respected form of Chinese literature. Chinese writers often focused on a broad topic such as life or the universe. Poetry never faded throughout these years, and new forms of popular literature began to emerge in the Ming dynasty. Stories began to be told by specific pieces of literature, and classical poetry continued to play a part in Chinese literature for many years.

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

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 Cultural Revolution, which affected China from 1965 to 1968, is the name given to Mao's endeavor to proclaim his convictions in China. Mao Zedong was a Chinese Communist progressive and the establishing father of the People's Republic of China. He had a Marxist-Leninist hypothesis, military procedures, and political approaches which were known as the Mao Zedong Thought. Mao was worried about the traits of post 1959 China. He commented that the unrest had supplanted the old respectability with over again one and expected that these individuals taking in a main part would debilitate Mao's energy inside the gathering and nation. Mao trusted that with the begin of the Cultural Revolution, it would disrupt the decision class and get China to a more equivalent condition of being. August 1966 at a meeting of the Plenum of the Central Committee was the initiation of the Cultural Revolution development.

The family structure of the Ming and Qing dynasty revolved entirely around the concept of Filial Piety. Filial Piety, had a focal point aimed at the relationship between the father and the duties of his children to him. The father was the leader of the house who in turn passed this position to his eldest son. Furthermore, it was the sole responsibility of the children to take care of his or her parents as they grew old in age. Over time these family lines grew and became known as clans. Not only did the clans take care of one another, the also had many members from various ranks within the hierarchy of society. When a member of the clan climbed the ranks in society, it brought great promise and or wealth to the entire clan. However, women

New agricultural techniques, porcelain, metallurgy, printing, and naval technology were few of the technological elements that reinforced the established features of social order. New agricultural techniques helped in the expand of their agricultural potential, the dynasties gained reputation from porcelain technology which moderately diffused to other societies producing porcelain in large quantities, metallurgical techniques as well diffused to lands beyond China, printing produced texts quickly and popular works appeared in huge quantities, and naval technology included of the magnetic compass which soon became common for mariners to use. Population growth, patriarchal social structures, and gunpowder were technological elements reinforcing established features of political order. Population growth reflected the capacity of economy and distribution of food, patriarchal social structures included of concern to preserve family fortunes and foot binding, and gunpowder was an element used for military effectiveness. These aspects provided a fundamental change in traditions because they changed their whole concepts of how to use goods as in previous Chinese eras.

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.

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.

When we look at the history of the Middle Ages and the Renaissance, we always like to use the confinement of thinking and the liberation of ideas to sum up the two, especially in the art, the medieval paintings are often used in dark colors, deformed three-dimensional concept Showing the real world, and often less a bit human nature. And after the Renaissance, the painting masters are the opposite of it. I am not here to comment on their good or bad, but from the artistic point of view, to explore whether a good form of art needs to reflect the community and a wide range of civilizations

Paintings had little meaning compared to other arts such as sculpting and music. Artists turned to those arts to express themselves, and paintings rarely had meaning in them. China did not consider them very important compared to other civilizations.

Japanese landscape painting developed from a multitude of influences and incorporated many themes and ideas, from native beliefs in japan to influences from China and Korea and even from Europe all which gradually changed painting in japan. The main artistic influence in Japan up to the mid 19th century was China and and Chinese Landscape painting in Japan was brought over by traders and became very influential to academics, scholars and the aristocracy, far from merely copying Chinese painting japan was able to bring their influences to create a very unique type of painting.

A landscape painter “tended to be a recluse, an individualist, and a Daoist (Morton and Lewis 2005).” These artists thought of landscape painting as the “grandest and most satisfying way to represent nature as a whole, to feel a sense of communion with nature, and to know oneself to be part of an orderly cosmos (Morton and Lewis 2005).” Thus, one can see the implications of landscape painting lay not just in its beauty and simplicity, but also in its spiritual connection with Nature, and thus had wide appeal. The point of view in landscape painting was also of paramount importance. The Chinese artists understood that Western artists took in scenes from five or six feet from the ground. Chinese artists worked from a raised viewpoint, so that they are not bogged done by small details in the front and get a better sense of the whole scene (Morton and Lewis 2005). Every part of the image that is created has its own innate interest, and yet it all comes together and works well as a whole (Morton and Lewis 2005). It is clear that landscape painting was a cherished and important art form in Song Dynasty culture.

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