Summary OfThe Dwelling In Fuchin Mountains

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.

The painting depicts a singular mountain with trees and abstract landmasses in the foreground. The trees are placed in such a way that they seem to echo the shape of the mountain. This is an example of Cézanne’s attempt to created a structured composition out of the scenes that he observes in nature. Cézanne was not depicting nature as it was, but rather he was, as he called it, making “a construction after nature” (Stokstad,1013). This is one idea that lead Cézanne away from the impressionists, who were more concerned with reproducing on canvas exactly what their eyes perceived. Another thing that was different between Cézanne’s style and the impressionists’ was the way that he applied paint to the canvas. For example, in this painting, the trees and land in the foreground are loosely painted in; their forms are created by an amalgamation of colored blotches. The blotches of color often bleed into each other, and the forms that they represent begin to dissolve. The image is flattened by the ambiguous forms in several spot in this painting, creating a disruption in the illusionistic space and bring the viewer’s focus on the inherently flat surface of the painting. The most effective technique that Cézanne employs in his attempt at depicting space in this painting is atmospheric perspective. Coloring the mountain with the same shades of blue

The first thing to note is the overall composition of the painting. First and foremost it is a landscape painting. The colors are very monochrome; the space is stretched to reveal a depth to the painting that the eye cannot capture; and there is stillness to the art that embraces nature and serenity of life. In the right-hand corner of the painting there is calligraphy. The calligraphy lacks the precision, but is very clear in its form, much like the depiction within the painting

5. Egypt invaded Kush during the New Kingdom period. The results of Egyptian occupation included the brutal exploitation of Nubian laborers and the imposition of Egyptian culture on the Nubian people.

This illustration represents an earliest style and painting technique found on a good portion of Chinese paintings. The black paint was applied directly to the vase to create a distinction and captivate its audience. The artwork is made of two

We can also see the use of black shades to create a hole at the bottom part of the rock. With his excellent use of colors, we can identify the good, healthy and green grass from the bad, unhealthy, brown grasses. Looking beyond the main focus of the painting, he uses colors to separate the sky from the land in the background creating a solid form of perspective on the painting. He also uses colors to create water forms as seen behind the young character. Now, for the sky, he uses shades of white to magnificently differentiate the thick clouds from the light ones. He also uses this to create a source to light to the whole area. All these put together creates a splendid, realistic and familiar atmosphere for the viewers to relate with.

They would often create landscape images that symbolized their longing to escape responsibility and to commune with nature. Many artists and poets began to creating lots of things that had to do with escaping into nature. Even many of the scholar-officials began creating artwork including different types of poetry, calligraphy, and a type of calligraphic painting. These scholar artists created images of beauty in nature. Lots of literature and poetry was written at this time, much of it in the ci format which was popular in the 1000s and 1100s AD. Philosophers and writers from this timeframe include Su Shi, Mi Fu, ZiZhi Tongjian, and Fan

Hill painted a perfect looking scenery which made it realistic as if a real scenery picture was taken with an advanced technology. Hill applied a wide range of vivid colors to help enhance this piece more. If I was to visit a senior citizen home and had to depict this painting to a blind fe/male. I would start off by saying firstly, my attention was drawn towards the upper atmosphere’s bright blue color which reflected from the large body of water underneath it. Which is often associated with feelings of breaths slowing down and when one reaches a certain state of relaxation. Secondly, by imagining one mashing a pillow against their palms I was able to feel the fluffiness of what floats in the sky. In order to picture, the way the sizes and shapes change I would compare it to when one

The use of lines in Stone City is one of the key visual elements in this painting. The artist used many contour lines to define the boundaries between the trees and the valley, the river and the land, and even the long roads from the hills as it winds through the countryside. Wood also incorporated a lot of implied lines into his artwork. The trees and bushes that line the hills create a line of sight which draws the eye of the viewer to the house on the river, which is the focal point of this painting. The lines all move in different directions and help the artist highlight different aspects of the painting. Around the city and in the foreground of the painting the artist uses a lot of horizontal lines, which gives the town a calm sensation. As we move away from the city, we find a lot of vertical lines which denote growth. We also find a lot of diagonal lines which imply action in the painting. The diagonal lines are predominantly used by the artist in the creation of the roads and

According to Fiero, “Chinese landscape paintings generally achieve a sweeping unity of air, earth, and water that dwarfs the human figure” (2016, p. 221). Fiero’s descriptions of Chinese artworks was quite accurate at the San Diego Museum of Art, as a majority of the

The next question we usually ask ourselves is “why?” why the color, why the worn out look of the farmhouse, why the surroundings, in general why is the painting depicted like this? That brings up the need to analyze the work of art at hand. When focusing on this painting, you can see a few birds soaring over the farmhouse. They’re quite small so there’s some difficulty telling if they’re flying towards or away from the farmhouse. It is still very probable that they flew over it at some point in time though. The lines in the painting are mostly depicted in the trees, and outer walls of the farmhouse. Standing firm the trees look, and or represent strength and dominance. It makes you wonder if there’s still hope for the dead looking environment surrounding the farmhouse. When first observing this painting; the thoughts were generally negative such as; sad, abandoned, lonely, and depressing, etc. The painting is indeed centered, and the focal point is obviously the farmhouse.

While Qiu’s work depicts the prosperity of Suzhou in the middle era of the Ming dynasty, Zhang’s painting shows the daily life of people in Kaifeng during the Song dynasty. Qiu Ying’s buildings are more structured and grand, even the shops appear more spacious. The scenes in this painting represent an important page in Chinese history by combining the history and reality of a genre painting. So many landmark buildings in Suzhou are clearly recognizable which show the developed economy and traditions of the Ming dynasty and the artist’s own style. Qiu Ying uses the traditional blue-and-green style in this painting, leading to a beautiful picture which is filled with bright green mountains and clear blue

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

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.

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