The Period Of The Qing Dynasty, Shanghai School Of Painting

Hung’s portrait reminds me of Frida Kahlo’s portrait as both artists include nature to represent life and imagination. Both portraits depict a woman with a neutral but almost pained expression, surrounded by various symbols of life. In addition, Hung appears to be trapped in her high collar much like Kahlo is caged in by her thorn necklace. Essentially the style of this self-portrait is realistic while simultaneously expressing the artist’s innermost thoughts and emotions. The portrait emanates a psychological appeal as Hung highlights the distinction between the dullness of her image and the color of mind, thus expressing her longing for creativity. Aside from the style of this portrait, I found that Hung’s profile was drawn in a traditional manner. In contrast, there was originality in the way the colors of the image contrasted. I found it very bold and powerful for Hung to contrast her black and white image with surrounding bright colors. It definitely draws a focus onto her face, but it’s done in a subtle way so that the painting overall represents the distinction between the inner and outer

In his painting, there is a term to expressing how light varies from its original light. For instance, the background of the painting is adding with brown color, yet using tint and shade effect to the sun sets with distinctive brightness. Brightness is adjusted by horizontal movement, and Breton increases, and decreases his painting’s brightness at the background view. Upper part of the pieces, twilight shines with varying brightness, depending on the darkness of the sky surface. Brightness for the mid-gray tones in the surrounding space, with significantly affecting the highlights and shadows. Overall painting allows depress emotion. Figures is luminous such as the sky and houses, also for the woman, she is apparently describing with a energetic sense of natural, and mournful atmosphere. The light at the back part of the drawing gives viewers to pay attention to the woman rather than the background, since there is bright white T-shirt with dress, and the woman’s face. Breton uses tint and shade effect at the upper part of the painting, and clouding of the back scene maintains a tenderness. Breton uses bright light at the sun sets, and it expressed that it was the dawn and bring message with a bright future will come soon to the woman, and the

some of the pots, in the three dynasties for daily activities. Also it was a general

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.

Painting was a way to record history of Chinese figures. There were not a lot of differences between the north and south china when it came to painting of religious and historic stories. The difference between the north and south in regards in paintings styles. Jing Hao and Guan Tong represented the northern schools and Dong Yuan and Juran represented the southern schools. The north did panoramic structures paintings and the south schools painted mountains and seas in southern china. The northern and southern china schools differed in other artistic fields. Both schools did have a close relationship in landscaping

As the empire becomes stabilized, Ming dynasty reached a big advance in expression in art. In the book Masterworks of Ming and Qing Painting from the Forbidden City, it is said that “The reigns of the Hongwu, Yongle and Xuande emperors were relatively strong and well-organized, supported by a strong agricultural base in the south below the Yangtze river, and by a particularly large and efficient merchant fleet (Howard 22).” and during that time “…great advances in

The Tang and Song dynasties have been regarded as the “golden age” of arts and literature, setting the bar high for poetry, landscape painting, and ceramics. When international merchants brought their poetry, the Chinese invention of paper and block printing made poetry widely available in the Tang dynasty. They also invented new styles of ceramics and metalwork, influenced by

Also, they promoted trade by guarding the Silk Roads, relining on ocean trade. Buddhism spread and the Chinese were exposed to Christianity. Also, the Tang period produced great poets like Li Bo and Tu. During the Song Dynasty, artists were influenced by Daoism and emphasized the beauty of natural landscapes, used black ink. • The historical significance of the word

In this painting, two visual elements stand out over all the rest. These elements are that of color and texture. Color in art is an element that has to be phenomenal in order to get recognition and true appreciation from the viewers. In this painting, the colors are rich, vivacious and standout as dark, but bold representations of the uniqueness of it all. The use of brown and yellow and green and grey and white all come together in a harmony of color and unity. As for the texture in the painting, it is that of brisk and roughness that is nature. The sharp edges of the bucks rack and the cold, rough edges of the dead tree show

In what ways did the history of the Qing Dynasty effect modern East Asia? The Qing Dynasty has had countless effects on China and East Asia, including but not limited to the current distribution of land, philosophies and economic status. The anti-trade mentality plus the ups and downs in the Trade agreements the Qing Dynasty had been a part of relates to the state of modern China. The Manchus created the Qing Dynasty and combined many regions and cultures, creating a multinational empire and in a way unified China. Modern East Asia has been impacted by the Qing Dynasty throughout the many wars

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

Many of the members of the Storm Society were those that studied the arts in foreign places such as Paris or Japan. However, many of them went to Japan as it was much cheaper and closer to that of China. Some of the most notable artists who returned from foreign locations with a modernist perspective in art were that of Ding Yanyong, Guan Liang, Ni Yide, and most importantly Lin Fengmian. Lin Fengmian was important due to being the head of the Peking art school and heavily influencing the direction of the Chinese art

The first is a medieval painting, created by the Italian painter Duccio creation, we can see that his paintings are characterized by a typical dark tones, because it is the early Virgin image, painting skills are not too mature, more oil painting Has not been born, cannot be repeated stacking, repeated changes, and thus in the character image of the expressive force is not perfect, it is not a strong light and shadow effect, but on the basis of flat painted slightly darker blooming, so that the face of the Structure and clothing pattern to show the bumps. However, as time goes on, the earlier the icon on the image, the less the effect of three, the basic lines are outlined in the plane, with color is simple and bright. But the phenomenon of rigid expression until the 16th century when the image has not been

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.

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