The Relationship Between Persian Painting And Chinese Painting

Fontebasso, Francesco. Family of Darius Before Alexander. 1750. Oil on canvas. The medium used for this painting oil on canvas which is the same as the first painting. This painting also has the glazing or shining effect too but, the texture of The painting is quite smooth compared to the first painting. This painting depicts two

paintings Nobleman Hunting in the Marshes and Ti Watching a Hippopotamus. All of these art forms are labeled under humanism. In contrast, is the Musicians and and Dancers Egyptian wall painting where there are two women facing forward as well as

After the rise and fall of the earliest civilizations, some of the very first ancient empires started to emerge over many centuries before the birth of Christ. Although there are many things that characterize these empires uniquely from each other, there are still resemblances between them. Despite the fact that both Persia and China were great empires in two different regions, their governing methods coincide in the systems of organization and basic infrastructures; but they differed greatly in the beliefs of both the government and people.

The artworks of Ancient Mesopotamia and Ancient Egypt are both strikingly different and similar at the same time. Consistent is the theme of serving the different gods the two cultures believed in. In Mesopotamia the various city-states each had their own protective deity, and in Egypt they sometimes differed from one dynasty to the next. Whatever the case, with the beginning of kingdoms and rulership came the need to justify a position of power and establish a hierarchy. And as more time passed came also the human need to leave an impression on their world. Looking at the example of the statues of Gudea from the Neo-Sumerian period and the Temple of Ramses II from the New Kingdom of Egypt in the 19th dynasty, will show how both rulers of

The main purpose of this paper is to describe the visual analysis of the artwork. This paper examines an Egyptian half nude portrait art which is taken from Metropolitan Museum of Art (Fig.1). The statue characterized both male and female seated figure with a Braid hair. In this essay, I will present a complete visual description of this artwork (its preservation, costume and iconography), and then I will compare it to another artwork which is chosen from Textbook that is Akhenaten and his Family (Fig. 2).

Another common Islamic artwork was calligraphy, which is illustrated in Figure II. It was described as the most important of all elements in Islamic art. This art was considered dignified, due to its association with the Muslims Holy Book Koran, temple and palace inscriptions, and its use in

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.

Ancient Persia and China had many similarities and various differences in how they both ruled their empires. Most of these similarities and differences come from their political and military practices. They both also share some similarities in their religions. Persia and China have many of the same techniques in governing their empire, military techniques, and religious practices, while also distinguishing themselves from one another under mongol rule. One thing both of these ancient empires had in common was how they ruled their empires.

I am going to compare Northern Renaissance art to the landscape art of the Chinese. Northern Renaissance worked with realistic detail and focused on symbolic imagery more than on the replication of nature. Landscape painting was popular in the Northern Renaissance era using landscape as the subject of art. This is comparable to the landscape paintings of the Chinese. Their paintings were meant to be read from bottom to top and often had a high point of view. These paintings were full of ambiguity and indirect meaning. Their landscape paintings featured mountains in the middle and background with water dominating the foreground. If any figures were included, they were small and insignificant.

The book Between China and Iran, which was published in 1985, is considered a standard reference on all aspects of the Hazine albums. There are several articles in the book on Chinese influences on the albums, and further ideas on this subject have been published in an article in the journal Muqarnas by Nancy Steinhardt. Nancy Steinhardt in her article “Siyah Qalem and Gong Kai:”, which was published in 1987, focuses on Chinese paintings as sources for Siyah Qalam's paintings and finds connections between these paintings and authentic paintings by specific Chinese painters of the Yuan era. This author identifies four subjects in Siyah Qalam's paintings in common with the purposeful works of two Chinese painters: she writes, "in searching for a cultural milieu that might explain the often bizarre imagery of the Istanbul album paintings, one is, however, tempted to see in them something of a documented context of the four Yuan period models". Steinhardt clarifies a contrast theme and a political protest for introduced Chinese paintings that were inspirations for Siyah Qalam's paintings. Finally, she suggests that “if it could be shown that

In the fourth paragraph it talks about how iran artists adopted the seljuk style of painting. This couldve ben one of the tactics used by the Ilkhanids as way to slowly intergate themselves into other cultures. This is one way of them enforcing and solidfying their postion as rulers in a foriegn land.

Formerly, the artists of the Byzantium Era strived toward realism in the depiction of human form and angelic mysticism in the scene. The artwork of this time holds strong connections to Christianity with the embellishment of books, mosaics, and decoration of churches. The architecture of the era also shows the classical style of the era as does their sculptures. Byzantium artists strove for beauty in art and they well accomplished their task. As art moved toward humanism, sculptures and architecture became less important and the replication of works of art was pictorialized quite differently. Human figures were painted in an almost serpentine manner with their bodies and heads in unnatural positions. In addition, artists concentrated on making

This essay will compare two artists from different countries, one is a Russian artist called Wassily Kandinsky and the other one is Guan Zhong Wu, he comes from China which is my own country. The two artists lived in different cultural backgrounds during the same period, so they had significant similarities and differences. First, this essay will compare the similar artistic spirit between the two artists. Second, this essay will examine the different drawing tools that the two artists used for their paintings. Third, this essay will discussion the two artists using the similar “point and line to plane” (Kandinsky 1979:1) to paint different style pictures. Finally, this essay will analyses the influences of European and oriental culture on

As well, there is a revival of the classical Islamic art in the 50's, especially with the abstract movement in Europe, from where patterns become a source of inspiration for contemporary work. This trend keeps increasing, as professors at our university agreed, there is a revival in traditional Islamic art as well as an increase awareness of history by the public, plus the increased economic affluence of the country.

Throughout the vast history of art, historians can find connections throughout the centuries. Artists from the beginning of humankind have been inspired by the world around them. From the Apollo 11 stones to present day, history and culture have provided inspiration and have been the focus of various pieces. Examining artwork from the 15th-18th century, viewers can be shown a whole world that would be unknown to us without these artist’s contributions. History, religion, and cultural events have sculpted the art world, and we can observe this through many pieces during the 15th-18th centuries.