The Tang Dynasty : The Classical Age Of Art

In the history of imperial China, The Tang dynasty Empress Wu Zetian occupies a unique place. She is the only one Empress that ruled a dynasty in China with its thousand years of history. For almost 50 years she enjoyed the supreme power, first she was in partnership with Tang Gaozong, a ruler usually considered weak and ineffectual, later as de facto regent for her youngest son and finally, from 690 to 705 A.D., as China’s sole female emperor. Her rise from the obscurity of Tang Taizong’s harem was dramatic and her pursuit of power was ruthless. Her political policies were controversial and her lifestyle flamboyant.

A. One of the most important public works projects taken on by the Sui dynasty was the grand canal. This canal was so important due to it facilitating trade between north and south China which then allowed rice and other crops to be available in the north.

During the years 600-900 A.D. of the Chinese Empire, the Tang Dynasty was in power, and was considered the Golden age of Chinese civilization. The dynasty's second emperor, Taizong, started campaigns to deal with threats from the Nomadic Tribes. Due to these campaigns in the Tarim Basin, the Silk Road was able to stay open, allowing for trade in the Middle East and Europe. This trading society encouraged people from distant countries to come and settle in China. Another advancement affecting trade was the “equal-field system” which not only saw that everyone received proper care, but that all land was being farmed. This was possible by making it that people given land did not have to give it up to the military service, called the “Fubing System”,

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.

At first, Buddhism received positive responses (Documents 2 and 3) and indifferent responses (Documents 1 and 5), with the Chinese encouraging and defending its customs/beliefs during times of political and social unrest because it offered relief towards the Chinese people and prevented further chaos. Later, Buddhism received negative and unfavorable scrutiny (Documents 4 and 6) after the Tang dynasty was established since it blamed Buddhism for social/political problems because Buddhism rejected the social hierarchy favored by government officials.

Wu Zhao belonged to the Tang Empire, which according to the author which “…was a true empire, encompassing many lands, many peoples, and many ideologies. Multi ethnic and cosmopolitan, Tang China was perfectly suited for the ascent of a historical anomaly like Wu Zhao…” (Rothschild, 2008, p. 11) In a sense, there was a conflict of traditional Confucian values which promoted a patriarchal society and the liberal Steppe culture which gave women more freedom and rights. China at that time was a cocktail of these cultures which led to a significant impact on the lifestyle and values of peoples in that era. Women were bold and tough, and unlike earlier societies, were no longer confined socially and sexually (Rothschild, 2008, p. 12). While did not exist a perfect equality between men and women, women of that era were allowed to live without hiding under the dominance of the male Yang. As the author talks of the Silk Road, it is mentioned that,”…In this free-wheeling milieu, women donned men’s attire and rode horses…” (Rothschild, 2008, p. 15) .This “cosmopolitan” (Rothschild, 2008, p. 16) society was the foundation for the Tang Empire. Another important factor was the prevalence of Buddhism as a religion of the masses. Buddhism, in itself, helped united much of Asia, and was a common platform for men and women, unlike in Confucianism where

The definition of power is the ability to direct or influence the behavior of others. Literature is one of the major mediums used to influence a person. One common medium that determines if the writing has power to influence the behaviors of others is the literary skill of the author. During the Tang Dynasty in China, there were many imperial pieces on politics matter that had power and authority to influence people. Writers such as Ban Zhao and Han Yu BaiJuyi successfully wrote many pieces that had much influence and impact over their intended audience. Literary skill contributes to the writer’s power and authority due to their ability to evoke an emotional response from their chosen audience or to influence their response.

The Tang Dynasty began with Emperor Gaozu and he married this woman named Douches Dou. Douches Dou had 4 sons , and one named Li Shimin (Tang Taizong) would do great things. Li Shimins’ step father was the emperor so therefore he had a high family status. He and his 3 other brothers didn’t have to work because they were already rich. Li shimin was the general of the army and he was good at overtaking many of their main rivals. In 628 C.E. is when Li shimin got the mandate of heaven but killing his older brothers. In the Li family Li shimin was the 2nd youngest which meant when Emperor Gaozu died he would not be next in line for the throne so by killing his brothers he earned his way to being emperor of the tang dynasty.

The Tang dynasty, which began in 618 CE and ended in 907 CE, was extremely well known for their porcelain as well as the Song dynasty, which began in 960 CE and ended in 1279 CE.

-The Chinese term for "landscape" is made up of two characters meaning "mountains and water." It is linked with the philosophy of Daoism, which emphasizes harmony with the natural world. Khan -By the late Tang dynasty, landscape painting had evolved into an independent genre that embodied the universal longing of cultivated men to escape their quotidian world to commune with nature. Such images also convey specific social, philosophical, or political convictions. During the early Song dynasty, visions of the natural hierarchy became metaphors for the well-regulated state. At the same time, images of the private retreat proliferated among a new class of scholar-officials. These men extolled the virtues of self-cultivation—often in response to

Among of them, Wu Daozi was apotheosized as the “Painting Sage” who was a revolutionary turn in Chinese painting. His influence has been profound of the people who joined the “Shuimo Movements” like Wang Wei and Zhang Zao.(Wei Guangjun, 2010). When they were opening the road of Shuimo painting, there was the style of Wu in their painting. According to the writer of the journal article “The origin and the evolution of Chinese water and ink painting”, he summarised that Wu was the model and paragon of Wang Wei’s landscape painting because Tang chao ming hua lu (Tang Dynasty paintings recorded),by Chu Kingyuen appraise the mountain, rock, water and tree of his painting were similar with the style of Wu. He shifting/ moving perspectives of Wang Wei’s painting is walking to see (平遠法) which is changing following the journey of the experience of the viewers; the brushstroke was similar with calligraphic (Wei Guangjun, 2010).

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.

He used oil paints, canvas and oil painting pens, the color of his oil painting are very heavy and bright, making his pictures colorful and powerful. The difference is that Guan Zhong Wu uses ink to draw abstract paintings. Ink is more diluted than oil paint because every time use ink painter need to put water in it, making his abstract paintings looks more concise and have different feeling. However, as long as painters understand this kind of painting, different painting tools will achieve different results. According to Zheng(2008:30-32),in the study of painting, students need to know the history of the development of painting tools, and the basic knowledge of how to use the painting tools, that will help them to create their own paintings. In conclusion, it is important for the painter to understand and use the appropriate drawing tools.

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