Art As History: Calligraphy and Painting As
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Shang Dynasty
misterfengshui.com 風水先生 History of China ANCIENT 3 Sovereigns and 5 Emperors Xia Dynasty 2100–1600 BC Shang Dynasty 1600–1046 BC Zhou Dynasty 1122–256 BC Western Zhou Eastern Zhou Spring and Autumn Period Warring States Period IMPERIAL Qin Dynasty 221 BC–206 BC Han Dynasty 206 BC–220 AD Western Han Xin Dynasty Eastern Han Three Kingdoms 220–280 Wei, Shu & Wu Jin Dynasty 265–420 Western Jin 16 Kingdoms Eastern Jin 304–439 Southern & Northern Dynasties 420–589 Sui Dynasty 581–618 Tang Dynasty 618–907 ( Second Zhou 690–705 ) 5 Dynasties & 10 Kingdoms 907–960 Liao Dynasty 907–1125 Song Dynasty 960–1279 Northern Song Xi Xia Southern Song Jin Yuan Dynasty 1271–1368 Ming Dynasty 1368–1644 Qing Dynasty 1644–1911 MODERN Republic of China 1912–1949 People's Republic of China (Mainland China) 1949–present Republic of China (Taiwan) 1945-present from Wilkipedia [email protected] Fax: 852-2873-6859 misterfengshui.com 風水先生 Timeline of Chinese History The recorded history of China began in the 15th century BC when the Shang Dynasty started to use markings that evolved into the present Chinese characters. Turtle shells with markings reminiscent of ancient Chinese writing from the Shang Dynasty have been carbon dated to as early as 1500 BC.[1] Chinese civilization originated with city-states in the Yellow River (Huang He) valley. 221 BC is commonly accepted to be the year in which China became unified under a large kingdom or empire. In that year, Qin Shi Huang first united China. Successive dynasties in Chinese history developed bureaucratic systems that enabled the Emperor of China to control increasingly larger territory that reached maximum under the Mongolian Yuan Dynasty and Manchurian Qing Dynasty. -
Tenth-Century Painting Before Song Taizong's Reign
Tenth-Century Painting before Song Taizong’s Reign: A Macrohistorical View Jonathan Hay 1 285 TENT H CENT URY CHINA AND BEYOND 2 longue durée artistic 3 Formats 286 TENT H-CENT URY PAINT ING BEFORE SONG TAIZONG’S R EIGN Tangchao minghua lu 4 5 It 6 287 TENT H CENT URY CHINA AND BEYOND 7 The Handscroll Lady Guoguo on a Spring Outing Ladies Preparing Newly Woven Silk Pasturing Horses Palace Ban- quet Lofty Scholars Female Transcendents in the Lang Gar- 288 TENT H-CENT URY PAINT ING BEFORE SONG TAIZONG’S R EIGN den Nymph of the Luo River8 9 10 Oxen 11 Examining Books 12 13 Along the River at First Snow 14 15 Waiting for the Ferry 16 The Hanging Scroll 17 18 19 289 TENT H CENT URY CHINA AND BEYOND Sparrows and Flowers of the Four Seasons Spring MountainsAutumn Mountains 20 The Feng and Shan 21 tuzhou 22 23 24 25 26 27 28 290 TENT H-CENT URY PAINT ING BEFORE SONG TAIZONG’S R EIGN 29 30 31 32 Blue Magpie and Thorny Shrubs Xiaoyi Stealing the Lanting Scroll 33 291 TENT H CENT URY CHINA AND BEYOND 34 35 36 Screens 37 38 The Lofty Scholar Liang Boluan 39 Autumn Mountains at Dusk 292 TENT H-CENT URY PAINT ING BEFORE SONG TAIZONG’S R EIGN 40Layered Mountains and Dense Forests41 Reading the Stele by Pitted Rocks 42 It has Court Ladies Pinning Flowers in Their Hair 43 44 The Emperor Minghuang’s Journey to Shu River Boats and a Riverside Mansion 45 46 47tuzhang 48 Villagers Celebrating the Dragonboat Festival 49 Travelers in Snow-Covered Mountains and 50 . -
Cataloguing Chinese Art in the Middle and Late Imperial Eras
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations Spring 2010 Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras YEN-WEN CHENG University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian Art and Architecture Commons, Asian History Commons, and the Cultural History Commons Recommended Citation CHENG, YEN-WEN, "Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras" (2010). Publicly Accessible Penn Dissertations. 98. https://repository.upenn.edu/edissertations/98 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/98 For more information, please contact [email protected]. Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras Abstract After obtaining sovereignty, a new emperor of China often gathers the imperial collections of previous dynasties and uses them as evidence of the legitimacy of the new regime. Some emperors go further, commissioning the compilation projects of bibliographies of books and catalogues of artistic works in their imperial collections not only as inventories but also for proclaiming their imperial power. The imperial collections of art symbolize political and cultural predominance, present contemporary attitudes toward art and connoisseurship, and reflect emperors’ personal taste for art. The attempt of this research project is to explore the practice of art cataloguing during two of the most important reign periods in imperial China: Emperor Huizong of the Northern Song Dynasty (r. 1101-1125) and Emperor Qianlong of the Qing Dynasty (r. 1736-1795). Through examining the format and content of the selected painting, calligraphy, and bronze catalogues compiled by both emperors, features of each catalogue reveal the development of cataloguing imperial artistic collections. -
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International Conference on Arts, Design and Contemporary Education (ICADCE 2016) Ancient Emaki "Genesis" Exploration and Practice of Emaki Art Expression Tong Zhang Digital Media and Design Arts College Beijing University of Posts and Telecommunications Beijing, China 100876 Abstract—The ancient myths and legends with distinctive generation creators such as A Gen, sheep and others, and a Chinese characteristics, refers to myths and legends from dedicated serial picture book magazine "Paint Heart", Chinese Xia Dynasty until ancient times, it carries the origin of "STORY" appears, the delicate picture and vivid story make Chinese culture and it is the foundation of the Chinese nation, it Chinese picture book also developing rapidly and has formed a influence the formation and its characteristics of the national national reading faction craze for outstanding picture books. spirit to a large extent. The study explore and practice the art expression which combines ancient culture with full visual 1) Picture book traced back to ancient Chinese Emaki: impact Emaki form, learn traditional Chinese painting China has experienced a few stages include ancient Emaki, techniques and design elements, and strive to make a perfect illustrated book in Republican period and modern picture performance for the magnificent majestic ancient myth with a books. "Picture book", although the term originated in Japan, long Emaki. It provides a fresh visual experience to the readers and promotes the Chinese traditional culture, with a certain but early traceable picture books is in China. In Heian research value. Kamakura Period Japanese brought Buddhist scriptures (Variable graph), Emaki (Lotus Sutra) and other religious Keywords—ancient myths; Emaki form; Chinese element Scriptures as picture books back to Japan, until the end of Middle Ages Emaki had developed into Nara picture books. -
Natural History Connects Medical Concepts and Painting Theories In
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2007 Natural history connects medical concepts and painting theories in China Sara Madeleine Henderson Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Henderson, Sara Madeleine, "Natural history connects medical concepts and painting theories in China" (2007). LSU Master's Theses. 1932. https://digitalcommons.lsu.edu/gradschool_theses/1932 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. NATURAL HISTORY CONNECTS MEDICAL CONCEPTS AND PAINTING THEORIES IN CHINA A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Sara Madeleine Henderson B.A., Smith College, 2001 August 2007 Dedicated to Aunt Jan. Janice Rubenstein Sachse, 1908 - 1998 ii Preface When I was three years old my great-aunt, Janice Rubenstein Sachse, told me that I was an artist. I believed her then and since, I have enjoyed pursuing that goal. She taught me the basics of seeing lines in nature; lines formed on the contact of shadow and light, as well as organic shapes. We also practiced blind contour drawing1. I took this exercise very seriously then, and I have reflected upon these moments of observation as I write this paper. -
Image – Narration
Shane McCausland Intermediary Moments: Framing and Scrolling Devices across Painting, Print and Film in China’s Visual Narratives As an historian of the arts of dynastic China, it is refreshing to be addressing schol- ars of the ‘old world’ of prehistory and classical archaeology and up to contempo- rary times, and to be in the final panel not because this paper deals with one of the West’s Others but because it investigates visual storytelling in artistic formats across the latter half of the historical period that began in China around 1500 BCE. This essay is concerned with how social meaning and identity are shaped through the materiality of pictorial artworks and also with some disciplinary questions about topics like mediality. Mindful of present concerns, I explore the mechanisms by which visual narratives were framed and developed in light of the changing media in use in this cultural context, as well as the intelligibility and coherence of these visual narrative devices. This conference called forth the type of thematic research, ranging widely across received divisions of time and culture and engaged in by an intergenerational cross-section of professionals, that the collective field of art history and archaeology actually needs and I commend the organizers for that.1 Still, concerning the wider framework for investigation here, there is a conundrum. Researchers are by nature wary of narratives and claims to legitimacy founded on the historical cultures em- bedded in the modern nation-states. At the same time, they must take seriously these cultural formations especially where the agency of the past in the present may be quite different from that of our European condition. -
Ni Zan in Oxford Art Online
Ni Zan in Oxford Art Online http://www.oxfordartonline.com.ezproxy.cul.columbia.edu/subs... Oxford Art Online Grove Art Online Ni Zan article url: http://www.oxfordartonline.com:80/subscriber/article/grove/art/T062602 Ni Zan [Ni Tsan; zi Yuanzhen; hao Yunlin] (b Wuxi, Jiangsu Province, 1301; d 1374). Chinese painter and calligrapher. He is designated one of the Four Masters of the Yuan (1279–1368), with HUANG GONGWANG, WU ZHEN and WANG MENG. Ni Zan’s family were of Xixia (Tangut) origin. His tenth-generation ancestor Shi came to China as Xixia ambassador in 1034–7 at the time of Emperor Renzong (reg 1023–63), and the family settled in Duliang (modern Anhui Province). In 1127–30, under Emperor Gaozong (reg 1127–62), Ni Zan’s fifth-generation ancestor Yi moved south with the Southern Song (1127–1279), settling at Zhituo village in Wuxi, modern Jiangsu Province, where the Ni family prospered. Ni Zan and his elder brother Ying were the sons of a concubine, Yan. Their father died when they were young, and they were raised by their eldest half-brother, Ni Zhaogui (1279–1328). Ying was mentally incompetent, and after Zhaogui’s death Ni Zan assumed responsibility for the family estate, a role ill-suited to his natural inclinations. He led a privileged and secluded home life for 20 or more years; in the mid-1340s he spent most of his time among rare books, antique paintings, calligraphy and flowers in his favourite studio, the Qingbi ge (‘Pure and secluded pavilion’). Ni Zan was an ardent admirer of the great Northern Song (1127–1279) artist and connoisseur, MI FU, and shared two of his idiosyncrasies: fastidiousness and generosity. -
A Brief Analysis of the Visual Language Features of Chinese Ink and Wash Landscape Paintings
2021 4th International Conference on Arts, Linguistics, Literature and Humanities (ICALLH 2021) A Brief Analysis of the Visual Language Features of Chinese Ink and Wash Landscape Paintings Lai Yingqin Dept of Ceramic Art, Quanzhou Vocational College of Arts and Crafts, Quanzhou, 362500, China Keywords: Chinese painting, Ink, Landscape, Visual language Abstract: Ink and wash can be connected into lines by brushing, rubbing, drawing, drawing, and drawing on rice paper, and the points can be connected into lines, and the lines can be gathered into surfaces, and the surface can be transformed into a space with both virtual and real. Ink and wash landscape paintings are shaped in this way. A visual language that speaks less and more. It can describe both the real scene that people see, and the illusory scene that people see. That's it, the visual language of ink and wash landscape painting can be brilliant and intoxicating. It is based on the specific performance of stippling, which gives people a visual impact, and is laid out in the invisible surroundings, making people think about the scenery. 1. Introduction Since entering the modern industrialized society, due to the profound influence of modern industrialization culture, especially machine aesthetics, art design culture is in the ascendant, in the field of visual design, people can see images everywhere, such as “font design, logo design, illustration” Design, layout design, advertising design, film and television design, packaging design, book binding design, CIS design, display design, graphic design, etc.” (1), all have entered the field of vision of people, and even some product designs (including industrial product design, The content and form of home design, clothing design) and space design (including indoor and outdoor design, display design, architectural design, garden design and urban design) have also entered people’s vision as visual content. -
In the Liaoning Provincial Museum. by Contrast, Riverbank Stands Virtu
133 Summer Mountains (Qi, fig. 3), in the Liaoning Provincial Museum.14 By contrast, Riverbank stands virtu Shih Positioning ally alone, and lacks an auxiliary body of works that will support the claim to authorship by Dong Yuan. Riverbank Therefore, even if the above analysis safely locates the painting's date in the tenth century, its authorship still appears uncertain. In attempting a thematic approach in our inquiry into the connection of this work with Dong Yuan, we should not limit ourselves solely to Dong Yuan attributions, but instead must expand our focus to include the larger context of works by Southern Tang court painters. The paintings we have already discussed in connection with the dating of Riverbank, namely, First Snow along the River and The Lofty Scholar Liang Boluan, are both by Southern Tang court painters. They are, as is Riverbank, depictions of scenes oflife in southeast China. Water is depicted in these paintings, but in addition, detailed wave patterns model the river's surface. Lofty Scholar (fig. 6) displays an especially close similarity with Riverbank. Both paintings depict reclusive life in architectural settings within a distinct space along a riverbank, a feature rarely found in early landscape painting from north China. Lofty Scholar places narrative content, the story of Lady Meng Guang and her husband Liang Hong of the Eastern Han, within a landscape setting of fantastic rock formations. 15 Riverbank's rock formations are also fantastic in shape, and similarly lack the smoothness of Wintry Groves and Layered Banks. It is also rich in its depiction of scenes of human activity, featuring such details as a herdboy on a water buffalo heading home, a kitchen where women are preparing food, and the lord of the manor relaxing in a pavilion at the river's edge, accom panied by his wife and child. -
A Comparison of the Paintings of Bada Shanren and Shitao of the Qing Dynasty
A Comparison of the Paintings of Bada Shanren and Shitao of the Qing Dynasty Liu HONG, The Hong Kong Polytechnic University 1. The respective backgrounds of Bada Shanren and Shitao Bada Shanren, the last and best known of many names used by Zhuda (1626- 1705/6), was a member of the royal household in the Ming Dynasty before he became a monk in 1644. Shitao was also a Ming prince who had grand stature as a painter. Fifteen years or so younger than Bada Shanren, Shitao was born probably between 1638 and 1641 and died possibly before 1720 (Loehr, 1980, p. 299 and 302). Both Bada Shanren and Shitao were forced to be monks and lived poor lives after the extinction of the Ming Dynasty. Due to their misfortunes, they both suffered great pains during their remaining years, which had a great influence on their paintings. Although Bada Shanren was famous when he was alive, his only artist friend was Shitao (Cai & Xu, 1998). Despite their common backgrounds and mutual understanding, their paintings display a considerable amount of differences because of their divergent characteristics and attitudes toward life. In this essay, I will discuss the similarities and differences between their artwork through some painting examples, and give my own interpretations. Inscribe: A journal of undergraduate student writing in and about Asia 1 Figure 1 Figure 2 Autumn Eagle Eagle Painted by Painted by Bada Shitao Shanren An eagle An eagle standing on a standing on tree is staring rock, with a at two magpies pine tree which are nearby. flying away. -
The Costume in the Earliest Chinese Hand Scroll
Vol. 6, No. 1 Asian Social Science The Costume in the Earliest Chinese Hand Scroll Yue Hu Fashion Art Design Institute, Donghua University Shanghai, 200051, China Fashion College, Shanghai University of Engineering Science Shanghai, 201620, China E-mail: [email protected] Abstract The earliest Chinese hand scroll extant painting is the ‘Nushi zhen’ by Gu Kaizhi housed in the British Museum, which is now often considered to be a Tang Dynasty copy of the original. By compared with correlated literatures and images, the typical skill and styles in which the earliest Chinese figure painters of Jin Dynasty (AD 265-420) depicting costumes is opened out, as well as the typical costume patterns and styles of man, woman and children. Keywords: Costume, Hand scroll, ‘Nushi zhen’, Gu Kaizhi In South Qi Dynasty (AD 479-502) of Southern Dynasties, Xie He said: “No ancient painting is exquisite until Wei Xie.” in his <Commentaries on Ancient Paintings>. The ancient paintings Xie mentioned were the Chinese handscroll paintings of figure illustrations, and Wei was famous in Western Jin Dynasty (AD 265-317). So the mature style of Chinese ancient handscroll painting should appear from then on. Unfortunately, there was no Wei’s painting in existence, even copies. The earliest painting we can see nowadays is the ‘Nushi zhen’ by Gu Kaizhi housed in the British Museum, who was a top painter of the Eastern Jin Dynasty (AD 317-420), and ever learned painting from Xie. Upon that, this article will study the representation of garment and accessories of the figures in the painting all-sided. -
All Under Heaven (Tianxia): Cosmological Perspectives And
2012 | HAU: Journal of Ethnographic Theory 2 (1): 337–383 |Colloquia| All under heaven (tianxia) Cosmological perspectives and political ontologies in pre-modern China WANG Mingming, Peking University This essay examines historical transformations of the Chinese concept of tianxia (―all under heaven‖) in pre-modern periods. More specifically, it attends to the diverse ways tianxia has been built out of relationships between cosmology and political organization. The subtitles of this essay—archaic tianxia, relatedness as virtue, conceptions of the world in the Warring States, empire, Neo-Daoist and Buddhist inversions, and ethnographic others—form the features of the moments that make up, in the present, the many-faceted conceptual history of tianxia. The essay engages with these historical moments in order to reconsider popular conceptions of ―Chinese civilization‖ and situate tianxia perspectives in their social contexts. Continuing the line of thinking initiated by Granet, the essay goes on to argue for understanding tianxia in an accumulative and unified sense as well—as an ―other‖ to Indo- European mythico-religious systems of thought as well as an epistemology where political ontologies and the cosmos are conflated. Keywords: cosmology, political organization, tianxia, pre-modern China Near the end of the nineteenth century, Liang Qichao, the pioneer of modern Chinese humanities and famous advocate of the political philosophy of nation- hood, made two points regarding the meaning of the Chinese concept tianxia (often translated as ―all under heaven‖ 1 ): (1) tianxia meant ―the world‖ (shijie), understood to comprise all the realms on earth, and as such, it referred to a kind of polity radically different from the nation; and (2) tianxia not only meant a differ- 1 The word tianxia is composed of two characters: tian and xia.