Formal Analysis on Chinese Vase
Chinese ceramics is one of the most important forms of Chinese art in regards to its continuous development throughout the years since the imperial times, and the impact that it has had on the country’s culture. According to historians’ research, the first ceramics were made during the Paleolithic era, in which the pieces varied from brick made materials to handmade, glossed pottery to sophisticated porcelain that were initially produced only for the Chinese Imperial Court. In the particular porcelain vase that I am analyzing, the artist wanted to create a window effect with the construction of space in the vase: one can clearly see what is in motion on the other side of the vase through the windows painted on the piece. I do believe there is a relationship between one side of the vase and the other one, as the first one is supposed to be the foreground
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and the other, the background. I personally think that the two together are very visually appealing to eye and it is exciting to be able to see through one side of the vase to the other, as if it were a window. The porcelain Chinese vase is painted in overglaze enamel.
The artist is unknown as most Chinese ceramics of the finest quality are industrially made and very few names of artists are known or recorded. The piece has a fairly large size (18 in. x 19 in.) compared to other Chinese porcelain. The upper part of the piece is curved inwards, creating a thin and elegantly constructed “lip”. The downward length of the neck takes slightly less than half of the whole size of the piece, as it connects to a “body” characterized by a strong curvature in the “shoulder” area of the piece. The shoulders connect to the “foot” with an inward curve. This particular vase does not have handles. The foot of the vase is thin and elegantly made, like the lips. The size of the figures painted on the vase varies and, relative to the size of the trees, the scale used to make the images smaller is not realistic. The artist has painted a horizontal line that starts from the lips of the vase and ends at the foot, marking the start of the panorama view that the audience should follow when observing the
piece. The artist has used contrast in his work, especially in regards to colors. The palette used includes warm, opaque colors along with sheer, cool shades that complement the warmer section of the vase. With the bands of orange flowers and a man suspended like a canopy near the top of the vase and no sky to be seen, the rest of the Chinese men and billowing foliage fill the visual field, immersing the viewer in the verdant, brightly colored setting. Cool green tones predominate, but are balanced by the white stained walls and skies, and the orange found in the flowers and the men’s robes. The “foot” is decorated with complex patterns from near to far across the surface of the building in which the men are. Controlled vertical and diagonal dabs of paint define the sparkling greenery, while the more fluid flowers are rendered with broad, textured, curved strokes that emphasize the shared physicality of the paint and the vase as a whole. I love the unison of the colors, even though they are quite different in tones and transparency. The sheer tint in parts if the vase accompanied by the opaqueness of other parts is one of my favorite details of the piece. Masterfully, the artist has created the effect of a window where the audience can look through to the other side of the vase. A way through which this affect is strengthened is through the usage of the same colors on opposite sides of the vase and through a change in size of the man that is seen through the particular window on the upper space of the vase. The vase is colorfully decorated with intricate ornaments, images of trees and figures of what seem to be Chinese men that cover most of the surface of the piece. These particular vases characterized by figures that take up a significant amount of the piece were most popular as an export ware and were mostly a characteristic of the Qing dynasty. The vase has been arranged in a certain way that the composition is divided in two spaces and not necessarily designed based on the rule of the thirds, common in other forms of visual art. The lower half is particularly very eye-catching. A number of Chinese men are surrounding a bright orange table, on which one can notice Chinese calligraphy, along with black ink and a model of a certain terrain. The men are dressed in traditional attire: long robes, either bright green or orange, characterized by edging decorated with sharp, black, straight lines. One of them however is wearing a robe in a color that is a mixture of a dark grey and light brown. Another man, who is bending down and not standing straight like the other men, is wearing an orange robe followed by an intricately decorated armor and headgear. Another noticeable detail about the men’s attire is their black headpieces. Smudging is a technique that the artist has used a lot, especially when applying the shades of green. Another man wearing a different and much smaller headpiece is standing outside, observing what the others are doing. The artist has outlined this particular man with very curved lines, as he seems to be visually fuller than the others. The outlines of the trees are very obvious and noticeable because of the shape and color, yet the inside surface is smudged by the artist, creating evenness, but color unity. This whole scene is clearly taken from a discussion regarding wars; the men are planning either their attack or defense plans. The Chinese person dressed in the elaborate gear may be the general and the leader of this operation. On the upper level, all of the men are dressed in green robes, apart from one that is wearing a white robe on top of his orange attire. This man along with two others are standing on top of the stairs that lead to a building, maybe a temple, and they are all pointing towards another person who is sitting down on the grass. There is a number of orange flowers floating around, creating the impression of movement and motion on the upper level of the vase. The sense of perspective in the porcelain is well showcased through the windows painted by the artist. Inside the temple, a window is noticeable, through which one can see a person crouching down and holding on to a string of flowers. If one moves to the opposite side of the vase, they can see the exact person, but mirrored instead. Another way through which this effect is reinforced is that, when seen through the framed window, the man is displayed far away and much smaller in size. When seen on the opposite side, the man is larger in size and one can notice more details in the way that he is painted. The porcelain vase as a whole reflects motion and movement. Because of the dabs of the small brushes, the careful linear strokes, the construction of space and its division into two “levels”, the distinct figures painted in different ways and the constant movement from one side to the other, the mood is the complete opposite of cold, dark and dismal one. The vase rather reflects excitement and happiness.
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