Abstract
The purpose of this essay is to investigate the use of perspective and pictorial value in traditional Chinese ink painting of Song Dynasty (960- 1279). Traditional Chinese ink paintings are known for depicting landscapes in a unique and profound style, but are usually not credit for their accuracy in depicting scene in a realistic way. Some may even consider that traditional Chinese ink paintings do not have the “correct” use of perspective and pictorial value in them. Did ancient Chinese artists have a clear awareness of pictorial value and perspective? This essay will examine the use of perspectives and value in traditional Chinese ink paintings from artists in Song dynasty.
The scope of this essay is period of Song Dynasty, for
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Without the disturbance of constant warfare and economic crisis, the demand of craftsmanship and art boosted. The demand of paintings among the civilian increased since paintings are favored by most middle class and upper class civilians. As well as nobilities as symbol of wealth, status, and most importantly prove the owners to be well educated and have literary pursuit. Paintings are sold in grand events in Song dynasty such as the temple fairs in Bianjing (the capital of Northern Song dynasty) and night markets in Linan (the capital of Southern Song dynasty). And in different festivals, paintings of deities and other mythical figures are hanged in people’s houses, such as the paintings of door- god and Zhong Kui at the end of year. Restaurants and stores also used valuable paintings to attract upper-class customers. And paintings on fans, screens, and other furniture were used in people’s …show more content…
This situation was mainly facilitated by the eighth emperor of Song dynasty, Emperor Huizong. Emperor Huizhong (1082- 1135) was famous for his passion and attainments in painting and calligraphy. He himself was an excellent painter, expert in painting realistic birds and flowers. The status of artists rose to an unprecedented level during the era of Emperor Huizhong. He established a governmental department Hanlin Huayuan (the Imperial Academy Painting department) just for painters and included painting in the Chinese Civil Service Examination to select court painter. Which spurred the industry of painting and caused the number of professional painter to increase massively.
- The Graphic Perspective and Value
Perspective, as an art professional term, is the way of depicting a 3- dimensional object on a 2- dimensional surface in the way, which the object is bigger as it’s closer to the viewer’s eyes and smaller as the object is further away.
- Types of Linear
Interregnum, painted by the Chinese artist Hung Liu, is a massive oil painting created circa 2002. With the intentional application of several principles and elements of art in her work, Liu effectively depicts her late Asian culture’s traditional aspects while also exposing the harsh reality of China’s Communist society. Hung Liu incorporates a variety of styles into Interregnum while also utilizing color and line to visually communicate the subject matter to the viewer. In a formal interpretation of this work, the overarching theme of Interregnum will be explored and described, focusing on the particular values sought out by the artist Hung Liu.
Wang Meng (c. 1308 – 1385) was a Chinese landscape painter during the Yuan Dynasty (c.1271–1368). Within his life, the Yuan Dynasty was ruled by the Mongol Empire; lots of turmoils and conflicts between nations were happening. To away from the secular, Wang chose to live in mountains and perhaps to have a simple life. “The Simple Retreat” could be one of Wang’s paintings that suggest the balance between nature and human. This painting is in a vertical roll composition, painted in a Northern Song Monumental mode: high, level and deep distance can be seen. From viewing this painting, midst to top describes layers of imposing mountains and the empty sky; the bottom half shows the retreat and the relationship among trees, rocks and river. On the
Painters no longer took truth to nature as their goal, but rather used painting as a tool for self-expression and expressing community identity in their work. The painting The Paradise of Maitreya by Zhu Haogu and Zhang Boyuan is a prime example of an art object that express community identity. The wall painting was made in 1298 and showcases community identity through clothing, religion and status of the figures in the painting.
I learned about many significant artwork and artist in this class. This class provided me with a better understanding of the history of the world Art, but also helped me understand the development of art style. However, among all of these precious pieces of artwork, there are two special ones that caught my attention: The Chinese Qin Terracotta Warriors and The Haniwa. Each of them represents the artist’s stylistic characteristics and cultural context. Although they represented different art of rulers, historical values, and scenes, there were visible similarities.
Secondly, Emperor Huizong was a patron of arts and in his painting academy he highlighted 3 aspects of painting: realism, systematic study, and poetic idea. (source dri buku yg foto di library) These 3 aspects were clearly shown in Cranes above Kaifeng: Auspicious Cranes which indicates the amount of control Emperor Huizong had on the visualization of auspicious events.
One of the eras of a majestic ancient civilization that has left a lasting impression upon the world of today is the Chinese Song Dynasty. Established by General Zhao Kuangyin this dynasty lasted from 960–1279 AD and brought a new stability to China after many decades of civil war, and ushered in a new era of modernization. It was divided into the Bei (Northern) and the Nan (Southern) Song periods. This brilliant cultural epoch gave birth to major advances in economic reform, achievements in technology, and helped to further medical knowledge.
...as the mountains appear less detailed but accurate size across the back. Sizes of objects definitely lends itself to the perspective with larger objects being close and smaller less detailed objects in the distance.
In the early 1400s, Italian engineer and architect, Filippo Brunelleschi, rediscovered the system of perspective as a mathematical technique to replicate depth and form within a picture plane. According to the principles, establishing one or more vanishing points can enable an artist to draw the parallels of an object to recede and converge, thus disappearing into a “distance”. In 1412, Brunelleschi demonstrated this technique to the public when he used a picture of the Florence Baptistery painted on a panel with a small hole in the centre.3 In his other hand, he held a mirror to reflect the painting itself, in which the reflected view seen through the hole depicted the correct perspective of the baptistery. It was confirmed that the image
The Tang dynasty was founded in 618, and lasted until 907. The emperor was supreme and government officials were chosen by examination. A census was taken to simplify tax collection and to draft citizens to perform labor for the empire. This was a period of great land expansion. (Halsall, 1998) The emperor also had a great love of the arts, and the Tang became known as the golden age of literature and art. Block printing was invented and made writing more available. (Unknown, 2003) Shipbuilding and firearms development were also refined during the era. Art was heavily influenced by Buddhism, especially rock sculpture. One major problem that arose was the heavy burden of taxation. Many were unable to meet their heavy tax burden. To escape this, many placed themselves under the protection of great landlords who were exempt from taxes, or became bandits. (Halsall, 1998)
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
In volume 1 of his “Lives of the Most Eminent Painters,” Giorgio Vasari says that Masaccio “first attained the clear perception that painting is no other than the close imitation of all the forms presented by nature” (Vasari 95). Before the time of Masaccio, many famous and brilliant painters lacked a basic sense of perspective and/or depth. Paintings such as Claude Monet’s Lavacour1, or Diovanni di Paolo’s St. John the Baptist going into the Wilderness2 were both beautiful and...
According to Art in China by Craig Clunas, the Wei Dynasty, which started in 386 and ended in 535, was an era in which Buddhism was central to the culture of both the noble and common people. For much of the Wei dynasty the artists and sculptors were slaves to the state. Different styles of Buddhist art were popular during this period. At first, the artists copied some elements from Indian Buddhist sculpture, but then they developed their own style. During the Wei most of the art produced had a connection to Buddhism, and the emperors spent a great amount of resources to have the Buddhist art pieces produced (Clunas 92-97).
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
painting, to look at it from an artist’s perspective, one can see all of the little details that
The Tang and Song Dynasties are both pertinent to China’s development. During the Tang period, which is also considered the “Golden Age”, art and literature was embraced and thrived. During the Song Dynasties, many technical inventions allowed China to grow as a nation, and emerge as one of the greatest nations in the medieval world. Both dynasties played a key role in the history of China.