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Yet, when dealing with eastern society art forms (Chinese, Japanese and Indian) everything the individual is wearing in the painting had a meaning, from the robes, color of each piece, how they sit, their height in the picture, to even the most notable; their stare, basically, the person was the symbol, where in European art, the painter would have to add religious symbols in paintings. When viewing Emperor Shunzhi 1644 –1661 portrait, one can point out, that he has almost the same pinpoint stare as Pablo Picasso Les Demoiselles d'Avignon. Also, to point out, even though, women were second class citizens as well, in Chinese form of art; it could be classified as pre-rape culture. Then contrasting this idea, they started showing portraits of
Hung Liu is successful in creating a juxtaposing image that tells a story about the many aspects of her Chinese origins. According to the painting, not all life in China is surrounded by beauty and elegance, like many believe it to be based on the traditional historical customs. Liu makes her point using a brilliant yet subtle progression, moving from the ideal to reality. Making use of the various principles and elements of art in her work creates a careful visual composition that benefit and support the painting’s achievements as a whole. This oil painting, being approximately 13 years old now, will hold a special place in Chinese history for the rest of its existence. The ideas Hung Liu portrays in Interregnum may help reform a social movement in the country by making her viewers socially aware of the cruel conditions the Chinese are facing under Communist rule, and this is all made possible through the assimilation of the principles and
The male artists portrayed women as a projection of their ideal woman. The artist’s often overlooked the women’s identity’s and personalities in favour of creating aesthetically pleasing art for themselves and other superior males to view and enjoy. This was especially harmful because the more popular the art grew to be, the more often women were categorised as objects rather than people. The art contributed to gender construction by creating these gender roles and reinforcing that in all situations, men were superior to
Prior to the 20th century, female artists were the minority members of the art world (Montfort). They lacked formal training and therefore were not taken seriously. If they did paint, it was generally assumed they had a relative who was a relatively well known male painter. Women usually worked with still lifes and miniatures which were the “lowest” in the hierarchy of genres, bible scenes, history, and mythological paintings being at the top (Montfort). To be able to paint the more respected genres, one had to have experience studying anatomy and drawing the male nude, both activities considered t...
In the dystopian novel, Brave New World, Huxley uses symbols to create meaning and to get his agenda across. The use of sex and reproduction, and Shakespearian writing and religious texts, as symbols in the novel help to push Huxley’s agenda that total government control is devastating, and the inner human drive to be an individual can never be suppressed. Also, the fact that the novel was written in 1931 shows that Huxley was attacking the newly forming Socialist nations.
The first artist that I would like to discuss is named Nehemiah Partridge and his painting during the 17th century. Nehemiah Partridge is a painter from the 17th century and he painted colonial art. The painting that I chose is named “Portrait of Catherine Ten Broeck”, and was created in 1719 on oil canvas. The painting is of a young girl holding a rose in her right hand while holding a bird in her left hand. The girl in the painting is very young, and she seems to be very happy being painted. The painting illustrates every-day life in the 1700s. The artist chose very earthy tones for the color scheme, but the light is focused on the young girl. The elements were very calm and peaceful in this painting. In addition, the background of this painting focuses on a young girl named Catherine who was painted by Nehemiah Partridge. The painting has descended by Edward L. Ford from the family’s great-great-great-granddaughter in New York City. This style of painting reflects “reflects Partridge's style of quick, prominent brush strokes with a palette of black, brown, blue, and rust. The sket...
“Everything has beauty, but not everyone sees it,” are words from one of the most influential Chinese philosophers during the Zhou Dynasty, Confucius (qtd. in “Confucius Quotes”). Allowing oneself to slow down and recognize the beauty that is surrounding them which will help in realizing that it in comes in all shapes and forms. The painting “Girl at the Mirror” is simple but yet a meaningful piece by Norman Rockwell, it consists of small details that lead up to the bigger picture. The viewer is first met by a young girl posing In front of a mirror with a magazine on her lap, followed by her unsettled disgruntled expression. The reason for this could possibly be the sudden urge to become beautiful by becoming more mature, ultimately helping in conveying Rockwell’s intended message of how society is pressuring children into becoming this perfect image.
This kind of painting described the figure of man. It was corresponded with Painting Court Lady.
The study of the Chinese nude has been hindered by an illusion of absence. In their focus on dynastic pictorial art, works such as Francois Jullien’s The Impossible Nude and John Hay’s The Body Invisible in Chinese Art obscure the nude in modern Chinese art. Considering the nude to be impossible has led us to ignore an important historical moment in early twentieth century history, and added to the impression that Chinese culture is unchanging. Reframing the nude is crucial because the conception of its absence is hinged upon a problematic binary between the East and West. This division disregards the bilateral capacity of cultural osmosis and the possibility of internal-local variance. While
Qiu Ying had a special talent for duplicating famous paintings and thus, his work was in great demand. However, for the most part, his paintings were different and inventive, novel and witty, while staying within the parameters of acceptability. When considering why Qiu Ying copied Zhang’s Along the River During the Qingming Festival, there are three main purposes: First, Qiu Ying may have appreciated Zhang’s work, and the outstanding detail and the composition of this painting, so he may have copied this painting as a means of preserving old compositions. Second, to copy this painting, the artist needs to have skill and dexterity to balance the whole composition and every detail, therefore, Qiu Ying may have copied this work to practice the ancient techniques of the craft and to develop his personal style. The last reason why Qiu Ying made duplicates of famous masterpieces is that collectors in the Ming period had a compelling desire to own famous antique paintings, even if only in reproduction. Furthermore, it is possible that Qiu Ying wanted to show his love of Suzhou
Since 1950s, after the Chairman Mao Zedong’s Yanán conference, art and literature had strictly become tools of promoting the ideology of Communist Party, that is, the product of art and literature in China can be classified as highly popanganda. Chairman Mao Zedong and his Communist Party strongly suggested the equality of both genders - male and female. To promote Mao’s theory, certain kind of strong female character's image had been created in films since 1950s, and furthermore, the images of these female characters were changing during the time period.
In any art history class, there is one topic that is always covered: the self-portrait. All great artists from Leonardo Da Vinci to Jackson Pollock have immortalized themselves in the form of autobiographical portraiture. Female self portraits are specifically significant. Until the 20th century, women were rarely trained in the art of painting. Usually, the only female artists were the daughters of male artists. This was because it was necessary for apprentices of artists to live and work with the senior artist. Of course, it was socially unacceptable for a woman to live with a man to whom she was not married. Therefore, most portraits of women pre-20th century are not self portraits, but instead portraits painted by male painters. We can recognize these portraits by the fact that the subject’s gaze is never at the viewer, but rather to the side or downwards, due to the fact that women were not meant to look men in the eye.
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 subordination of women in Chinese culture belongs to the traditional or pre-communist period. Indeed, women in Chinese civilization, or at least in the very past, were considered merely as wives and housekeepers; their education, in fact, was focused on preparing them for the future roles of mothers and wives (Patt-Shamir, 2010, 246). Before the Chinese revolution, males worshiped the Confucian doctrine: “obedience” and “respect” were at the basis of their assumption, as they recognized Confucianism as law (Cook and Powell, 2006, 279). The protagonist of the dramatic movie Ju Dou is the young woman named Ju Dou as well as the personification of different themes through the color red that shows up several times during the movie and which identifies itself with the main problems in an oppressed rural village. Furthermore, due to erotic context, the Chinese government banned the movie for two years. However, the sexual scenes are not scandalous, but how the movie depicts and denunciates the traditional position of women could have reached popularity in every part of the country. The movie Ju Dou is a considerable manifestation of gender stereotypes and of the Chinese patriarchal
A portrait is normally a commissioned piece of work or a self-portrait. Often times the painting or other medium of a portrait shows the subject in their best refinery, perhaps a little more attractive than they usually appear. A person, no matter the time period, get’s a portrait done of themselves as a status symbol or to present
In conclusion, picture painting can be used to pass on information about the life of a people. However, every picture is unique in interpretation of the theme reflected. Some paintings have metaphorical meaning and require a critical mind analysis. The use of size and form in art represents themes of time era. Color and proportion are among the strategies used by artists to communicate different messages in painting. This era is characterized by rich traditional-nature relationship in all aspects of life. Authority and hierarchical order plays the role of uniting the people who seem to share common values, norms, and religious inclination.