Week 8 Art 114 PDF

Title Week 8 Art 114
Author Lil Okami
Course World Arts: Asia
Institution California State University Northridge
Pages 2
File Size 87.7 KB
File Type PDF
Total Downloads 97
Total Views 149

Summary

Art 114 question solving answers...


Description

1. Explain these terms in relation to their origin, form, meaning, and significance: Blue-green style, Monumental style, Plain-outline style, Ma-Xia school Blue-green style: a style of Chinese landscape painting characterized by the prominent use of blue and green mineral pigments derived from azurite and malachite. Monumental style: Song Dynasty, originating the style of painting, portraying landscapes with hidden meanings; the mountains towering over everything else, power. Plain-outline style: in which elements are depicted with simple, unmodulated outlines and typically no use of color. Ma-Xia school: a group of painters working in the landscape styles of Ma Yuan and Xia Gui, typically featuring some of these elements: one-corner composition, the use of ink wash, axe-cut strokes, and angular branches. 2. Contextualize the great development of landscape painting during the periods. How does landscape painting differ from figure painting? Once artwork began to be influenced by political officials, they began to be influenced by way of political officials, they started out to improve into visual messages of order in the world. Eventually, artists added poems to their artwork to similarly categorical their feelings through both phrases and imagery. While panorama painting developed into sensible imagery usually the usage of 1 color with shading or 2 for differentiation, determine painting was once mainly used to portray courtroom existence and religious events. 3. With examples, discuss new innovations in Song ceramics. The Ding Product on figure 8-10 from the Song Dynasty, with its white porcelain, is characterized by its utilize of coal as oven fuel, and upside down terminating strategy, and molded enrichments on the surface. The Ru Product in figure 8-11, the Cup Stand may be the shape of the celadon vessel as it was sold for royal determination. 4. Discuss the rise of art patronage among Song scholar-officials and literati and explain its influence on the subject and style of painting. Many literati paintings focus on themes of withdrawal from society or returning to the past; the political ramifications of both themes are easy to identify. 5. Contextualize the separation between the court and the intellectual class in the Yuan art world and explain the consequence of that separation. Yuan literati painters no longer took the reality to nature as their intention but alternatively used portray as a car for self-expression. In the arms of relatively trained scholar-artists, brushwork grew to be calligraphic and assumed an autonomy that transcended its feature as a capacity of developing representational forms. 6. With representative examples, discuss how is Yuan landscape painting different from that of the Song dynasties? Song Landscape: paintings like Early Spring (fig. 8-6) and A Thousand Miles of Rivers and Mountains (Fig. 8-9) blue-green style and also the Neo-Confucian influences building from the center-bottom to the top of the canvas. There are details throughout the art. In Yuan Landscapes, there is immense detail in structures and figures that are seemingly close in perspective with little detail in the background and natural scenery like in the Dragon Boat Festival in (fig. 8-24) and Khubilai Khan Hunting (fig. 8-23). ●

Dong-Ju tradition a landscape painting style named for the painters Dong Yuan and Juran, typically featuring some of these elements: hemp-fiber strokes, alum lumps, dotting to indicate vegetation, and tree trunks exposed from root to tip. (fig. 8-3)





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Li-Guo tradition a landscape painting style named for the painters Li Cheng and Guo Xi, typically featuring these elements: serpentine mountain ridges, trees with crab-claw branches, and representations of level distance. (fig. 8-5) celadon, a term used to describe a wide variety of stoneware or porcelain wares with glazes that have some green in them—ranging from the olive green of Yaozhou ware to the palest blue-green Art conquest identity was used this time of period Many painters treated landscape as a new genre and focus for their paintings and many incorporated Daoist and Confucianist beliefs Painters and collectors believed in landscape painting Which appealed to Buddhists as a representation of the journey toward enlightenment. In this painting, Fachang Muqi uses gradations of ink wash over almost the entire surface to indicate mist; a band of light cuts across the center of the painting. In one area, the dark but still indistinct forms of trees and rooflines emerge: This must be the location of the mostly hidden temple of the title. Because mist obscures the light, in a Buddhist context it refers to obstacles to enlightenment. The evening bell of the title is meant to evoke sound; here, we should imagine its clear tone piercing the mist and signaling the temple’s role in enlightenment. (fig. 8-20) Patrons were really important because the purpose of patronage in this period was to support imperial authority. Example: handscroll Odes of the State of Bi this painting reminds the viewer that one of the great advantages the Mongols possessed was their superior horsemanship, while at the same time signaling the political status of the ruler and indicating his nomadic ancestry. (horse painting)Military power to people In the Yuan have many of these works have apparent political significance, the paintings a collector acquired also revel hi or her personal interest Landscape paintings are more naturalism Era typically relied on both observation and exaggeration to create their compositions. A figure painting is painting people of higher power and showing the clothes they wore, intended to encode the social superiority of the aristocracy. including many made in porcelain, a white clay body more refined than earthenware or stoneware, owing to the addition of kaolin (a fine white clay) and petuntse A porcelain bowl with a carved decoration of lotus flowers and leaves (FIG. 8–10) is a prototypical example of Ding ware High and low oxygen can change the color...


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