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  1. Chinese painting O’ Reiley, Chapter four

  2. Chronological Table of Dynasties • Tang (618-906) • Five Dynasties (907-960) • Song dynasty (960-1279): Northern Song (960-1126) and Southern Song (1129-1279); capital • Yuan dynasty (Mongols) 1260-1368 (Kubilai Khan; moved the capital to Khanbalik (Beijing), adopted Tibetan Buddhism) • Ming dynasty 1368-1644 (capital at Nanjing until 1420 then moved to Beijing) • Qing (Manchus) 1644-1912 • Republic 1912-1949

  3. Format • Hand scroll (shou-chuan) • Hanging scroll (li chou) • Album leaves and fans: subjects are landscape or bird-and-flowers with calligraphy

  4. Handscroll, hanging scroll, Double-leaf album painting, screen fan, folding fan

  5. Wen Zhengming (1470-1559), Cypress and Rock, dated 1550

  6. Anon., The Han Palace, S, Song, 12-13th century

  7. Wen Shu, Carnation and Garden Rock, Ming Dy, 1627

  8. Tang Period • Figure painting • Hand scroll and hanging scrolls was the major formats • Emperor Huizong: emperor is portrayed larger than other figures, vivid colors, attention of details but no individual personality; the aim is to focus on the role of the individual

  9. Painting • The Six Laws of Painting by Xie He (c. 500-35): Spirit, Bone Method (law of using the brush), Correspondence to the object (the depicting of form), Suitability to type (laying color), Division and Planning (placing and arrangement), transmission by coping (of models) • Media: Silk and paper • Ink: monochrome used for both landscape and figure • Brush: horse, wolf, sheep, sable, and rabit

  10. 4.19 Yen Lipen (attributed), Emperor Wu Di, the Scroll of the Emperors, Tang Dynasty, 7th c. (11th century copy)

  11. Attributed to Emperor Huizong (r. 1101-25), Court ladies Preparing Silk, Tang Dy.

  12. Landscape painting • Developed rapidly in the Tang dy. and reached its apex by early Song dy. (first appears in tomb tile, inlaid bronze, and mural at Dun Huang • N-Song: a true landscape used precise line manner, depicts a sense of an estate, a group of building, a few peasants working, a fishing boat in a shore, no narrative, landscape represents in fragments, no perspective • Depth is created by placement of elements in different grounds: foreground, mid ground and back group • Literati artists were well educated elites who painted for pleasure

  13. Bamboo • Bamboo painting is special favor in the Yuan dy. • It symbolizes the true gentle man who always maintain his integrity • It is the most difficult: need precise placement of leaves and stalks and

  14. Fan Kuan (c. 960-1030), Travelers among Mountains and Streams, N. Song

  15. 4-20 Fan Kuan (c. 960-1030), Travelers among Mountains and Streams, N. Song

  16. Ma Yuan (c. 1190-1225), On a Mountain Path in Spring, with a poem by Yang Meizi S. Song dy.

  17. 4-21 Ma Yuan, Scholar Contemplating the Moon, S. Song, c. 1200

  18. 4-22 Liang Kai, Hui Neng, Chopping the bamboo at a Moment of Enlightenment, S. Song, C. 1200

  19. 4.23 Bottle vase,Guan ware, S. Song

  20. celadon

  21. 4-24 Guan Daosheng, Ten Thousands Bamboo Poles in Cloudy Mist, 1308, Yuan Dy.

  22. 4-24 Guan Daosheng, Ten Thousands Bamboo Poles in Cloudy Mist, 1308, Yuan Dy.

  23. 4-24 Guan Daosheng, Ten Thousands Bamboo Poles in Cloudy Mist, 1308, Yuan Dy.

  24. Calligraphy and Seals • By the 13th c, calligraphy and seals are frequently appear on painting • Seal script: the earliest form, used for formal contexts of inscription • Clerical script: used for bureaucratic record-keeping • Regular script: most widely used to the present • Cursive script: used for artistic expression • Drafting script: the most rapidly written script

  25. Attributed to Han Gan, Night White, Tang Dy.

  26. 4-25 Chao Mengfu, Sheep and Goat, Yuan dy. c. 1300

  27. Ni Zan (1306-74), Rongxi Studio, Yuan-Ming, dated 1372

  28. Portrait of the Ming Hongzhi Emperor, Ming 15th c.

  29. Ming dynasty1366-1644 • Forces the Mongols out • Enlarging the Great Wall of China • Sent expeditions in the Indian Ocean • Built the imperial palace in Beijing • First Ming emperor established ceramic productions at Jingdezhen; High grade porcelain were produced for his court. • Later the emperors had monopoly over the utilitarian production of ceramics that were exported to SEA, the Middle East and later to the West • Blue ( water and cobalt oxide) and white (glaze) porcelains are underglazes

  30. 4.26 porcelain vases painted in an underglaze of cobalt blue, Ming dy., 15th century

  31. Vase, Ming dynasty, 15th c

  32. Porcelain bowl, Ming dy. 15th century

  33. 4-27 Chest, Ming dy., 15th century, lacquer

  34. 4-28 Wen Zhengming (1470-1559), Cypress and Rock, dated 1550

  35. 4-28 Wen Zhengming (1470-1559), Cypress and Rock, dated 1550, Ming Dy.

  36. 4-29 Don Qichang, Landscape in the Manner of Old Masters, 1611, Ming Dy.,

  37. Zhu Da, Fish and Rocks, (1626-1705), Ming-Qing dy.

  38. Qing dynasty1644-1911 • China was occupied by foreigners from the north-the Manchus or Manchurians, who caputured Beijing in 1644 • Qing means “pure’ or “clear” • Qianlong emperor (1736-1795) supported the revival of traditional art from the past. • Shitao (1641-1717)

  39. 4-33 Shitao, View of Waterfall on Mt. Lu, Qing dy. (1641-1717)

  40. Anon., Beauty Before a Curio Case, Qing, 18th century (one of set of 12 hanging scrolls

  41. Zheng Xie (1693-1765), Ink, bamboo and Rocks, Qing, 1753

  42. 4-32 Yu the Great Taming the Waters, completed 1787, jade (224 x 96 cm.)

  43. 4-36 Color print from woodblock, 1734