The document summarizes Chinese and Korean art after 1279, including the Yuan, Ming, and Qing dynasties in China and the Joseon dynasty in Korea. It discusses major artistic developments such as the literati style in China under Mongol rule and the orthodox and individualist styles that emerged in China under the Qing dynasty. Key artists from each period like Zhao Mengfu, Shen Zhou, and Shitao are mentioned along with examples of their work. The document also notes the transition to modern Chinese art in the early 20th century.
5. Song dynasty brought China intro a period of increased introspection, cultivating Chinese traditions as opposed to absorbing foreign influences
6. Drew clear distinction between own people, who they characterized as gentle, erudite, and sophisticated, and “barbarians” living outside of China’s borders
9. Imperial vs. Literati Taste Imperial court served as a patron of the arts, commissioning professional artists and artisans to construct building and gardens as well as create murals, paintings, and decorative arts Literati saw painting as a vehicle of self expression; painted for each other as opposed to for public display Created a status as artists that they felt was superior to professional painters; felt that professional artists were tainted by money and trying to please others rather than themselves Further developed characteristics of literati painting: Illustrated an “appreciation of antiquity”—revival of the past Rough, unassuming brushwork over gentle, refined movement Minimal use of color Use of landscape to convey a personal meaning
10. Hand Scrolls, Hanging Scrolls, and Album Leaves Literati favored hand scrolls, hanging scrolls, or album leaves because made it easy to share with others
11. Hand scrolls were paintings in a horizontal format, stretching several feet long Often hand scrolls contained a single continuous, yet they were not displayed all at once; typically, only a foot or two was unrolled at a time Hanging scrolls were viewed as a whole, unrolled and put up on a wall Albums composed of a set of paintings of identical size mounted in a book; typically paintings within an album were related in subject Paintings typically accompanied by colophons, or inscriptions related to the work (e.g. poems, comments, etc.)
12. Zhao Mengfu Zhao Mengfu was a descendant of the imperial line of Song, who chose to serve the Yuan government and was made a high official Known as a poet, calligrapher, and painter—especially known for paintings of horses and landscapes Landscapes are considered to be done in a style that focuses more on a literal laying of ground; not organized in a foreground, middle ground, and background, rather layers middle grounds at various heights to creative depth Artwork pervaded with characteristics of literati painting
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14. Autumn Colors on the Qiao and Hua Mountains Hand scroll created in 1296 Painted with ink and color pigments on paper Subject matter: Qiao and Hua Mountains of Jinan Painted for a friend whose ancestors came from Jinan; painting intended to depict landscape of Jinan Not painted in naturalism common in the era, rather in the archaic manner of Tang dynasty Color used sparingly
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16. Fascination With Nature Painted by XieChufang Hand scroll created in 1321 Subject matter: animals and insects feeding off one another Beauty and brightness of the natural world cover up the confusion and disorder caused by the fight for survival Representative of dilemma facing many Chinese of the period: whether to work for the Mongols or remain loyal to the fallen imperial dynasty Plant/insect subject matter as well as vibrant colors date back to Song dynasty marks the revivalism of earlier styles of Chinese painters
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18. Ni Zan Rich man who was the owner of a large estate Pride and aloofness from daily affairs got him into trouble with authorities Notoriously clean; washed himself several times a day and ordered servants to wash trees in his garden Later in life, he is said to have given away all of his possessions and lived as a hermit in a boat Lifestyle served as a model for literati; lived an “ideal” lifestyle
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20. The Rongxi Studio Hanging scroll created in 1372 Ink on paper; free of color Depicts lake region in Ni’s home district; includes mountains, rocks, tree, and a pavilion Minimum detail included in artwork Created using a dry brush technique in which the brush is not fully loaded with ink but rather about to run out
55. Very restricted landscape view in contrast with the lofty, unrestricted view from the prior paintingMing dynasty. Hanging scroll late 15th- early 16th century Ink and color on silk
76. Walled city of Chang’an laid out on a rectangular grid, with evenly spaced streets that ran north-south and east-west with the imperial palace on the north end
77. Must enter through the impressive Meridian Gate or the Gate of Supreme Harmony
78. Rigid city structure reflects Chinese belief in harmony of the universe and emphasis on the emperor as the Son of HeavenMing Dynasty. Bejing
121. Guan Yu was a warrior of the late Han dynasty renowned for his bravery and loyalty was later venerated as a saint in the Daoist pantheon
122. Served as a virtual patron saint of the Manchus in the Qing dynasty
123. Guan is shown descending from the heavens with two attendants
124. Features religious images used in the "water and land" ritual, which is a Buddhist ceremony conducted for the salvation of "all the souls on land and sea“
145. He trained himself to paint and then moved to Yangzhou around 1695, where he renounced his status as a Buddhist monk and supported himself through his painting
158. Wu Guanzhong Chinese painter who emerged in 1980s as “father of modern Chinese art” Combining French training with Chinese background, developed a semiabstract style Took preliminary sketches of landscape, then developed sketches into free interpretations
159. Pine Spirit Created in 1984 Ink on paper Depicts a scene in the Huang Mountains in China Technique of sweeping brushstrokes, dots, and lines shows minimal concern for naturalistic shape and link to Abstract Expressionism
185. Most have floral decoration, rarely is it pictoralJoseon. Light gray stoneware with decoration painted in iron-brown slip on a white slip ground. 16th century
214. Musuem of Modern Art. Musuem of Modern Art, 2010. Web. 13 Dec. 2010. <http://www.moma.org/ collection/browse_results.php?criteria=O:AD:E:4675&page_number=2&template_id=1&sort_order=1>.
216. Whitfield, R. Musuem of British Art. N.p., 2010. Web. 13 Dec. 2010. <http://www.britishmuseum.org/ explore/highlights/highlight_objects/asia/x/xie_chufang,_fascination_of_na.aspx>.
217. Ming Blue and White. Koh-Antique, 2008. Web. 13 Dec. 2010. <http://www.koh-antique.com/bandw/ bandw.html>.
218. Ah-young, Chung. "Jeon Song's Paintings Brought to Life." Korea Times. Korea Times, 2009. Web. 13 Dec. 2010. <http://211.234.126.9/www/news/art/2010/12/148_51861.html>.
219. Stokstad, Marilyn. Art History. Ed. Sarah Toubourg. New York, New York: Prentice Hall, 2008. Print.