Art Time Line Final Project 1

Art Time line Final Project
Name
ART/101
3/2/2013
Instructor

Art Time line Final Project 2

Figure 1 (960-1127) Old Trees, Level Distance Northern Song Dynasty Guo Xi Hand Scroll, ink and color on silk Metropolitan Museum of Art, New York

Guo Xi, the preeminent landscape painter of the late eleventh century, sought to give form to poetic images as well as emotions. He was especially interested in conveying the hints of seasons and times of day in his paintings. In this particular painting Old Trees, Level Distance, it looks as if the painting was done for a fellow government official the night before he retires. You can see the leafless trees as well as what appears to be an elderly couple approaching a pavilion. The artist uses shading as well as colors to show the appearance of mist in the painting.

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Figure 2 (960-1127) Summer Mountains Northern Song Dynasty Attributed to Qu Ding Hand Scroll; ink and pale color on silk Metropolitan Museum of Art, New York Between the years 900 and 1100, the Chinese painters created visions of landscape that portrayed the sublimity of creation. People are meant to identify with the human figures in these paintings. In the painting Summer Mountains, travelers make their way toward a temple retreat. The artist shows advanced use of texture strokes as well as ink wash in his painting. The artist uses shading to show depth in his work as well. You can get a better idea of the time frame of when the painting was created by the advancement of painting styles to determine the painting was probably finished around the year 1150.

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Figure 3 (1127-1279) Scholar by a Waterfall Southern Song Dynasty Ma Yuan Album Leaf; ink and color on silk Metropolitan Museum of Art, New York Ma Yuan, a fourth generation member of a family of painters, was a leading artist at the Southern song painting academy in Hangzhou. Hangzhou is a city of unsurpassed beauty, graced with pavilions, gardens, and scenic vistas. In this painting the artist uses plenty of shading and lines to show the jagged rhythms of the pine tree as well as garden contrast. In the background you can also see the rapids of the cascades.

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Figure 4 (1279-1368) Twin Pines, Level Distance Yuan Dynasty Zhao Mengfu Hand Scroll; ink on paper Metropolitan Museum of Art, New York Zhao Mengfu, a leading calligrapher of his time set the course of scholar-painting by firmly establishing its two basic tenets: renewal through the study of ancient models and the application of calligraphic principles to painting. In Twin Pines, Level Distance they used a calligraphic style. Instead of simply showing nature as it appears to be, Zhao sought to capture its quintessential rhythms, using much defined lines and shading.

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Figure 5
(1279-1368)
The Simple Retreat Yuan Dynasty Wang Meng Hanging Scroll; ink and color on paper Metropolitan Museum of Art, New York
In The Simple Retreat (figure 5) by Wang Meng during Yuan Dynasty you can see many similarities’ in regards to the previous artwork of Scholars by a Waterfall. However, in this piece the artist has depicted scholars in retreats, and expressed ideals associated with physical likeness (The Simple Retreat, 2006). An intention behind this work was to create an unreal world, an imagery vision where ideals and values are shared. A traditional landscape design has been used, but enhanced, energized elements have been added of fluttering texture strokes, dots, bright pigments of color, and washes (The Simple Retreat, 2006). In the center of energized atmosphere lies the courtyard retreat creating a calm, balanced perspective of a place surrounded and embodied with natures power.
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Fig. 6 1551 Garden of the Unsuccessful Politician Ming Dynasty Wen Zhengming Album of Eight Paintings; ink on paper Metropolitan Museum of Art, New York

This Chinese landscape painting actually consists of an album ink on paper, including calligraphy and poetry. These paintings are said to represent the artist’s personal expressions and feelings associated with an unhappy stay Beijing (Garden of the Unsuccessful Politician, 2006). The primary characteristics of this artwork are ideally synthesized by the early Southern style are recognized and achieved in this particular works including painting, calligraphy, and poetry (Sayre,2007). The poetry and calligraphy used to depict the artist’s views in a personal expressive manner, while the viewer can relate to the images in the paintings. Furthermore, all three characteristics used accomplished an intuitive understanding, with an expressive setting that can be easily related too figure 7 1666.
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Figure 7 1666 Wooded Mountains at Dusk Qing Dynasty Kuncan Hanging Scroll; ink and color on paper Metropolitan Museum of Art, New York

During the Qing Dynasty period landscape paintings further evolved into establishing an importance in the inner spiritual relations. However, it is said that this particular painting was an inspiration achieved by the artist’s visit to “yellow mountain” (Wooded Mountains at Dusk, 2006). He intended to express the beauty of this place in his work, by following traditional design elements such as textured brushwork a previously common style used by master Wang Meng(Wooded Mountains at Dusk, 2006). This style has allowed the artist to densely create an atmosphere of physical and spiritual values through depicting landscapes of water and mountains. Furthermore, the artist has followed traditional Southern style by depicting himself as the central figure in the painting (Sayre, 2007). Art Time line Final Project 9

Figure 8 1698 The Kangxi Emperor’s Southern Inspection Tour; Scroll Three: Ji’nan to Mount Tai Qing Dynasty Wang Hui and Assistants Hand Scroll; ink and color on silk Metropolitan Museum of Art, New York The Kangxi Emperor’s Southern Inspection Tour, scroll Three: Ji’nan to Mount Tai (figure 8), Qing dynasty 1698 by Wang Hui and assistance (The Kangxi Emperor’s Southern Inspection Tour, 2008). This is a hand scroll; ink and color on silk. This landscape painting symbolizes importance, specifically an event led by the emperor. Symbolic meaning in this painting refers directly to the emperor as well as emphasizes the importance of ruler ship (Sayre, 2007). Rich use of color, decorative style depictions, and schematically approached to enlighten the viewers understanding of the piece. Brushstrokes requiring skill and reliance imitate a vast open airy space with mountains, water, and gathering figures that suggest an event is taken place and emphasize the need for authority. Furthermore, a traditional landscape style of applying blue and green schemes in the painting were used. Art Time line Final project 10

Figure 9 1699 Fish and Rocks Qing Dynasty Bada Shanren (Zhu Da) Hanging Scroll; ink on paper
Metropolitan Museum of Art, New York
Fish and Rocks (figure 9), was created during Qing dynasty in 1699 by Bada Shanren “Zhu Da” (Fish and Rocks, 2006). This is a hanging scroll; ink on paper. This particular artwork produces a heightened sense of disturbing quality characteristics to its first time viewers, because the artist has expressed and related tension by not using many of the design elements that are typical with traditional style. For instance, bold, blunt, enigmatic images of rocks, surrounded by a body of water are not easily recognizable at first sight (Fish and Rocks, 2006). However, after fish become apparent in this painting the images are easily detected. Many qualities set forth in this work are disturbing to some, but considered unique to this artist’s landscape painting style.
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Figure 10 1965 Splashed-Color Landscape Zhang Daqian Hanging Scroll; ink and color on paper Metropolitan Museum of Art, New York Splashed-Color Landscape (figure 10), dated 1965 by Zhang Dagian is a hanging scroll; ink and color on paper. This particular example of Chinese landscape painting is greatly evolved, considering it applies modern Western art techniques including abstract impressionism (Splashed-Color Landscape, 2006). However, traditional blue, green schemes are used, but with vivid mineral colors, layered ink strokes, and broad washes express the artist’s personal influences. Some techniques applied in this work include splashing of paint, and soaking strategy first used by Tang dynasty (Sayre, 2007). The artist’s use of color techniques, random manner, creativity, and rich contour lines create a spontaneous illusion of storm-engulfed mountains. However, One’s first impression of this landscape painting may not be calming as with past designs by other artist, rather an impression and disturbing sense arise from imagining an erupting volcano of molten blue lava as I first assumed was being depicted in this landscape setting. Art Time Line Final Project 12 Indeed, Chinese art of landscape painting has evolved over time. However, after discussing and reviewing the timeline above you can conclude thematically linked aspects remain existed among the examples. Overtime, the traditional styles have incorporated various new styles and techniques, but relatively speaking ideas, values, symbolic importance, motivations, and intuitive understanding in regards to the natural world remain as the primary aspects associated with all Chinese artists. Moreover, these above mentioned aspects may vary slightly with time and culture passing, while the ultimate endeavor will continue on.

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References
Fish and Rocks [hanging scroll]. (October 2006). Figure 9: Retrieved February 2, 2013 from: Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, at http://www.metmuseum.org/toah/hd/qing_1/ho_1989.363.137.htm
Garden of the Unsuccessful Politician [album of eight paintings]. (October 2006). Figure 6: Retrieved February 2, 2013 from: Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, at http://www.metmuseum.org/toah/ho/08/eac/ho_1979.458.1.htm
Old Trees, Level Distance [hand scroll]. (October 2008).Figure 1: Retrieved February 1, 2013 from: Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, at http://www.metmuseum.org/toah/hd/nsong/ho_1981.276.htm
Sayre, H. M. (2007). A world of art (5th ed.). Upper Saddle River, NJ: Pearson Education.
Scholar by a Waterfall [album leaf]. (October 2006). Figure 3: Retrieved on February 1, 2013 from: Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, at http://www.metmuseum.org/toah/ho/07/eac/ho_1973.120.9.htm
Splashed-Color Landscape [hanging scroll]. (October 2006). Figure 10: Retrieved February 2, 2013 from: Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, at http://www.metmuseum.org/toah/ho/11/eac/ho_1986.267.361.htm
Summer Mountains [hand scroll]. (October 2006). Figure 2: Retrieved on February 25, 2013 from: Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, at http://www.metmuseum.org/toah/ho/07/eac/ho_1973.120.1.htm
The Kangxi Emperor's Southern Inspection Tour, Scroll Three: Ji'nan to Mount Tai, [hand scroll]. (October 2008). Figure 8: Retrieved February 27, 2013 from: Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, at http://www.metmuseum.org/toah/ho/09/eac/ho_1979.5.htm
The Simple Retreat [hanging scroll]. (October 2006). Figure 5: Retrieved February 27, 2013 from: Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, at http://www.metmuseum.org/toah/hd/yuan/ho_L.1997.24.8.htm
Twin Pines, Level Distance [hand scroll]. (October 2006). Figure 4: Retrieved February 27, 2013 from: Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, at http://www.metmuseum.org/toah/ho/07/eac/ho_1973.120.5.htm
Wooded Mountains at Dusk [hanging scroll]. (October 2006). Figure 7: Retrieved February 27, 2013 from: Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, at http://www.metmuseum.org/toah/ho/09/eac/ho_1989.363.129.htm