Since antiquity an intimate relation between Nature and the mostly farmers on the Artists of classical Chinese art and literature seem incapable of separating. introduces Chinese literature and arts of pre-modern and modern China. students discuss the relationship between Chinese literatures and visual arts. Chinese art is visual art that, whether ancient or modern, originated in or is practiced in China . There were two distinct artistic folding screens mentioned in historical literature of the era. Chinese art as having been constructed out of personal preferences, a kind of programmatized artist-curator relationship that only.
The bronze vessels were receptacles for storing or serving various solids and liquids used in the performance of sacred ceremonies.
Some forms such as the ku and jue can be very graceful, but the most powerful pieces are the dingsometimes described as having an "air of ferocious majesty". It is typical of the developed Shang style that all available space is decorated, most often with stylized forms of real and imaginary animals.
The most common motif is the taotiewhich shows a mythological being presented frontally as though squashed onto a horizontal plane to form a symmetrical design. The early significance of taotie is not clear, but myths about it existed around the late Zhou dynasty. It was considered to be variously a covetous man banished to guard a corner of heaven against evil monsters; or a monster equipped with only a head which tries to devour men but hurts only itself.
The function and appearance of bronzes changed gradually from the Shang to the Zhou.
They shifted from been used in religious rites to more practical purposes. By the Warring States periodbronze vessels had become objects of aesthetic enjoyment.
Some were decorated with social scenes, such as from a banquet or hunt; whilst others displayed abstract patterns inlaid with gold, silver, or precious and semiprecious stones.
China’s Literati Painting | China Institute
Now a few words on painting: Chinese painting is derived from drawing lines directly from wall paintings during the Han dynasty. This may help explain the most noticeable characteristics of a Chinese painting: Back to the Chinese artistic perspective: As corporeal beauty has never been part of the Chinese artistic tradition, the Chinese artists have never been interested in the detailed study of the likeness of things, including the human body parts.
Essentialism as opposed to realism, on the other hand, is the ultimate reach of a Chinese artist. It is in this spirit that Literati Painting was born and flourished in China. Yes, it all happened during the Tang dynasty, from the 7th through the 10th centuries, that both poetry and calligraphy reached their ripe and glorious heights, and the twilight years of the Tang saw the gradual ripening of painting, which led the Chinese artists and men of letters to come to fantasize and deem that paintings could complement literary works to offer a more rounded and more appreciation to a reader, viewer and listener at the same time.
And so it was: With this newly found and uniquely literary and artistic realization, a new literary and artistic genre was born: Literati Painting, a genre that embodies the 3 aspects: And when the poem is recited, resonant sounds and balanced tones would contribute to the pleasantness.
Relationship of Calligraphy and Painting to Literature - Oxford Handbooks
As a viewer is enjoying the poem in fine calligraphy, in ears would ring the pleasing sounds set to the pictographic characters. While the poetry and its characters provide visualized thoughts to the viewer, their tonal sounds make up for what the eyes cannot see and where only the mind or imagination can reach — and thereby the acquisition of a total and rounded enjoyment of a union of poetry and art.Is Chinese Modern Art the Greatest Artistic Movement Since Cubism?
Another fascinating point as regards the genre is that the poem on a literati painting enjoys a special literary title, Poem That Thematizes the Painting ti hua shi, in Chinese. Is it not clear what significant role a poem plays on the painting, as a Chinese poem — itself pictographic symbols with music, already a kind of musical painting — is a thematic part to the whole work, and the picture serves merely as a humble superfluous, to certain extent co-star in this art form?
This extraordinary genre flourished from the 13th century and came to its full blossoming in the late Ming dynasty through the dawning years of the Manchu dynasty in the 17th century and lasted until Midth century.
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