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Chinese and Korean Art Before 1279
Funerary bronze Guang The Terracotta Army
the individual and the universal
Earthenware decorated pottery: style and function centrality of nature
Painting: influences of Daoism and Confucianism
- Gu Kaizhi
- Fan Kuan
Buddhist cave shrines and iconography
Korean Celadon-Glazed Ceramics
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Third millennium BC: Paleolithic earthenware
FORMAL: limited colors (red, brownish and black), stylized animals, abstract (angular and curvilinear geometric motifs), perfectly embrace the vessel
FUNCTION: both utilitarian purposes (to hold foods and other goods) and ritual purposes (burial rites)
Yangshao Culture vases, from Gansu Province, China ca. 2500 BC. Earthenware.
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Greek vases: the human figure more an more central
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centrality of nature
1) man is not the culminating achievement of the creation
2) conceptual interdependence between the detail and the total, deriving both the universe and the little thing from the original egg
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Guang, probably from Anyang, China, Shang Dynasty, 11th-12th
century BC. Bronze
- Guang (bronze vessels found in tombs ) containers for offerings of food and wine
- Formal: animal and abstract relief motifs; relationship shape-decoration
Ritual bronzes
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Guang, probably from Anyang, China, Shang Dynasty, 11th-12th
century BC. Bronze
Decorative animals covered with same spiral motifs of the background; horror vacui
Rulers controlled production of bronze:
Shamanistic religion: communication with the spirit world required offerings of food to the ancestors which were only possible through the use of such vessels
military domination
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Army of the First Emperor of Qin in pits next to his burial mound,
Lintong, China, Qin Dynasty, ca. 210 BC. Painted Terracotta
- 2 centuries of war, (Warring State Period, 475-221 BC) ended with victory of Qin
- China was united under a single ruler first emperor of Qin, Shihuangdi
The Terracotta Army
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Army of the First Emperor of Qin in pits next to his burial mound, Lintong,
China, Qin Dynasty, ca. 210 BC. Painted Terracotta
Originally painted in vivid colors
individualized faces
Technique: same molds used repeatedly, but assembled in many different combinations
result: balance of uniformity and individuality
FORMAL
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During the Warring State Period (475-221 BC), two philosophies/religions: Daoism and Confucianism
Daoism: harmony with nature, retreat from society
Confucianism: collective dimension: empathy for suffering, respect for tradition
Effort to unite the country
Uniformity and individuality
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Confucianism: moral and didactic role of painting
Subject: 7 stories of wifely virtue
Gu Kaizhi, Lady Feng
and the Bear, late 4th century,
Handscroll, ink and
colors on silk
escaped circus bear
female servants run away
Fearful emperor
Lady Feng places herself between the bear and the emperor
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Format: Handscroll meant to be viewed privately
Read from right to left, displaying only a foot or two at time
http://www.chinaonlinemuseum.com/resources/Painting/GuKaizhi/admonitions.jpg
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thin lines, few outlined areas filled with color, blank background with only minimal setting for the scene and represented space, vertical perspective
Gu Kaizhi, Lady Feng and the Bear, late 4th century, Handscroll, ink and colors on silk
iconography: the band flowing from Lady Feng’s dress = movement
upturned strings = fear
FORMAL:
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1) “spirit” (Daoist qi): qi is the cosmic spirit that flows through all things
artists must cultivate their own spirit so that the qi, through them, animates their work
Canons 2-5 concentrate on technical matters
2) Brushstrokes are the “bones” of a painting. Brushstroke as a vehicle of expression, through which the qi makes itself felt
6th principle: Confucian reverence for tradition and institutions:
“Painting must transmit knowledge of past painting traditions”
6TH century CE, Xie He’s six principles:
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SEATED BUDDHA, CAVE 20 YUNGANG, Dantong, Shanxi. Northern Wei dynasty, c. 460. Stone, h. 45’
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SEATED BUDDHA, CAVE 20 YUNGANG, Dantong, Shanxi. Northern Wei dynasty, c. 460. Stone, h. 45’
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Fan Kuan, Travelers
among mountains
and Streams, Northern
Song Dynasty,
early 11th century, Hanging
scroll, ink and colors on silk
Hanging scroll
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Foreground
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Combination of OPTICAL + DESCRIPTIVE approach: realism of details / shifting perspectives
- element of TIME
- Fan Kuan called nature his “only true teacher”
- Scientific precision (trees, rocks, etc.) + imaginary landscape
- Chiaroscuro (volumes) + variety of represented textures + plain ground (fabric)
- Neo-Confucianism: Daoism (landscape painting tradition, nature) + Confucianism (rationality, social hierarchy) + Buddhism (enlightenment)
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MAEBEYONG BOTTLE WITH DECORATION OF BAMBOO AND BLOSSOMING PLUM TREE, Korea, Goryeo Dynasty, 12-13 cent. CE. Inlaid celadon ware, h. ca. 13”
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INLAID TECHNIQUE
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MAEBEYONG BOTTLE WITH DECORATION OF BAMBOO AND BLOSSOMING PLUM TREE, Korea, Goryeo Dynasty, 12-13 cent. CE. Inlaid celadon ware, h. ca. 13”