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ARTH 282 Week 3 Lecture 3 Notes

by: Kennedy Ghibellini

ARTH 282 Week 3 Lecture 3 Notes ARTH 282

Marketplace > Northern Illinois University > ARTH 282 > ARTH 282 Week 3 Lecture 3 Notes
Kennedy Ghibellini
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About this Document

These notes are meant to go along with the powerpoint slides and pictures that the professor has posted on BlackBoard. Unit 1, Asian Art.
Introduction to World Art
Ann Van DiJk
Class Notes
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This 4 page Class Notes was uploaded by Kennedy Ghibellini on Sunday September 11, 2016. The Class Notes belongs to ARTH 282 at Northern Illinois University taught by Ann Van DiJk in Fall 2016. Since its upload, it has received 2 views.


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Date Created: 09/11/16
ASIAN ART Chinese Landscape Painting  (10 ­13  Centuries) Northern and Southern Song Dynasties Traditional Ink monochrome landscape painting  Impressionists of Western world extremely interested in Japonese art  Japonisme  Meanwhile in Western art  Renaissance  Interest in perspective (linear and atmospheric)  Science and mathematics  Optical realism (balance and symmetry)  Liang Kai, Li Bo Chanting a Poem  Southern Song Dynasty, late 12 ­13  centuries  18  Century poet Li Bo  Ink painting  Simplified (differing brush strokes)  Loose, curving lines (can imagine figure walking along)  Lack of setting; blank background  To help focus on figure?  Leave open to the imagination?  (layers of interpretation)  STUDY QUESTION 1:   Appreciation for brushstrokes­ mastery, beauty, descriptive power, character, energy,  expressive quality  Atmospheric perspective rather than linear  Conceptual approach to composition­ focus on idea over optical realism  Tension between sense of flat surface and illusion of 3D form  STUDY QUESTION 2:  Ink painting’s roots in literary arts/senarios  What are some of the Confucian scholar gentleman’s intellectual passtimes?  Poetry, painting, calligraphy  Means of self­expression  Calligraphy and writing  1  writing shows up on oracle bones; read by shamans  Early scripts; pictographic or ideographic (symbols)  Always thought to balance of characters  Calligraphy develops as an artform  Contrasts between calligraphy and official written documents  Writing of last emperor of Northern Song Dynasty  Wen Tong  Bamboo  c. 1070  Hanging scroll, ink on silk  Famous scholar, poet, and calligrapher  Every leaf, single brushstroke  Poetry combined with pictures/paintings  Xiao & Xiang Rivers  automatically poetry/beautiful places  Gives background/backstory; imagined story scene  Work together expressively to form single cohesive unit  Stamps used as signature  Also to identify collections  Zhao Mengfu  Twin Pines, Level Distance  Handscroll, ink on paper  Motifs given metaphorical/poetic messages  Metaphors for human virtues; motifs  Pine Trees: steady, unchanging  Bamboo: flexibilitst resilience  Plum Blossoms:  1  to bloom, consistency, purity  Old gnarly trees:  still standing, strength of journey  Divisions of space  Vantage points  Multiple perspectives  Northern Song Dynasty Landscape Paintings  Fan Kuan, Travelling among Mountains and Streams th  early 11  century  may represent ideal retreat; potential to lose yourself  personality (of artist)  monumental peak  9ft in actual size  Hanging scroll  Playing with divisions of space  Foreground: valley; man travelling with donkeys  Passing tree & boulder & stream seem huge in comparison  Raindrop texture stroke; light dabs of light ink to show texture  Same clarity in middle ground as foreground  Huge mountain in background  Hidden chasm?  Clarity @ every visual vantage point  “Six Principles”  Creativity “spirit resonance” “chi” (force/power)  Structural use of brush “bones”  Proper representation of objects  Coloration of represented objects  Good composition  Transmission of old masters by copying them  Pick up on styles of masters  Guo Xi, Early Spring  Different than Kuan; different expressions  Famous for branches that end in sharp, forked shapes  Personality of artist  What do ink landscape paintings represent?  Scenery of the real world  Personal self expression  Philosophical musings  Imaginary visions of the mind  STUDY QUESTION 2 (revisited)  Landscape paintings can have association with:  Writing calligraphy/poetry/intellectual expression  Philosophical themes  Confucian ideals  Daoist ideals (becoming ONE with universe)  Meditative practices of Chan (Zen) Buddhism  Play with illusion and truth, what’s real and what’s not  Southern Song Dynasty  Ma Ywan, On a Mountain Path in Spring  (10in x 17in)  Smaller, more intimate scale  Ink on silk handscroll  Part figure/ part landscape  Distant background mountains  Poem written on it talks about specific moment the poets sleeve brushes the bushes and  scares the birds  Smaller formats; foreground shifted to one corner  Midground center space; background ghostly in distance  STUDY QUESTION 3:  Northern Song Dynasty Landscape Paintings  Monumental  Larger­scale dimensions  Hanging scroll format  Aerial perspective with straight view  Viewer experiences omniscience  Composition describes grandeur AND minute details of nature  Southern Song Dynasty Landscape Paintings  “one corner”, small slice of nature  Smaller dimensions  Album leaf or handscroll format  Aerial perspective with straight view  Viewer contemplates void  Composition describes a lyrical (poetic), fleeting moment in nature


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