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50 Cards in this Set
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BOWL WITH SLIP DECORATION OF MEN'S HEADS AND FISH. -Yangshao culture, ca. 5000–4000 BCE. -“Earthenware”: a clay body that is fired at low temperatures and is porousmeaning of this combo of ish and heads is in speculation |
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DISC (BI). -Warring States period, - ca. 400–200 BCE.Jade. -finest jade work - Curling body suggests clouds -Comes from a royal tomb -Funerary Contest disc -Roundness of the disc evokes Heaven which is allusion to dragons |
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MASTER LAI'S BELL. - Western Zhou dynasty, - ca. 900–800 BCE.Bronze. - Reverent to ancestors - Bells were casted in different sizes and tonesSet of 8 originally for his father |
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INFANTRY PIT. - Qin dynasty, - ca. 210 BCE.Earthenware. Life-size. - Formed when kingdoms were all united - Very authoritative ruler that didn’t put up with muchUnified currency and language - Site was selected because it had really good feng shui |
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FUNERARY BANNER. - Western Han dynasty, - ca. 180 BCE.Ink and color on silk - Subject matter: Lady of Dai who was emperor's wifeBanner on her tomb - Has yin-yang imagery which was part of Daoist religious beliefs -SHAPE: suggest it was hung vertically - Realms: Celestial, Earthly and Underworld |
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HILL-SHAPED INCENSE BURNER. - Western Han dynasty, - ca. 113 BCE.Bronze and gold. - Earliest representation of landscape in Chinese art - Represents immortals spirits travelling around mountainsCostly to makeSmoke make it look like misty mountain |
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FUNERAL SUIT. - Western Han dynasty, - ca. 113 BCE.Jade and gold. - Princes suit is made of 25 placks of Jade AND GOLD wire - Reflect Daoist beliefs of Alchemy (change one object to another) |
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Jing Ke's Assassination Attempt -A prince of a Rivaling state wanted to kill Qin Shihuangdi but failed and lost his head literally - Carving on Stone - c. 151 AD - Eastern Hong dynasty |
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ADMONITIONS OF THE COURT INSTRUCTRESS TO THE PALACE LADIES - Six Dynasties, - ca. 500–600 - Painter used minimal lines and plane background to highlight importance of Lady figures - Flat 2D Plane & Last scene in the scroll |
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SHAKYAMUNI AND ATTENDANTS. - Northern Wei dynasty, completed - 523 - Group makes offering to Chapel’s main image - Historic Buddha is displayed with archaic smile - His gesture: Fear Not- encourage people to give and receive - Monks and Bodhisattva surround him |
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MAHASATTVA JATAKA. - Northern Zhou dynasty, - ca. 557–581. - One Mural represents Buddha in Mahasattva where he jumps off the cliff and feeds himself to the lions |
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PLAYING POLO - Tang dynasty, - c. 706-711 - High pictorial imagery - Game played between tibetans and chinese: CHINESE WON - On the West wall on King’s tomb |
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COURT LADIES - Tang dynasty, - c. 706 - Represent Princesses and their elaborate fashion and style - Princess's tomb, where this was displayed and people could come visit her |
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SPRING OUTING, - Tang Dynasty COPY. - Attributed to Zhan Ziqian. - Fish scale waves to represent large body of water - Composition recedes diagonally to sow depthPOlitical subject to show courts prosperity - Blue/Green landscape including Azaurite and Malachite minerals |
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NIGHT-SHINING WHITE. - Tang dynasty, - ca. 700–800. - Attributed to Han Gan. - Represents the horses that began to be imported from Ghana in HANG dynasty - Horse tied to pole is a symbol to king’s power animalMany emporers have owned the piece and left their seal stamp on it |
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THE THIRTEEN EMPERORS - Probably a copy of an original Tang dynasty. - Attributed to Yan Liben. - They’re size distates their importanceWomen surround them (showin their place) - Ladies are shown to be easily distracted from governed duties |
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NIGHT REVELS OF HAN XIZAI - Southern Song dynasty, - ca. 1125–1200. - Painting shows interaction of men and womenLee Yui discovered his advisor was having gatherings for fellow officials and students to mingle -Copy after Gu Hongzhong. |
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EARLY SPRING. - Northern Song dynasty, - ca. 1072. - Guo XiSeal at the top is a suggestion it was commissioned by Emperor Shenxong - Monumental landscape with tiny figures fishing in the bottom foreground - Artist reveals concern with temporality evident in the representation of the season |
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PEACE REIGNS ALONG THE RIVER - Northern Song dynasty, - ca. late 11th to early 12th century. - Zhang Zeduan. - Only a section of a whole scrollDepicts Rainbow bridge crowded with vendors and sightseers wandering - Artist suggests the robust economy of the Song dynasty reflecting well on the emperor's governments |
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A THOUSAND MILES OF RIVERS AND MOUNTAINS - Northern Song dynasty, - ca. 1113. - Wang Ximeng. - Scale and media of this work identify it as a Court productionSurreal beauty of mountains suggest Daoist of immortals - Figures move through the landscape taking in scenery - Supports notion that Emperor Huizong was a prosperous ruler |
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FIVE TRIBUTE HORSES - Northern Song dynasty - ca. 1090. - Shows sympathy/relationship between Man and Animals - One of a bigger painting that includes 4 men with horses - As the horse is a militant power symbol of China - Horse is more detailed in order to show importance while male figure is just contouredMore naturalistic style of painting |
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VIEWING PLUM BLOSSOMS BY MOONLIGHT. - Southern Song dynasty. - Fan mounted as an album leafMa Yuan. - Shows scholar seated in the mountains observing the mountains - One corner compositionUses combo of negative space and dilluded space |
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TWELVE VIEWS OF LANDSCAPE4 - Southern Song dynasty, - ca. 1210. -Xia Gui with calligraphy by Empress Yang Meizi - Last scene of 12 remaining - empress single dragon seal suggests what calligrapger yan meizi |
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WANG XIZHI WATCHING GEESE. - Yuan dynasty, - ca. 1295 - Qian Xuan. - Subject matter: Scholar who was loyal to previous emperor then when new emperor came into power he became a monkFigure looking into Geese in the pond - Shows daoist immortal landBlue pigments suggests that the Qian Xuan his withdrawal from the world |
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SHEEP AND GOAT. - Yuan dynasty, - ca. 1300–1305. - Zhao Mengfu made playfully - Displays Sheep naturalistically is faced down to show how it is differential - Goat is made awkwardly head up high to show pridePainting depicts Mongols and Chinese weren’t so differentShows their relationship |
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DWELLING IN THE FUCHUN MOUNTAINS - Yuan dynasty, - ca. 1347–50. - Huang Gongwang. - Took him over 3 years to complete the painting - Painting was damaged so they cut off that damaged section |
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SIX GENTLEMEN. - Yuan dynasty, - ca. 1345. - NI Zan - Generally used dry pale ink to give painting Draws elements from Dong -Ju Landscape tradition - Trees are symbol for people Artist was known for static feel (staying in one position) |
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THE HERMIT XU YOU RESTING BY A STREAM - Ming dynasty. - Dai Jin. - Typical for Zhe styleIncludes ink wash and ax cut strokes associated Ma Yuan |
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"POET ON A MOUNTAINTOP". - Ming dynasty, ca. 1490–1500. - Shen Zhou - Part of a Ming Literati - Displays strong vegetation on the mountainside - Very wealthy and started his own art instittionHemp fiber stroke - Poem and art were conceived to be a whole piece |
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QINGBIAN MOUNTAINS. -Ming dynasty, 1617. - Dong QichangPainting is a reimaging of an original by Weng MengWang - Men liked to look at old works and combine them with modern styles to get his style of art - Replicates tree style of Fan Kuan in his paintings - Politics are starting to make a huger contribution to paintings these days - Moving away from naturalism and towards the idealistic rhelm |
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MIND PICTURE OF A WELL - Qing dynasty, - ca. 1736. -Lang Shining (Giuseppe Castiglione) and Chinese court painters. - Imitated tradition European style portraiture because of frontal perspective - Inauguration of the emperors - Clothing style reflects high social status |
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A THOUSAND PEAKS AND MYRIAD RAVINES. - Qing dynasty, - ca. 1679. - Gong Xian. - Strong Chiascurro distinguishes the piece - Dark landscape reflects artists somber mood between change in dynasty - Different because of it has no negative space, little sense of depth and little atmospheric perspective |
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MOON AND MELON. - Qing dynasty, - ca. 1689. - Zhu Da (a.k.a Bada Shanren). - Moon is supposed to resemble the moon cake eaten at Mid-Autumn festival - Melon has 2 political references: 1. Melon alludes to the fall of rein of Don Ling 2. Melon seeds refer to the multiple empirical descendants |
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REMINISCENCES OF QINHUAI RIVER - Qing dynasty, - ca. 1695–1700. - Shitao - Uses dots to indicate vegetation - Trees on the side are quite bold and unusual |
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SELF-PORTRAIT. - Qing dynasty, - ca. 1856–1857 - Ren Xiong - Study in contradiction to adhere to conventional painting - Roughly life-size - Boldly outlined that make it seem cartoonishInscription refers to his sense of disconnection in a tumultuous world - Takes on a more aggresive pose |
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PORTRAIT OF MISS L. - ca. 1929. - Guan Zilan (a.k.a. Violet Kwan) - Guan Zilan developed interest in woodblock prints - Her clothes and jewelry are indicative of changing cultural norms in China |
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TO THE FRONT! - ca. 1932. - Hu Yichuan. - Woodblock print. - Design mobilized to the Chinese Created after Japanese invasion of Manchuria - Artist was inspired from German printmaker |
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FOOLISH OLD MAN REMOVES THE MOUNTAIN. - 1940. - Xu Beihong. - Old man figure wanted to remove the mountain from the view of his home so he passed that down his generations until the mountain was gone - Unusual that the portrayal of male characters were nude |
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FIGHTING IN NORTHERN SHAANXI. - ca. 1959. - Shi Lu - Painter put Mao in an isolated position which was uncommon because Mao was trying to unify China at that time |
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CHAIRMAN MAO GOES TO ANYUAN. - ca.1968. - Liu Chunhua - Depicts Mao as a youthful Communist Organizer on his way to coal mining strike - His stance on top of the mountain indicates his superiority over the viewer |
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FATHER. - 1980. - Luo Zhongli - Artist saw his man outside of a public bathroom and was inspired to record his suffering - Painted in a photorealistic style - Unusual that they used such a close perspective when the subject wasn’t any social importance |
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MOUNTAINS CLEARING AFTER RAIN. - ca. 1965–1970. - Chang Dai-chienter - Mist is an element that suggests transience and may have signified his itinerant of leaving China |
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VOCAB: Earthenware |
a clay body that is fired at low tempuratures and is pourous |
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VOCAB: Mandate of Heaven |
ancient chinese concept in which Heaven grants the ruler the right to rule |
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VOCAB: Animistic |
Belief that everyone/everything has a soul or spirit even inanimate objects and natural phenomena |
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VOCAB: Blue-Green Landscape |
style of Chinese landscape painting characterized by the prominent use of blue and green mineral pigments derived from azurite and malachite.
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VOCAB: Literati |
Scholar/Official |
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VOCAB: Hippied Roof |
roof with four trapezoid sections sloping outward and down from a ridgepole at the top |
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VOCAB: Axe-cut Stroke |
Triangular brushstroke that suggests the texture of wood chopped by an axe |
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VOCAB: Hemp-fiber Strokes |
Long ropy brushstrokes used to indicate texture in landscape paintings of Dong-Ju tradition |