My thesis is to translate traditional painting into architecture by the view method of Shanshui painting which show the logic of Chinese architecture. With the several decades of development, China is changing to an international country by belittle our only culture and follow the western. In architecture, people dismantle traditional buildings and built many huge, modern blocks instead. What is Chinese architecture? Chinese architecture is not only Is it the big roof Which out the philosophy of … we cannot defined the (见书) That is why the Grauman’s Chinese Theater use many elements of Chinese architecture but can’t representative Chinese architecture at all. Shanshui painting is a material that shows the dream of space for people to live and wander which is To understand the inside logic of Chinese architecture First, learn the rules from nature. This logic is clearly showed by Shanshui painting and Yuanlin . If architecture is a fiction of human living space, this kind of fiction is in company with rocks and trees. They share the same “natural form”, which is not necessarily based on Euclid’s geometry, and the buildings don't have to be either square or round. In Yuanlin, architecture rather than natural objects dominate the landscape. Yuanlin is not the copy of the pure nature but the reflection of inner world and the …show more content…
In Shanshui painting, the view method is different from perspective. Shanshui painting is not like the photograph which audiences stand in front of it and watch it as the only view of the author. Shanshui is a picture that including scenes with different time, space and views which can be understand only come inside. It gives an experience that layers by layers, without climax, start and end, which happened on Yuanlin too. Use this view method of Shanshui on space and record the relative spatial position, the architecture will develop just like it. The view method becomes the design
They designed their buildings in a certain way for a reason. When you start to look at those purposes, the layouts and designs of these incredible buildings start to fall into place and makes
For example, in a picture labeled “Sakyamuni (Buddha) Cutting His Hair” created during the Tang dynasty depicted a man in Chinese clothing with Chinese people around him in an environment full of mountains and trees that is usually favored by Chinese artists (Doc 3). The man represents Buddha if Buddha was a Chinese person, when he is actually an Indian prince who is named Siddhartha Gautama. The purpose of this painting was to show how Chinese artists blended Chinese culture with Buddhism in paintings to show how Buddha would be like if Buddha was a Chinese person. Another example is the Leshan Giant Buddha statue which is a statue that is 233 feet tall which is built during the Tang dynasty (Doc.4). Surrounding the statue of Buddha was statues of Chinese generals that were to “protect” the statue.
Art painting air warfare seems to be the biggest controversy with the Second World War Official War Art Program’s declaration of accuracy. “You could paint a wounded man. You could express in the contortions of his body and the taut lines of his face the extremity of his suffering. The correct insignia and a suggestive background would show what breed of combatant he was, whence he came, where he was.” However, air warfare was different.
Upon visiting the Huntsville Museum of Art, I was very surprised to find all of the tremendous galleries that were currently up at the museum. In addition, after exploring the entire museum there was one gallery that really intrigued me, and this was the gallery of Antoine Ponchin and his son Jos. Henri Ponchin. What made the Ponchin gallery so interesting to me was both the father and the son were landscape artist. Moreover, both Ponchins travelled to many locations to paint magnificent pictures. Choosing a picture to paint about from this gallery was a challenge for me mainly because both Antoine and Jos.
Terrain, Edie Marshall’s installation of 1000 lushly worked oil paintings, is a record of a road trip through the Great Plains of North America. Over the duration of the trip, made in 2013, Marshall took over 1500 photos on her iPhone. Randomly shooting images on impulse, most of the photos are landscapes taken from the passenger seat of the moving car, though shots also include excursions into towns, cities, historic sites, an aquarium, hiking trails, parks, and roadside vistas. Upon returning from the trip Marshall took up the challenge of creating painting from these numerous photos. However, rather than eliminating images down to a few select, well-composed scenes to paint Marshal utilized the spontaneity with which the images were taken
The main focus of the painting is the architectural aspect. The scene is dominated by the main building and the large arched bridge that juts out in front of it. It is proportionally placed within the canvas. The width of the central façade makes up the central portion of the painting with the doorway being centered within the entire composition.
In 1944, on a typical sunny spring afternoon, a classmate invited him to the family’s residence at the Broadway Mansion. Wanted to know, if he would be interested to observing off the tallest building at the Bund neighborhood and its panoramic view? Obviously, you know the answer to this child’s mind? Its scene would simply be ‘Magnificent.’ (‘Zhaarchee-Haw’, Shanghai dialect or ‘Hung-How’ in Mandarin)
Also Squares and circles were placed at the points where the principal streets
These buildings have variations because of transforming artistic styles and different beliefs about how the Word of God should be spread and
The development of modern day architecture is very fascinating. Even though it has a very significant difference to architecture in the past, it still has many similarities. Many famous buildings we have today still show the same basic designs. For example, the Lincoln Memorial is very similar to the Parthenon.
The architecture of the Islamic culture developed specifically during the rule of the Ottomans and Safavids. Islamic art and architecture among the Islamic Ottomans was characterized by a vibrant combination of both Persian and Turkish designs. In addition, styles and patterns used in mosques and Islamic areas of religious worship and learning were also adopted from the Mediterranean and Byzantine cultures. On the other hand, the Safavid forms of architecture were developed a lot from Iranian culture during the 16th century. There are a lot of diverse similarities and differences that are seen in analyzing the Ottoman and Safavid forms of architecture.
New designs have been adopted since the onset of architecture, and thus, with the concentration of a history of architecture, new phenomenon and innovations are realized that would help in further explanation and address of other necessities in the same sector. A concentration in the History of architecture and landscape architecture as a course incorporates more than one element of
A civilization’s architecture not only shows the artistic skills of its designers and builders but also the functionality of its engineers, the power of its government, and the inventiveness of its people. Architecture was a crucial element to the success of two major cites in Europe, Rome and Athens. Each city had structures consisting of formal architecture like temples and basilicas showing the influence that its leaders had over each city, while utilitarian buildings like bridges and aqueducts helped build communication between distant cities throughout each empire. Though architecture as a whole was an important role in unifying the cities, the architecture design within each illustrates the similarities and differences between two.
All roofs have flowing lines and elegant cornices, each corner of the roof has a number of statues, depending on how many people live there or, depending on the destination, only the number 9 is not touch, as is the number of the Emperor but the main problem figurines represent the evolution of the nails or something similar to the stability of the cornice in windy weather. The architect came up with a universal form, on the one hand to create a mythical atmosphere, on the other practicality and functionality, it is their practical role in ancient Chinese architecture. ( Beijing Attraction – Forbidden City – Beijing Palace Museum. Tai Yan Zhang .2012) Now let 's look at the structure and aesthetic qualities of forms of the Forbidden City,individually.