“The Maid” (25.2 x 26.7) fan painting by Su Hanchen
Fig 8. chinadaily.com.cn, (2014). The Maid.
Su Hanchen (1094- 1127) is the Academy painter serving for the royal family in Northern Song dynasty in Xuanhe era (1119- 1125) under the ruling of Emperor Huizong and the Shaoxing era (1131- 1162) under the ruling of Emperor Gaozong. Su Hanchen was specialized in painting children and women. He’s most famous paintings are all depicting children playing in a realistic and vivid way. This painting of women is selected for this essay because it includes many furniture and decorations as its subjects, and has a relatively fully filled composition comparing to many other traditional Chinese paintings, which only have their many subjects with almost nothing in the background. The
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It depicts the city life of Song dynasty. From the rural parts of the city on the sides of the painting to the urban area in the middle, the artist illustrates every detail of the painting vividly. The artist Zhan Zeduan, is one of the greatest artist from the era of Song Dynasty. This painting was painting during the period from Southern Song Dynasty to Northern Song Dynasty when Zhan was in the Hanlin Huayuan (the Imperial Academy Painting department).
The painting “Along the River During Qing Ming Festival”uses also oblique perspective as many other traditional Chinese paintings. Zhan certainly depicted the building is in the front larger than the one in the back. Which shows his understanding of the basic perspectives. However, for individual objects in the painting, Zhan didn’t paint the further end smaller according to the rule of linear perspective. The sides of the roofs of houses in the painting are all parallel. And the two ends of the bridge in the middle of the painting were equally wide, which according to the rule of linear perspective the rear end should be
The grandiose proportion of the power lines to the houses at the bottom work to helps to connect the two pieces, both of which are completely different in the their composition, into one solidified painting. Without the implied line from the houses to the sky that the power lines create, the top and bottom halves of the painting do not seem to coincide with each other, but could rather stand alone as two separate paintings; one painting done in a naturalist form, and the other in a much more abstract
This image is a representation of the individual as it is of two people, however this painting could be a precursor of the enlightenment
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.
In like manner, The Roman Ruins is also a real life structure that can be seen on a day-to day basis in Tunisia. Henceforth, my idea of the meaning for this painting is that he wants the audience to immerse themselves in the painting. Back when Ponchin was an artist, there was no internet, nor did every family have use to a camera or even seeing photographs for that matter. Therefore, many people had to see paintings as a way to see and understand the outside world. By painting landscape paintings, such as The Roman Ruins, he could show the people many places that they might never be able to go to.
The main color scheme of this painting is very muted and includes mainly earth tones such as grey and tan. Even his use of blue is very minimal and muted. The main building is illuminated by the sun coming from the left, outside of the scene. It shines on the central façade and the portion of the building in the background, as well as beneath the bridge. It shines the brightest where it comes through beneath the bridge and illuminates the bank of the river along with the people on it.
The painting depicts what seems to be a panoramic view from afar but looking closely each aperture and objects make up the impressions of faces. From the left side there seems to be an aperture looking over a big cliff with branches of trees. This cliff and branches make up the face of an old person. The rock exposures within the cliff form the illusions of wrinkles, wrinkly lips and a long and untreated mustache. The branches give the effect of baldness, contributing to the overall appearance of an old man’s face.
The Chinese Paintings shows the Daoism/ Taoism in the people of China, especially, the famous landscape paintings such as “Along the River During the Qingming Festival” of Zhang Zeduan. Daoism is often interpreted as a person living a simply, honestly, and in harmony with nature. Along the River During the Qingming Festival captures the daily life of people from the Song period at the capital, Bianjing, today’s Kaifeng in Henan. The theme celebrates the festive spirit and prosperous street scene at the Qingming Festival, rather than the holiday’s ceremonial aspects, such as tomb sweeping and prayers (comuseum.com, chinahighlights.com). The scene from the collection of this paintings shows the simple and honest life in the capital by remembering
This is known as the linear perspective. This perspective emphasizes the depth in the photograph which makes it more interesting and
The second image is Portrait of the Kangxi Emperor in Court Dress. This piece if art was created by Qing Dynasty during the 18th century dating the 1644- 1911. In addition, this image was concealed only to be seen by the elite and royalty. During favorable occasions painting like this was created. The Emperor was mysterious and only seen by a few which increased his God-like status.
The portrait was painted on wood panel and in gothic like form. Nonetheless, this masterpiece is representation of time, the complexity of the painting and the
The brilliant hues of greens, purples, reds, and yellows that are strategically brushstroke on the piece give of a sense of impressionism. The characteristics of this piece capture the modern them of leisure activity. Caillebotte’s young cousin Zoe and brother Martial are depicted in this piece through the two characters. Both characters are dressed relaxed and have middle to upper class attire. The painting contains element of modern style through the scenery and garden.
He finished this painting after an excursion to a mountain valley after snow in the year (1533) when he secluded from the court. The painting depicts a graceful snow landscape of Suzhou (蘇州) with many imageries, indicating the virtues that a scholar should have. The painting presents brightness, quietness, and remarkable calmness of nature after the snow instead of monotonous coldness. Two scholars are sitting by the open windows of their cottage, enjoying the snow view of the mountain and the sound of the water. Wen probably
Behind him, another man is holding some instruments. In the background, there are waves of blue. At the left side of the painting, there are lightening bolts. At the bottom left of the painting, there is a board connecting the ground to the boats, allowing some animals to enter. Behind that, there is a person on a ladder, carrying an item on their back.
In addition to that, on the wall shows a portrait of his grandmother's former slave family member. Allowing to show his ability to demonstrate different brush styles in one piece of painting. Not to mention, leaving the painting in the left corner blurry and dim and his grandmother detailed and realistic. Portraying that his grandmother's past is left in the past and she is the life of the
The artist Dieric Bouts painting is called Virgin and Child. This painting dates back to 1455-1460 and is drawn with oil on a wood panel 81/2 x 61/2 . The time period is Netherlands, Haarlem. The Virgin and child are paint about the Virgin Mary and her love for her son. The Virgin and Child coloring is mostly pale skin tone, with royal blues symbolizing royalty and, white symbolizing purity.