Final Images Flashcards
1
Q
A
- Attr. Wang Xizhi
- ink rubbing of the Preface to the Orchid Pavilion Gathering
- Original dated 353
- It was composed with friends at the Orchid Pavilion.
- One of the best known and copied calligraphy pieces in Chinese history.
- Expresses his running script style (semi-cursive script), which was used more for self - expression.
- rubbing now in National Palace Museum, Taipei.
2
Q
A
- Attr. Wang Xizhi
- Letters about Presenting Oranges
- About presenting oranges
- Running script is used - more expressive
- No originals left but there are copies.
- 7th-century tracing copy of a late 4th-century original
- ink on paper
- National Palace Museum,Taipei.
3
Q
A
- Attr. Gu Kaizhi
- The last two scenes from the Admonitions Scroll
- Handscroll
- Ink and color on silk
- A 10 th-cent. copy of a late 4 th-century original
- Also known as The Admonitions of the Instructress to the Court Ladies
- It was a poem with painted scenes to go with which were meant to express how a lady was to behave
- There are 9 scenes but it was believed that there were originally 12.
- The final scene is of the Instructress writing her admonitions.
- British Museum, London. Lee fig. 368.
4
Q
A
- Attr.Yan Liben
- Emperors Feidi and Wendi
- From the Scroll of the Emperors
- Handscroll
- Ink and color on silk
- 11 th-century copy of a 7 th-century original
- It was made for political leaders
- Looks at Chinese history in a moralistic perspective and was intended to teach political leaders or men morals.
- Museum of Fine Arts, Boston. Lee fig. 380.
5
Q
A
- Attr. Zhou Fang
- Court Ladies Wearing Flowers in Their Hair
- Handscroll
- Ink and color on silk
- 10 th-century copy of an early 9 th-century original
- These were possibly made for men as the female are represented with more sex appeal.
- They are not exact portraits - instead they are character types.
- She’s wearing a transparent garment and silk dress. Women are well-fed which was the fashion at the time.
- No interactions with one another.
- Expresses the beauty of the palace but its loniness.
- Women on display for viewers pleasure.
- Liaoning Museum. Lee color plate 26.
6
Q
A
- Attr. Gu Hongzhong
- The Night Revels of Han Xizai
- Handscroll
- Ink and color on silk
- 12 th-century copy of a 10 th-century original
- Piece includes men enjoying themselves with food and entertainment
- Deep space but a flat surface.
- Palace Museum, Beijing. Lee fig. 457 & book cover.
7
Q
A
- Attr.Dong Yuan
- Summer Mountains
- Handscroll
- Ink and color on silk
- ca. 950
- Southern Style - it is more rounded and soft. Also artist uses more ink wash.
- Horizontal format
- Vantage point is different from northern - it is like God looking into a world.
- Shanghai Museum. Similar to Lee fig. 459.
8
Q
A
- Attr. Li Cheng
- A Solitary Temple amid Clearing Peaks
- Hanging scroll
- Ink on silk
- ca. 960
- This is an example of Northern Style - rugid and jagid rocks with darker wash
- Painting is broken up into 3 parts - foreground, middle ground, and background.
- Each part of painting separated by mist
- Nelson-Atkins Museum of Art, Kansas City. Lee fig. 463.
9
Q
A
- Fan Kuan
- Travelers amid Mountains and Streams
- Hanging scroll
- Ink on silk
- ca.1000
- This piece was dated and signed by the painter
- Alot of ink washes
- Rocks have rough edges but the texture is similar to southern tradition
- National Palace Museum, Taipei. Lee fig. 461.
10
Q
A
- Guo Xi
- Early Spring
- Hanging scroll
- Ink on silk
- 1072
- Signed and dated by artist
- Landscape shows you the changes of seasons - from winter to spring.
- Follows Norther School format
- Rocks grow and grow from foreground to middle ground then keeps growing to larger peaks in background.
- Peaks put together in a dynamic way
- National Palace Museum,Taipei. Leefig. 464.
11
Q
A
- Wen Tong
- Bamboo
- Hanging scroll
- Ink on silk
- ca. 1070
- Meant to be a self painting. The artist Su Shi commented on his Bamboo painting stating that when painting the painter’s body was transformed into the bamboo.
- National Palace Museum. Lee fig. 482.
12
Q
A
- Emperor Huizong
- Five-Colored Parakeet on the Branch of a Blossoming Apricot Tree
- Handscroll
- Ink and color on silk
- Early 12th cent.
- The emperor was well versed in poetry and skilled in calligraphy and painting.
- Had invented his own script.
- Museum of Fine Arts,Boston. Lee fig. 471.
13
Q
A
- Phoenix Hall
- Byodoin, Uji, Kyoto
- built in 1053 (Heian)
- Owned by Fujiwara no Michinaga who is the most powerful of the Fujiwara clan.
- It was later turned into a Buddhist Temple by Fuijiwara no Michinaga’s son.
- It is modeled after the Pure Land
- As a temple it is based on Amida Buddhism
- Lee fig. 434.
14
Q
A
- Amitabha (Amida) Buddha in Phoenix Hall
- Byodoin, Uji, Kyoto
- by Jocho
- wood
- dated 1053 (Heian)
- Perfect proportion utilize and use of mathmatical principles.
- The Buddha is extremely stable - can think of him as a savior and can rely on his help for enlightenment.
- Depictions on body - realistic… Interest in stylized rove and in rendering lines underneath neck - Eyes half open and half closed.
- Lee fig. 437.
15
Q
A
- Illustration of the Suzumushi (Bell Cricket) chapter of the Tale of Genji
- Handscroll with ink and color on paper
- First half of the 12 th century (Heian)
- Japanese style painting known as Yamato-e
- One of several scrolls - orginially close to 100 scrolls- now just 19 scenes.
- Goto Museum, Tokyo. Lee fig. 443.
16
Q
A
- Illustration of the Minori (Law) chapter of the Tale of Genji
- Handscroll with ink and color on paper
- First half of the 12th century (Heian)
- Japanese style painting known as Yamato-e
- One of several scrolls - orginially close to 100 scrolls- now just 19 scenes.
- Goto Museum, Tokyo. Shimizu reading, fig. 5.
17
Q
A
- Manuscript text (sheets 3 and 4) of the Minori (Law) chapter of the Tale of Genji
- Handscroll with ink and color on paper
- First half of the 12th century (Heian)
- Written in a flowing style, based on Kana Script
- Goto Museum, Tokyo. Shimizu reading, figs. 3 and 4.
18
Q
A
- Bowl decorated with a lotus pond landscape
- Celadon, 12 th century (Koryo)
- Green color due to chemical compound
- Sculptural carvings
- Seoul National Museum.
19
Q
A
- Ewer in the shape of a melon with bamboo patterns
- Celadon, 12 th century (Koryo)
- Greenish color because of chemical compound.
- Pattern and shape inspired by nature
- Seoul National Museum.
20
Q
A
- Maebyong vase with inlaid designs of figures, plants and garden rocks
- Celadon, 12 th century (Koryo)
- Greenish color because of chemical compound
- Inlay technique is inspired by other techniques or materials seen in lacquer and bronze.
- Inlay technique is called Sanggam.
- This technique needs multiple firings.
- This vase has four scenes on the vase of people engaged in the arts.
- Ewha Women University Museum, Seoul.
21
Q
A
- Vase with inlaid design of figure inside a pavilion,
- Celadon, 13 th century (Koryo)
- Greenish color because oh chemical compound.
- This vase represents an adapation of other shapes after the Mongol invasion.
- Decline of Celadon - The “decline” theory is based on racism and also a theory that a compitition arose with porcelain so more efforts were being put towards making porcelain.
- Metropolitan Museum of Art, New York.
22
Q
A
- Plan of Karakorum
- Mongolia
- First founded as Mongol capital in 1229.
- Was the first major capitol of Mongolia
- It was a semblance of a city but it still had nomadic influences such as mounds for tents.
23
Q
A
- Plan of Dadu (Beijing)
- First founded as Yuan capital in 1267
- One of the last major capitals of Mongolia
- City plan was designed by Liu Bingzhong
- Became the Great Capital
- It had a ward system like the Tang Dynasty but no city walls which provided more urban growth
- Adopted Chinese language of architecture and was built in an idealistic way.
- Similar to Lee fig. 616.
24
Q
A
- Attributed to Anige
- Portrait of Khublai Khan
- Album leaf
- Ink and color on silk
- Second half of 13 th cent.
- He was the grandson of Genghis Khan
- Was born in Northern China around the Chinese culture, so he was more compassionate towards the Chinese.
- Because of this it affected how he shaped the policies.
- Yuan is the name of his regime.
- Through his portrait he wants to show his Mongol background but he is also has a calm yet firm expression giving the impression that he is a confident ruler
- National Palace Museum of Taipei.
25
Q
A
- Zhao Mengfu, Autumn Colors on the Qiao and Hua Mountains
- Handscroll
- Ink and color on paper
- 1296
- He was a decendent of the Song Imperial Family but served at the Mongol court - people thought he was a trator.
- He was an accomplished painter and calligrapher
- Formed own approach to painting - art historian approach - studied other painting
- National Palace Museum, Taipei. Lee fig. 601.
26
Q
A
- Zhao Mengfu
- Elegant Rocks and Sparse Trees
- Handscroll
- Ink on paper
- Early 14 th cent.
- He was a decendent of the Song Imperial Family but served at the Mongol court - people thought he was a trator.
- He was an accomplished painter and calligrapher
Formed own approach to painting - art historian approach - studied other painting
- Different uses of brush is seen here - the strokes are very expressive
- Palace Museum, Beijing.
27
Q
A
- Plate with scallop-shaped edges
- Jingdezhen-wareporcelain with bluish-white glaze
- Mid 14th cent.
- This piece was made for export to the middle east.
- A key characteristic of this is that there is Araibic writing in the decor.
- Also the shape of the plate is a popular shape seen in the middle east
- Arthur SacklerCollection, Harvard University, Boston.
28
Q
A
- Attr. Fujiwara Takanobu
- Portrait of Minamoto no Yoritomo
- Hanging scroll with ink and color on silk
- Late 12th-early 13th century (Kamakura)
- An example of “realistic portraits”
- He is dressed as an aristocrat even though he is from a military background
- Tablet that he is holding symbolizes civil side
- Sword is aparant and important as it represents the soul of warriors
- Jingo-ji, Kyoto. Lee fig. 532 or Shimizu reading, cat. 1.
29
Q
A
- Grand armor
- Lacquer, iron, leather, silk, and gilt metal
- Late 13th-early 14th century (Kamakura)
- Armor speaks of warfare type - no gun powder
- Protection needed from swords or arrows.
- Considered a warriors funerary guard as they may die in battle.
- Beautifully decorated.
- Kushibiki Hachimangu, Aomori Prefecture. Shimizu reading, cat. 146.
30
Q
A
- Burning of the Sanjo Palace
- Tale of Heiji
- Handscroll with ink and color on paper
- Late 13 th century (Kamakura)
- Literary Scrolls
- Japanese paintings for violent then Chinese and visual
- Like looking into a scene.
- Depicts conflict and war - shows tragedies that result from conflict.
- This scene - men are trying to abduct the emperor from the palace.
- Museum of Fine Arts, Boston. Lee color plate 42.
31
Q
A
- Battle between Japanese warriors and Mongol invaders
- Illustrated History of the Mongol Invasions
- Handscroll with ink and color on paper
- Late 13 th century (Kamakura)
- Literary Scrolls
- Japanese paintings for violent then Chinese and visual
- Like looking into a scene.
Depicts conflict and war - shows tragedies that result from conflict.
- This depicts when the Mongols tried to invade Japan.
- They were unsuccessful because of the bad storms.
- This painting was commissioned by a samurai - wanted to have evidence of the Mongol Invasion and the Japanese victory.
- Imperial Household Collection, Japan. Lee fig. 543.
32
Q
A
- Sugawara Michizane as God of Thunder striking down courtiers at the imperial palace
- Illustrated Beginnings of the Kitano Shrine
- Handscroll with ink and color on paper
- Early 13 th century (Kamakura)
- Based on the shrine in Japan created to appease the spirit of the scholar Sugawara no Michizane - He became later known as a patron deity of learning.
- Plague and floods and lightning striking were hit on the city after his death and it was believed to be his revenge because of him being exiled before his death.
- Literary Scrolls
- Japanese paintings for violent then Chinese and visual
- Like looking into a scene.
Depicts conflict and war - shows tragedies that result from conflict.
- Kitano Tenmangu, Kyoto.
