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Art 101 Final Project Timeline

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Art Timeline
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Art Timeline As curator of the museum I have been asked to develop an interactive timeline based on one art medium to improve the content of the museum website. Based on the criteria for the interactive timeline I have decided upon basing the timeline on paintings of Chinese nature and landscape to focus the timeline on an area of historic art that has managed to stay traditional while creating a new piece of artwork connected to its dynasty. Throughout time the Chinese dynasties have changed and evolved. The Interactive Timeline will take place during Classical Imperial China’s Song Dynasty consisting of the Northern Song Dynasty from A.D. 960 thru 1125 and the Southern Song Dynasty fro A.D. 1127 thru 1279 (Minnesota State University, n.d.). Nature and landscape paintings from the Song Dynasty develop a focal point within the painting that expresses the artist meaning throughout the painting. The artwork of the Northern Song Dynasty is defines as being traditional and conservative while the Southern Song Dynasty lacks the tradition and would be defined as drastic, often creative pieces of work that are unusual compared to what was the norm (Sayre, 2007). Continuing through the interactive timeline comparative artwork from the preceding Dynasties of the Yuan Dynasty from A.D. 1279 thru 1368, the Ming Dynasty from A.D. 1368 thru 1644, the Qing Dynasty from A.D. 1644 thru 1911, and finally ending with modern nature and landscaping art will be displayed. The following is examples of pieces of artwork from the Song Dynasty focusing on nature and landscape.

[pic]
Figure 1
A.D. 1080 Northern Song Dynasty
Old Trees, Level Distance
Guo Xi
Handscroll; ink and color on silk
The Metropolitan Museum of Art Guo Xi, a known Chinese landscape artist from the 11th century developed the Old Tree, Level Distance hand scroll using ink and color on silk which is traditional to the Chinese style. The mountains are done with a single line which gives the impression of distance. The focal point of the trees contains the artists patterned brushwork which provides the image with a textured look. The environment of the landscape is designed with a look of moisture formed with the dark and light contrast. Symbolically, the painting is that of a saddened emotion almost as saying goodbye to something.

[pic]
Figure 2 A.D. 960-1127 North Song Dynasty
Summer Mountains
Attributed to Qu Ding
Hand Scroll; ink and pale color on silk
The Metropolitan Museum of Art Believed to be created by Qu Ding this hand scroll was created on silk with ink and pale colors during the 11th century of the North Song Dynasty. The hand scroll was created during a period when the images are meant to depict creation. Viewing the picture you connect with the nature as if present in the drawing, experiencing the textures that are created by the strokes and shadows that are created by the ink and pale colors used by the artist on the hand scroll. Possibly belonging to a collection this hand scroll creates balance while symbolizing an escape from life and into the world.

[pic]
Figure 3 A.D. 1127-1279 Southern Song Dynasty
Scholar by a Waterfall
Ma Yuan
Album Leaf; ink and color on silk
The Metropolitan Museum of Art The artist Ma Yuan created the Scholar by a Waterfall during the Southern Song Dynasty. The art I an album leaf done with ink and color on silk. Compared to the North Song Dynasty there is the presence of humans in the image with different textures. The garden reflects beauty with a waterfall in the distance made of smooth lines. The trees provide a textured line giving depth to the image. Though still consisting of traditional Chinese work there is uniqueness. The artist symbolizes beauty with smooth and textures strokes with small amounts of color as a focal point.

[pic]
Figure 4 A.D. 1300 Yuan Dynasty
Twin Pines, Level Distance
Zhao Mengfu
Hand Scroll; ink on paper
The Metropolitan Museum of Art The hand scroll by Zhao Mengfu during the Yuan Dynasty expresses the tradition of Chinese art with the influence of the Yuan Dynasty. The drawing, a hand scroll done in ink on paper, includes large levels of open space with calligraphy used to increase the energy of the image. The trees are formed with different brushworks compared to earlier Dynasties. Throughout the image the author is attempting to symbolize peace through the open space and energy through the calligraphy. The image is representing a larger picture of nature and creates distance through the trees close vicinity to the bottom of the image and the clouds smaller and off to the back.
[pic]
Figure 5
A.D. 1370 Yuan Dynasty
The Simple Retreat
Wang Meng
Hanging Scroll; ink and color on paper
The Metropolitan Museum of Art Wang Meng created The Simple Retreat during the Yuan Dynasty which continues with the characters of the Yuan time. The image is of nature in an unnatural setting. The landscape is natural with textures seen only in art. The artwork contains bright colors consisting of different brush strokes, colors, and textures. The image symbolizes the power of nature yet the beauty that can be achieved. The sky depicts chaos that is calmed by the community within the trees, surrounded by the beautiful colors of nature. Though traditional to the Chinese artwork the image has evolved with brighter colors and stronger textures.

[pic]
Figure 6
A.D. 1551 Ming Dynasty
Garden of the Unsuccessful Politician
Wen Zhengming
Calligraphy; ink on paper
The Metropolitan Museum of Art Wen Zhengming created calligraphy ink on paper depicting a Chinese landscape which consists of eight images located in a book. Within the image is some individuals within a garden. The brushstrokes are textured within the aspects of nature. The clouds and trees show texture and depth while the building and people are portrayed with smooth lines. The image as a whole lacks color which may symbolize the sadness that was present during this time pertaining to Beijing. The artwork has a Southern style of calligraphy and poetry (Sayre, 2007). Without color and the body structure of the people in the image the artwork is depressing yet beautiful in nature.

[pic]
Figure 7
A.D. 1666 Qing Dynasty
Wooded Mountains at Dusk
Kuncan
Hanging Scroll; ink and color on paper
The Metropolitan Museum of Art Dated A.D. 1666 the Wooded Mountains at Dusk created by Kuncan as a hand scroll with ink and color on paper. During the Qing Dynasty artwork of nature symbolized inner spirit. The artwork expresses the artist’s inner thoughts of beauty pertaining to Yellow Mountain. The artwork contains many different brushstrokes and textures along with a yellow tone. The landscape expresses the physical values of nature with the spiritual values of the artist pertaining to the artist’s feelings towards Yellow Mountain. The style is that of traditional southern style with the focal point of soaring trees creating a sense of one with nature.

[pic]
Figure 8
A.D. 1698 Qing Dynasty
The Kangxi Emperor’s Southern Inspection Tour; Scroll Three: Ji’nan to Mount Tai
Wang Hui and Assistants
Hand Scroll; ink and color on silk
The Metropolitan Museum of Art Created in A.D. 1698 by Wai Hui, the hand scroll, Kangxi Emperor’s Southern Inspection Tour Scroll Three: Ji’nan to Mount Tai, depicts an image of nature with smooth lines and rich colors. The brushstrokes flow freely from each mountain top. Symbolically, the image portrays importance. The artwork is designed as traditional landscape with colors of blues and greens. The space between the town, the water, the mountains and clouds are open. The many people in the town are symbolic of an event taking place. By the name of the image it is possible the event is pertaining to the Emperor which can be represented in the image by the bright red clothing of the town people.

[pic]
Figure 9
A.D. 1699 Qing Dynasty
Fish and Rocks
Bada Shanren (Zhu Da)
Hanging Scroll; ink on paper
The Metropolitan Museum of Art Created by Bada Shanren in A.D. 1699 as a hanging scroll with ink on paper the artist manages to be very nontraditional for the Qing Dynasty. The image portrays large rocks surrounded by water with small fish swimming around though this is not easily seen within the artwork. The work is unique, the design is minimal, the color contrast is bold, and the textures of the lines are smooth. This artwork symbolizes a deeper spiritual sense, possibly calmness or a depressed emotion. The small amount of detail seems to symbolize peace or calmness will filling the paper with images. The fish are strategically placed and the strokes seem less flowing and more intentional.

[pic]
Figure 10
A.D. 1965
Splashed-Color Landscape
Zhang Daqian
Hanging Scroll; ink and color on paper
The Metropolitan Museum of Art The Splashed-color Landscape created by Zhang Dagian is a modern style piece of artwork designed in ink and color on paper as a hanging scroll. The artwork is western style yet continuing with the traditional usage of the blue and green colors. Comparative to the traditional colors these blues and greens are vivid and the colors are overlapping. The traditional Tang Dynasty technique of soaking is used along with new techniques of splashing the paint in a random order (Sayre, 2007). The impulsive lines symbolize what looks to be a storm approaching the once calm landscape of the mountains and the unpredictable nature.

References
Daqian, Z. (A.D. 1965). Splashed-color Landscape. [Hanging Scroll]. Retrieved on May 2, 2010 from http://www.metmuseum.org/toah/works-of-art/1986.267.361
Ding, Qu. (A.D. 960-1127). Summer Mountains. [Hand Scroll]. Retrieved on May 2, 2010 from http://www.metmuseum.org/toah/works-of-art/1973.120.1
Hui, W. (A.D. 1698). The Kangxi Emperor’s Southern Inspection Tour, Scroll Three: Ji’nan to Mount Tai [Hand Scroll]. Retrieved on May 2, 2010 from http://www.metmuseum.org/toah/works-of-art/1979.5
Kuncan. (A.D. 1666). Wooded Mountains at Dusk. [Hanging Scroll]. Retrieved on May 2, 2010 from http://www.metmuseum.org/toah/works-of-art/1989.363.129
Meng, W. (A.D. 1370). The Simple Retreat. [Hanging Scroll]. Retrieved on May 2, 2010 from http://www.metmuseum.org/toah/works-of-art/L.1997.24.8
Mengfu, Z. (A.D. 1300). Twin Pines, Level Distance. [Hand Scroll]. Retrieved on May 2, 2010 from http://www.metmuseum.org/toah/works-of-art/1973.120.5
Minnesota State University. (n.d.). Timeline of Chinese Dynasties. Retrieved on May 2, 2010 from http://www.mnsu.edu/emuseum/prehistory/china/timeline.html
Sayre, H. M. (2007). A world of art (5th ed.). Upper Saddle River, NJ: Pearson Education.
Shanren, B. (A.D. 1699). Fish and Rocks. [Hanging Scroll]. Retrieved on May 2, 2010 from http://www.metmuseum.org/toah/works-of-art/1989.363.137
Xi, Guo. (A.D. 1080). Old Trees, Level Distance. [Hand Scroll]. Retrieved on May 2, 2010 from http://www.metmuseum.org/toah/works-of-art/1981.276
Yuan, M. (A.D. 1127-1279). Scholar by a Waterfall. [Album Leaf]. Retrieved on May 2, 2010 from http://www.metmuseum.org/toah/works-of-art/1973.120.9
Zhengming, W. (A.D. 1551). Garden of the Unsuccessful Politician. [Album Painting]. Retrieved on May 2, 2010 from http://www.metmuseum.org/toah/works-of-art/1979.458.1

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