The basis of a poem hangs in the air as though he is for reality.
His thoughts were projected with its tight synthesis.
A painting mounted as part of a handscroll is from an album of landscapes.
The dynasty began in the 1500's.
The paper has ink and color on it.
The design of furniture, architecture, and basic ideas of the original Ming owner were influenced by the taste of the literati times.
Pavilions are constructed without the use of glue or nails.
Instead, pieces kiosks, libraries, studios, and corridors--many with poetic fit together based on the principle of the mortise-and names, such as the Rain Listening Pavilion and Bridge of the tenon joint.
The joints are made with great care.
The patterns of the underlying literati painting found their most influential wood grain provide subtle interest, unconcealed by paint expression.
The style is simple, clear, symmetrical, and balanced like that of the Chinese high official.
The effect is formal and dignified, but natural and simple, and it shows a view of Chinese art history that divided painters virtues central to the traditional Chinese view of proper into two opposing schools.
The art of landscape gardening flourished as a result of the painters, as many literati surrounded their homes with gardens.
The northern and southern schools of Chan (Zen) were located in the southern cities of the Yangzi Delta.
The two schools of painters were conservative and progressive.
The conservative northern school was dominated by professional painters who emphasized technical skill.
The southern school preferred free brushwork and ink to color.
Its painters were interested in poetry and personal expression.
The way in which the Chinese viewed their own tradition was influenced by the way in which the privileged literati painting was promoted.
He meant that one must first study the works of the great masters and then follow "heaven and earth," the world of nature.
The goal of literati painting is to prepare the way for greater self-expression through brush and ink.
There is an awareness that a painting of scenery and the actual scenery are different things.
The difference between a painting and the natural world is not in its degree of resemblance, but in its power.
The construction of its brushstrokes is what makes the language of painting abstract.
The painting was close to the (46-78/1).
The earliest dynasty in the 16th century was the ming dynasty.
An official in Beijing returned home early in the 16th century after serving in the capital for many years without promotion.
He began to build a garden after reading an ancient poem, "The Song of Leisurely Living."
He called his retreat the Garden of the Cessation of Official Life because he had swapped his career as a bureaucrat for a life of leisure.
He meant that he could now devote himself to calligraphy, poetry, and painting, the three arts most valued by scholars in China.
A body of critical terms the extreme foreground and announce themes that the theories had evolved to discuss calligraphy in relation rest of the painting repeats varies, and develops.
The opening and closing of branches, rising and falling, another tree just across the river and again in a tree farther and void and solid are some of the terms that were incorporated.
The leaves are repeated in many different ways across the paint, but they are not the same as the masters ing.
The boulder he was admiring was an ordinary-looking one.
The foreground is transformed in the conglomeration of rocks, ground, middle ground, and distant mountains.
The double reading is ambiguous, as if the elements were compressed to both abstract and representational on the surface of the picture.
With this flattening of space, the work's dual nature as a paint trees, rocks, and mountains becomes more legible as an interpretation of a traditional semiabstract forms made of brushstrokes.
The ming dynasty took place in 1617.
There is a hanging scroll with ink on paper.
The influence of the man on the development of Chinese painting of later periods cannot be overstated.
Almost all Chinese painters since the early seventeenth century have engaged with his ideas in one way or another.
Many Chinese thought their civilization had come to an end when the armies of the Manchu people marched into Beijing in 1644.
Many Chinese customs and institutions have already been adopted by the Manchus.
They showed great respect for Chinese tradition after gaining control of China.
The major artistic trends of the late Ming dynasty continued into the Manchu dynasty.
The dominant tradition was literati painting.
The scholars followed the recommendation to imitate antique styles as a way of expressing their own learning, technique, and taste.
Review flashcards and saved quizzes
Getting your flashcards
You're all caught up!
Looks like there aren't any notifications for you to check up on. Come back when you see a red dot on the bell!