The two animals are portrayed in a way that encourages a clear in clearly different styles.
The goat on the right is a care distinction between court taste and the taste of the sheep, sional artists and artisans.
The left side of the Yuan is almost flattened.
The mark dynasty continued to see patronage of the arts as an impe ings on its body create a sense of pattern rather than the rial responsibility.
There are pride dens, paintings, and decorative arts.
Western visitors, such as the sheep's posture and submission in the pose of the Italian Marco Polo, were impressed.
The magnificence of the Yuan court has been proposed as the reason for Zhao's being.
Since the same Chinese notice of these accomplishments, scholars who are pro expressing either acceptance or resistance to the rule foundly alienated from the new government took little of the foreign Yuan dynasty.
The rulers of the country did not use word for these two animals.
The civil service exams were abolished.
Scholars now tended to painting with his brushwork, sparing use of turn inward to search for solutions of their own and try to color.
A scroll with ink on paper is 97/8 x 19''.
Most Chinese paintings were scroll hang flat, with the exception of large wall paintings that decorated a wall, with the roller at the lower end acting as a weight to help palaces, temples, and tombs.
Some hanging scrolls are created from ink and water.
For display in a public place, finished works were mounted as handscrolls.
A set of paintings of the same size are used to make an album.
The painting is in a book.
The paintings in an album are usually related in paper-backed silk and are pasted to the top, bottom, and sides of the painting, with different views of a famous site or a series of framing the painting on all four sides.
There were more silk pieces on the trip.
The assembled scroll was backed again with a horizontal format about 12 inches high and anywhere with paper and fitted with a wooden rod from a few feet to dozens of feet long.
A handscroll is a single, continuous painting at the top of a hanging scroll or on the right end of a handscroll.
Handscrolls with ribbons for hanging and tying, and with a wooden roller were not meant to be displayed all at once, the way they are at the other end.
Hanging scrolls can be found in museums today.
Rather, they were several patterns of silk, and a variety of piecing formats were unrolled only occasionally, to be enjoyed in much the same way as developed and codified.
A painting was spirit as we might view a favorite film.
Placing the scroll on a flat usually preceded by a panel giving the work's title and often surface such as a table, a viewer would unroll a foot or two at followed by a long panel bearing colophons--inscriptions a time, moving gradually through the entire scroll Over the centuries, the scroll was rolled up by its owners.
A scroll would be returned to its box after being remounted.
Hanging scrolls would be preserved in each remounting.
Seals were taken out for a day for a layer of interest.
A scroll can also be a seal week or a season.
Unlike a handscroll, the painting on of its maker but also those of collectors and admirers through a hanging scroll was seen as a whole and hung on the centuries.
The painting depicts the people who took up Zhao's ideas and became models for the lake region in Ni's home district.
The Chinese and Korean Art after 1279 brush is not fully loaded with ink but is about to run out, so that white paper "breathes" through the ragged strokes.
The painting has a light touch and a sense of purity.
Ni's spare, dry style became associated with a noble spirit due to the fact that literati styles were believed to reflect an individual painter's personality.
Many painters paid homage to it.
In the history of Chinese art, Ni Zan's eccentric behavior became legendary.
He was one of the wealthiest men in the region in his early years.
He got into trouble with the authorities because of his pride and his lack of interest in daily affairs.
His hygiene was bad.
He ordered his servants to wash the trees in his garden and to clean the furniture after his guests left.
He was said to be so unworldly that he gave away most of his possessions in the last years of his life.
For Ni's life as well as his art served as a model, the stories were impor tant elements of his legacy.
The viewpoint of what constituted an appropriate life was associated with literati painting.
The ideal was a brilliant scholar whose spirit was too refined for the dusty world of government service and who preferred to live a quiet life after a brief stint as an official.
The founder of the next dynasty was from a poor, uneducated family.
As he rose through the ranks in the army, he enlisted the help of scholars to gain power and solidify his following.
He distrusted intellectuals after he established himself as emperor.
The emperors shared their attitude by hanging a scroll with ink on paper.
The painting is not an attempt to capture the visual from the government that they were trained to serve.