Essay about Arts and Recreation in Song Dynasty China

The Great Proletarian Cultural Revolution, beginning as a campaign targeted at removing Chairman Mao Zedong's political opponents, was a time when practically every aspect of Chinese society was in pandemonium. From 1966 through 1969, Mao encouraged revolutionary committees, including the red guards, to take power from the Chinese Communist party authorities of the state. The Red Guards, the majority being young adults, rose up against their teachers, parents, and neighbors. Following Mao and his ideas, The Red Guard's main goal was to eliminate all remnants of the old culture in China. They were the 'frontline implementers' who produced havoc, used bloody force, punished supposed 'counter

The Next piece is an image form Guo Xi who was a master from the Northern

    Earlier this week we focused on ancient eastern China during the Han Dynasty and the east asian philosophies that arose during this time period. We reviewed three great asian philosophers, Confucius, Lao Tzu, and Buddha. In class we also picked from a list of quotes from these three philosophers a quote they said that really resonated with us and wrote a descriptive essay on it and shared it in class for extra credit.

Beauty is an incredibly subjective thing; what might seem appealing to one’s eyes may be horrendously ugly in the eyes of another. However, the status of “beautiful” or “ugly” can be assigned rather objectively when art is examined from the perspectives of different philosophies. The beliefs and values of different philosophies can be used to find meaning and beauty in various art forms, allowing for a more straightforward determination of beauty. Because of the many layers of meaning most paintings entail, they are a perfect example of an art form that can be analyzed by numerous philosophical viewpoints to find meaning and beauty, and Ma Yuan’s painting Walking on a Mountain Path in Spring, which comes from the Song dynasty of Chinese and depicts a sole figure standing in a natural surrounding, is no exception. Ma Yuan’s painting is beautiful because it represents the ultimate achievements for the Buddhist, Daoist, and Confucian philosophies.

The Great Wall of Ancient China: Did the Benefits Outweigh the Cost? The Great Wall was built by the Qin and Han Dynasty in order to protect China from the Mongols. However, the benefits of building the Great Wall of China did not outweigh the costs for building the Great Wall. In accordance to Document C, the soldiers had to leave their homes and families in order to work on building the Great Wall. This supports the claim because the soldiers had to sacrifice their families when they had already been sacrificing their lives to fight for China.

Chinese Dynasties: 1. Shang: Also called Yin, dynasty that was China's earliest historically verifiable state 1766 B.C. to 1122 B.C. A. Reason's for Rise: Unlike the early accounts of history by the Chinese, there is archaeological evidence of the Shang, who built their cities in northern China around the eastern parts of the Yellow River. For this reason they are called the Yellow River civilization. They were a bronze age people; bronze-working seems to have entered China around 2000 BC (about one thousand years after its invention in Mesopotamia). B. Territorial Location & size at height of power (map): The Shang ruled the area from the North China Plain northward into present-day Shantung Province and westward to the tip of Honan

Zhao Mengfu, a main calligrapher of his time, set the course of researcher painting by solidly building up its two essential precepts: restoration through the investigation of antiquated models and the use of calligraphic standards to painting. In Twin Pines, Level Distance the scene figure of speech of the Northern Song experts Li Cheng and Guo Xi has turned into a calligraphic style. Instead of essentially portray nature as it gives off an impression of being, Zhao tried to catch its quintessential rhythms. The attributes of rocks and trees, felt by the craftsman and carried on through his calligraphic brushwork, are saturated with an increased feeling of life vitality that goes past insignificant representation.

Zhang Zeduan’s masterpiece depicts the landscape of his hometown, Kaifeng and the life of its people during the Song dynasty. Nearly 500 years later, Qiu Ying portrayed his hometown Suzhou in a similar way, but in his version, the scenes are different to the original version. Compared to Zhang, Qiu Ying added more blue-and-green landscape patterns, and the feeling of the artisan is not strong in this work. The most important thing is that both artists show different visual perspectives of the culture and customs of the city.

China has about five thousand years history which is a very long period of time. Also, the Chinese civilization was growing with these periods of time and it will continues greater than ever. Many wars and unhappinesses were happening during this period. Although, the time has passed, the histories and the civilizations have not passed. These family virtues, serious, working attitudes, sense of justice and the great Confucian tradition have been deeply assimilated into the Chinese people. Some Chinese traditions are different from North American’s. The Chinese culture has many special characteristics which are very interesting for people to learn.

Paintings had little meaning compared to other arts such as sculpting and music. Artists turned to those arts to express themselves, and paintings rarely had meaning in them. China did not consider them very important compared to other civilizations.

This Paper will be an analysis of the development of Japanese landscape painting, analyzing the historical context behind these paintings and what led to the changes in style. Both of these paintings are representative of their specific culture during this rapidly changing time and these changes will be discussed in relation to the artwork. I am going to be discussing Japanese landscape painting, the outside influences shaping Japanese landscape painting but also focusing on the internal elements of Japanese culture shaping the style of artworks. The changing techniques and styles as well as the changing political climate will all be looked at.

The Six Dynasty period in Chinese historiography is often classified with moments of conflict, revolt, strife, famine, disunity, and not innovation. Historians and academics categorize the period as a placeholder between the more significant Han China—206 BCE to 220 CE—and the Tang dynasty—618 to 907 CE. Understandably, Han China’s military, infrastructure, and civil capabilities were rivalled only by that of the Roman Empire, and even then, the Han dynasties administrative capabilities were rivalled by none. The Tang period is widely considered to be the high point of Chinese culture and civilization, where cosmopolitan China emerged with force vastly shaping China for centuries to come. The significance of the Han and Tang dynasties is not in question, it is the lack of importance that historians confer on the Six Dynasties period. Admittedly the Six Dynasty period in Chinese history can be categorized as a warring period, in which China did not develop unilaterally, but separately along fractured lines (split both north-south, and east-west). Much like the European medieval period, there are few accessible sources from early-medieval china, and because of this, China’s six dynasty period is brushed over as a period of little advancement and innovation. The “Dark Ages” in Europe use to receive the same scholarly interpretation as a period of stagnation.

The Chinese Empire was large and controlled most of Asia at one point in time. One of the dynasties that ruled the empire was the Ming Family. Ruling from 1368-1644, almost three hundred years, the Ming Dynasty impacted Chinese history very much.

During the 17th and 18th century, drama played a huge role in impacting the urban environment of Beijing and Edo, and its citizens. Drama, transcended through the virtuality of fictional play and characters that come to parallel the everyday life of locals. Although Beijing and Edo are two different cultural regions in the East, their similarity could be accounted for in their inclusiveness of the local commoners through applying the worldview of lower rank members of society to execute the play. However, their differences lie in the Edo culture instilling a certain sentiment within the urban people to act on social injustice or issues. Though drama in Beijing remains to be an instrumental tool for members of society to relay messages, and act a means to communicate their true thoughts that could not otherwise be outspoken in a conservative and authoritarian era.

When one comes into contact with a Chinese painting, the style is almost instantly recognizable. The attention to detail, craftsmanship, and vast depictions of elaborate landscapes appear to pay homage to mother earth in an attempt to reach a state of eternal balance with nature and life. Before this equilibrium could be achieved, one must attain internal discipline. This was required before one began mastering their brushwork in Chinese culture. In Mai Mai Sze’s “The Way of Chinese Painting,” 1959, New York: Vintage Books, Random House, Sze discusses the philosophy known as Daoism/Tao, or “the way.” Before one became a skilled painter, one trained in the personal disciplines of poetry, art, calligraphy, and internal