Reorcelian Flying Dragon Vase

By comparing The Thirteen Emperors (seventh century A.D) (Figure 1) by Yan Liben (600-673), ink and color on silk, is currently at the Museum of Fine Arts in Boston and Xie Huan (1377-1452)’s Elegant Gathering in the Apricot Garden (ca. 1437) (Figure 2), ink and color on silk, is currently at the Metropolitan Museum of Art in New York. Both artists used the same subject matter (hand roll), and employed a different repetitive process they convey two distinct ideas; the differences between thirteen emperors in Yan and the idea of confucianism in Huan.

The Ming Dynasty ruled China from 1368 to 1644 (Morris). The Ming Dynasty was established by King Zhu Yuanshang, who named the dynasty not after Nohis family but the word ming which can mean “bright” or “luminous” (“The Chinese Ming”). It had a population around eighty-five million making it the largest civilization on Earth. As Professor Clunas points out in the exhibition’s exemplary catalog, everything about it was on a grand scale: “It had a greater land area, bigger cities (and more big cities), bigger armies, bigger ships, bigger palaces, bigger bells, more literate people, more religious professionals.” (Morris). Not only was the Ming Dynasty bigger, it brought many major advances in art, technology, and philosophy during its time.

Established during the early 8th century, an artwork known as The Pair of Lokapala, translated as the heavenly guardians, shapes the essence of early Chinese dynasty art sculpture. The 40 ½ x 16 ½ x 11 ¾ inch sculpture is focused around the Tang Dynasty due to its prominent years dating from 618-907 A.D. Furthermore, the materials to create The Pair of Lokapala was used with earthenware with three color lead glazes. Although the artist is unknown, the style of the artwork stretches the styling of Chinese sculpture, showing that the artist used those values to create the artwork. Therefore, The Pair of Lokapala evokes various aspects through Tang Dynasty art by emphasizing two guardians through the subject matter, arranging many formal

China had not been unified in over 300 years before Genghis Khan’s grandson, Kublai Khan conquered it. With Kublai as emperor, China flourished. The military had use with the Mongols, and the craftsmen were almost worked too much, for the Mongols were fascinated by these beautiful paintings, sculptures, and trinkets. They united china under the Mongol flag and bestowed a golden age on China, promoting trade and unity.(Chapter 12)

The “Terracotta vase in the form of a bull's head” is dated ca. 1450 to 1400 B.C. from the Late Minoan II Period. The material used for the rhyton is terracotta and paint. The inventory number is 1973.35. The vase is located in the Metropolitan Museum of Art in the Greek and Roman Art Department in Gallery 151 at The Robert and Renée Belfer Court.

Knowing the date it was painted and where it was painted is important as the vase on its own cannot help us identify and understand its historical context. We can assume that at this time the traditional pattern-based technique to vase painting had not yet kicked in, or it was not well recognized in China. However, the lack of the artist's name, we cannot determine when the painter was active and the possible reason he/she did not employ certain forms. Its form is a blank slate without any decorations except the black dripping glaze (earthenware with a black glaze). This is an 8th-century piece as most pottery during this period were increasingly round-faced and rotund, reflecting a change from the 7th-century

Porcelain has a reputation, and gets treated as one of the most fragile and expensive materials money could buy. Anything that is made of porcelain is a real piece of art especially to whoever owns it. While reading an excerpt from the Seattle art museum online I found that the exact time and place of the creation of the first Chinese porcelain has not been firmly established. It is reported as early as 600 AD is when the creation of high fired ceramic wares was producing white ceramic material that was known as porcelain. Porcelain can take the credit for what was considered cross-cultural encounters for many centuries. They used porcelain as a vehicle for designs and ornamental motifs between Asia and Europe. Those little works of art have also influenced traditions in other countries that have been witness to the amazing artistic features of porcelain design. Having a very nice set of china myself, I now understand the reasoning behind protecting such valuable property. I would like to be able to see firsthand some of the masterpieces that may be roaming throughout the great country of China.

The Harvester Vase was found in Hagia Triada on the island of Crete. This vase is from the Late Bronze Age, dating from 1550 to 1500 BC. The vase was originally made in three parts and was fitted together. The face is oval shaped and has a vessel on the top. The vase was carved on brownish steatite. The vase was originally glided with gold and hammered to paper-thin thickness. This piece is decorated with low-relief sculpture and shows a unique scene. The piece has pictorial designs. The composition is powerful, rhythmical, and lively.

sculpture in their honor. Created during the Tang Dynasty in 742 by an unknown artist in

C111, the left side one, with a headdress, is the main sculpture that I want to discuss in this paper. Being purchased from C. T. Loo , who’s been considers as the leading Chinese artifacts dealer in the twentieth century , the statue, combines a bodhisattva image with a lotus base, is in excellent condition, although

2. Albert M. Craig, William A. Graham, Donald Kagan, Steven Ozment, Frank M. Turner. “China‘s First Empire”. The Heritage of World Civilizations. 1: 1152 (2007, 2005, 2002) Pearson Education, Inc. New

My culture artifact is the Hina doll because it is a tradition in Japan to decorate with them for the Hinamatsuri. The Hinamatsuri is also known as "girls day". This is on March 3, and you wish girls good health and future happiness. The Hinamatsuri's origin was during the Heian period. The people would set afloat straw hina dolls and sent it down a river, which led to an ocean. This was used to take bad spirits away. The hina dolls are displayed on a hina dan. The hina dan is covered with a red carpet and the dolls are displayed on it. On the top is the imperial dolls ,which are the Emperor and the Empress. On the second platform holds the three court ladies. They are holding equipment for sake, a Japanese drink. On the third platform are

The Chinese Empire is a land of innovation, mystery, culture, and art. From mysterious trade partners to military expansionists, the Chinese people have faced a constant evolution of change over their vast history. China’s innovative and advanced mindset has made the West wonder in awe for centuries, and it is difficult to realize that, unlike the West, the East has been the center of technological and industrial advancements for centuries until their eventual decline. Due to China’s vibrant and long past, many have debated which time period was China’s strongest age, and it is difficult to answer this question without clear and precise evidence. Although many Dynasties have been both influential

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.

When studying the rich history of arts and recreation in the Song Dynasty, it is evident that there were many newly pioneered practices that completely captivated the populous and became the epitome of several long-established genres. When one observes the progression of visual arts through the Song Dynasty, landscape painting established itself as the most prevalent and important of the multitude of forms in this genre. Close examination of entertainment reveals that the dramatic arts, with emphasis on shadow-puppeteering, became the most enjoyed form of amusement in the Song Dynasty. Finally, nothing had become more delightful than the everyday life of a citizen, which never had a dull moment. Chinese art and recreation came to a