ARTH183 1st Edition Lecture 20Outline of Last LectureI. Yuan Dynasty China: “Wang Xizhi Watching Geese” ContinuedA. Forma. Significance of materialB. Stylea. Why color was used-Archaistic painting, “blue and green style”b. Inscription, its relation to literati stylec. Elements of anti-realist literati styleII. Huang Gongwang (1269-1354). “Dwelling in the Funchun Mountains.” Yuan Dynasty, ca. 1347-50 CEA. ArtistB. Stylea. Composition; use of line and ink; sense of transparency-“Hemp fiber stroke”-Value of blandnessC. Primary concern of paintingD. Inscription; what it tells us about Gongwang’s process and literati artistsIII. Ni Zan (1301-1374). “Six Gentlemen.” Yuan Dynasty, 1345 CEA. Artista. “Occasional” artB. Stylea. Composition; trees; perspective; brush/ink work-“2 strips of land, one strip of water” styleb. Value of blandness, what character traits it is related toC. Subject; symbolism of treesa. Lack of human presence and possible significanceD. Inscriptions; what they tells us about the literati communityOutline of Current LectureI. Ming Dynasty China (1368-1424): The Forbidden CityA. Ming DynastyB. The “Forbidden City;” what purpose it serveda. Model for city plan; key elements of layout-Cosmographic significanceThese notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.-Southern area/northern area usesb. Meridian/Noon Gate, Gate of Great Harmony-Significance of roof tilesc. “Hall of Supreme Harmony;” indications of building’s significance-Significance of 5-clawed dragon motifd. Palace of Heavenly Puritye. Gardens; relation to Northern Song monumental style landscape paintingII. Ming Dynasty Court PaintingA. “The Hermit Xu You Resting by a Stream”; relation of Ming court art to Song court arta. Court art system (academy vs. Gold Garment Guard)b. Form/Subject; relation to Daoism/how we can guess identity-Significance of subject and audience to painting’s meaning*Imperial vs. non-court member audiencec. Similarities and differences to Southern Song styleIII. Suzhou and Ming Dynasty Urban GardensA. Suzhou; location and effectsa. “Garden of the Master of the Fishing Nets;” components of garden-New role of gardens-Courtyard elementsCurrent LectureMing Dynasty China (1368-1424): The Forbidden CityThe Yuan Dynasty was never very stable (lots of coups, assassinations), and large parts ofthe empire start to fall under the control of groups of bandit rebels-eventually in 1368 the Mongols are overthrown and native Chinese rule begins again with the Ming Dynasty. The 1st Ming emperor is the 1st Chinese emperor to originate in the peasant class; a very autocratic, paranoid ruler who carried out a series of deadly purges but also instituted policies and reforms to help the poor. The Ming capital moves from Nanjing to Beijing with the 3rd Ming emperor in 1420, who also builds a new palace to be the center of government and emperor’s residence (known today as the “Forbidden City”)“Forbidden City.” Beijing. Founded Ming Dynasty, 1407 CE: The overall plan of Beijing circa the Ming Dynasty tried to correspond to a 12th c. BCE plan from the Zhou/post-Shang period royal city: rectangular shape, streets aligned on north-south/east-west axes form a grid, multiple gateways, palace located at center on north-south axis; there is a cosmographic orientation to the whole city and the Forbidden City within.-The central Imperial City is more exclusive than the city at large (access to nobility, court members, producers/manufacturers for court), while the even more exclusive Forbidden City is nested inside *The Forbidden City has a moat all the way around and all of the most important buildings located on its central north-south axis, including the 3 main throne rooms on an hourglass-shaped terrace/dais; all of these buildings face south in a cosmographic arrangement and are approached from the south looking north (reflects conception of the emperor as like the North Star that stays in one place while all the rest of the universe revolves around it)*The southern area was more “public” (associated with government, used for holding court); further back were more private living/domestic spaces. The emperor was the only non-castrated male allowed in this area (all others were eunuchs)*Meridian/Noon Gate: The tallest structure; has 3 entrances, the central one meant only for the emperor’s use. Leads one into a large courtyard used for semi-public festivities and with the Gate of Great Harmony at the other end (mustard-colored fired and glazed clay roof tiles show emperor’s exclusive right to use this colors in his buildings and attire)-“Hall of Supreme Harmony.” Ming Dynasty, 1406: The palace’s main throne roomwhere the emperor held court every morning. In the general architectural principles that governthe Forbidden City complex, elevation on terraces and more complex rooflines indicate a building of greater importance while scale suggests the emperor’s might and is meant to impress.*The exterior and interior are brilliantly painted and the interior has gold and dragon designs (5-clawed dragon motif is only supposed to be used by the emperor)-Palace of Heavenly Purity=Residence of the emperor, also had throne for more private meetings with court members-Small gardens within the Forbidden City serve the same purpose as Northern Song monumental style landscape painting, a mini retreat into nature; arranged rock forms represent fake mountains, water represents flowing rivers/streamsMing Dynasty Court PaintingAtt. Dai Jin (1388-1452), “The Hermit Xu You Resting by a Stream.” Ming Dynasty: Ming Dynasty court artists drew on the Song Dynasty court style to try to create a link to Song rule (the last dynasty of native Chinese rulers); there wasn’t a formal academy system of training for artists at this time, but they could have a rank within the Gold Garment Guard. Dai Jin was probably not a serving court artist, but his style is reflective of it.-This is a large hanging scroll showing a man looking straight out at us with his clothing falling partially open to reveal his chest and stomach; associated with the Daoist idea ofthe eccentric recluse. When a figure looks straight out at the viewer it implies a real person, not a generic type; the subject is thought to be the hermit Xu You, who lived in the time of a legendary emperor