ARTH183 1st Edition Lecture 18Outline of Last LectureI. Northern Song Dynasty: “Five Color Parakeet on Blossoming Apricot Tree” ContinuedA. Popularity and nature of subjectB. Typical elements of Song stylea. Function of realism II. “Peace Reigns Along the River,” Zhang Zeduan (act. early 12th c.). Northern Song Dynasty, late 11th-early 12th c. CE.A. Format and material a. Handscrollb. Relationship of court paintings and silk)B. Subject: Progression from suburbs to city, features along the way and in the urban centera. Function of houses and figures-Freehand painting vs. boundary painting style; which is used whereb. Importance of the riverc. The city-Perspective of viewer-Activity on bridge and in river*Implication of types and amount of activity; potential relationship of urbanization to landscape painting-City gate*Relationship to governmentC. Probable city identity and political messageIII. Northern Song Dynasty Ceramic WorkA. “Cup Stand”a. Form and functionb. Stoneware; Ru ware-Characteristics of each*Water-resistant; color/glaze, crazing and crackle, signs of qualityc. Later developmentIV. Southern Song Dynasty (1127-1279 CE)A. History of end of Northern Song, origins of Southern Songa. Effects of location change on landscape painting-Different features and emphasesb. Changes in painting size, popular formatsB. “Viewing Plum Blossoms by Moonlight”These 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.a. Formatb. Ma Yuan-His nickname and how he earned itc. Changes in style from Northern Song-Scale and activity of figures-Sense of texture vs. sense of spaceOutline of Current LectureI. Southern Song Dynasty: “Viewing Plum Blossoms by Moonlight” ContinuedA. Common Southern Song composition elements and their effecta. One-corner style; diagonals; light vs. dark; overall sizeb. Axe-cut texture strokec. The moonB. Significance of signatureII. “Twelve Views of Landscape,” Xia Gui (c. 1180-1230 CE) with calligraphy by Empress Yang Meizi. Southern Song Dynasty, ca. 1210 CEA. Patronagea. Inspiration and goal-Work processB. Form and style; content reduction, interest in space, diagonal movement, contrast, palettea. Comparison of handscroll to musicIII. Southern Song Dynasty Ceramic WorkA. Spread of tea in Chinaa. Tea bowlsB. “Tea Bowl with Hare’s Fur Glaze”a. Jian ware; why so valued, typical characteristics, comparison and contrast to Ru ware-Glaze manipulationIV. Song Dynasty Literati/Scholar-Amateur PaintingA. Role of Confucian scholar-officialsB. Source and characteristics of scholarly stylea. Beliefs about art, goals for art; awkwardness, blandness, archaistic referencesb. Who was creating itC. “Withered Tree and Strange Rock”a. Purpose of painting-Essence vs. appearance; beliefs of scholar-amateurs about court paintersV. Yuan Dynasty China (1279-1368 CE)A. Mongol rule; effect on educated populationa. Yiminb. Relationship to growth of scholarly paintingB. “Wang Xizhi Watching Geese”: Artist and subjectCurrent LectureSouthern Song Dynasty: “Viewing Plum Blossoms by Moonlight” ContinuedThe one-corner style of composition was not limited to Ma Yuang; many period artists used it to suggest space expanding into the distance. This is an era of dramatic compositions with strong diagonals and light/dark contrast, though still with reduced palette. Smaller scenes like this can be taken in more easily that expansive Northern Song landscapes that demand close examination-Axe-cut texture stroke: Southern Song technique that drags brush on its side to create a sense of a rock being fractured-Chinese painting doesn’t often show signs of temporality of time of day or weather with the exception of the moon (a common feature in poetry)-A signed work, but the signature is very small and discrete, reflecting that this is a court painting“Twelve Views of Landscape,” Xia Gui (c. 1180-1230 CE) with calligraphy by Empress Yang Meizi. Southern Song Dynasty, ca. 1210 CEMade up of 12 scenes labeled with poetic lines (half of the handscroll is now lost); showsthe period practice of an emperor or empress giving a court artist a line of poetry to work with, trying to capture the same mood (not an illustration). The Empress would have given Xia the 12 titles and he would have interpreted them and then brought the product back to her.Only done in black ink with a limited palette/low contrast range-First scene shows suggestion of a ridge of distant mountains with a line of geese flying over it; diagonal movement leads from right to left. Very few pictorial elements and large areas of unpainted silk exhibits Southern Song extreme reduction of content to a bare minimum-“Ferry Returning to Misty Village” scene: Contains suggestion of architecture and boats; exhibits how Northern Song interest in showing texture has shifted to an interest in showing space-“Pure Serenity of the Fisherman’s Flute” scene: Done in much darker ink and thescale changes, creating contrast with the earlier scenes-“Evening Moorage by a Misty Bank” scene: The artist’s signature in this last scene tells us that it was painted for someone else through its verbage; the composition is closed off and finalized by the body of rocks at left*The composition and experience of handscroll painting was often compared to that of musicSouthern Song Dynasty Ceramic WorkTea was originally medicinal in use in China, then became associated with Zen Buddhism (caffeine helped monks stay awake to meditate), and eventually gained widespread popularity. Tea bowls were produced for a wide range of users (court, monks and nuns, general public)…fine tea bowls were often given to court as a tax-“Tea Bowl with Hare’s Fur Glaze.” Song Dynasty, ca. 1100-1200 CE: An example of Jian ware, considered to be the best for drinking tea because its color made the tea look the most beautiful; shows typical Jian ware thick glaze that doesn’t go all the way to the object’s bottom*As opposed to Ru ware, is thickly potted because of concern with insulation and heat retention-made of dark, thick, rough clay, with the lip often covered by a metal band to protect the drinker’s mouth…a more utilitarian object*Like Ru ware, is an example of water-resistant stoneware, glaze runs during firing, and glaze contains iron oxide; *In Jian ware, the glaze is manipulated during firing to cause it to precipitate