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Essay / Research Paper Abstract
A paper which looks at Chinese art, particularly secular figure painting, from the Neolithic period to the Tang dynasty. The writer considers the importance of Buddhist influences, the differences between Chinese and Western artists in their use of perspective, and the importance of individual painters such as Gu Kaizhi. Bibliography lists 7 sources.
Page Count:
13 pages (~225 words per page)
File: JL5_JLchinpaint.rtf
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Unformatted sample text from the term paper:
be traced back to the Neolithic period, and as Chen Ying (2005) notes, the cliff paintings in Cangyuan and the artwork found on the site of the imperial Qin palace
in Xianyang were executed in the mineral pigments which preceded the later preference for ink and wash. Early forms of calligraphy had a significant influence on styles of Chinese painting,
which differs in various ways from Western painting. Not only are Chinese calligraphy, poetry and painting all closely related, and distinguished by their simplicity and economy of style, we can
see a different perspective being taken on representational art by Chinese painters from that which we find in Western art. Chinese painting falls into three
main categories: figure, landscape, and flower-and-bird art. Execution may be realistic or freehand, or a combination of the two. Realism, or the gongbi school, makes use of closely detailed, fine
brushwork, whereas freehand art (xieyi school) uses simpler, bolder lines in order to capture the essential vitality of the subject. Landscape painting varies from monochrome to various colour combinations; flower
and bird paintings owe their origins to the Neolithic drawings of birds and fish; figure painting may focus on either religious or secular subjects. There
were several important developments in the style and theme of Chinese painting during the Han dynasty. Tomb paintings were important, and subjects focused on the lives of heroes, legendary tales,
and the afterlife. This is the point at which the artist begins to develop a sense of space and distance, and there is a three dimensional element introduced into the
works. We also see the first examples of landscape painting, although usually these take the form of small trees or distant mountains: the human figures are the central element of
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