This is Chinese art through the ages, in relation to the social and political climates of the times. The Han dynasty lasted from about 206 BCE to 220 CE. Throughout the dynasty, Confucianism resurfaced with fervor.
The court founded a university intended to teach the five classics of Confucianism, and at one point the university had 30,000 students. Trade also greatly expanded via the Silk Road during this time. The Han Dynasty is often considered a treasure trove of information for historians.
This is due in part to the fact that paper, the First Chinese Dictionary, and the First History of China were all created during this time. Like other dynasties, tombs are the largest source of art from this time period. Our first piece is Animal Pen with Figures. This is a great example of Ming-Chi, also known as spirit objects.
These objects were placed in the tombs to accompany the dead in the afterlife. They were usually common household objects or representations of everyday places. This piece shows a pen of goats being tended to by a woman with her child on her hip. It's a great insight into the lives of regular people within the Han dynasty, as well as the role of women being designated to the estate as a whole.
Lastly, it speaks to the widening of the bureaucratic class and their ability to provide for the loved ones in death. Covered Jar. This piece is one of the finest examples of Han era painting and is also a funerary object.
It depicts the relationship between the star Sirius, the brightest star, which was part of a constellation known in China as the Heavenly Wolf, and another constellation known as Bo. The wolf was thought of as unlawful and often represented the Huns, whereas Bo was known to stand for order and thus the protector of China. Bo is always pointed at the wolf just as China was constantly fending off the Huns.
This once again provides evidence for the importance of comfort and honor provided to souls in the afterlife. The painting was there to protect whoever was in the jar, just as Bo always protected China. Tomb panel with relief of figures in a pavilion. This piece provides a view into life at court during the Han dynasty.
One of the figures represents Zi Wangmu, the queen mother of the west. She was believed to rule over the immortal lands and played a large part in Han funerary traditions. The setting represents Han thoughts about heavenly courts under the influence of Confucianism.
Courts were seen as very similar to earthly ones due in part to the mandate of heaven, which placed the emperor as an intermediary for his people to the heavens. Northern and Southern Dynasties These lasted from 386 to 589 current era. While Buddhism was first introduced to China near the end of the Han Dynasty, it really took hold during the time of the Northern Wei rulers.
These early Mongol people took control of Northern China using Buddhism as a way to legitimize their rule and control the mostly ethnic Chinese population. In the south, Confucian and Neo-daoist scholars were more common. They did, however, assimilate some aspects of Buddhism that seemed to go hand in hand with their schools of thought. While Buddhist statues were heavily influenced by India, The Wei also sought to include southern styles, such as the garments that scholar officials would wear. This particular statue exemplifies Gandhara styles, with the sunken eyes, sharp nose, and elaborate robes.
The Tang Dynasty The Tang Dynasty lasted from 618 to 907. The Sui Dynasty laid the groundwork for the Tang to eventually take over and flourish, both politically and culturally. The Tang Empire is thought to be one of the greatest empires in the entirety of the medieval world. the scholar class quickly rose as the new elites and with them came a blossoming period of intermingling cultures and art unlike any other bodhisattva torso this is the torso of a bodhisattva known in buddhism as someone who purposely delays reaching nirvana the state of eternal bliss in order to help others reach nirvana they were often attendants to the buddha and were seen as selfless and divine beings this piece was influenced heavily by indian styles showcasing the body's curves voluptuousness and ornate decoration with a variety of ropes and beading night shining white this is a portrait of an emperor's horse done by a famous pointer who is known to capture the spirit as well as the likeness of a horse it exemplifies the chinese myths about horses that they believed to be dragons in disguise see the red eyes this demonstrates the importance of horses during this time as well their status as a sacred animal rose steadily throughout the tong empire Phoenix-Headed Amphora. This piece was heavily influenced by Western and Central Asian civilizations, especially Sogdiana, also known as ancient Iran. This style of jar was Greek and Roman in origin, which further points to the beginnings of globalization.
It also demonstrates the love and appreciation that Tong people had of finely crafted items. It once again points to a flow of cultures and ideas that contribute to the success of the Tong dynasty as a whole. You can also see the archer shooting over his head.
This was commonly known as the Parthian shot, and it was very... often found in western pieces. Song Dynasty, 960-1279.
The Song Dynasty can be divided into two periods, the Northern and Southern Dynasties. Under the Imperial Painting Academy of the Northern Dynasty, naturalistic and accurate portrayals of life were most valued. While the Southern Song's Imperial Academy also followed the path of naturalism, they saw aesthetics as an equally worthy pursuit. the rise of the civil service examinations and consequently the scholar official class also played a role in the changes of art at the time this piece for instance can be seen as both a beautiful naturescape and as a metaphor for good luck on the exams it can be interpreted as the chinese phrase a triple first gains power which is a way of wishing success on the three parts of the civil service exams this message is portrayed through three gibbons raiding an egret's nest Yuan Dynasty.
The Mongols. 1279-1368. While the Mongols adopted aspects of Chinese culture and government, they still made it their own.
The struggle between Mongols and ethnic Chinese people and customs is shown through the art. Once again, a great deal of art was made for funerary purposes. This was also a time of trade, which allowed for an open flow of ideas across the continent. Portrait of Chabi.
This was a memorial portrait of Kublai Khan's favorite wife. While it's a wonderful example of Yuan art and wealth, it was painted on silk, the headdress, or bukta, is especially interesting. Bukta were worn by married women, and in the higher noble classes, they were often red, or sometimes even gold.
They were most often covered in black felt, but wealthier and more noble women covered theirs in silk. This extravagant display speaks to a number of things, including the great reach of the Yuan Empire, as they most likely had to source materials from the Persian Gulf. It also exemplifies great wealth, as it is not only made of red silk, but also adorned by pearls, jewels, and feathers.
Chabi's red robes and bokta were the standard attire for those in the Mongol court, and thus became well known throughout the continent. Katarina Viglione's Tomb in Yangzhou This tombstone is evidence of the presence of Western European Christianity in China. The Mongol Empire set a new social hierarchy when they came into power.
This hierarchy had Mongols first, followed by foreigners, with ethnic Chinese people bringing up last place. This new system allowed for the spread and integration of foreign customs into China, including religions. While the images depicted on the tombstone are of Christian origin, such as the Virgin Mary and Jesus, there is also a Chinese soldier represented, which further displays the intermingling of Christianity with Chinese culture. This tomb depicts the martyrdom of Saint Catherine of Alexandria, Catarina's patron saint.
It shows multiple images of her journey to death, including an executioner dressed as a Chinese soldier. Mountains of the Immortals. This masterpiece is attributed to Chen Ruoyan, an artist during the Yuan Dynasty who eventually helped to overthrow it and begin the Ming Dynasty.
This piece is a depiction of the afterlife according to Daozong, a belief system that preaches balance with the universe and everything within it, especially nature. This image portrays that message very clearly with its bright colors, intricate landscape, and presence of various animals. You can see a number of immortals enjoying the afterlife and being one with nature, flying and dancing with cranes, a symbol of longevity, and walking among animals.
Art has always been a way to express oneself and concurrently the time one lived in. In China it was no different. While it did start as something often reserved to the upper classes, it eventually became a more widespread practice.
Throughout the ages, art was used to reflect religious beliefs, cultural practices, not just of ethnic Chinese people, but also those they came into contact with through trade, and the political maneuvers of the times. Art became more and more widely accessible, and therefore easier to analyze as a reflection of the time periods and those people within them. Thank you for watching. Oh