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Feb 23, 1296
Autumn Colors on the Qiao and Hua
This ink and color on paper by Zhao Mengfu was painted for a friend from Jinan. The landscape in the piece is supposed to resemble that of the Jinan province. Interestingly, this is not painted with the ordinary naturalism of the time, but the archaic but elegantly odd manner of the Tang Dynasty when the country was both militarily and culturally strong. This "spirit of antiquity" is important because it becomes a huge part of literati painting.
Source: Art History 3rd Ed. by Marilyn Stokstad -
Feb 23, 1372
The Rong Xi Studio
THeis ink on paper by Ni Zan is a demonstration of a painting of the literati. It follows the ideals of Zhao of the Yuan Dynasty. The landscape of Ni's home district is sketched in little detail: he uses a brush about to run out so that the white paper can burst out through the strokes.
Source: Art History 3rd Ed. by Marilyn Stokstad -
Feb 23, 1447
Dream Journey to the Peach Blossom Land
An Gyeon painted this ink and color on silk in the Joseon dynasty. This is the earliest secular painting of the Dynasty: it shows a scene where one comes across a utopia hidden for centuries when wandering through the peach blossoms of spring.
Source: Art History 3rd Ed. by Marilyn Stokstad -
Feb 23, 1450
Landscape
As Zen Buddhism became more prominent and was eventually adopted widely during the Muromachi Period, ink landscapes became the most important theme. The monk-artist Shubun is regarded as Japan's first master of ink landscape, but no works can be proven to be his. This Landscape, an ink on paper, by his pupil, Bunsei has survived. It has a void which represents water. The depiction of nature reflects the serene spirit of Zen landscape tradition.
Source: Art History 3rd Ed. by Marilyn Stokstad -
Feb 23, 1470
Winter Landscape
This is an ink on paper by Sesshu, a student of Shubun. In this work, he shows the new spirit of the Omin War that he came back to after traveling in China. The cliff cuts the composition in two. The sharp, jagged brushstrokes, the lone figure, the overlapping planes all add to this feeling. A few trees desperately cling to the rocky land and the harsh chill of the winter cold is shown.
Source: Art History 3rd Ed. by Marilyn Stokstad -
Jahangir in Darbar
This gouache on paper by Abul Hasan and Manohar shows the subued and refined tastes and the admiration for realistic detail of Jahangir. Several interesting things about this painting is that Jahangir insisted on being depicted how he was -- old. Also, even though the composition is static, the scene is formal, and the perception is two-dimensional, the sensitive portraits and the colors give the feel of a sharply observed and idealized reality.
Source: Art History 3rd Ed. by Marilyn Stokstad -
Taj Mahal
The Taj Mahal was built under the rign of Shah Jahan as a tomb for his wife. He made one of the most beautiful structures in the world. The minarets which are a part of Muslim culture are crowned by chattri which became a major part of Indian Muslim architecture. Furthermore, there is much geometrical balance.
Source: Art History 3rd Ed. by Marilyn Stokstad -
A Thousand Peaks and Myriad Ravines
This ink on paper by Wang Hui during the Qing Dynasty is a perfect example of all teh absic elements of Chinese landscape painting like mountains, rivers, temples, pavilions, and fishers. Wang Hui took into mind the style of both the past and his previous masters in his painting. Moreover he showed the dissolving of the individual identity in the whole through the way he presented the landscape.
Source: Art History 3rd Ed. by Marilyn Stokstad -
Landscape
Shitao was an individualist painter who was loyal to the Ming and hated the Qing. He used his paintings to express himself. In this ink on paper, he shows a monk in a small hut that looks out towards the mountains. He gives life to vegetation which used to be respresented by dots and gives life to the rocks who seem to devour the monk.
Source: Art History 3rd Ed. by Marilyn Stokstad -
Geisha as Daruma Crossing the Sea
This woodblock print, an ukiyo-e, by Suzuki Harunobu was remarkable in that it was the first print to be printed in many colors. Through prints like these, he popularized his portrayals of female beauty. In this one specifically, he references Daruma through his portrayal of the woman. Also this woman takes the place of a Zen master who was also supposed to bring ecstasy and enlightenment. There is just the portrait of a beautiful woman in itself.
Source: Art History 3rd Ed. by Marilyn Stokstad -
Pine Tree in Snow
This ink and color on silk was made by Maruyama Okyo. He studied perspective pictures of the west as he was younger which helped him create a volume in his work unseen in the painting of East Asia. This new style of painting was very popular in Kyoto and soon spread.
Source: Art History 3rd Ed. by Marilyn Stokstad -
Hour of Cowdust
In the Hour of Cowdust, a gouache on paper by an unknown painter, the Mughal influence is evident. The Mughal naturalism shines through this painting. The painting focuses on Krishna. THe figures are similar in type but with proportion and lyrical movemnt that complements the idealism of the painting.
Source: Art History 3rd Ed. by Marilyn Stokstad -
Bull and Puppy
Theis 18th century ink and gold wash on paper is a painting by Nagasawa Rosetsu who added humor to the Maruyama-Shijo school. He did a lot of strange juxtaposition and composition. In this case, the bull is so much larger compared to the dog. He is comedic in that he paints the dog relaxed, informal, and happy.
Source: Art History 3rd Ed. by Marilyn Stokstad -
Gandhi Bhavan
B. P. Mathur and Pierre Jeaneret designed this hall at a university. The importance of it is that it shows the modern vision of the International Style: the building itself. However, other factors are derived from Indian culture: the combiniation of angles and curves which recall ancient Sanskrit letters and the surrounding pools remind the viewers of Mughal tombs and ritual-bathing pools of Hindu temples.
Source: Art History 3rd Ed. by Marilyn Stokstad -
Pine Spirit
Wu Guanzhong painted this ink and color on paper after having studied art in France. In this work, he portrays the Yllow Mountains. The interesting part of the work is that it is a blend of Abstract Expressionism from after WWII and the landscape works of the past.
Source: Art History 3rd Ed. by Marilyn Stokstad -
Dharma and the God
Manjit Bawa is a modern Indian artist who exemplifies how Indian artists still draw on the litearary, religious, regional, and folk art traditions. He panted this oil on canvas. He juxtaposed the figures against the background which thus formed a new interpretation of the heroic figures.
Source: Art History 3rd Ed. by Marilyn Stokstad
