Art193-02 Lecture 11-19

Li Cheng (191-967), A solitary Temple amid Clearing Peaks, ca. 960

(Five dynasties/Northern Song period) Hanging scroll ink on silk, 44X22 in. Nelson-Atkins Museum of Art, Kansas City, Missouri Artist went to mountains to escape from political upheavals(剧变) and also pursue more spiritual goals just like these Buddhist monks who spent their lives meditating and contemplating nature in the solitary temple. It's a view of streams and mountains after rain when the valleys are steaming during the Song Dynasty reunified China. Li Cheng good student of confusion classics. He had no political ambitions, however, he lost early declined all honours becoming a bureaucrat(官僚主义official) and retired paint landscapes for his own pleasure--amateur literati painter being a proud and independent aristocrat. He scorned the idea of salinas works of others. Composition of a solitary temple amid clearing peaks in dominated by massive vertical mountain placed in the centre. this imposing cliff is buttressed by lower pimples and taller mountain rises up behind the central peak. The high and distant peak is rendered in lighter washes indicate atmospheric perspective that higher peak visually subordinated the main central mass. The space divided 3 parts along vertical lines look like a triptych with two wings. 3 Horizontal foreground, middle, and back. The Song Dynasty instituted the most enlightened and humane forms government that China had known. Foreground we encountered this village Architecture in details build more or less level ground around the square are eating and drinking establishments for the pilgrims on their way to the temple. More elegant pavilions for the visiting scholars are built out over the water on piles. The lake is fed by waterfalls on the right and left, look like thin white strings set against a dark rocky ground. The waterfall no fixed perspective, the surface of the lake dropdown toward lower right represented visually pleasing manner in this composite view. He achieved a grand unified effect S-curved shape, coherent version of nature. The essencial spirite of nature. The characteristic nature of nature. That's is the fundamental approach encourage viewer's eyes to do the travelling cross bridge and follow pathways. You can see a scholar who carry a musical instrument with a servant at the bottom left. Less formal zigzag or rather meandering motion and in a gentle curve, eyes upwards. The group darker skeletal treses function as unifying motif cuz repetition of patterns. Rock outcroppings(漏出的) in the middle ground are bounded by the irregular outline that captures ruggedness of terrain and thin and thickening with a heavier application of ink always this dark outline in contrast to the lighter ground behind an optical(光学的) effect can be observed parently. Rockies and bounders are modelled into 3-dimensional masses. first of all by washes of ink carefully graded from light to dark ink tones. The texture of these rock surfaces rough and glistening(闪耀的) and smoothly rendered by inner marking. First was ink then texture strokes created a sheet of raindrops. Trees only a few leaves use dots with crab claw branches to suggest the strength and the tenacity(不屈不挠)of the trees. Identify the endurance in a difficult environment rooted in bear rock they cling to life. In the distance, the trees fade to merely bill silhouettes. The Buddhist temple is a lofty structure has hexagonal tower Buddhism had taken deep root in China Fron India ac 100.-200. Influenced by Confucianism Zen meditation introducing and cultivating tea-drinking communion with nature could bring enlightenment monks developed a deep understanding of the natural world.

Fan Kuan (active 990-1030), Travelers by streams and mountains, ca. 1000

(Northern Song period). Hanging scroll, ink on silk, 61X29 1/4 in. National Palace Museum, Taibei A hanging scroll in ink and silk, seven feet talk (life-size). Two painting is counted among the greatest monumental landscape of the northern Song which imitating from Li Cheng Quote from Fan Kuan "My predecessor's method [Li Cheng] consisted of direct apprehension of things in nature; here am I, learning from a man, which is not the equal of learning from the things themselves. But better than either of these methods is the way of learning from my own heart." Realization of the great romantic lumen and free week a sincere art arise from whole hearted whole minded intuitive comprehension of nature. even though they didn't know the European of Romanticism, but Goeth "He who knows himself and others, will also recognize that East and West cannot be set apart." He lived in mountains and embraced Taoism and a rugged existence. Two long figures are travelling are leaving a train of heavily pack mules along a swift mountain stream through the wilderness. Rapids suggests the sound of gurgling water. River foreground more or less creates a nearly level at least traversable space from right to left. Landscape more remote, and fewer people than scene depicted by Li Cheng no village provide entertainment only Four dockeys with figures. Three zones (horizontal zone) secure zone with travellers at the foreground, a religious zone with temple and hills, and tall mountains on background. The central mountain is flanked by lesser peaks in a hierarchical manner. They're also the vertical division into three parts as in a diptych strong outlines help to create the effect of atmospheric perspective. Steep rock faces are modelled by ink washes first and ver finds texture strokes in many gradations of tonal values creating an effect as if a very thin sheet of water flows down the sheer. Wall of the mountain. The banks of mist(薄雾) middle ground the broad sheer face of the massive central rock in the painting the right rise soaring high. Completely inaccessible by a human. Monumental landscape in Asian Art overall illumination that varies in intensity depending on which part the artist wants to emphasize in. In Fan Kuan light and Dark contrasts are broader and more simplified as compared to Li Cheng. Central hierarchy and symmetry, mountain majesty and powerful stare, awesome grandeur, but Li Cheng's more fine lines with aristocratic, and literati, one is beautiful and another is sublime. Fun Kuan expression was in perfect harmony with the creative force of nature. They bother attracted austerity(朴素self-discipline) of autumn or winter scenes which suitable the ink and sink monochromatic colour. Emphasize linear character twisted trees trunks and tracery(decoration) of branches. Trunks jagged contour lines the multitude of leaves in individually drawn an outline with the needle-sharp point of the brush. There leaf patterns are never exactly the same which convey the infinite variety of organic nature.

Late Classic wool serape(毛毯披肩）1870-75

34 X 53 in， Museum of New Mexico, Santa Fe -Navajo settled the desert plateau of the Four corners region around 1500; Nomadic hunts of Athapaskan lived in Hogan. From Alaska and Northwestern Canada. -They discovered weaving -- wool serape those where traded throughout the indigenous world and much prized on the plains. -In green can represent the bond between men and women, but also as in this classic will Sarai of about 1870, this plus signs can also represent the stars just like male and female are not identical but complementary opposites two halves of the rug of each rug can also not identical. -A pattern can never be completely symmetrical if it is to be true nature and to the Navajo world view. The traders acting on the expectations of Anglo American collectors required symmetrical in the patterns, the Navajo weavers will always introduce irregularities however slight and subtle. eg, the crescent shapes(新月) representing the moon, and green and white. -Pink line represent lighting or a jolt of energy. There's so the variance in the size of color among the stars. The variety explained in a story about coyote(郊狼) is the trickster spirit who plays an important role in the creation of the naturals, when the desirability of painting corn in neat rows was discussed for example: during the shaping of the fifth world the coyote offered the following wisdom: -Everywhere you go, you bring disorder, the coyote was told by the air spirit people who wanted to keep him at bay, but without irregularity and disorder, this would be esthetic a lifeless universe. -Absolute symmetry is deadening for the spirit. The Navajo weavers create a dynamic ever-changing living world in their rugs, so always look for irregularities, and also you will very often find in either in one of the corners a so-called spirit trail that is just a tiny little line and usually in white or another colour, where there that is a weavers pathway where she lets herself out of the rug when it is complete so that she can begin to create a new one that is a spirit trail.

Navajo Blanket(马鞍) with spider motif, 1880

48 X 64 in. Museum of New Mexico, Santa Fe -Life in a dynamic universe as well as in any creative pursuit as you well know it always involves a struggle to overcome and to be entropy (熵) is the gradual decline into disorder. so, in order to achieve balance, harmony and beauty, and to protect it out into the world, first we need to struggle with it. At times when Quixote(堂吉柯德) causes great discorder affecting the food supply or in person's health, or happiness, the spider people are invoked in a ceremony to help restore order by catching him in their webs. -The medicine man will often create small painting for such ceremonies, so the ephemeral work of art but a rug can also to be used and here. -Ceremony weaving from 19th century the spider forms easy to recognized or "M" shapes. During ceremony rug place ground no signle orientation in the design, black brown triangles and those represents dark rain clouds, they are identified as Smil clouds. -White stripe among them, they are spot of sunlight that alternate with the rain the similarly these Chevron's indicate succession of heavy mill, black and gentle more steady female periods of rain in this alternation between black and white. Discover all of irregularities in changes in coloration.

Haiku （俳句）

A poem of seventeen syllables in three lines that evolved out of the waka some time in the 16th century. As a poetic form it is meant to be a spontaneous response from direct observation.

Blue-green landscape

A style of Chinese landscape painting characterized by the prominent used of blue and green mineral pigments derived from azurite(蓝铜矿)and malachite（孔雀石)

x-ray Art

A style of art in which the internal organs of animals are shown, as if in an x-ray

Tim Leura Tjapaltjarri, Honey Ant Hunt, 1975

Acrylics on canvas, 67 X 78 in. National Museum of Australia, Canberra. -Concentric circles in or circles in brown and black at the centre of the painting that does represent the chamber(room) of the ancestral honey and the site where she returned to the ground after her journey during the Dreaming, and that is one of those actual sites sacred sites where indigenous people commune with the spiritual mentioned in nature and where they interact with the Dreamtime through dances, music, and art. -The honey ant was considered an ideal ancestor, eight underground passages are depicted in honey and network of chambers, those are represented in the waving lines of brown and yellow, the reddish-brown blotches(疹子块) in between the waving lines are shapes that were spared out(幸免) from the ochre ground(颜色) and they are outlined with yellow dots. See a field of gray and white dots and then also a pinkish dots-blotches and with the ochre ground represent the soil the sturb. -The honeypot ants are specialized worker ants who store honey int her own bodies and make them swell up the size of a berry, they are a sweet delicacy in Australia outback. -Tim nougat chapel cherry painted this work in acrylics on Canvas. -Artists at Pecunia, sacred knowledge, sacred objects as well as figurative depictions of humans or animals all those who are omitted and the artist pared down the pictorial language to just a small set of non-secret symbols, and they used the infill of dots to draw atmospheric Vil's across the entire surface whereas in the artefacts the boomerang the knives, dots only use for ornamental designs. -In this painting, the dots field they created this kind of luminous shimmering effect, which is the camtrast to the cross-hatched bark paintings from the north the shimmering effect could be seen as the manifestation of spiritual forces that are imminent in the landscape.

Ma Yuan, A mountain path in Spring, Southern Song

Album leaf, ink and color on silk, 27.4X43.1cm National Palace Museum, Taipei The child servant carrying music instrument accompanies the scholarly gentleman at leisure. Gentlemen is absorbed in natural scenery and watching some deers, drinking along the stream. Drinking from a pine-shaded stream blew the Terrance and above the scholar is weathered pine, tree trunk self jump out from a cliff towarde left, then acutely(剧烈的) change direction to the right and countered again, by a twisted branch which forms a canopy extending over the head of the scholar. The gazing scholar, this angular shape of the tree trunk itself sort of a hooked shape it echoes two looked elbow of the figure as he leans on the balustrade(栏杆), so creates a correspondence between tree trunk, the shape, and elbow of the shcolar. The correspondence between rules of nature and of men. This intense contemplation of nature has become a central theme in these works. It is not the objective physical universe out there, but rather the direct and immediate awareness of nature experience here now has become the subject of my events landscapes. It is One Corner Ma cuz its composition tend to be wieighted toward one of the lower corners, on the left or the right. The empty expanse of bare silk suggests a limitless space a universe without boundaries, drifiting mist the humidity of the air that takes on a role of the major importance of paintings of the southern Song, atmosphere engulfs the landscape, and in the more sharply delineated foreground the atmosphere eats into the contours of pine needles, atmosphere half conceals and landscape and spectator figures are enveloped(wapping) by it. The observer and the observed one seem to be part of one continuing. One great atmospheric whole.

Muqi Fachang, six Persimmons, 13th, century (Southern Song)

Album leaf, ink on silk, 31.1 x 29 cm, Daitoku-ji, Kyoto The big mind of Buddha-nature is inherent in all things. There is equality among all beings and all objects in the world whether they are animate or inanimate. Just a simple study of fruit it is the depth of understanding that matters. One of six occupied our central position with an unsalable certainty to move one of them even slightly will be unimaginable. No two of them are like, some are squarish, others are found, some have rip ended to a more oval form, they all have hooked stems at a different tilt and they're attached to small leaves that are mere splashes of ink. Two outer persimmons are lightest in tone left and right just outlined single brush of stroke, others are silhouetted in shades of black ink and darkest one in the centre. The effect is to make a see them all at once. They have consisted of unity even though they are each individually different. They have an absolute presence.

Pueblo Bonito

Ancestral Puebloan (Anasazi), Chaco Canyon, New Mexico, 600-1150AD. View of a three-story of the southeast corner from within one of the larger rooms. It had a huge population at that period but collapsed by very competition and drought as well. There are many petroglyphs, and they were nomadic.

Wabi (poverty)

Appreciation of austerity(朴素self-discipline), simplicity and and humility; a love of tranquility and purity that is classically expressed in the tea ceremony's rustic（rural, common person, 淳朴的 and plain(质朴朴实), yet precise and elegant garden, room, appointments, food, manners, and particularly its ceramics.

Ibid (同前 如上）

Bush-clover courtyard garden, Heian(平安时代的) period. Seiryo-den ceremonial hall, Kyoto imperial Palace (皇宫)

Hasegawa Tohaku, Maple Tree, on four fusuma, late 16th century

Color and gold leaf on paper, each panel: 67 7/8 X 54 1/2 in. Chishakuin, Kyoto it was painted on forests lighting screen for a temple dedicated to the salvation of Toyotomi Hideyoshi three-year-old son. When Toyotomi faction (派系) was overthrown, the temple destroyed, shorted survived to more another temple. Stylistically, maple tree screen reflects glimmers (闪光的)style was created from military tastes and active life, resplendent (beautiful）backdrop(scenery, scene) to seasonal festivities at the temple, very elegant, sweeping and centralized design. The great maple set close to the foreground also cropped along top and bottom and silhouetted against a golden ground. Flattened empty golden expanse reflective surface of the body of water leading into depth toward a high horizon. The parabolic (fable 比喻的) shape of deep blue water on the horizontal plane is represented in the curve of the branch above it formed a contrast. Chrysanthemums(菊花) already cultivated in China over 3000 years ago was brought to Japan during 8th century, adopted by emperor family crest became a favorite motif in poetry. In this painting, Chrysanthemums interpreted fiery red (燃烧帮的) and cockscomb(鸡冠花) flowers and are bunched together on the straight stalks and to the right, it is bush clover, native flowering shrub, represented fall, chrysanthemums also bloom in the fall. The dark green leaves bush colour fan-out against golden ground "So enviable(值得羡慕的), maple leaves, most glorious(壮丽的), contemplating death. Deepen, drop, and die. Many -hued Chrysanthemums..., one black earth for all. The ideas lead to creative tension, the painting has a common quietly effect in spite of opulence(丰裕).

Kano Eitoku, Cypress(柏树), 8-panel folding screen (byobu)(屏风), 1590

Color, ink and gold leaf on paper, 66 7/8 x 182 in. Tokyo National Museum Fusuma sliding screens now remounted as a folding screen, the panel size more narrow, represent new pictorial style. Eitoku developed for castles and Momoyama rulers. Painted bright colors and golden ground, the letters use of gold leaf was particularly intended to impress but also address the problem of lighting in this dark castle interiors with large rooms and small winders, these paintings reflected the light and created a glittering effect. His monumental gold and blue decorative style. Cypress(柏树) is a slow-growing tree with dark reddish-brown bark and scale-like leaves, the trunk can reach up 3 feet in diameter and this one is ancient full of nooks (凹处)and crannies(裂缝) with lichen (青苔), it recluse (隐居) gnarled (饱经风霜的) Cypress grows in sandy soil cross 8 panels of the screen. Tufts(一簇，小树丛) of dark green foliage grows from the twigs, this tree motif that is the great unifying element in the entire composition and also you could think of it as the main protagonist (主角), the diagonal trunk is actually balanced by one other tree that is leaning to the right, the cypress and the groupings of rock in the lask, they have been rendered by black ink and used a broad brush with bristles of rice straw for his large-scale work, emphasized the outline of all solid natural forms with firm vigorous drops of black ink that give clarity to the paintings in their outlines, and the inner surfaces between outlines have been modelled with flowing and very consistent texture, strokes. Angular rocks and ponds are blue at the flattened golden areas. Simplication and contrast served to enhance a very forceful presence of the cypress tree, it has overwhelming grandeur. He magnified the trunked view of cypress by cutting off the top and bottom of the tree has brought middle section is the massive trunk fair up close the picture plane. The weight and age of the mighty tree are brought to the attention of us to viewer with startling immediacy. The ink monochrome landscape tradition originated in China, he combined it the bright colors and decorative qualities associated with a native aesthetic of Yamato-e, this intricate nature-based patterns, layers flat surfaces and asymmetrical composition which are characteristic Yamato-e. Continued to inform the craft production of textile and lacquerware(漆器). The craftmanship of the Momoyama period has never surpassed.

Zhao Gan, Along a River at First Snow, Southern Tang (Five Dynasties period), ca. 950.

Handscoll, ink and color on silk, 25.9X376.5cm. National Palace Museum, Taibei. Literati painters 907-960 when Song Dynasty unified Emperor. Landscape scroll in ink and color on silk and reliably dated to 950. Nanjing, the material very fragile. From right to left unbroken view over the windblown surface of the river. The horizon is placed hight above the top of picture, merchants with servant were travelling along the river bank. They are travelling towards us on mules and we are looking down on the water. When you unroll the scroll little by little the merchant would pass by and our point of view would change. Chinese paintings there is no fixed perspective but rather a flexible one that we travel through the landscape, which is renaissance tradition. We are used to and by contrast, as we are viewers look at the landscape through windows. The trees foreground are bare and angular branch silhouetted(轮廓分明的) against cold greywater. Various activities along the shore have been depicted with great attention to details. The fishing gears, the boats gestures, and attitudes have all seen realistically depicted. The two figures on the island have built rickety platforms out over the water with large dip net catching fish. The trees cling to life, bare and blown snow against the trunks, so the wind coming from the left to right. Bunches of reeds in the shallow water and that isolate these patches as lighter areas in the watery expanse. The surface of the water response to the gusts of wind and in some area water is ruffled and others in leeway(drift) are areas is smooth by a pattern of repeated scalloped lines that resemble fish skills. The well-to-do travellers who are being bunted by to Boltzman on the open water they've wrapped up very nicely comfortable cloth, but not so fisherman who is just wearing very scanty(不够的) rags. Such social-economic inequality is rarely evoked in later Chinese landscape painting. Late Chinese fishing painting became idealized as a leisurely pursuit by the scholarly gentleman in beautiful idyllic surroundings but here two peasants fisherman very little protection in chill winter as miserable figures. Zhao Gan suggested spaciousness by placing the areas of interest in white intervals. They are all rendered in correct proportion and skill. There are no space cells on a different ground plane here. The painting evokes the experience of bitter goals and the hardships of survival in the winter time. A challenge for the trees is ol, willow and for the people, the local fisherman barely gets warm by the little looking fire in the boat and the scroll conveys a sense of loneliness even though there are quite a lot of people in the landscape contrary to the appearance in this seasonal depiction. The river was, in fact, a rich lifeline in the ecosystem-- Yangzi River is very productive agriculture and consequently a dense population. Untrammelled(unlimited) nature---Describe landscape free and unrestrained like wilderness.

(UL and LR) Two fragments from the Tale of Genji Scroll, Heian period, 12th century.

Handscroll cut into four illustrations and nine pages of text, ink and color on paper, height 8 5/8 inches. Gotoh Museum, Tokyo Japan was connected more in the Tang Dynasty with China and broken after five periods of dynasty turned to inward -- Heian period between 900 to 1200, and the city is known as today as Kyoto. In the hands of gentleman and especially also the gentlewoman of the great aristocratic families the art of calligraphy poetry and painting were combined into a unique form of communication. The album leaves with poems upper right, generally Chinese characters were used in Japan for official documents those are called Kanji(日本汉字) and but Japanese political character Gana is used in a flowing cursive script so that is known as hiragana. Read from right toward left, classical courtly poets evolve into the even shorter form of Haiku due to Zen influence often poetry represents to nature as comparison of human life being. Nature as a metaphor for human physical or human emotional state spiderly script upper right harmonizes beautifully with the windblown leaves and branches and grasses. The layers of color set up this visual contrast. The Heian period was a great age of literature. Tale of Kanji is the first classic romance in the world written shorterly after the year 1000 by Lady Murasaki, she was a lady "in-waiting-to" the empress. The lower fragment prince Kanji, as he visits the love of his life Murasaki near the time of her death. Murasaki leans against armrest with her long black hair draped around her at many-layered silk robes spread all over the floor around. Bush clover(三叶草) of garden faced Musayki through the window was a plant associated with autumn, being the season of loss. They provide a visual metaphor for the fading of life. The bush clover or courtyard garden at the Kyoto, imperial pass this garden represents to all the surviving form of Japanese garden design as it had been established during the Heian period simple and elegant at the same time this courtyard garden is just a smaller rectangular plot completely flat and covered with white gravel, a few clumps of bush clover are planted there with no apparent order, bush clover just common Japanese plant of per family growth wild in the field in the mountains bloom autumn. Simplicity itself, Naturalness, and artlessness. Faces are dreamy and simplified they're only dashes for they eyes at most a hooked line for the nose, physical actions are constrained, psychological tension is suggested, instead of by the compositional arrangement to create space for this unfolding narrative. The ground floor has been tilted up very steeply and in a landscape a larger setting this would give you a bird "eye" view perspective here, the scope is so narrow and the floor is also going radically slanted(倾斜的) that Murasaki seems to be sliding down on the edge of sliding down into the arms of Genji and these compositional choices allow us to experience the feeling of instability and of impending(即将发生的，迫在眉睫的close) change that grips this protagonist the palace roof has been omitted. This pictorial device gives us an intimate look into the building and also into the garden at the same time. The strong diagonal lines divide the scene into tight compartments of this room and garden create an illusion of three-dimensional space, the claustrophobic (幽闭恐怖症的) unsettled feelings these suffering lovers. This flat and colourful style with flat surfaces and a lack of emphasis on any kind of as expressive brushwork that come to identify as the native characteristically Japanese style of painting knows as Yamato-e(大和绘).

Xu Dao ning (ca. 970-1052), Mountain fishing, northern Song, ca. 1049

Handscroll, ink and light color on silk, 48.3X225.4 cm. The Nelson-Atkins Museum of Art, Kansas City, Missouri. Handscroll, ink, silk, horizontal painting. Slowing unfolding through right to left sweeping view across the mountain scenery. The composition three groups of towering rocks rise a broad valley, which carried out by glacial ice. The third valley opens up toward for left beyond a river in the foreground recession into depth suggested by various devices. Zigzag movement mountain softened by thin layers of mist and hover above the valley floor. He created movement rhythmic lines, lofty(崇高的) peaks rise and fall impress viewer a great simplicity of nature. The sublime landscape encompasses a vast expanse within several water brushes. It takes on a tragic note once we have fully grasped its barebone bleak(荒凉的) and aspect. Trees foreground and edges of mountain define the year 1000 were completely deforested (clear cut forest). The facts are the dense population on the environment in China. As a visual comparison: David Friedrich of 1810, drawing of a clear cut forest, so to complete historical picture about what happened China the ecological situation during the Tang and Song Dynasty. Trees were logged for two reasons: firstly, they were logged to provide timber for the houses and places as well as fuel and such for the production of ink, secondary, clear forest more land for agriculture as ppl double again.

Cui Bai, Magpies and Hare, 1061

Hanging scroll, ink and color on silk, 193.7 X 103.4cm. national palace Museum, Taibei Painting rendered with colors with addition to monochrome ink. Animal and flower painting had evolved the wall decorations of palaces or decorations of tombs and temples, painting described in the literature of the time as a rather eccentric person. He painted on a court which paintings were required by Emperor. On a windy day in late fall hair in a sandy hollow looks up. He surprised by chatting magpies(喜鹊) . They are seen to be scolding(责骂) him from above with one uplifted and shrivel(枯萎的草) around. The painting is a marvel of naturalistic description for eg: the texture of the mottled fur of the hare in his pose of arrested motion, also the plumage (翅膀) of the birds especially this one captured in mid-air all of those have been very carefully described and so in mid-air the white bird against a grey sky, very graceful bamboo, whipped up by the wind s-curve grasses bend down curves, hare's body (fur) Tree abrupt(steep) outlines, sloping bank of the earth handed in the freest and fluid manner thin layers of ink laid down with fluid braod strokes of the brush. This composition is organized in a very dynamic arrangement of two crossing diagonals. One diagonal is formed by the leaning tree, the other diagonal is formed by the line of sight, between hare and birds with his one eye wide open. The hare fur is very still not aware of any human presence, not aware of being observed. Brings us to the viewer in contact with the undisturbed reality of the animal world. Artist are able to enter into the life of nature by means of his very sympathetic imagination.

Liang Kai (ca.1140-1210), Shakyamuni Descending from the Mountains, southern Song, Early 13th century

Hanging scroll, ink and colors on sink 46 5/8 x 20 1/2 in. Toyko National Museum Zen attitude toward life is a way of seeing. Liang Kai's painting were taken to Japan by Zen people in the 13th century, they inspired a whole cultural complex. permeated with a spirit of Chang and Zen. an awareness of nature in the form to continue to inform Japanese painting poetry, calligraphy, gardening, ceramic, the tea ceremony would be unthinkable without Zen. Even in the art of Swardsmanship, Zen became a moving force became popular culture. Familiar with the way of the sword just think of obi-wan Kenobi the Jedi. Knight in the original star Wars strateggy. Yoda is modelled on a Zen monk, at the age of nine-hundred becomes one with a force that is peaceful. Japanese movie the Seven Samurai by Akira Kurosawa. Liang Kai trasmited Southern Song Academic landscape into Chang and Zen painting. He received highest honorary reward the golden belt from NingZong Emperor. He spends his life a free spirit in the Chang monasteries around westlake. This painting is a good starting point for understanding the characteristics of the Chang school of Buddhism in China and the profound relationship develop with nature in its art Shakyamuni (释迦摩尼). Gautama the historical figure who lived in eastern India Nepal (today) fifth century BC Asceticism is an austere(plain朴素的), very rigorous regime of self-denial after six years of extreme deprivation having nearly starving himself to death. After 49 days of meditation, he became Buddha the awakened one or enlightened one. This is a painting show on Shamuni on his way down from the mountain emaciated(憔悴的thin) looking gaunt(枯瘦的) and unkempt(野蛮的). He is nevertheless unwavering in his determination to grasp that ultimate reality at very root of his own being. His eyes are introspective. He is not looking out at sth, he's a subdued(tame) figure and yet he holds within himself an unconquerable spirit and inner strength. Robe red color is blown up by a mountain breeze and swirls about him in a frenzy of folds, is suggestive of the energy he holds in reserve. In landscape there is nothing distract the mind or to indulge in the senses harsh environment. His feet larger and firmed planted on the ground means he's functioning in the real world. His dynamic counteracting forces as indicated by these diagonal lines are constantly at play. Even in our world, he found a still center at a very core of his own being. This painting sincere and striving thoroughly human Shakyamuni was meaningful to thos who practised Chang mediation.

Li Zhaodao, Emperor Minghuang's Journey into Shu Tang Dynasty, ca. 800

Hanging scroll, ink and colour on silk, song copy of a Tang-dynasty original from ca. 800, 55.9X81 cm. National Palace Museum, Taibei. Shu is the ancient name for Sichuan, Ming Huang is the posthumous (死后发生的late)name for Runge on the greatest emperor Tang Dynasty. Lower right Ming Huang on his horseback with the red coat. His long reign from 712-756, Chinese poetry reached its Apogee(最高点). Wang Wei, Tu Fu, Li Bai wrote the hardship of his travelling on this road across the mountains. It led capital Chang-an north-central china to session in the south. The poem is entitled the way to Shu is hard. Emperor Xuanzong was a great ruler a patron of the arts and a well-respected scholar who had written a commentary(评论) on the Liezi and Zhuangzi, the two founding texts of Taoism. The Emperor late-life deeply devoted to a concubine of lower status priced consort, Yang. Her kinsmen took a powerful position in the administration and an associate there's a frontier general named under the Cheonan rebelled occupied the capital of Chan-an, and sent Emperor into exile on the road Shu. The emperor's own armies forced him to execute Lady Yang the love of his life for. the rebellion was eventually put-down but it was the beginning of the end for the Tang Dynasty. The composition of Chinese painting always unfold from right to left, the right downward to from right to the left. The opposite is of course tue in the western world. Western artists know how to make use of the broad seep of our eyes from left to right which we scan painting subconsciously cuz that is how we have learned how to read. Mountains very steep peaks and narrow path in cleft (分裂）between two towering mountains. People plunge into a ravine(峡谷valley) and emerge in the middle ground. There are quarters as well as balance ladies on horseback. The lower edge of painting the terrain (地形) torch the large river. Two bridges left and right, the streams flow in fact out into the high up along the horizon. Since the horizon is placed so high to indicate recession into space with this vertical perspective means everything that is higher up we are meant to be reading as further away. Due to the dimension of scale, the fact that the mountain becomes smaller give a sense of development into space horizon is high. These streams on left and right seem to flow upward. The composition is symmetrical with another flat flanking(平的侧面) mountain to the left, even if foreground the figures are quite placed at fair distance from the viewer from us, but they are rendered nevertheless with very fine detail. In the centre, a group of merchants resting under trees left travels horseback, use red among the rock on the higher left indicates or hint at a specific luminary effect. Use red rock is inconsistent cuz there is no point source of light no single source of light. Everything is lit with equal brightness and there are no projected shadows. The road clings the sheer cliff wall is one of the famous ancient gallery roads, were supported by beans jutting out from holes in the rock. Tu Fu wrote poet about the road. Appreciation nature but the less developed technique of visual means of expression that could match the evocative language of the poets. Drawn continues even outlines very fine continuous outlines Rock formations varied as they have a little weight and little mass the surfaces between the outline are filled with flat opaque(cloudy不透明的) blue and green colors. These brilliant colors make landscape cheerful rather than threatening. The could driting among the peaks have strong edges contrasted with white. They are patterned with swirling lines. The trees have a variety of shapes different patterns of foliage (叶子) that allows us braodly define them by type conifer (松针)or deciduous (每年落叶的树木), but no sense of organi growth or the precarious conditions for any kind of vegetation to survive in the mountain. More unifying effect linear blue and green style. Song Dynasty copied Tangs painting cuz no original Tang Dynasty paintings survived ca 900. Conservative artists who work for courts

One-Corner compostion

In Chinese painting, a composition weighted heavily toward one of the bottom corners, typically leaving negative space in the opposite corner that is ideal for an inscription.(题词)

Axe-cut stroke

In Chinese painting, a triangular brushstroke that suggests the texture of wood chopped by an axe.

Totemism（图腾的信仰）

In the 19th century totemism was thought of as a particular kind of religion in which human beings were thought to have a particularly close relationship with certain animal species. In Aboriginal Australia the relationship between human beings and the spiritual dimension is mediated through landscape and the environment. The word "Totem" is used to refer to the links between people, ancestral beings and the landscape which includes the animals associated with it.

Xia gui (fl.ca. 1180-1224), Pure and remote view of streams and mountains, Southern Song, Early 13th century

Ink on paper, 18X350in. National Palace Museum, Taipei, Taiwan. Southern Song Academy Style to create pictorial peotry of the highest order, Handscroll painted in the paper more absorbed than silk. Ideal vision, relations between nature and mankind. The widening path enters the landscape along the fence and on top of the bluff(悬崖）above the river. Painting introduce for us some large angular bowler in the foreground and shadowed rocks have very dark jagged(uneven) outlines and faceted surfaces which are modelled with strokes texture. Strokes are known as the so-called X-cut stroke as a split rips the fibres apart. The gradation of light and shade gives the landscape a grand coherence. This path enters very faintly and vanishes it then re-enters (emerged) foreground. Two gentlemen and their servants take a nice break on stones. The temples are drawn freely surrounding trees, the foliage of leafy trees consists mostly of blobs and drops of ink. The pine needles are rendered by means of very short dashes that have done with the split brushes. Mountain erode at gulf He achieved sublime of mountains like Fan Kuan but much simpler. Each of these separate strokes don't draw attention themselves, do not draw the personality of the artists.

Hasegawa Tohaku, Pine Forest, pair of six-panel screens, Momoyama(桃山) period, late 16th century.

Ink on paper, each screen 5'1 3/4 X 11'8 in. Tokyo National Museum. The greatest contribution to the art of saying more with less. It is a large work, has done ink on paper on a pair of six-panel screens. Together create all-encompassing environment pine forest is half-buried in mist, in a thick fog flows around the trees that loom up in the foreground, the fog hides the base or at least part of the trunk, the branches and the needles are blurred as if they are moving, the pine must be very tall. The trees are surrounded by emptiness, a source of infinite potential. Tokaku, has represented the isolated pines with the greatest economy of means, he has used the least number of strokes, the least number of lines and just minimal asymmetric, they are unobtrusive(不显眼的) and also informal in other words they are perfectly natural. The composition as a whole is uncluttered, the scattered pines emerge from the mist and disappear again in sparse(稀少的) groupings are not quite balanced, on the picture surface, when balancing element that we expect to see in the composition is missing, when the world is not presented in a format, is neatly circumscribed(trace) then, our sleepy minds wake up. Drawing on our intuition we begin to feel the life of trees, to feel the spirit of mountain inwardly, so sympathetically with sympathetic imagination invite contemplation, but also invite a lively creative response cuz it is not static work(静态工作). It's swirling with energy, the emptiness sets up reverberations (reflection) in our mind, more suggested than is disclosed we are made aware of incompleteness. There is lack of perfections slowly the image reveals the beauty of imperfection. The profound and mysterious content of nature.

Sesshu Toyo, Splashed Ink (haboku) Landscape, detail of the lower part of a hanging scroll, 1495 (Muromachi period)

Ink on paper, full scroll 58 x 12 7/8 in. Tokyo National Museum. A misty waterfront, he has known how to evoke the depth and richness of the atmosphere by means of very diluted washes and a few splashes of ink. The splashed ink technique had been practiced in China, since the Tang Dynasty. He is one of success in this seemingly simple technique of dripping or splashing ink on the paper in Japan is called Haiku. In fact, it is extremely difficult to pull off, first, it requires great concentration being a Zen master, was able to achieve this focused-uncluttered(tidy) state of mind necessary creating art like this cuz so popular a prolific(多产的productive) artist. This painting is a farewell gift for his favour pupil. It is so abbreviated(缩略的) as to be almost abstract. The inscription on painting to his pupil: There is nothing to be added, nor to be taken away." The painting is an impressionistic image of Rocky promontory(隆起) jutting out into the water the atmospheric effect is conveyed by the blurry edges of the rocks, and the result of pools of ink that was applied to the wet paper bleeding out. few sharp strokes with tip of brush suggest to people in boat as well as a village and fall, banner indicate a sake house. Dark brushes represent hazy scenery and behind them rises to fill silhouette of a coal mountain floating in the air. Imagination is needed to connect all of these light and dark ink tones into a coherent landscape and also what is needed some knowledge at least of Chinese painting. Vertical summit place in center where it is buttressed by a lower pinnacle and a visual represents to the Northern Song tradition of monumental landscape Li Cheng and Fan Kuan. There is nothing forced or strained about the concentrated intensity of the painting to create an image of such simplicity and naturalness, great mental clarity was needed. he would have passed before he began to visualize the image as a whole. He would take a breath to focus just simple idea the basic. Elements of rocks tress and mountain hen we would have loaded his brush with ink and a swift hand he would have made broad strokes and splashes of ink on paper to suggest just general shapes and masses of landscape working half by chance and half by intention. Alexander Colson had made the first step but different one splashed landscape and one is inkblot (墨迹). The one with nature expressed completely immediately all at once. Nothing to be added, no to be taken away.

Kano Eitoku (1543-1590), Pine tree with crane and plum tree panels (fusuma decoration), 1566 (late Muromachi period).

Ink on paper, height of each panel (total of 16) 69 1/8 in., with varies. Central room facing garden, Jukoin, Daitokuji, Kyoto. Develop landscape vision into a white-painted environment on a grand architecture scale-Monochrome ink landscape style changed the landscape from Nothern Song China and interpreted a decorative way between 15 -19 century. Kano family set a standard for professional training of secular(世俗的) artists, received the most prestigious commissions for hundreds of years. Two blossoming plum trees and two ancient pine trees together with flowers drafted bamboo grasses and birds, continuous landscape composition six feet a sixteen sliding panels formed three sides of the central reception room. The structure reflects the residential style of architecture that develops a Muromachi period as the showing, showing a living room with tatami on the floor. The lacquered floor is so glossy wall paintings are reflex in it as in a lake. The room separated with its garden by so-called Shoji screens. A Shoji screen consists of a light wooden lettuce frame with than lucent(bright) white rice paper pasted on the outer side and the paper transmits soft diffused daylight, when sliding screens are closed and when they are pushed to the sides the whole wall opens up to the garden, screen always be sensitive to weather conditions and to change in the light. Fosuma, the thick white paper is mounted on both sides of the wooden frame. This backing can be covered with another layer of paper or silk to form a support for painting. Fosuma made by black lacquered(涂漆) frame, rests on tracks cut into the wooden floor, also in the lintels(门楣), recessed(使凹进） mental handholes and near one edge on the screen, that allowed the screens to be opened a closed without damaging painted surfaces. Decotive screen in the sense must enhance the architecture and express its aesthetic character. To achieve harmony and avoid monotony(千篇一律) panel. Eitoku created a pure in nature design both unified and both articulate corner with vertical trees the echoed the wooden posts hidden behind them, but he created a much more dynamic composition. Massive diagonal trees reach out to each other from opposite corners, across the room, the composition is read, counterclockwise, just like handscroll. Birds and animal reveal their own right for their purity of spirit for their natural grace and unselfconscious (unaffected不做作) behaviour in tune with a quiet spirituality of the Zen monks. He has created a tranquil ambience (气氛status) by painting nature scenery is very delicate contrasts of ink tones. White paper ink and some washes of fill golds suggest vapours(蒸汽) mists. At the same time captured the strength and energy of nature with strong brush marks emphasis the trees.

Dry landscape garden at Ryoan-ji, Kyoto, ca. 1500. 29 X75 ft

It would be a crystallized experience (结晶的经验) of the world its emptiness it is an important concept in Zen. You are not a big wave or little wave but rather you are the water. you are the entire ocean, would be a state of emptiness. This garden has been interpreted as see scape, the rectangular surface completely flat covered with fine gravel 15 stones places five groups to two or three on the island of moss, the moss suggests organic elements that the rocks are not displaced in a shallow bed of gravel but rather they emerge from the depth of the earth. Gravel with lines parallel to veranda behind walkway. Geometric and rectangle but the formality is inconspicuous cuz in harmony with nature. Garden without effort but the spontaneity of design. The Northeast corner of the garden the row under garden appears deeper than it actually is cuz the largest stone is placed nearly and the smaller one is set in the distance that it to suggest diminution (decrease) in skill and optical effect, of recession in space, is also enhanced by even more subtle adjustments cuz the ground plane is not actually level its slopes upward imperceptibly (无感觉的)towards the opposite from north eat to the southwest end. The wall increases the size more rapidly toward the corner where two wall meet is warranted by the actual skill. That is the recession is exaggerated by these converging(joining) line. The cherry blossoms and write poetry affect a famous cherry tree that was named after him, those are still there under the gravel. Garden present Zen of nature and Japanese art two terms of culture Wabi-Sabi. Wabi let go of luxury to live a simple life and feel at home with a world of nature. Sabi means loneliness or solitude. Quality of Wabi-Sabi, Sabi values the beauty of silence allows for contemplation and the beauty of imperfection in time-worn(陈旧的) objects. Sabi find values into old and weathered in the sustained earthen wall or in the moss-covered rocks. The peaceful state of mind of a Zen monk in old age who lives harmony with nature that is implied in this term of Sab. Quality of Tranquility. Tea ceremony, earthiness, great sophistication, nothing to be added, nor to be taken away.

Kano School (狩野派）

Lineage of painters and ateliers (画室) established in the mid-fifteenth century, but which achieved true ascendance(status, condition) in the sixteenth century when it won the major portion of samurai(warrior) and even imperial patronage(foster (blessing) people). The artists of this school forged a unique style, marrying Chinese painting styles with Yamato-e(大和绘）elements with an overall eye to their decorative effect.

Raku

Literally , comfort or pleasure; type of ceramic ware that is lead-glazed (铅釉)and fired at low temperatures and that traditionally is hand formed. Originally the work of one family of Kyoto potters, who produced tea bowls and decorative areas.

Mimbres bowl depicting antelope(羚羊) on a mountain

Mogollon culture, southwestern New Mexico, Mimbres River Valley, 1000-1150AD. Black on white ceramic, Museum of Western Colorado, Grand Junction. -Women artist Hohokam Anasazi and Mughal on most expressive painting traditional ceramics period between 1000 and 1150 ad. -Black and white designed bowls in which they drew the world around them as they perceived it, reality informed by mythology, the bowls shaped by hand from coils, and the surfaces are smoothened, the interior hemispheres are doubled Arabic up to two and a half times than deep. -The interior hemispheres were painted black over a white slip before firing. -The ceramic all featured geometric designs, many include sections. Eg, a very fine line painting and 20% of the bowls present recognizable animals, birds such as the antelope-like the 100 or right and quail, cranes, and sheep, human figures in every day or every two pursuits and sometimes these spheres overlap as in that image of two men lower centre, they are hunting mythological being composed of a fish with human arms and legs, or maybe he is a sahamen in costumes. -The design played on polar opposites. They set off the contrast of black and white and the contrast between curved and straight. -The designed antelope jump off the cliff seems two dimensional, but if you actually turn it around in your hands, look into the hemisphere of the ball's interior than you would see the antelope surrounded by mountains. -The abstract geometric designs often resemble natural features of the landscape hills or clouds lightning or sheets of rain. Eg, those very same motifs can also fill in the body of a figures, Eg, quail the bird has been painted evokes the empty space around him, but within the contours we read two opposing rows of painted black triangle as negative space and then the white zigzag pattern reserved from the ground as a positive shape resembling a lightning bolt. -The ambiguity between figure and ground creates this dynamic tension, the sacred geology that tied native Americans to their landscape emphasized in many of the compositions even the most abstract. Eg, mirror images of the mountain sheep and of these geometric blocks representing the hills or the mountains, those marks four directions, the four shapes are connected along the curving walls to a diamond to the centre. -That may be present a hole of emergence from the under earth along the central axis and this also has something to do the function of the bowls, all the ceramic of min rests women artist were found under the floor of the living spaces as part of burials having served as food bowls during life, they were then inverted over the head of the deceased in stacks. -As you can see many of them had a hole punched through them as t the cdenter wherew the smallest coil of clay had been laid down, now most likely those holes symbolized the opening between these 3 spacial zones of cosmos jsut as the ancestors had emerged from a hole in the ground, the honoured dead could join the spirit world through a hole in the dome of the sky in the form of that ball based over their head. -The memories village were depopulated soon after 1130 when the catastrophic drought also dispersed the Anasazi settlements.

Chilkat Robe, ca. 1880.

Mountain-goat wool, yellow cedar bark, natural dyes, 52x67 in. Seattle art museum. Expression in the weaving, women artist devised new techniques of twining and braiding allowed them to incorporate the curvilinear form line designs in robes for the elite such as Robe are not woven on looms but rather twined on loom hanging warp strands Twined and on the warp strands hanging down and work strengths consisted of mountain goat boo- which yellow cedar bar was added for strength along the northwest coast and in California as well. Basketry and weaving had always been the domain of woman artists with abstract vector linear designs figurative representatives were the prerogative entirely of mill artists. The gender basis figurative versus geometric was maintained in the production of ceremonial robes. Woman artist transforms to textile from the pattern board was painted by mill artists. Women and man are complemented as a whole.

Sen no Rikyu (1521-91), Tai-an tearoom, ca. 1582

Myoki-an temple, Kyoto prefecture. View of tokonoma He developed the way of tea, Chang know you as a true expression of Zen aesthetics, Chang and Zen inseparable at least in the tea ceremony. Zeng monks brought an appreciation of tea from the Hangzhou to Japan 13th century. The interior is very rustic and small only two tatami mats, is about six feet square, just enough room for one or two guests, a host but the space is so simple and harmonious, it does not feel cramped (狭窄的). The earthen, walls, are roughly plastered and deep to Konoma and deep alcove framed by wooden posts. Three knots stare out at us from the log at the base, this unfinished post on the lift also has organic shape being slightly bent, as the heart post, symbolize connection between house and earth, in a large sense therefore symbolizes the bond between humankind and nature. The display in the alcove in the Tokonoma would vary with the seasons, and Shoji windows set different heights to let in the light where is needed, regular patterns are avoided in favour of asymmetry eg: a Tatami mat is not aligned with heart post. it is an ultimate quality of Wabi, the spirit of finding satisfaction in poverty, in the forms of nature in the life of common people. People connected to the land, he discovered a surpassing beauty, the beauty of imperfection, the art status about every single thing could be appreciated for itself such as a flower fill the room as beauty and life, avoided sensual overload to invite deep contemplation, in your stare setting of the tea room the guest could focus on just one thing and fully appreciate its character, and significance a Haiku are written for the occasion in calligraphy on the scroll, eg: a flower arrangement, a tea kettle, or a water ball, brought out for inspection the taste of tea. Utensils used by the sender. The spirit of the way of tea with four elements: harmony, respect, purity, tranquillity.

Dula Ngurruwuthun, Yirritja Moiety Wild Honey, 1976

Natural pigments on board, 25 1/4 X 19 3/4 in. Private collection. -Moiety wild honey, moiety refers to a division of society into two intermarrying halves, each moiety has its own totems, totems refer the relationship between humans and the spiritual dimension, expressed landscape in art. Totem is Aletheia moiety is the wild honey ancestor. -This is spiritual being encompasses everything in the natural world that contribute to the production of wild honey in the paperbark(植物) tree。 It is associated with diamond patters. -The two vertical shapes on left and right represent the paperbark trees, the circles on top are the openings of the hives, where the bees fly in and out. -The diamond infill design represents many different things in the simplest form. The diamonds represent the hexagonal cells in the brood chamber of the hive, the queen bee lays eggs and after 3 days they hatching. -The white cross hatchings the cells they present the white orval grubs in the larval(幼虫状态) stage, which last six days. -The red crosshatches evoked glistening honey from nectar(花蜜), which the worker bees have collected to feed the colony. -The horizontal crossbars indicate the structure of sticks that supports the cone. -Second lever of interpretation: The honey flower occurs when the paperbark tree bloom at the end of the rainy season and the same diamond on the surface also represent the running water. Seem from the second perspective the white segments are the foam of underwater. The red and white diamonds with parallel with lines between the white and the red one, so they're on white diamonds with parallel lines represent weeds, caught in the current. -Horizontal crossbars are the logs(伐木) sucked along with a flood. -The third level of interpretation: The honey can be collected the promote new growth. The red diamond represents the flames, the red cross hatchings on the white ground represent sparks, and the smoke is indicated by the white cross hatchings. Smoke makes the bees less aggressive since the fill up on honey in case they have to flee and that slows them down. The horizontal crossbars now the burnt logs covered by ash and the cycle can begin again in the new season all of these aspects the hive. The water and the fire all the various manifestations of the ancestral being are encoded in the same geometric design and since the spiritual mentioned of the honeybee complex is connected to the very reality of the present during these ritual ceremonies a rolled paperbark Peter. Paperbark peter is represented along the central axis when this paperbark beater is stunned on the ground it evokes the distant buzzing sound of the wild honey ancestor.

Van Gogh, Giant Peacock Moth, 1889.

Oil on canvas, 33.5 X 24.5 cm. Van Gogh Museum, Amsterdam Living and working with Gogan for nine weeks in the yellow house. Van-Gogh completely drained and suffered the first of his episodes of mental illness was diagnosed at the time was a form of epilepsy (癫痫症). He was living 12th house which surrounding by the natural garden when he was in the hospital during his sporadic(不定时的) attack for mental illness. He continued to draw and paint from nature with an undiminished capacity for observation and entry in drawing his prodigious (significant惊人的) visual memory which Japanese prints and book illustration, he painted a moth vias his moery on the leaves, observed in the garden. Artistic tradition has come full circle, since 17 century. The Dutch have been renewed for their still life paintings of flowers 18th century Japanese artists have been inspired by Dutch botanical illustrations to also their favourite nature motifs, with a great scientific accuracy brought caterpillar, incent book to Japan.

(UR)Van Gogh, Street in Saintes-Maries-de-la-Mer (Saint Mary of the tea), ca. Juna 6, 1888.

Oil on canvas, 38 X 46 cm, Private collection. Juxtaposed roof with green foliage just as Hokusai's painting. He has worked in strong prismatic (菱镜的) color in boldly exaggerated contrasts, there are three pair colors in tensify each other like red and green, he used all of three, had introduced complementary colors of violet and yellow in the touched root and sin during sky, also included two complementary pair of blue and orange in the colleges themselves. These six prismatic colors are held in balance, and harmonized by lighter tints. Eg: the red was mixed with white to create a pink road but what looks whitish now was originally pink, the pigments have faded. The road is large flat area of rather even color at least originally and flat area which aling to their picture surface, just like the road in focus wind and flat touch. This painting was executed in the studio in the yellow house, it was modeled after the drawing a trip to the fishing village of Santa Maria de la Mer, on the mediterranience coast early June, Saint Maria of the see, the sea at the end of the road, lower the vanishing point of horizontal line. No shadows was also an idiosyncrasy(特质special) of Ukiyo-e, the shadowless world. The plat patches of color each printed from a separate block, formless within themselves, but definition was different to all the shape by black outline, the outlines have immense vitality(活力，生命力) textual patterns repeated graphic marks in the last serve application of black paint. The read the perspective is seen in a very steep sloping exaggerated single point perspective leading to high horizon which was similar to the western inspired Japanese prints, created decorative patterns with energetic brush marks. Very close to the expressive calligraphy he had achieved with ink on the left. He transposed (reverse 变换顺序) the linear shorthand of his pen and ink drawing to his painting practice by means of strongly directional, but utterly varied and spontaneous brushstrokes with help Ukiyo-e, he solved the problem by himself of reconciling line and color.

(UR)Van Gogh, Pink Peach Trees (Souvenir de Mauve), March 1888, Arles.

Oil on canvas, 73 x 59.5 cm. Rijksmuseum Kroller-Muller, Otterlo Painting out of the door in early spring in March and April 1888. Blossom and orchard, the theme of blossoming fruit trees with their snowy flower is a symbol of rebirth renaissance, it was a favourite motif (pattern) in Japanese made famous especially. He made the decoration of trees, triptychs of blossoming trees made for his brother, with three canvas: ensemble consisted of the pink orchard on the left flanking(侧面的) a vertical canvas with blossoming peach tree, and a horizontal white orchard toward the right framing it on the right. Anton (red color) in Dutch taught Van Gogh watercolour. He overcomes with emotion after he told a sad story, he decided to send a pink and purple each version of blossoming peach tree to Mara's widow and his cousin with a dedication(题词). It's always to him for painting sth comforting, consoling art that would alleviate (缓和better) the most poignantly (painful痛苦的) tragic aspect of life with great richness and a great gaiety(levity happiness 快乐). He wanted people to see "Modern life is sth bright in spite of its inevitable griefs." That's what's Van-Gogh profound devotion to art, let him accomplished and to communicate his heartfelt emotion directly. He saw art as a symbol of what it meant to be human.

Van Gogh, The Kingfisher(翠鸟), March 1884.

Pen, brush, and ink, graphite, heightened with opaque(不透明的) white paint, on wove paper, 40.2 X 54.2 cm. Van Gogh Museum, Amsterdam The European Romantic and East Asian two tradition. A bright little bird hovering above a pond in the foreground, he became an artist through stubborn persistence, he focuses on his vision with a mastery control of perspective on a vanishing point which is located on the horizon behind this group of tall bear trees across the pond, spatial recession, is indicated by means of the relative size spacing of these bushes in the hedge along the road, so they are converging (connection) these lines toward the vanishing point their bushes became smaller and denser, where the lines converge until our eyes are then redirected upward both by tree and tower of the Church. The hedges left and fence right they extend from the centre like outward make wings to embrace us. Farmhouses of the village they look very warm and cosy below wintry(寒冷的) light on the horizon throws the reflections of the trees forward on the water to connect the top and the bottom of the drawing with these vertical lines. The whole composition has been pulled together into a coherent whole, and with such an economy and tension suggests the potential energy the force of life beneath the surface, will burst forth again in spring. Now nature is held in suspense like the bird on its wings, the hushed silence has settled over the landscape in a melancholic mood. He wasn't satisfied with creating just vague general impression, he has intensified the poetic effect by rendering the individual forms with great precision every twig is visible in a linear network of leafless branches and trunks. The pen work is extremely refined applied to suggest effects of light, so light and shadow, but the light is too cold and suffused (弥漫的) light of Northern Europe. The white highlighting gouache the highlights indicate traces of frost on the ground. The pollard willows in the foreground have an almost anthropomorphic (拟人的) presence. They stand around the pond like, a row of old witches, he shows them respect as unique living beings. He felt autumn makes nature more serious and more intimate. He also loved the stillness of winter.

Great Kiva of Casa Rinconada

Pueblo bonito doorways, it is underfloor.

Ancestral Beings

Spiritual or mythical beings whose existence preceded(在...先前） human life on earth and who through their epic journeys created the landscape as it is today. They may be human or animal, animate or inanimate and in many cases transform from one thing or state to another. They are a continuing influence on the world and provide the underlying source of spiritual power.

Raven screen, Tlingit, Klukwan village, Alaska, ca. 1810

Spruce, paint. 105 3/4 x 129 inch. Seattle art Museum. The screen of frog house and pluck on Alaska about 1810. Interior screen served to partition of chief quarters from rest of communal house belong to the Raven clan. Chief would plan treasure and public regalia stored behind the interior screen by stepping through the round opening in the body of this huge Raven crest. There are many subsidiary forms and faces. The main raisin is defined by these continuous outlined forms in black. Geometric Raven face frontally and body with feathers of till and till joint and feathers below. the sides wings pointing downward, upside-down faces and forms of a wing. Leg of birds painting red as secondary form lines. Ovoid and U form, with different orientations like water bubbles floating to the surface. Negative space and positive form line. Thick form lines.

Shoin(松恩）

Style of residential architecture that developed in Muromachi(室町时代）and Momoyama (桃山）(1573-1615) period, characterized by tatami floor-coverings, fusuma, shoji, and tokonoma.

Clifford Possum Tjapaltjarri and Tim Leura Tjapaltjarri, Warlugulong, 1976

Synthetic polymer paint on canvas, 66 3/8 X 67 1/8 in. Art Gallery of New South Wales, Sydney. -Aboriginal paintings are sacred maps of the land. They represent topographical features symbolically and the way in which these signs and symbols are related to one another is determined by the storyline of the dreamings rather than by the direction of the compass or by exact distances in miles as in our maps, but these paintings have their own conventions their own keys, but they do function as conceptual maps which the indigenous people have memorized to orient themselves in the west and the landscapes of the desert. -Before the Pecunia Tula art movement began to chart, the dreaming tracks on canvas on board they would have been drawn in the sand as an ephemeral form of art. -Warlugnlong is the site where the great epic bush fire, broke out the ancestor of all subsequent bush fires. It is a very large and complex painting about 66X67 inches, 24 hours period, at Pecunia in front of a film crew of the BBC in 1976. -Artist Clifford asked his brother to help out this project, so they executed the painting together. The bushfire Varla Gollum is the exploding red figure in the centre, it had been started by the Blue Tongue Lizard(蜥蜴) ancestor loom kata flick tongue just like the licking flames and the fire in the centre was a form of punishment for Lucas two sons who had killed and eaten a mythological Kangaroo without sharing the meat with their father. -The feeling the fire to the south where they died and went underground, so the south is oriented at the top but is not the case for the travelling route of the great snake. Yara Pili represented by the serpentine line across the top, the snakes journey with resting places along the way frothe snake indicated by these concentric circles and his journey and snakes journey lead from south to north. -The map is nicely balanced in a composition, the reason to achieve balance and completeness the two chapel cherry brothers also added this long line of EMU tracks diagonally travelling the lower-left section. -The painting maps out ownership rights, so they have to get permission to add feature as a composition. It is in fact a deed of title, and there are women celebrate fruits and vegetables. It symbolizes the nature directly connected the landscape.

Sabi (antiguity)

Taking pleasure in the old, tarnished(stain), and imperfect for their own sake, and as expressions of the ideals of harmony and simplicity; often carries a connotation of loneliness(寂寞的内涵). Like Wabi, it infuses (fill) the aesthetic of the tea ceremony, and is seen in the tea garden's mossy rocks and the tea bowl's uneven shape and rough glaze.

Ancestral past

The time when ancestral beings occupied the earth, or the dimension in which ancestral beings still exist.

Muqi Fachang (ca.1210-1269), Guanyin with Gibbons and Crane, mid 13th century (end of Southern Song)

Triptych of hanging scrolls, ink and light color on silk, each ca. 68 x 39 in. Daitoku-ji, Kyoto The centre of painting in ink on silk represents a white-robed GuanYin is Bodhisattva of supreme compassion. She is an enlightened being devoted to helping others. She's meditating in the cave along the shore of a late most likely west lake. Painter outlining around her rocks, with some loose textures strokes washes of ink suggest the rough surfaces and humanity of the cave. The brush stroke is not academic and literati, critics of the time would have considered good brushwork which is handling was thought contemporaries as coarse and ugly not in accordance with ancient canons not for we find enjoyment, as a result of these literati critics disregard very few of which of all Chiefs for chance paintings were preserved in China. GuanYin appears as a serene weightless spiritual being. Left cranes long leg and neck birds are known for their graceful movement also for. The red-crowned crane is one of the rarest species in the world. Cranes looking for his mate. Gibbons(长臂猿) from leaf Apes as they are portrayed in a skull on the right. Mother holding her baby very tightly with her very long arm. Early Chinese called Gibbons are gentlemen of the forest cuz they mover very gracefully among the treetops, swinging from branch to branch and making enormous leaps. It is very social and very protects their young. These qualities came to represent confusion morality taking care of the family. Taoism meanwhile relief Gibbons lived for hundreds of years in fact Gibbon and Crane both were Taoist Symbols of longevity.

Kwakwaka' wakw, wolf transformation mask, late 19th century

Wood, twine, animal hide, pigment, 45cm. American Museum of Natural History, New York. - Photograph of First Nation masked dancers Wolf with levers and police, the dancer would reveal the inner bird-like aspects of the mythological being as it moved from the early domain into the realm of the sky. It is used for performance when people gathering for potlach. Us animal form as a crest to claim power and maintain the social order. A highly expressive sculptural style for the theatrical performance of the potlatch.

Shamanism (萨满 亚洲原始宗教）

a belief system focused on the shaman, a person believed to communicate with the spirit world (via an altered state改变状态) in order to heal the sick, practice divination(预言), and control future events, among other tasks.

Space-cell 空间细胞

a cell-shaped enclosure containing pictorial elements apparently set on a different plane of recession(不同的衰退色) from the surrounding elements.

Potlatch (ceremony 多季赠礼节）

a ceremonial feast of the indigenous people of the northwest coast marked by the host's lavish distribution of gifts to demonstrate wealth and generosity with the expectation of eventual reciprocation （互换）

Kiva (大地穴）

a circular ceremonial enclosure that is partly.

Ma-Xia School

a group of painters working in the landscape styles of Ma Yuan (fl.ca. 1190-1230) and Xia Gui (fl.Ca.1180-1224), typically featuring some of these elements: one-corner composition, the use of ink wash, axe-cut strokes, and angular branches.

Sipapu(西帕普）

a hole in the floor of a Pueblo Indian kiva(大地穴) symbolizing the place where the mythical tribal ancestors first emerged from the primordial (原始的early) underworld regions into the earthly realm(领域/国度 area/domain).

Petroglyph(岩画)

a pre-historic rock-carving.

Yamato-e （大河会）

early Japanese term for Japanese style painting

Sesshu Toyo, winter Landscape, ca. 1470's (Muromachi period)（室町时代）

hanging scroll, ink on paper, 18 1/4 x 11 1/2 in. Tokyo National Museum. Seasons forms of tree, traveller lead to ice mountain, which silhouetted and against the grey sky. Temple buildings promise warmth and security and fruit in this landscape. The travellers' arrival is timely since these mountains or lofty cold, austere(steel) is about to settle into darkness is indicated by washes of ink. In the middle ground, this enormous undercut bluff and quite accurately depicted or described along the fractured bottom with the texture strokes( X-cut strokes). Rock wall occupied about a third of entire space of composition repeat diagonally, left, and goes up vertically it rises vertically upward. Thick dark line around this dark bounding outline along the edge peak out before it even reaches the Top vanishes. This is a stroke of brilliant is possible to interpret this outline stopping short as the mountain disappearing in the mist, but the emphasis on this dark jagged(锯齿状) line is so insistent that it strikes as rather as a flash of lightning like a bolt out of blue, or like a flash of awareness that is enlightenment this line jolts us into the experience of the present moment. It's not the ideal formal perfect landscape of timeless beauty knows as the pure paradise, he is interested in is asymmetrical always, slightly off-balanced, flawed, dynamic, fractured world of here-and-now, the reality. Always about to disintegrate but keeps us moving forward. In the Zen world, the beauty of imperfection is valued more most profoundly some more than perfection it is the beauty of imperfection that it is valued

Dreamtime/Dreaming (黄金时代）

refers to the time of world creation or the ancestral past.

Chanoyu(茶礼）

the way of tea. Toward the end of the 15th century, the commonplace act of drinking tea and offering it to guests was formalized into a ritual known as chanoyu. In the subsequent centuries it became an essential accomplishment of high samurai and intellectual culture. Espousing (choose, take）the aesthetics of Wabi and Sabi, it had a great influence on all the arts, and particularly the ceramic and lacquer(decorate) industries which produced the utensils for its performance.

Tenmoku(天目茶碗)

type of tea bowl associated with Zen and chanoyu and whose name is derived from Mount Tianmu in China, the site of the monasteries (修道院)where this type of ceramic was first used for drinking tea. In Japan, the term refers to a usually somewhat conical tea bowl(锥心碗) that could be decorated with glazes ranging from matte(dull不光滑) to iridescent(corlorful彩虹色的) black and brown. These glazes could also carry streaks of dark or silvery color, or even almost-blue star bursts.

Haida Grease Bowl, ca. 1700

wood, length 10 inches. British Museum, London The indigenous world view is expressed in a sophisticated language of the design element, patterns, form line style. The form line evolved from an ancient rectilinear geometric style. Positive and negative space to bring together opposing elements as in nature of the unified whole. The circle and T shape or a Trigon together to create figurative designs. Trigon formed a crescent shape or the section of circle of canoe acquired from the Haida by Captain George Dixon 1787. Dixon had been armour of Captain Cook, he returned to region his own ship to Queen Charlotte to trade and sea otter furs. The Name of Queen Charlotte Island came from his name. The bowl was used for serving seal-oil or degrees of candlefish in smoked salmon was dipped during potlatch feasting. The carving on the sides of the bowl depicts a prostrate human figure with upturned feet being transformed into a bird or maybe a bird is being transformed to human. Spirit beings could take the form of various creatures as they crossed the boundaries of seeing earth and sky. Three zones: under the earth, the surface of the earth, and sky int the Northern Pacific Northwest correspond to the see. The face beautifully modelled bulging cheeks prominent ridges of the eye browns and then a nose curved like the beak of hawk indicates great spiritual power. The circle of the Canoe are formed by two incised Trigon one on each side. The negative carving o the trigons form the positive circular design of the eye. The delicate arms of flipper-like hands are extended along the sides or other two dimensional lines engraved above them. They represent wings as well as feathers. Incised oval shape represent joints of the wing.

Garden of the abbot's quarters of the Daisen-in, Daitokuji, Kyoto. North-east corner with dry waterfall. Established ca. 1513 (Muromachi period)(室町时代）

室町时代 The compositions rocks, stones, and gravel(碎石) are often extremely powerful and moving Zen gardens are expressions of the highest artistic intent. They invite us to viewer to respond with a similar concentrated intensity. These stone gardens are not designed for pleasure or relaxation rather mean to foster meditative (沉思的)contemplation. Nature is so dense allow you to observe to become aware of what is monks live in for teaching. Shading screen opens up a room the above quarters to the veranda(走廊) or maybe even inside. narrow space but not cramped feeling however judicious placing of the stones helps to suggest the landscape of vast dimensions. The garden fairly straight forward representation of natural world. Stones with ancient camellia trees (山茶树) and towering summits flanked by also supporting pinnacles in the painting of Northern Song onward. The garden directly influenced by the landscape painting in monochrome ink, the stones are grey-green in colour, have rich markings, white marble veri=ning standing stores suggest ribbons of water. Waterfall, depth mountains, canons, widens, river divide. The river of bubbles is the organizing principle in the garden design. Gravel is rapped in lines represent the current, whole rich and harmonious world had been projected into the enclosed field of a very small garden.