VIS 21B | Chinese Art

Name: attributed to Gu Laizhi, Admonitions of the Instructress to the Court Ladies Time: Six Dynasties Period Material: Handscroll, Ink and Colors on Silk

An Inverted perspective is used: reverse vanishing point perspective, an early way of dealing with space, shorter line in front and wider to the back. Single vanish point perspective is used, especiallly looking at the length of the bed from both sides. It depicts people's facial expression, gaze & eyes which show the psychological connection between figures within the painting and between the figure and viewer. Females should not have affairs, so it shows the woman being in a house. this depicts an emperor with a court lady. The emperor is on the side of the bed with the court lady. He wants to know the rumors from the court ladies. the court lady refuses to tell the emperor anything. this shows the court lady helping the emperor to assist with his state affairs. Eye contact with the emperor can be seen. Shading from draperies is similar to the Indian shade from Gupta period, showing cultural exchange. The curtains uses the light and shade to create a three dimensional feeling. this was said to be taken from indian art and specifically the gupta period. An empty background is seen once again as it is one of the characteristics of Chinese art. Chinese paintings can still be infered from Buddhist art from India.

Name: Attribute to Gu Hongzhong, The Night Revels of Han Xizai Time: Five Dynasties Period Materials: Handscroll, Ink and Color on Silk

Hand scroll format. Essence of the scroll lies int he placing of Tang style figures within more realistic environment rather than abstract space. Reverse perspective technique to create a sense of space as can be seen from the way the artist depict furniture in the painting. Fine lines and multiple uses of colors is used. Each person has an intentional facial expression. Some people look nervous, and some people are amazed by the female performer. The painting style follows early times and has very fine lines, and subtle shades to create 3d feelings. Commissioned by the emperor of Southern tang to document charges of behavior against a high official at court. Due to his friendship with Han Xizai, Gu depicted the activities at Han Xigai' resident posses a sophisticated secularism Distinction of hierarchical structure through the color of the robe, in red are royals and in gray is the court official. Can also see class through their body gesture: Royal more relax, court official were relax by still hold a formal gesture. There is a woman playing music instrument on the left. early in tang period, women would play that instrument. The face expressions show a lot of emotions. Furniture is used in the image to separate the room into different kind of space.

Zhao Mengfu (1254-1322), Autumn Colors on the Qiao and Hua Mountains, 1296, Yuan Dynasty,Handscroll, Ink and Color on Paper, 28.6 x 93.3 cm, National Palace Museum, Taipei

In the beginning, there were armies that got many people killed. People had to live the hermit life in their hometown. This painting depicts a lot of colors. In this composition, two famous mountains are used. The writing was written by many later emperors as they wrote inscriptions at the top of the painting. Depiction of the tree and mountain is made in a more naive style. It is not as realistic. Some style is taken from the early sixth dynasty. The architecture is much more simplistic. The yuan and song dynasty went to war and therefore, this painting shows opposite strokes compared to song dynasty.

Name: Seated Buddha with Attendants Time: 523 AD, Northern Wei Dynasty Material: Limestone Site: Middle Cave of Binyang, Longmen Caves, luoyang, Henan

It is carved from the Longmen cave. This is made in Northern Wei style. It is in an elongated style, where there is a symmetrical composition. The face is more rectangular, and the shoulders slope more because it isn't wide. There are highly localized chinese features, with a longer and smoother face, rounder eyes, and rounder nose. A halo is carved in the back as well. There is the Ushunisha hairstyle, long ears, long neck, and long ear buds. This Buddha wears a Han style garment: multiple layers of robe, and this garment is more representative in Chinese Culture. Buddhist triad has two Chinese monks rather than just traditional Bodhisattvas because they played an important role in spreading Buddhism in china. The chinese monks represent the spread of Buddhism in China, which goes back to the law of the wheel. There are still Bodhisattvas on the side. A Shakymauni Buddha is still being shown, therefore the hierarchical scale still exists. At the end of the throne, is two lion images, which is very important in Buddhism. The patterns are also very important as it is the siz dynastry style. When Buddhism spread to China, sculptures took on local features to depict Buddha.

Name: attributed to Gu Kaizhi, admonitions of the Instructess to the court Ladies Time: Six Dynasties Period Material: Handscroll, Ink and Colors on Silk

It is done in "elongated style": elongated body, sliding shoulders, long face. The female is normally done in elongated style with garments draping over her. The linear style and movement of the pen can be seen through the drapery. In the painting, the moral tone is confirmed by the figure of the instructess who hold a scroll of paper while the court ladies are standing respectfully before her. An empty background is seen once again. The movements are animated.

Name: Gu Beaker Time: c. 2000 BC; Longshan culture (Neolithic Period) Material: (Painted) Black Pottery Site: Yellow River

Longshan culture typically is gray-ish or black in color. The pottery wheel is used as dark clay was shaped on a slow turn table suing wood or bamboo cutting tools. Because of the tall, thin, elegant body of the pottery, scholars believed that a pottery wheel was used and it is very difficult to make by hand. Additionally the pottery is burned in fire to create the shiny appearance. There is very little decoration, embellishment restricted to only the ridges, openwork, and occasional bosses. There is a low number of motifs and line decoration that can be seen around the art piece. The function of this is that it was typically used to drink wine.

Name: Traveling amid Mountains and Gorges, Fan Kuan Time: Late 10th, early 11th century, Northern Song Dynasty Material: Hanging Scroll, ink and light color on silk

Notes: This is done in Monumental Style. There is a Discrepancy between foreground and background with the use of fog. Complex rendering of the forest on the cliff. In the foreground landscape, there are human beings in scenes seen traveling with donkeys. They are depicted much smaller. There are different textures strokes on the rocks and trees. In the middle ground is Architecture and landscape is very important. You can see architecture and landscape and the standing point gets shifted to the middle. In the middle ground there are many trees. There is still architecture found in this section. Spacing is considered in this section. There are waterfalls that are carefully depicted through texture strokes. There is Sharp brushwork that differentiates all of the trees. Rocks are more crystalline One of simpler compositions but the immensity and grandeur of nature is present without the use of empty space. raindrop texture stroke add the texture on the surface of the rock This was commissioned by the emperor to depict nature scene outside of the palace for the enjoyment of royals member and the emperor who could not travel far outside of the palace

Name: A Solitary Temple and Clearing Peaks, Li Cheng Time: 10th Century CE Material: Hanging Scroll, ink and light color on silk

Notes: This is done in the Monumental Style as there is a division of units between foreground and background (adds to the vertical and height of the mountains). This is made in a vertical format, which is a typically unique position. A full scene landscape (three ground (fore ground, middle ground, and background) is depicted. There is a depiction of bridge and steeping stone portray the accessibility of the impressive landscape. Temple sits in middle; human activity toward the bottom. Human on a smaller scale but still very detail. Chinese developed a shift perspective to deal with full scene landscapes and three grounds. This allowed for a fuller depiction of the mountain. Scholars saw these art techniques as an illusion. In the foreground landscape, there are human beings in scenes seen traveling. They are depicted much smaller. The viewpoint if as if you are standing on the grown yourself. In the middle ground is Architecture and landscape is very important. You can see architecture and landscape and the standing point gets shifted to the middle. By using fine lines, then landscape and lines are much more complicated. Artists started to use a ruler to allow them to draw in straight lines. At the top ground, there is a shift to the highest point: which is the mountain. There is Detail beauty wooden architecture which is the temple that sits in the middle: columns were portrayed in straight and even vertical line which suggest the use of ruler in this painting Texture of stroke: crab claw stroke that use to textures the tree branches and rain drop stroke that consists of short lines on the inclines surface of the rocks and mountains to provide a different texture.

Max Loehr's Five Styles of Shang Bronze

The Stylistic development of Shang bronzes vessels: - Style I: tao-tie mask rendered in a thin-thread relief (single line rises from the body). typically simple. - Style II: Tao-tie mask rendered in a band of ornament looked as if carved in the clay model ("sunk relief") - single band decoration rise from body unlike style I where only the lines were raised. Use cut in line. typically simple. - Style III: (trandsition from early Shang to latter shang dynasty tao-tie motif ) more refined and accomplished, with dense, fluent curvilinear designs almost covered the whole surface - multiple bands,more complicated -Style IV: decoration is separated from the background and modeled in clear flat planes. Cover the whole band. Spiral pattern in the background. more complicated - Style V: major motifs rise in bold relief, background spirals may disappear altogether - high relief. three dimensional. 2d —> 3d.

Name: Bowl Painted with Human Face and Fish Time: c. 4000 BCE; Early Yangshao Culture (Neolithic Period) Material: Painted Pottery Location: Yellow River

The bowl was round with a flat bottom used to contain food or water for daily use. (Utilitarian Function) The bowl itself was very symmetrical and balanced. It was yellow-brownish and decorated with painted images on all sides of a bowl. There is a human face and a fish figure inside the bowl which implies culture with an emphasis on fishing. The bowl is designed with lines and geometric patterns. The human ace shows their understanding of humans through their depiction of human facial features painted on the bowl. The eyes are thin and straight with a straight nose, and mouth. On side are two fishnets. Fishnets and hunting are linked to living style and means of living.

Name: Cavalryman and Saddle horse Time: Qin Dynasty, c. 210 BCE Material: Earthenware Site: Xi'an; burial army of the tomb of the first emperor of Qin

The clay sculptures were life sized and had a very realistic and naturalistic portrayal. The military men are all uniquely portrayed, and the body were all sculpted separately and then put together. Horses also played a big role in military as well as daily life. Horse's facial features are very realistic. Most horses have similar facial features. While human body's are often covered with armor, the horse has a very realistic bare body with smooth textures. This showed that people had a good understanding of anatomy. Pattern and motifs inherited from eastern dynasty such as dragon motif and motif passes from bronze to earthenware

Name: Prismatic Tube (Cong) Time: c. 2000 BCE; Liangzhu Culture (Neolithic Period) Material: Nephrite Jade Site: Yangtze River

The cog is made with hard stone and is a kind of large rectangular prism. It is a square with multiple layers, and very shallow carving. The surface is carved with rectilinear patterns and imaginary animals. Scholars suggest that it is possibly used for rituals. Symbolic representations of Chinese cosmological beliefs as the square - earth and circle - heavens The carving possibly depicts the water buffalo as seen with the face, nose, and horn, suggesting the farming culture near Yangtze river.

Name: Jue Time: Zhengzhou phase, Shang Dynasty Material: Bronze Site: Liulige style 2

The jue is a thick walled vessel made in complicated piece molds and 3 thin legs. It resembles style 3, which is transitional style of early Shang dynasty to later Shang dynasty, a more complex adaptation of style 2 with dense and fluent curvilinear designs. This is similar to an adaption of style 2 in a large band. The taotie motif is composed of wider, ribbon like decoration. The use of this is a ritual wine drinking vessel.

Name: Flying Banner (Feiyi) Time: Western Han Dynasty (186-168 BCE) Material: Ink and Color on Silk Site: Tomb of the Marquise of Dai

The techniques that can be seen in this art piece are the use of line as well as mineral pigment. The humans depicted have clear facial features, even with figures in the back. Warm colors are presented throughout the art piece. The background is also empty as that was the standard at the time. This banner was used during funerals and buried along a coffin. It was placed on the top inner layer of a coffin. The banner shows the belief in afterlife. There are three different parts to this banner, which also resemble the three world's composition: heaven, earth, and the underworld. There is symmetrical composition in the heavenly realm, that takes up the horizontal sections of the silk. There is a sun and blackbird on the top right and moon and toad on the top left. The heavenly realm additionally has a pair of white dragons, with their creators. The woman depicted is believed to be the creator of the universe. The center is a bell. There are guards wearing official hats, that are said to be the guards of the heavenly realm. The middle part of this art piece starts at the vertical sections and holds a lot of colors. The master of the tomb in the middle. It depicts the present world: uses hierarchy of scale to portray the creator's importance (status of attendants), her decorated garment showing her status as well as influence from central asia art. The bottom of the vertical section of the silk banner depicts the after world. It is made in linear style of Han painting with local color and depicts other imaginary hell animals. Dragon/fish pattern is common for presenting the afterlife. Also symmetrical composition. There is a depiction of a house.

Name: Mirror Time: Eastern Zhou Period Material: Bronze inlaid with Gold and Silver Site: unearthed in Jincun, Henan

The use of a mirror was to be used as a mirror. It was made of bronze. However, in this era bronze started to lesson and was not considered as much of a luxury item, causing the rise of gold and silver inlaid patterns. There are inlaid techniques seen on the mirror. Only those of royalty or nobles were able to own these items. On the mirror, depicts a human on a horse holding a sword and econtering the tiger. This shows decorative detail in narrative and story telling. There are also Eastern Zhou ribbon patterns. People believed that mirrors held powers because of its ability to ward off darkness.

Name: Early Spring, Guo Xi Time: Northern Song Dynasty 1072 Material: Hanging Scroll, ink and color on silk

There is Derivation of some elements of the style of Li Cheng (gnarled trees, topography of dry country). Rhythmical quality and complexity; baroque impression created by abnormalities of tree formations and twisted rocks. It is organized on a grid with forms growing from either side of a vertical mid line. The use of Separation of near and far aided by use of mist There is inscription and seal of different emperors who possessed and admire the painting Brush strokes play a large role: crab claw texture strokes used to portray tree branches. textures were a very significant part of the style. Ink strokes were used to create a 3d look. Trees are carefully made as it is clear the weather is cold and trees are a bit wilted. the branch of the pine trees is unique and reflects the artist's personal characteristics and style.

Name: attributes to Zhou Fang, Ladies with Flowers in Their Hair Time: Tang Dynasty Material: Handscroll, ink and color on silk

There is no attention to the landscape or background, and the space between figures is even. Hand scroll format. The court ladies are possibly in the imperial gardens and picked the flowers to put in their hair. The representations of court ladies and children were colorful. Their faces were known as "moon faces" and had plump bodies, demonstrating a change in the ideal of feminine beauty. There is decoration on the garment that shows influence from Persian art. Ladies wear thin silk garments with beautiful patterns and motifs. The servant behind her holds a fan while also wearing a beautiful garment. Headdresses and hairstyle is unique. This artist puts more of his interest in garments and their headdress. The ladies wear multiple layers The crane in the back represents royalty. This painting describes the life of pleasure and luxury of the nobles and royalties during the Tang dynasty.

Name: Lamp in the Shape of Serving Girl Time: Western Han Dynasty, Possibly 173 B.C Material: Gilt bronze Site: Tomb of Dou Wan

This a gilt bronze oil lamb in the form of a kneeling servant girl with a shiny bronze exterior. It is very unique as it depicts the lamp standard use of a human being body. It is a free standing sculpture. This is also a relatively functional design as the lamp has a sliding door to control light, and smoke is directed through the servant's sleeve. This serves as a creative piece with shape of functional object. The use of the long sleeve and arm acts as the lamp's chimney. The detail of the facial structure and garment is also very significant. The facial features are very similar to northern chinese facial features. It has the thin lines for the eyes, eyebrows, and rectangular face.

Name: Gentlemen in Conversation Time: 1st Century AD, Eastern Han Dynasty Material: Painted on Earthenware Tomb Tile location: in a tomb near Luoyang, Henan

This art piece introduces a new development of the use of three-quarter view, showing 2 eyes instead of only one. With the three quarter face, there seems to be a more detailed depiction of the facial features. The hand gesture of two person talking which give a more intimate view to the viewers bringing them into the conversation. Body language reveals a more vivid scene of the conversation. This allowed for a psychological relationship between the painter and audience to be established. This was painted on tomb tiles. Tombs often had paintings on the surface. This specific art piece depicts a horizontal painting of Confucian scholars. The empty background theme continues into the eastern zhou period. The placement of figures is primitive and no setting is used. The drawings themselves are nade with calligraphic brush strokes, fine writing lines, and shows brush techniques. The figures are depicted by rapid, spontaneous, calligraphic brush work. Many calligraphic strokes are seen in this art piece and a change in the thickness of the line is used.

Name: The Archer Yi, the Fushan Tree, and Reception in a Mansion Time: c. 147-151 CE Eastern Han Dynasty Material: Rubbing of Stone Relief Site: Relief at Wu Liang Ci, The wu family shrines, Jiaxiang, Shandong

This carving was found in a shrine. Shrines were used to put diseased people in there. The walls int he shrine had carved images surrounding the walls. Not many people went in shrines, therefore, the rubbing stones allowed people to enjoy the artwork in there. Rubbing technique was developed in this time, and stone carvings became popular. There are unique styles on the brief surface of the stone slabs. The background is cut away to create important silhouettes in low relief. The design is formal and static and all figures are carefully considered and placed. The art piece is stiff, geometric, and has highly detailed silhouettes. It is a symmetrical composition. Confucian beliefs started spreading at this time. Social orders and hierarchy are very important, therefore, on this stone shows emperors as the highest status person. The Queen of the West is depicted in the center as she is the creator of the universe, and is held as an important figure. The enter composition is split into different registers. The bottom has the possession of the people, the middle has the emperors, and the top has the queen of the west. The corners are very important and are linked to Confucianism. Scholars believed it was two major philosophers. Both very historical and significant people, but never met one another. There are stories being depicted. One person has an arrow trying to shoot many birds. In China, the black birds symbolized the un.

Name: Scenes of Hunting (Above) and Harvesting (Below) Time: Eastern Han Dynasty Material: Rubbing of Earthenware Tile Site: Sichuan Province

This is a depiction of daily life and suggests the living style of those living in the eastern Han dynasty. This stone is divided into two parts: The bottom shows harvesting. Someone seems to be bringing lunch to feed these people working on the field. The other men are harvesting grain. The top shows hunting and fishing: two people are shooting the birds on the top. The riverbank has many fish. China is in an agriculture society and has lots of farming. Hunting and fishing is popular at the time. Stylistically, many diagonal lines are being used in this composition. This is important because the lines suggest the sense of depth of space. This means people started to pay attention to spacing in their artwork. The fish, being in many sizes shows that depth of space is used. The depiction is very lively and natural compared to the static style that is often seen.

Name: Li He, Ritual wine vessel Time: Zengzhou phase; early Shang Dynasty Material: Bronze Site: Erlitou

This is a pottery piece made in Style 2. The Tao-tie mask is in a band of ornament as if it was carved in the clay model. The band is raised from the body, and there is a cut in the line to make patterns and motifs. The piece-mold casting technique can be seen. Some characteristics of this piece is that it is thick walled and has resemblance of incised ceramic technique. There are three legs to show stable composition, and this is often used as a ritual wine vessel.

Name: Man Riding a Dragon Boat Time: Eastern Zhou Dynasty; 4th Century BCE; Warring States Period Material: Ink and colors on Silk Site: Tomb in Hunan, China

This is a simple linear line drawing. It is a relatively small painting with ink used on the surface of the silk. The artists uses the line to outline the image. There is an empty background, which is a typical characteristic for early chinese paintings. There is a man in an aristocratic wear portrayed riding a dragon whose body forms the outline of a boat. There is a bird on the dragon's tail facing outwards. There is a fish suggesting the boat is traversing water. The bottom has depiction of fish. Only the side of the face and body is being shown as the earliest depiction of human beings is always their profile.

Name: Tomb Pit with Earthenware Burial Army Time: Qin Dynasty , 210 B.C Material: Earthenware Site: Tomb of the First Emperor of Qin Lishan,Lintong,Shaanxi

This is a very realistic art piece. It shows various provincial headresses of the warriors. They are depicted in specific details with their facial features, armor, and clear depiction of horses and carriages. Horses were used for military purposes as well as transportion. Large scale tomb also suggest the wealth of the country. believing in the after life. The emperor bury along with his army and official who will continue to server him in the afterlife. mobile a lot of worker to accomplish the building of a tomb on a much greater scale. Lifesized terracotta image. People are arranged all facing east. Divided into two groups: military, soldiers and generals. the second group is the clerk officials. They can be told apart by weather or not they wear armor as well as their hairstyle. The scarf on the neck is also different. This shows how small details were. Head, body, leg, are all made separately and then assembled together. Over 200 life sized clay figures of warriors and horses with chariots in military formation, guarding the tomb in the center. All the warriors have different facial features, expressions, and gestures.

Name: Buddha Vairocana with Attendants Time: ca. 675 AD Tang Dynasty Material: Limestone, Rupestrian monument Site: Longmen Caves, Cave 19

This is consistent with Indian iconography: to display Buddha in a sculpture presentation. However, it is done in the later style, which is the Tang Dynasty style. The Buddha has wider shoulders and a rounder face. Bodhisattva/monk have round races and wider shoulders and torso. They all have a more plump, peaceful, and natural expression. There is a halo behind Buddha. 4 gaudiness protect all direction of the Buddha Universe

Name: Ding, ritual food vessel Time: Anyang Phase, Late Shang Dynasty Material: Bronze Site: ??

This is done in Style 4; taotie motif is prevalent around the entire vessel, low relief and a clear foreground and background. style 4 and style 5 are similar because the entire body is decorated in patterns and motifs. you can see all the cuts and lines. The motif covers the whole surface and the use of cut in lines can be seen to outline major motifs. There is additionally a new spiral pattern in the background against the major motifs. Symmetricality can be seen as the poles are symmetrical as well as the dragon motifs on each side. The surface is very smooth with cut and lines. The spiral patterns in the background. the spiral pattern is called cloud pattern or water pattern. This pattern is a major motif that is shown through the patterns. The three legs can be seen once again in this style. The use of this vessel is that it is a Ritual Food Vessel.

Name: Ma Yuan, Viewing Plum Blossoms by Moonlight. Time: undated, southern song dynasty Material: Fan Mounted as an Album Leaf ink and slight color on silk

This is done in a one corner composition. The figure images are much larger than before. It has an Axe-cut stoke: rough and angular line that used to depict tree branches. This indicates that the artist used the side of the brush, and the paper is used to create what looks like an axe cut. There angular lines to depict trees. There is a depiction of a scholar sitting on the side of the mountain and look into the distance enjoying the moonlight view. He is also accompany by a musician. The painter uses the nail-head rat-tail robe to paint the fold of the scholar robes. There is not clear depiction of the 3 grounds. The mountain brush work is rigid and the different shading gives a sense of depth to the painting. There are two grounds. The foreground and background. There is no middle ground. The foreground is much larger and presents the major images of the art piece. The background is more simpler and has what seems like mountains.

Name: Five-Colored Parakeet on the Branch of a Blossoming Apricot Tree, Emperor Hui Zong Time: Northern Song Dynasty, 1110s Material: Ink and Color on Silk

This is done in the atmospheric perspective which is important in later song dynasty by this artist. It is the use of different contrast in color or ink. gradually lighter shading from front to back give a sense of depth to the painting The emperor was the patronage of the imperial painting academy where it aim toward realistic court painting style; slender-gold style caligraphy. on the side accompany the painting is the poem written by the emperor. The Emperor's calligraphic style is distinctive. It is made in Literal style and has Larger-than-life size and enormous details against abstract background. The point of this painting was fueled by a Desire to portray realism in animals and birds. There is a Feathery texture of the parakeet is contrasted with the satiny texture of the apricot blossoms and the rough texture of the bark. The flowers and red part of the bird stand out against the empty background. The writing is done in slender Gold style.

Name: Pure and Remote View Over Rivers and Mountains, Xia Gui Time: Southern Song Dynasty Material: Handscroll, ink on paper

This is one-corner ma and half-side Xia. The style of the art has a Combination of sharp and crystalline brushwork in mountains/rocks with lighter, silhouettes of tree foliage. There is Projection of shapes into areas of blank silk. The dark ink on the right bottom corner and faded as it spread to the opposite corner . This composition is called One corner composition which the visual interest is focus in one corner of the painting. lHard edge rock with brush stoke of intricate pattern and in different direction to creature the texture of the rock Faded mountain in back ground suggests the recession of the mountain, light shading, give off a sense of depth There is a typical depiction of human on the foreground on a very small scale compare to the landscape. Portraying human activities in these impressive landscape. accessibility for human. The empty space is left purposely for the imagination of the viewers. There is a poetic feeling they it gives off.

Name: Liang Kai,The 6th Chan patriarch chopping bamboo Time: Undated, Southern Song Dynasty Material: hanging scroll, ink on paper.

This is the Chan(zen) Buddhist concept of sudden enlightenment emphasize on spontaneity and that is what the viewer see in this painting. The style shows casual brushwork, not firm even line, nail-head rat-tail stroke which show a sense of simplicity. It depicts a typical southern Song asymmetrical composition: major image at one corner, empty background- space for imagination. There is a nail head and rat tail texture stroke thwt can be seen in the painting. At this moment when this person is chopping bamboo, they suddenly get enlightenment. It shows a sense of spontaneity and simplicity

Name: Preaching Buddha (cave 249) Time: 5th century, Western Wei Dynasty Material: Wall Painting Site: Mogao Caves

This painting is more archaic and almost caricature-like. It is a very energetic portrait, and dark streaks outline the edges of the figures and shapes within them. It is very colorful and inference from central asia is translated onto this image. Stiff poses reflect the same attitudes as Chinese sculpture, although now in a flat, decorative pattern. Twisted and elongated body. It is very unique. The halo behind the Buddha is not a typical halo, it is a seashell halo. There are two flying angels called apsara. They are the entertainers in the Buddhist Universe. They are depicted here to represent that they are in the Buddhist universe. The Bodhisattva are seen on the side to show that Buddha is the highest power. Emperor and empress are seen to show high status, but still have a smaller depiction compared go the other figures.

Name: Colossal Buddha (Cave 20) Time: ca. 460-465 AD, Northern Wei Dynasty Material: Sandstone Site: Yungang Caves

This sculpture is sculpted out the side of a mountain and is done in the early Indian Gupta smile: downcast eyes, smiling face, and halo carved in the back. The hair style, long ears, wide shoulders, and facial features references Gupsta style. It is additionally in the yogi posture, and hands in a mudra position. The drapery has styled patterns decorated with schematic motif to cover both shoulders. It has complicated designs and motifs can be seen in the back. There is a disconnected line from front to back as Chinese people created this sculpture from a 2D sketch. The background is filled with smaller Buddhas, which suggests it's the Buddha universe. This shows the concept of Mayahana buddhism. Inside the cave, is covered with many Buddha images. On side of the major buddha is a minor buddha, which is able to be recognized through the long ears. The hierarchical order reflects how the major buddha should be bigger than the minor buddha. The minor buddha has the buddha's right hand in a feel free mudra. Chinese Buddhists monks went to India to study buddhism and got inspiration from there. On the side of the shoulder and side of the arms, thethe lines on the drapery just stopped because the sculptures were unsure how to link the lines.

Ni Zan (1301-1374), The Rongxi Studio, 1372, Yuan Dynasty, Hanging scroll, Ink on Paper, 74.7 x 35.5 cm National Palace Museum, Taipei

This vertical composition is divided into two parts, the background and foreground. The river is used to divide the two compositions. The texture is very important. The trees and mountains depict this as there is a dry incline. This artist has very unique paintings as a single human being cannot be found in the entire art piece. Here there is none, so it shows a sense of loneliness.

Name: Square Ding, Ritual Food Vessel, Inscribed "Fu Hao" Time: Anyang Phase, Late Shang Period Material: Bronze Site: Tomb of Fu Hao

This vessel is made in Style 5; taotie motif is prevalent around entire vessel, clear foreground and background with varying levels of relief. There is early writing inside the vessels to indicate who own the object. there is inscription inside the vessel. this is a new feature. writing is much more complicated than modern writing. There are major motifs raised from the body, and it is very 3 dimensional with high relief. There are spiral patterns seen throughout the vessel. It is symetrically arranged. Horns, eyes, and a body can be shown. The significance of this vessel is that rituals were a part of the culture, lot of wine and food vessels were created for this purpose.

Name: attributes to Yan Liben, The Scroll of the Thirteen Emperors Time: Tang Dynasty Material: Handscroll, Ink and Color on Silk

Yan Liben was an official of the highest rank as well as court artist. Stylistic characteristics followed early times: reverse perspective, empty background, fine iron wire lines, use of shade, realistic representation of facial features became the goal of Tang artist. There is individualized facial features of the emperors, the empty background is especially visible with such a major image. The reverse image is still present and is noticeable in the boxes. The tang period has slightly different facial features. While females have an elegant bodies, it is not just a long rectangular face. The Indian shade is used. The painting theme is didactic and educational. The context is that there were Thirteen Emperors with attendants. Thirteen emperors from past and the picture depicts the emperors being separated into 2 groups regarding their beliefs. One group is the Confucian believers, and the other is the daoist belives. The two emperors are the Daoist believers. They wear the Daoist hat and garment. Behind the emperor are two female assistants. Confucionists depict females as a symbol of weakness.