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Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
Ap art -chinese_and_korean[1]
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Ap art -chinese_and_korean[1]


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  • 1. Chinese and Korean Art After 1279<br />By Zach Small, Ashley Emery, and Jen Dalecki<br />
  • 2. Chinese Dynasties After 1279<br />-Yuan Dynasty (1279-1368)<br />-Ming Dynasty (1368-1644)<br />-Qing Dynasty (1644-1911)<br />-Modern Period (1911-Present Day)<br />
  • 3. Yuan Dynasty<br /><ul><li>Beginning
  • 4. Yuan dynasty preceded by the Song dynasty
  • 5. Song dynasty brought China intro a period of increased introspection, cultivating Chinese traditions as opposed to absorbing foreign influences
  • 6. Drew clear distinction between own people, who they characterized as gentle, erudite, and sophisticated, and “barbarians” living outside of China’s borders
  • 7. Asserted identity through poetry, calligraphy, and landscape painting
  • 8. Landscape painting reflected moral order unlike society under Tang dynasty</li></li></ul><li>Yuan Dynasty<br />Mongol Invasion<br />Mongols, led by Jenghiz Khan and his ancestors, amassed empire <br />Empire stretched as far as central Europe, central Asia, present-day Iraq, and northern China<br />Led by Kublai Khan, Mongols added southern China to their empire <br />Kublai Khan pronounced himself emperor of China and founder of Yuan Dynasty (Yuan = origin)<br />Established the capital in Dadu (now Beijing), shifting central focus of empire away from cultural centers of southern China<br />
  • 9. Imperial vs. Literati Taste<br />Imperial court served as a patron of the arts, commissioning professional artists and artisans to construct building and gardens as well as create murals, paintings, and decorative arts<br />Literati saw painting as a vehicle of self expression; painted for each other as opposed to for public display<br />Created a status as artists that they felt was superior to professional painters; felt that professional artists were tainted by money and trying to please others rather than themselves<br />Further developed characteristics of literati painting:<br />Illustrated an “appreciation of antiquity”—revival of the past<br />Rough, unassuming brushwork over gentle, refined movement<br />Minimal use of color<br />Use of landscape to convey a personal meaning<br />
  • 10. Hand Scrolls, Hanging Scrolls, and Album Leaves<br />Literati favored hand scrolls, hanging scrolls, or album leaves because made it easy to share with others<br />
  • 11. Hand scrolls were paintings in a horizontal format, stretching several feet long<br />Often hand scrolls contained a single continuous, yet they were not displayed all at once; typically, only a foot or two was unrolled at a time<br />Hanging scrolls were viewed as a whole, unrolled and put up on a wall <br />Albums composed of a set of paintings of identical size mounted in a book; typically paintings within an album were related in subject<br />Paintings typically accompanied by colophons, or inscriptions related to the work (e.g. poems, comments, etc.) <br />
  • 12. Zhao Mengfu<br />Zhao Mengfu was a descendant of the imperial line of Song, who chose to serve the Yuan government and was made a high official<br />Known as a poet, calligrapher, and painter—especially known for paintings of horses and landscapes<br />Landscapes are considered to be done in a style that focuses more on a literal laying of ground; not organized in a foreground, middle ground, and background, rather layers middle grounds at various heights to creative depth <br />Artwork pervaded with characteristics of literati painting<br />
  • 13.
  • 14. Autumn Colors on the Qiao and Hua Mountains<br />Hand scroll created in 1296<br />Painted with ink and color pigments on paper<br />Subject matter: Qiao and Hua Mountains of Jinan<br />Painted for a friend whose ancestors came from Jinan; painting intended to depict landscape of Jinan<br />Not painted in naturalism common in the era, rather in the archaic manner of Tang dynasty<br />Color used sparingly<br />
  • 15.
  • 16. Fascination With Nature<br />Painted by XieChufang<br />Hand scroll created in 1321<br />Subject matter: animals and insects feeding off one another<br />Beauty and brightness of the natural world cover up the confusion and disorder caused by the fight for survival<br />Representative of dilemma facing many Chinese of the period: whether to work for the Mongols or remain loyal to the fallen imperial dynasty<br />Plant/insect subject matter as well as vibrant colors date back to Song dynasty marks the revivalism of earlier styles of Chinese painters<br />
  • 17.
  • 18. Ni Zan<br />Rich man who was the owner of a large estate<br />Pride and aloofness from daily affairs got him into trouble with authorities<br />Notoriously clean; washed himself several times a day and ordered servants to wash trees in his garden<br />Later in life, he is said to have given away all of his possessions and lived as a hermit in a boat<br />Lifestyle served as a model for literati; lived an “ideal” lifestyle<br />
  • 19.
  • 20. The Rongxi Studio<br />Hanging scroll created in 1372<br />Ink on paper; free of color<br />Depicts lake region in Ni’s home district; includes mountains, rocks, tree, and a pavilion<br />Minimum detail included in artwork<br />Created using a dry brush technique in which the brush is not fully loaded with ink but rather about to run out <br />
  • 21.
  • 22. Ming Dynasty 1368-1644<br />
  • 23. Ming Dynasty 1368-1644<br /><ul><li>Replacing the Mongol Yuan Dynasty, it is known as one of the greatest eras of orderly government and social stability in human history
  • 24. Expansion:
  • 25. Military naval and standing army
  • 26. Trade under Zheng He expanded
  • 27. Reconstruction:
  • 28. Grand Canal and Great Wall
  • 29. Emperor Hongwu strived to rebuild self-sufficient agricultural communities
  • 30. Allows for trading class to thrive and become eligible scholars
  • 31. Establishment:
  • 32. Forbidden City in the center of Bejing
  • 33. The Columbian Exchange
  • 34. Due to natural calamity (Little Ice Age) and poor economy, rebel leader Li Zicheng could challenge the Ming authority</li></li></ul><li>Ming Dynasty 1368-1644<br />Shen Zhou<br /><ul><li>Born wealthy in the Jiangsu providence
  • 35. Renounced official service to take care of ill mother and become a retired artist
  • 36. Composer of poems, usually dealing with natural undertones and thought
  • 37. Style is informal, relaxed, and straightforward
  • 38. Reflects his own personality
  • 39. Share similar style to the Yuan Dynasty, but with more individual thought
  • 40. Artists of the Ming Dynasty could live solely off of profits for art
  • 41. Literati paintings with a mood and verse in mind
  • 42. “Delicate Shen”</li></li></ul><li>Ming Dynasty 1368-1644<br />
  • 43. Ming Dynasty 1368-1644<br />Poet on a Mountaintop<br /><ul><li>Comes from the Wu School of art
  • 44. Expresses a calm mood directly after the transition from the Yuan to Ming Dynasty
  • 45. Monochrome painting in vogue
  • 46. Poet has climbed mountains and now dominates the landscape
  • 47. Reflects Ming philosophy: the mind, not the physical world, was the basis of reality
  • 48. Synthesizes poetry, calligraphy, and painting</li></ul>Ming Dynasty. Handscroll.<br />c. 1500 Ink and color on paper<br />
  • 49. Ming Dynasty 1368-1644<br />
  • 50. Ming Dynasty 1368-1644<br />Hundreds of Birds Admiring the Peacocks<br /><ul><li>By Yin Hong
  • 51. Birds and flower genre of the Song academy
  • 52. Extremely symbolic:
  • 53. Homage of birds to peacocks is the homage of court officials to the emperor
  • 54. Ming characteristics: Large format and multiplication of detail
  • 55. Very restricted landscape view in contrast with the lofty, unrestricted view from the prior painting</li></ul>Ming dynasty. Hanging scroll <br />late 15th- early 16th century<br />Ink and color on silk<br />
  • 56. Comparison to Western Art<br /><ul><li>Procession of birds similar to procession of people in the AraPacis
  • 57. Birds common omen/symbol of Rome
  • 58. Narrative style of relief similar to literati influences of the Ming Dynasty
  • 59. Limited background
  • 60. more focus on the vibrant activity in the foreground</li></li></ul><li>Ming Dynasty 1368-1644<br />
  • 61. Ming Dynasty 1368-1644<br />Spring Dawn in Han Palace<br /><ul><li>By Qui Ying
  • 62. Ming dynasty. Long handscroll on silk
  • 63. A major professional painter
  • 64. Painted long scrolls for satisfied patrons’
  • 65. Studies in Tang painting
  • 66. Main concentration is on the figures, leaving the background very minimal
  • 67. Figures contain much action
  • 68. Depicts women working in the palace</li></li></ul><li>Ming Dynasty 1368-1644<br />
  • 69. Ming Dynasty 1368-1644<br />Flask<br /><ul><li>Artist unknown
  • 70. Ming Blue and White Wares
  • 71. Subtle shape, refined yet vigorous decoration of dragons writhing above the sea, and the flawless glazing embody high achievement of Ming artisans
  • 72. Dragons reminiscent of Chinese folklore
  • 73. Wares extremely prolific under the Xuande Emperor (1426-35)</li></ul>Ming Dynasty. Procelain. 1426-35. painted with underglaze cobalt blue<br />
  • 74. Ming Dynasty 1368-1644<br />
  • 75. Ming Dynasty 1368-1644<br />The Forbidden City<br /><ul><li>Work of Mongols
  • 76. Walled city of Chang’an laid out on a rectangular grid, with evenly spaced streets that ran north-south and east-west with the imperial palace on the north end
  • 77. Must enter through the impressive Meridian Gate or the Gate of Supreme Harmony
  • 78. Rigid city structure reflects Chinese belief in harmony of the universe and emphasis on the emperor as the Son of Heaven</li></ul>Ming Dynasty. Bejing<br />
  • 79. Qing Dynasty 1644-1911<br />
  • 80. Qing Dynasty 1644-1911<br /><ul><li>Armies of the Manchu people to the northeast of China marched into Beijing
  • 81. Beijing becomes the capital
  • 82. Second time in history in which China had been ruled by foreigners
  • 83. The first time was during the Yuan Dynasty when the Mongols controlled China
  • 84. The Manchus had adopted many Chinese customs and institutions before their conquest and respected Chinese tradition throughout their control
  • 85. The major trends of the late Ming dynasty continued into the Manchu, or Qing Dynasty, making China prosperous but complacent
  • 86. They adopted the form of government used by the Ming Dynasty
  • 87. The reigns of the first three emperors were peaceful
  • 88. Emperor Kangxi : 1662-1722 CE
  • 89. Emperor Yongzheng: 1722-1736 CE
  • 90. Emperor Qianglong: 1736-1796 CE
  • 91. Dramatic increase in population
  • 92. Low taxes, commerce and international trade grew allowed for a revival of arts and learning</li></li></ul><li>Qing Dynasty 1644-1911<br />Rule of Qianglong<br /><ul><li>Under Qianglong, China expanded to largest ever
  • 93. Uprisings:
  • 94. 1774 CE in Shantung
  • 95. In 1775 CE led by the secret society known as the Society of the White Lotus
  • 96. In 1813 CE, during the reign of Qianglong's successor, led by the secret society known as the Society of Heaven's Law
  • 97. Chinese are impoverished</li></ul>Contact with Western World<br /><ul><li>Great Britain traded opium for silk and tea with China
  • 98. Chinese became addicted to opium
  • 99. Land that had previously been used for agriculture was used to produce opium
  • 100. When opium was outlawed, the Opium Wars erupted in 1842 CE with Britain
  • 101. At the conclusion, China virtually became a British colony</li></li></ul><li>Qing Dynasty 1644-1911<br />Orthodox Painting<br /><ul><li>Literati painting was established as the dominant or orthodox tradition
  • 102. Based upon Don Quichang’s recommendation to base their approach on past masters and paint in the manner of Song and Yuan artists
  • 103. It was “orthodox” in the Confucian sense of continuing traditional modes
  • 104. Qing emperors of 17th and 18th centuries were painters and collected literati painting
  • 105. Their taste was inspired by Wang Hui
  • 106. Literati painting became an academic style of the court and was no longer art for reclusive scholars</li></li></ul><li>Qing Dynasty 1644-1911<br />Wang Hui (1632-1717)<br /><ul><li>Represents “orthodox” painting
  • 107. Most well-known of the Four Wangs: Wang Shimin (1592-1680), Wang Jian (1598-1677), and Wang Yuangi (1642-1715)
  • 108. Wang Shimin and Wang Jian were his teachers
  • 109. His fame became known in Beijing
  • 110. From 1691-98 he was commissioned to supervise the production of a series of hand scrolls marking the Kangxi emperor’s tour of the South
  • 111. Returned to private life
  • 112. Painted landscapes</li></li></ul><li>Qing Dynasty 1644-1911<br />Wang Hui (1632-1717)<br /><ul><li>Painted A Thousand Peaks and Myriad Ravines in 1693
  • 113. Hanging scroll
  • 114. Exemplifies basic elements of Chinese landscape painting: mountains, rivers, waterfalls, trees, temples, pavilions, houses
  • 115. Features an inscription inspired by lines from a Tang-dynasty poem as well as the works of Dong Yuan and Juran
  • 116. Painting shows the scene from afar
  • 117. No individual identity of elements
  • 118. This goal started in the Song Dynasty</li></li></ul><li>Qing Dynasty 1644-1911<br />
  • 119. Qing Dynasty 1644-1911<br /><ul><li>Artist unknown
  • 120. Example of orthodox painting
  • 121. Guan Yu was a warrior of the late Han dynasty renowned for his bravery and loyalty was later venerated as a saint in the Daoist pantheon
  • 122. Served as a virtual patron saint of the Manchus in the Qing dynasty
  • 123. Guan is shown descending from the heavens with two attendants
  • 124. Features religious images used in the "water and land" ritual, which is a Buddhist ceremony conducted for the salvation of "all the souls on land and sea“
  • 125. It is distinguished by its high level of craftsmanship, intricate detail, and lavish use of precious mineral pigments. </li></li></ul><li>Qing Dynasty 1644-1911<br />
  • 126. Qing Dynasty 1644-1911<br /><ul><li>Augustus of Primaporta, restored, and Emperor Guan
  • 127. Both make use of bright colors
  • 128. Both depict heroic emperors meant to be idealized
  • 129. Both idealize military prowess of the subjects
  • 130. Both use drapery to create an imposing figure
  • 131. Both are associated with divinity and religious significance to cement their power
  • 132. Augustus is depicted with Cupid, who is Venus’ son
  • 133. Reference to the claim that the Augustus is a descendant of Venus through her human son Aeneas
  • 134. Both are intricately detailed </li></li></ul><li>Qing Dynasty 1644-1911<br />Individualist Painting<br /><ul><li>Individualists adapted Don Qichang’s idea of painting as an expression of personal emotions
  • 135. The beginning of the Qing rule was dangerous for those loyal to the Ming
  • 136. Some committed suicide or fled to masteries or the countryside
  • 137. Painters expressed anger or disobedience in their art
  • 138. Individualist art often had political significance</li></li></ul><li>Qing Dynasty 1644-1911<br /><ul><li>Painting of courtiers, officials, and professional artists
  • 139. Zhu Da, later known as BadaShanren, and Zhu Ruoji, later known as Shitao, were descendants of the Ming royal house
  • 140. Zhu Da became a Buddhist monk, feigning deafness and madness to escape persecution after the fall of the Ming dynasty
  • 141. Frustration and vulnerability are evident in his art
  • 142. He created a deeply personal expressionist style that reflects his ambivalence about his life in hiding and his failure to acknowledge his identity as a Ming prince</li></li></ul><li>Qing Dynasty 1644-1911<br />Shitao (1642-1707)<br /><ul><li>Chinese painter and theoretician who was one of the most famous of the Individualist painters in the early Qing period
  • 143. Descended from the first Ming emperor
  • 144. Fled to Buddhist temples and became an Buddhist monk
  • 145. He trained himself to paint and then moved to Yangzhou around 1695, where he renounced his status as a Buddhist monk and supported himself through his painting
  • 146. Excelled in landscape painting, bird-and-flower painting, and figure painting
  • 147. Sought to expand from past knowledge and creations
  • 148. Wrote Huaya Lu, or Comments on Painting,in which he speaks of a “style of no style”
  • 149. Landscape</li></ul>Monk sits in a small hut, looking out to tumultuous mountains<br />Rocks and vegetation (dots) seem alive<br />
  • 150. Qing Dynasty 1644-1911<br />
  • 151. Qing Dynasty 1644-1911<br /><ul><li>Yangzhou became a prosperous commercial center during the Qing dynasty due to the salt monopoly centered thereTwo groups of artists emerged:
  • 152. Yuan Jiang
  • 153. Worked in the courtly tradition, producing large-scale, richly detailed works in mineral pigments on silk
  • 154. Exemplify Yangzhou taste for ostentatious display.
  • 155. "Eight Eccentrics of Yangzhou“]
  • 156. Inspired by individualistic works of Shitao.
  • 157. Specialize in figural subjects or flower and bird images that appealed to more people and were commercially viable than landscape painting</li></li></ul><li>Modern Period (1911- Present Day) <br />Qing dynasty overthrown in 1911 ending 2,000 of imperial rule<br />New ideas from Japan and the West filtered in, calling for political and cultural reforms<br />First decades of 20th century, Chinese artists traveled to Japan and Europe to study Western art; returned to China hoping to introduce new ideas and techniques<br />Communist government in 1949 decreased artistic freedom; arts were pressed into service of the state and its vision of social order<br />After 1979, cultural attitudes began to relax and Chinese painters pursued own paths<br />
  • 158. Wu Guanzhong<br />Chinese painter who emerged in 1980s as “father of modern Chinese art”<br />Combining French training with Chinese background, developed a semiabstract style<br />Took preliminary sketches of landscape, then developed sketches into free interpretations <br />
  • 159. Pine Spirit<br />Created in 1984<br />Ink on paper<br />Depicts a scene in the Huang Mountains in China<br />Technique of sweeping brushstrokes, dots, and lines shows minimal concern for naturalistic shape and link to Abstract Expressionism<br />
  • 160.
  • 161.
  • 162. Joseon Dynasty of Korea 1392-1910<br />
  • 163. Joseon Dynasty of Korea 1392-1910<br /><ul><li>Founded by Taejo Yi Seong-gye after the overthrow of the Goryeo Kingdom
  • 164. Capital is located in modern day Seoul and titled the land Korea
  • 165. The last royal/imperial dynasty in Korea; employed Confucian philosophy and borrowed much of Chinese culture
  • 166. Early 17th century: the Qing dynasty and Japan attack and devastate Korea and the Joseon Dynasty
  • 167. Qing dominance creates isolationist policy and the land becomes “Hermit Kingdom”
  • 168. 18th century: faced with internal strife, power struggles, international pressure, and rebellions the Joseon Dynasty declined rapidly
  • 169. 1895: Treaty of Shimonoseki shows Joseon Dynasty independence from the Qing Dynasty after the Japanese win First Sino-Japanese War
  • 170. 1910: Japan-Korea Annexation Treaty adds all of Korea and the Joseon Dynasty to the Japanese Empire</li></li></ul><li>Joseon Dynasty of Korea 1392-1910<br />JeongSeon<br /><ul><li>Pen name Gyeomjae meaning “humble study”
  • 171. Not wealthy, but discovered by an aristocratic neighbor who noticed his talent and gave him an official government position
  • 172. Although influenced by the Ming Wu School of art, he was one of the first Korea painters to truly depart from traditional Chinese style
  • 173. Painted the world around him and painted daily until old age
  • 174. His paintings are known as the Southern School of art, but in his lifetime he was unique with brush wrinkles of bold strokes in paralells</li></li></ul><li>Joseon Dynasty of Korea 1392-1910<br />
  • 175. Joseon Dynasty of Korea 1392-1910<br />Panoramic View of the Diamond Mountains (Geumgang-san)<br /><ul><li>18th century: true Korean style emerged inspired by the silhaki, or “practical learning” movement
  • 176. Emphasized study of things in Korean plus Chinese classics
  • 177. Jeong chose Korean mountains rather than Chinese themes like the artists before him
  • 178. Energetic spirit and the intensely personal style, with crystalline mountains, distant clouds of delicate ink wash, and individualistic brushwork
  • 179. Craggy peaks show brilliance and boldness of the Korean landscape</li></ul>Late Joseon Period. Hanging scroll. 1734. Ink and colors on paper<br />
  • 180. Joseon Dynasty of Korea 1392-1910<br />
  • 181. Joseon Dynasty of Korea 1392-1910<br />Horizontal Wine Bottle With Decoration of a Bird Carrying a Newly Caught Fish<br /><ul><li>Artist unknown
  • 182. Example of Bucheong stoneware
  • 183. Decoration relies on the use of white slip that makes the humble stoneware resemble more expensive white porcelain
  • 184. Embellished with fluid, calligraphic brushwork painted in iron-brown slip
  • 185. Most have floral decoration, rarely is it pictoral</li></ul>Joseon. Light gray stoneware with decoration painted in iron-brown slip on a white slip ground. 16th century<br />
  • 186. Modern Korea 1910-Present<br />Modern Korea<br /><ul><li>“The Hermit Kingdom”
  • 187. Joseon Dynasty maintains a policy of isolationism
  • 188. Close its borders to all except China until 1876
  • 189. 1910 Japan annexes Korea and ends the Joseon dynasty, but extends Korea’s isolation
  • 190. Isolation continues through hardships of World War II (1939-1945) and Korean War (1950-1953)
  • 191. Artistic and cultural progression decreases
  • 192. Modern influences reach Korea indirectly, through China and Japan
  • 193. Starting in the 1920’s and 1930’s, Korean artists experiment with Western artistic styles
  • 194. Economic and culture progress in South Korea starting in the 1980’s
  • 195. Most paint in the manner of Cezanne or Gauguin, but some in abstract, nonrepresentational styles</li></ul> <br />
  • 196. Modern Korea 1910-Present<br />GimHwangi<br /><ul><li>One of 20th century Korea’s most influential painters
  • 197. Influenced by Constructivism and geometric abstraction
  • 198. After the Korean War, he investigates Westernism
  • 199. Travels to Paris in 1956 and New York from 1964-1974</li></ul> <br />
  • 200. Modern Korea 1910-Present<br />5-IV-71<br /><ul><li>Two circular radiating patterns of small blue, black, and gray dots
  • 201. Heavily influenced by Western style
  • 202. Title is the date of creation
  • 203. Resembles Asia’s tradition of monochrome ink painting
  • 204. Suggests a transcendence with a Daoist or Buddhist feeling
  • 205. Started the precedent of combining traditional and Western styles, inspiring other Korean-born artists</li></ul> <br />
  • 206. Modern Korea 1910-Present<br />Nam June Paik (1932-2006)<br /><ul><li>Video artist
  • 207. Electronic Superhighway: Continental U.S.
  • 208. Created for Holly Solomon Gallery in New York in 1995
  • 209. Combination of live, recorded, computer-generated images shown on video monitors that he makes into a sculptural design
  • 210. Features a map of Continental U.S. outlined in neon and backed by video monitors, flashing colors and moving with sound
  • 211. Monitors show images that demonstrate each state’s culture and history</li></li></ul><li>Modern Korea 1910-Present<br />
  • 212. Bibliography<br /><ul><li>Spencer Art. N.p., 2010. Web. 13 Dec. 2010. <http://www.spencerart.ku.edu/exhibitions/ reviving_gathering.shtml>.
  • 213. Academon. N.p., 2009. Web. 13 Dec. 2010. <http://www.academon.com/ Descriptive-Essay-Minimalism-in-Ni-Zan's-The-Rongxi-Studio/114129>.
  • 214. Musuem of Modern Art. Musuem of Modern Art, 2010. Web. 13 Dec. 2010. <http://www.moma.org/ collection/browse_results.php?criteria=O:AD:E:4675&page_number=2&template_id=1&sort_order=1>.
  • 215. Danto, Arthur. Artchive. N.p., 2010. Web. 13 Dec. 2010. <http://www.artchive.com/artchive/F/ frankenthaler/frankenthaler_mtns.jpg.html>.
  • 216. Whitfield, R. Musuem of British Art. N.p., 2010. Web. 13 Dec. 2010. <http://www.britishmuseum.org/ explore/highlights/highlight_objects/asia/x/xie_chufang,_fascination_of_na.aspx>.
  • 217. Ming Blue and White. Koh-Antique, 2008. Web. 13 Dec. 2010. <http://www.koh-antique.com/bandw/ bandw.html>.
  • 218. Ah-young, Chung. "Jeon Song's Paintings Brought to Life." Korea Times. Korea Times, 2009. Web. 13 Dec. 2010. <>.
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