The document summarizes Chinese and Korean art after 1279, including the Yuan, Ming, and Qing dynasties in China and the Joseon dynasty in Korea. It discusses major artistic developments such as the literati style in China under Mongol rule and the orthodox and individualist styles that emerged in China under the Qing dynasty. Key artists from each period like Zhao Mengfu, Shen Zhou, and Shitao are mentioned along with examples of their work. The document also notes the transition to modern Chinese art in the early 20th century.

1. Chinese and Korean Art After 1279 By Zach Small, Ashley Emery, and Jen Dalecki

2. Chinese Dynasties After 1279 -Yuan Dynasty (1279-1368) -Ming Dynasty (1368-1644) -Qing Dynasty (1644-1911) -Modern Period (1911-Present Day)

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

9. Imperial vs. Literati Taste 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 Literati saw painting as a vehicle of self expression; painted for each other as opposed to for public display 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 Further developed characteristics of literati painting: Illustrated an “appreciation of antiquity”—revival of the past Rough, unassuming brushwork over gentle, refined movement Minimal use of color Use of landscape to convey a personal meaning

10. Hand Scrolls, Hanging Scrolls, and Album Leaves Literati favored hand scrolls, hanging scrolls, or album leaves because made it easy to share with others

11. Hand scrolls were paintings in a horizontal format, stretching several feet long 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 Hanging scrolls were viewed as a whole, unrolled and put up on a wall Albums composed of a set of paintings of identical size mounted in a book; typically paintings within an album were related in subject Paintings typically accompanied by colophons, or inscriptions related to the work (e.g. poems, comments, etc.)

12. Zhao Mengfu Zhao Mengfu was a descendant of the imperial line of Song, who chose to serve the Yuan government and was made a high official Known as a poet, calligrapher, and painter—especially known for paintings of horses and landscapes 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 Artwork pervaded with characteristics of literati painting

14. Autumn Colors on the Qiao and Hua Mountains Hand scroll created in 1296 Painted with ink and color pigments on paper Subject matter: Qiao and Hua Mountains of Jinan Painted for a friend whose ancestors came from Jinan; painting intended to depict landscape of Jinan Not painted in naturalism common in the era, rather in the archaic manner of Tang dynasty Color used sparingly

16. Fascination With Nature Painted by XieChufang Hand scroll created in 1321 Subject matter: animals and insects feeding off one another Beauty and brightness of the natural world cover up the confusion and disorder caused by the fight for survival Representative of dilemma facing many Chinese of the period: whether to work for the Mongols or remain loyal to the fallen imperial dynasty Plant/insect subject matter as well as vibrant colors date back to Song dynasty marks the revivalism of earlier styles of Chinese painters

18. Ni Zan Rich man who was the owner of a large estate Pride and aloofness from daily affairs got him into trouble with authorities Notoriously clean; washed himself several times a day and ordered servants to wash trees in his garden Later in life, he is said to have given away all of his possessions and lived as a hermit in a boat Lifestyle served as a model for literati; lived an “ideal” lifestyle

20. The Rongxi Studio Hanging scroll created in 1372 Ink on paper; free of color Depicts lake region in Ni’s home district; includes mountains, rocks, tree, and a pavilion Minimum detail included in artwork Created using a dry brush technique in which the brush is not fully loaded with ink but rather about to run out

22. Ming Dynasty 1368-1644

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

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

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 paintingMing Dynasty. Handscroll. c. 1500 Ink and color on paper

49. Ming Dynasty 1368-1644

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 paintingMing dynasty. Hanging scroll late 15th- early 16th century Ink and color on silk

57. Birds common omen/symbol of Rome

58. Narrative style of relief similar to literati influences of the Ming Dynasty

59. Limited background

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

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)Ming Dynasty. Procelain. 1426-35. painted with underglaze cobalt blue

74. Ming Dynasty 1368-1644

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 HeavenMing Dynasty. Bejing

79. Qing Dynasty 1644-1911

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

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

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

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

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

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

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“

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

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

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

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. LandscapeMonk sits in a small hut, looking out to tumultuous mountains Rocks and vegetation (dots) seem alive

150. Qing Dynasty 1644-1911

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.

158. Wu Guanzhong Chinese painter who emerged in 1980s as “father of modern Chinese art” Combining French training with Chinese background, developed a semiabstract style Took preliminary sketches of landscape, then developed sketches into free interpretations

159. Pine Spirit Created in 1984 Ink on paper Depicts a scene in the Huang Mountains in China Technique of sweeping brushstrokes, dots, and lines shows minimal concern for naturalistic shape and link to Abstract Expressionism

162. Joseon Dynasty of Korea 1392-1910

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

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

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 landscapeLate Joseon Period. Hanging scroll. 1734. Ink and colors on paper

180. Joseon Dynasty of Korea 1392-1910

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 pictoralJoseon. Light gray stoneware with decoration painted in iron-brown slip on a white slip ground. 16th century

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

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

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

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

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