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

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

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

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

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

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”

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.

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

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

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

197. Influenced by Constructivism and geometric abstraction

198. After the Korean War, he investigates Westernism

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

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

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. <http://211.234.126.9/www/news/art/2010/12/148_51861.html>.

219. Stokstad, Marilyn. Art History. Ed. Sarah Toubourg. New York, New York: Prentice Hall, 2008. Print.

220. Metmusuem. Metropolitan Musuem, 2010. Web. 13 Dec. 2010. <http://www.metmuseum.org/toah/ works-of-art/2001.442>.

221. Ji, Dae. Instructional. Instructional, 2008. Web. 13 Dec. 2010. <http://instructional1.calstatela.edu/bevans/Art101/Art101B-10-China/WebPage-Full.00071.html>.

222. "Shitao." Shitao Online. Artcyclopedia, 2010. Web. 13 Dec. 2010. <http://www.artcyclopedia.com/ artists/shitao.html>.