Ancient Chinese Art

Ancient Chinese Image Set: Zhou, Qin, Han   Individual Item Analysis For each image, draw a small replica. Write down the title, place, time period, and material.   Visit the link given for each image. Read the information, and view the video if one is provided.   Think like an Historian: H-Historical Context. Explain the broader setting, time period, and social structures that surround the piece. A-Audience. Identify the audience of the piece. To/for whom was the piece created? P-Purpose. Identify the purpose or function of the piece. P-Perspective. From whose perspective was the piece created? What was the motivation for creating the piece? Y-Why? Explain why the piece was created, what it tells us about the creator, and how it affected the audience.   Think like an Art Historian: Patron: Who commissioned the piece? Why? Material: What materials were used? What does that suggest about the region, culture, or time period? Symbolism: What does the content symbolize? Terminology: What artistic terminology is introduced? (ie. frontal perspective, register, etc.) Summary Analysis   How do the items compare to one another? Consider similarities and differences. What would cause the items to be similar? Why are there differences?   What do the images together suggest about ancient Chinese dynastic society as a whole?

Terra cotta warriors from mausoleum of the first Qin emperor of China Terra cotta warriors from mausoleum of the first Qin emperor of China. Qin Dynasty. c. 221–209 B.C.E. Painted terra cotta. https://www.khanacademy.org/humanities/ap-art-history/south-east-se-asia/china-art/a/terracotta-warriors-from-the-mausoleum-of-the-first-qin-emperor-of-china The Terracotta Army or the "Terracotta Warriors and Horses" is a collection of terracotta sculptures depicting the armies of Qin Shi Huang, the first Emperor of China. It is a form of funerary art buried with the emperor in 210–209 BCE and whose purpose was to protect the emperor in his afterlife. Although the tomb mound has not yet been excavated, the works are guardians for the tomb of Emperor Qin Shi Huang. The burial tomb is a vast underground army of 8,000 life-size terra-cotta soldiers with 100 life-size ceramic horses standing in military formation ready for battle.

The emperor’s tomb remained hidden for more than 2,200 years after his death. Archaeologists uncovered a 20-square-mile compound, including some 8,000 terra cotta soldiers, along with numerous horses and chariots, a pyramid mound marking the emperor’s tomb, remains of a palace, offices, store houses and stables. In addition to the large pit containing the 6,000 soldiers, a second pit was found with cavalry and infantry units and a third containing high-ranking officers and chariots.

The restoration of the figures revealed that they were created using molds and an early assembly-line-type construction. Though most of their hands are identical, and only eight molds were used to shape their heads, distinctive surface features were added with clay after assembly. As a result, each terra cotta soldier appears to be unique in its facial features, revealing a high level of craftsmanship and artistry.

The soldiers’ rank and duty is seen through the various clothing styles of the statues.

Funeral banner of Lady Dai (Xin Zhui). Han Dynasty, China. c. 180 B. C Funeral banner of Lady Dai (Xin Zhui). Han Dynasty, China. c. 180 B.C.E. Painted silk. The Han dynasty marks the time when people believed in a close relationship between the human and supernatural worlds. Painted silk banners are part of the Han funeral practice; it was carried in front of the funeral procession, and then draped upon the coffin. Banners like this were employed to attract the spirit of the deceased to its tomb, where it could be properly started on its afterlife journey instead of remaining on earth to bother the living. https://www.khanacademy.org/humanities/ap-art-history/south-east-se-asia/china-art/a/funeral-banner-of-lady-dai-xin-zhui

During this period the Chinese enjoyed peace, prosperity, and stability. Borders extended and Chinese control over stretches of Central Asia led to the opening of the Silk Road. The T-shaped painting on silk is called a feiyi (flying garment). Tassels extend from the four lower corners. The cross arm of the T-shape of the banner is 0.92 m. long, the overall height is 2.05 m., and the width at the bottom is 0.48 m. Painted registers represent three levels of the universe: heaven, earth, and underworld.

Travelers by Streams and Mountains. Fan Kuan. c. 1000 C. E Travelers by Streams and Mountains. Fan Kuan. c. 1000 C.E. Ink and colors on silk. Travelers among Mountains and Streams, a large hanging scroll, is Fan Kuan's best known work and a seminal painting of the Northern Song school. Nearly seven feet tall, it focuses on a central majestic mountain.  The foreground, presented at eye level, is executed in crisp, well-defined brush strokes.  Jutting boulders, tough scrub trees, a mule train on the road, and a temple in the forest on the cliff are all vividly depicted. In contrast, the lower third of the composition is rich in details: from the temple that appears just below the waterfall to the barely visible human figure in the lower right corner, accompanied by a mule train. https://www.khanacademy.org/humanities/ap-art-history/south-east-se-asia/china-art/a/neo-confucianism-fan-kuan-travelers-by-streams-and-mountains

Landscape painting is an important genre of art in China Landscape painting is an important genre of art in China. Artist’s intent was not to represent specific scenes of place, rather the essence of nature. Fan Kuan was a Taoist who would spend days in the mountains studying the effects of light. The relative few human or animal figures speaks to the magnitude and captivating qualities of nature while also showing the handprint of the Taoist perspective in the creation of this piece. The figures are almost indistinguishable from the surrounding natural elements, thus achieving the goal of becoming one with nature and driving home the point that one is small and insignificant when in contest with nature. 

Gold and jade crown. Three Kingdoms Period, Silla Kingdom, Korea Gold and jade crown. Three Kingdoms Period, Silla Kingdom, Korea. Fifth to sixth century C.E. Metalwork. https://www.khanacademy.org/humanities/ap-art-history/south-east-se-asia/korea-art/a/gold-and-jade-crown-silla-kingdom Note: This item is Korean, not Chinese, though it is from the same time period we are studying. Look for similarities among burial practices in the two cultures.

The crowns of Silla were made in the Korean kingdom of Silla approximately in the fifth and sixth centuries CE. These crowns were excavated from royal tomb mounds in Gyeongju, the former capital of Silla, and are designated national treasures of South Korea. The Silla crowns are very fragile were probably used only for formal and ceremonial occasions. Some scholars believe that the crowns were never worn at all but made specifically as burial goods. Crowns were made of cut pieces of gold sheet, held together by gold wire. Comma-shaped ornaments of green and white jadeite (form of jade) hang from the tall gold extensions. Tall, branching forms, rise from the crown resembling trees.