Post 4

Qui Ying, Spring Dawn in the Han Palace,1500-1550

This piece by Qui Ying was painted during the Ming Dynasty. The painting shows women in the court of the Han dynasty. Ying painted the “Spring Dawn In The Han Dynasty” on a long handscroll and this influenced the work of many artists that came after him. Qui Ying studied artwork from the Tang dynasty while he was working for an art collector and he reflected his understanding of the artwork from that period on to his painting,“Spring Dawn In The Han Dynasty”(Stokstad p.815). Stokstad describes his work, “ Qiu’s graceful and elegant figures— although modeled after those in Tang works—are situated within a carefully described setting of palace buildings. They engage in courtly pastimes, such as chess, music, calligraphy, and painting. With its antique subject matter, refined technique, brilliant color, and controlled composition, Spring  Dawn in the Han Palace brought professional painting to another level”(Stokstad p.815). Ying was one of the most notable painters of the Ming Dynasty.

Dong Qichang, The Qingbian Mountains, 1617

This piece by Dong Qichang was painted during the Ming Dynasty. The painting “The Qingbian Mountains”  was based on a work by an artist Dong Yuan. Dong Yuan was from the tenth-century, although it was based on his work, Dong still added a unique sense of style. It painting had visuals of foreground, middle ground, and mountains, everything being spacious (Stokstad p.820). All the elements seemed to be compressed to the surface of the picture.  Something peculiar about the picture is that there are six diagonally arranged trees, symbolizing foreground and reassuring the theme(Stokstad p.820). Stokstad describes the work and states, “The tallest tree of the foreground grouping anticipates the high peak that towers in the distance almost directly above it, while the forms of the smaller foreground trees, especially the one with the darkest leaves, are repeated in many variations across the painting. At the same time, the ordinary-looking boulder in the foreground is transformed in the conglomeration of rocks, ridges, hills, and mountains above. This double reading— both abstract and representational, on the surface and into space—parallels the work’s dual nature as a painting of a landscape and an interpretation of a traditional landscape painting”(Stokstad p.820). Qiachang introduced a new style that people were fascinated by.

Kim Hongdo, Roof Tiling, 18th Century

This piece by Kim Hongdo was painted during the Joseon Dynasty. The painting “Roof Tiling” showcased the everyday lives of the commoners. Different from other artists primarily painting and showcasing the nobility, Kim had other interests. Roof Tiling is one of a series of 25 albums that would generally display laborers working during one of there roofing projects. Stokstad describes the work and states, “ At lower right a carpenter smooths a propped up board with his plane, while two colleagues perch on the roof itself, one about to hoist up a bundle of materials and the other catching a tile that has been heaved to him from below. The seventh man, leaning on his staff at upper right to survey the work, is presumably the roofers’ supervisor. The circular figural composition animates the compressed foreground tableau and organizes the viewer’s examination of the carefully detailed workers, whose depiction is energized by active poses and expressive faces” (Stokstad p.826). Kim tells a story in his artwork and viewers of his artwork try to decipher the story he is trying to tell.

Sesshu, Winter Landscape, c.1470s

Sesshu has been regarded as one of the best Japanese painters of all time. Sesshu was on path to become Zen monk at a monastery, instead of choosing the religious ritual path he specialized in art (Stokstad p.832). Diving deeper, Sesshu trained at Shokokuji, this was where Shubun studio was located (Stokstad p.832). Having mentioned Sesshu being interested in art, he worked in the painting atelier for 20 years. This piece by Sesshu was painted during the Muromachi Period.  The painting “Winter Landscape” It depicts a cliff descending from mists located around the rocky hills. Stokstad describes Sesshu’s work and states, “Jagged brushstrokes delineate a series of rocky hills, where a lone figure makes his way to a Zen monastery. Instead of a gradual recession into space, flat, overlapping planes fracture the composition into crystalline facets. The white of the paper is left to indicate snow, while the sky is suggested by tones of gray. A few trees cling to the rocky land. The harsh chill of winter is almost palpable” (Stokstad p.832). His style of painting made showed his dedication to art.

Nagasawa Rosetsu, Bull and Puppy, Late 18th Century

This piece painted by Nagasawa Rosetsu, one of the most famous students of Okyo. Rosetsu added his own uniqueness to the style of his teacher. He would put create odd juxtapositions in his painting which surprised many of his admirers. One of his well known BULL AND PUPPY shows the odd juxtaposition that he creates in his artwork. Stokstad describes the work and states, “The bull is so immense that his mammoth body exceeds the borders of the screen, an effect undoubtedly influenced by new optical devices. The tiny puppy, white against the dark gray of the bull, helps to emphasize the bull’s huge size through its contrasting smallness. The puppy’s relaxed and informal pose, looking happily straight out at the viewer, gives this powerful painting a humorous touch that increases its charm ”(Stokstad p.841). Rosetsu uniqueness stood out  in his painting thus making him stand as artist.

Works Cited

Stokstad, Marilyn, and Michael Watt Cothren. Art History. Sixth ed., II, Pearson, 2018.