History Unit 7 Assignment: Timeline Activity

you will construct a timeline using the timeline template, placing the cultures covered in this week’s reading in the appropriate place on a chronological timeline and global map.

ART102 – Art History II

Timeline Activity

Due Date: Points: 100 Overview: In this assignment, you will construct a timeline, placing the cultures covered in this week’s reading in the appropriate place on a chronological timeline and global map. Instructions: You will use the Timeline template throughout the course. You will submit your progress at the end of each unit. There are several steps to completing this assignment:

• Select an appropriate piece of art to represent each of this week’s civilizations. • Place images representing South and Southeast Asia (1200 – 1980), China and

Korea (1279 – 1980), and Japan (1333 – 1980) art in the appropriate places on the timeline and add corresponding dates for each culture.

• On the slide devoted to each culture: o Drag the star to the corresponding part of the world map. o Provide three sentences in your own words describing three ‘big-picture’

ideas, or significant traits of South and Southeast Asia (1200 – 1980), China and Korea (1279 – 1980), and Japan (1333 – 1980) art.

Note: The work from this week’s reading is from two different continents. Place the star on your map on the place of origin of the particular piece(s) you’ve selected. Requirements:

• Use the Timeline template. • Choose an appropriate picture that represents South and Southeast Asia (1200 –

1980), China and Korea (1279 – 1980), and Japan (1333 – 1980) art. • Write three complete sentences in your own words describing three ‘big-picture’

ideas of South and Southeast Asia (1200 – 1980), China and Korea (1279 – 1980), and Japan (1333 – 1980) art.

Be sure to read the criteria below by which your work will be evaluated before you write and again after you write.

ART102–Art History II TimelineActivity

Evaluation Rubric for Timeline Assignment

CRITERIA Deficient Needs Improvement

Proficient Exemplary

0 points 1 – 9 points 10 points Picture Depicting Cultures

No pictures were provided.

Inaccurate or inappropriate choice of pictures to represent cultures.

Accurate and appropriate choice of pictures to represent cultures.

Dates for the Cultures

Doesn’t move the stars or has the incorrect locations and has many errors for the dates on the timeline and slides specific for cultures.

Moves the stars to locations on the map and may have an error for the dates on the timeline and slides specific for cultures.

Moves the stars to the correct locations on the map and has accurate dates on the timeline and slides specific for cultures.

0 – 19 points 20 – 35 points 36 – 53 points 54 – 60 points Big-Picture Ideas/Traits

Doesn’t provide any big-picture ideas or provides inaccurate big- picture ideas/traits of the cultures.

Provides some accurate big- picture idea/trait that represents the cultures. May be missing key ideas/traits of the cultures.

Provides almost all accurate big- picture ideas/traits that represent the cultures. May be missing key ideas/traits of the cultures.

Provides all necessary accurate and well-written big-picture ideas/traits that represent the cultures.

0 points 5 points 10 points Written Length

Doesn’t have any writing on the slides.

More or less than three sentences or incomplete sentences per culture.

Writes three sentences per culture.

0 – 5 points 6 – 7 points 8 – 9 points 10 points Clear and Professional Writing

Errors impede professional presentation.

Significant errors that do not impede professional presentation.

Few errors that do not impede professional presentation.

Writing and format are clear, professional, and error-free.

Overview:
Instructions:
Requirements:

Art History II Timeline

You will use this template throughout the course, make sure to save your progress and you will upload your work at the end of each unit.

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Late Medieval and Early Renaissance Northern Europe

1395

The Renaissance and Mannerism in Cinquecento, Italy

1500-1599

Baroque in Italy and Spain

1600-1750

The Renaissance in Quattrocento, Italy

1400-1500

High Renaissance and Mannerism in Northern Europe and Spain

1400-1600

B aroque in Northern Europe

1580-1700

Timeline

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Rococo to Neoclassicism

1700s

Impressionism, Post- Impressionism, Symbolism: Europe and America

1870-1900

Modernism in U.S. and Mexico After1900

1900-1945

Contermporary Art Worldwide

1980 to date

Romanticism, Realism, Photography: Europe and America

1800-1870

Modernism in Europe After 1900

1900-1945

Modernism and Postmodernism in Europe and America After 1945

1945-1980

Timeline

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South and Southeast Asia

YYYY

Japan After 1333

YYYY

Oceania Before 1980

YYYY

China and Korea

YYYY

Native American Cultures After 1300

YYYY

Timeline

Africa After 1800

YYYY

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c. 1395 – 1500

Back to the Timeline

Late Medieval and Early Renaissance Northern Europe

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There was a renewed interest in classical Greek Mythology as evidenced by depictions of Greek gods such as Venus

There was a focus on beauty. Human form was depicted proportionally and accurately.

There was a focus on painting nature or including aspects of nature into paintings.

c. 1400 – 1500

Back to the Timeline

The Renaissance in Quattrocento, Italy

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It was characterized by a celebration of ideal natural beauty, perfect proportions and a sense of harmony in the art works as is shown in artworks of the artists Michelangelo and Raphael.

There was an incorporation of religious themes in the artworks as is seen in artworks such as Michelangelo’s Madonna on the Rocks where he depicts the nativity, a religiously important scene in Christianity.

There was an increased use techniques aimed at creating a 3-D impression of paintings using lines, perspective and light.

c. 1500 – 1599

Back to the Timeline

The Renaissance and Mannerism in Cinquecento, Italy

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The artworks incorporated religious themes and symbolism inspired by the cultures of the region.

It was characterized by a love for nature and the realistic, evidenced by the focus on landscape and nature paintings.

The artwork became more emotionally charged

c. 1400 – 1600

Back to the Timeline

High Renaissance and Mannerism in Northern Europe and Spain

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Paintings were characterized by the use of light and emotive depictions in paintings while architectural pieces were characterized by the appearances of being grand and being illusionistic.

There was a strong influence of the catholic church on art and architecture of the time.

It was characterized by use of realism and intense forms of beauty in art and architecture.

c. 1600 – 1750

Back to the Timeline

The Baroque in Italy and Spain

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The main sponsors of art were protestants hence the focus on individual piety and not long health religious narratives.

It was also characterized by a focus on secular subjects as some of the sponsors were the wealthy people not religious institutions.

The artwork focused on the real world and included portraits, and depictions of the landscape.

c. 1580 – 1700

Back to the Timeline

The Baroque in Northern Europe

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There was a shift from a focus of order and balance in art to a preference for light hearted, asymmetrical and aesthetics in art.

The art was keen on depicting private scenes of daily human interactions unlike neoclassical art which focused on public scenes mostly of historical significance.

Rococo art focused on intricate details of art such as swirling curves which was transitioned to simple artforms in the advent of neoclassism

c. Year – Year

Back to the Timeline

Rococo to Neoclassicism: The 18th Century in Europe and America

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There was a focus on capturing the political and social changes of the time such as the industrial revolution in the art produced.

Art was increasingly accepted as a tool to change the world through its message.

There was a shift in focus from the imagination to creation of art that is more ideal and real

c. Year – Year

Back to the Timeline

Romanticism, Realism, Photography: Europe and America

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.There was an increased use of loose brush strokes and lighting techniques in paintings.

There was an emphasis on expression of emotion through the use of color and form.

There was a focus on evoking a deeper meaning of art through symbolism

c. 1870 – 1900

Back to the Timeline

Impressionism, Post-Impressionism, Symbolism: Europe and America

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There was a shift from the tradition with more artists experimenting with techniques such as fragmentation and abstraction.

They tended to focus on inner expression more so expression the subconscious human condition.

There was a complete revolution of the perception of art with changes in what was considered beauty and also on the importance of art.

c. 1900 – 1945

Back to the Timeline

Modernism in Europe

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There was a general rejection of the influences of European art on American art.

Art was used a tool to shape cultural as well as natural identity.

There was experimentation with forms such as geometric abstraction and cubism

c. 1900– 1945

Back to the Timeline

Modernism in the United States and Mexico

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There was an emphasis on innovation and experimentation with new artistic techniques.

Post modernism seemed to embrace diversity fragmentation and ironical depictions.

As modernism was focused on creation of order, post modernism seemed more focused on ideas of chaos and plurality.

c. 1945 – 1980

Back to the Timeline

Modernism and Postmodernism in Europe and America

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It is characterized by the use of varied mediums and technologies that blurs the difference between artforms while pushing the limits of technology

It often engages social and political issues that are pressing.

It is dynamic and often complex

c. 1980 – to date

Back to the Timeline

Contemporary Art Worldwide

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c. Year – Year

Back to the Timeline

South and Southeast Asia

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c. Year – Year

Back to the Timeline

China and Korea

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c. Year – Year

Back to the Timeline

Japan After 1333

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c. Year – Year

Back to the Timeline

Native American Cultures After 1300

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c. Year – Year

Back to the Timeline

Oceania Before 1980

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c. Year – Year

Back to the Timeline

Africa After 1800

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Congratulations on Finishing Your Timeline!

Post.edu

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Chapter 33

SOUTH AND SOUTHEAST ASIA, 1200 TO 1980

Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.

Learning Objectives

Describe the movement of Islam across the Indian subcontinent.

Discuss the impact of the Mughal Empire on the art of India.

Analyze how Mughal artists created miniature paintings for manuscripts.

List examples of the ways the art of the Rajput kingdom differed from that of the Mughal Empire.

Explain the circumstances surrounding the construction of the Taj Mahal.

Demonstrate the changing role that the British played in Indian artistic endeavors from colonization through Indian independence.

Describe the role of Indian nationalism in 19th- and 20th-century Indian art.

Explain how Indian artists of the last century incorporate earlier themes and styles into their work.

Discuss Buddhist beliefs in terms of that religion’s impact on art and architecture in Thailand and Myanmar (Burma).

MAP 33.1

33.1 South and Southeast Asia, 1200 to 1980.

Figure 33.1

33.1 Bichitr, Jahangir Preferring a Sufi Shaykh to Kings, ca. 1615–1618. Opaque watercolor on paper, 10"  7 1/8". Freer Gallery of Art, Washington, D.C.

Figure 33.2

33.2 Qutb Minar (left, looking northeast), begun early 13th century, and Alai Darvaza (right), 1311, Delhi, India.

Figure 33.3

33.3 Lotus Mahal (looking southwest), Vijayanagara, India, 15th or early 16th century.

Figure 33.4

33.4 Basawan and Chatar Muni, Akbar and the Elephant Hawai, folio 22 from the Akbarnama (History of Akbar) by Abul Fazl, ca. 1590. Opaque watercolor on paper, 1' 1 7/8"  8 3/4". Victoria & Albert Museum, London.

Figure 33.5

33.5 Sahifa Banu, Shah Tahmasp, early 17th century. Opaque watercolor on paper, figure panel 6"  3 5/8". Victoria & Albert Museum, London.

Figure 33.5A

33.5A Abul Hasan and Manohar, Darbar of Jahangir, from the Tuzuk-i Jahangiri (Memoirs of Jahangir), ca. 1620. Opaque watercolor and gold on paper, 1' 1 3/4"  7 7/8". Museum of Fine Arts, Boston (Francis Bartlett Donation of 1912 and Picture Fund, 1914).

Figure 33.6

33.6 Ustad Ahmad Lahori(?), Taj Mahal and gardens (looking north), Agra, India, 1632–1647.

Figure 33.7

33.7 Detail of the pietra dura stonework of the area above the central iwan of the facade of the Taj Mahal (fig. 33.6), Agra, India, 1632–1647.

Figure 33.8

33.8 Krishna and Radha in a Pavilion, ca. 1760. Opaque watercolor on paper, 11 1/8"  7 3/4". National Museum, New Delhi.

Figure 33.8A

33.8A Krishna and the Gopis, from the Gita Govinda (Song of the Cowherd), ca. 1550. Opaque watercolor on paper, 4 7/8"  7 1/2". Chhatrapati Shivaji Maharaj Museum, Mumbai.

Figure 33.9

33.9 Outermost gopuras of the Great Temple (looking southeast), Madurai, India, completed 17th century.

Figure 33.10

33.10 Frederick W. Stevens, Victoria Terminus (now Chhatrapati Shivaji Terminus; looking northeast), Mumbai (Bombay), India, 1878–1887.

Figure 33.11

33.11 Maharaja Jaswant Singh of Marwar, ca. 1880. Opaque watercolor on paper, 1' 3 1/2"  11 5/8". Brooklyn Museum, Brooklyn (gift of Mr. and Mrs. Robert L. Poster).

Figure 33.11A

33.11A Abanindranath Tagore, Bharat Mata (Mother India), 1905. Watercolor on paper, 10 1/2"  6". Rabindra Bharati Society, Kolkata.

Figure 33.12

33.12 Meera Mukherjee, Ashoka at Kalinga, 1972. Bronze, 11' 6 3/4" high. Maurya Sheraton Hotel, New Delhi.

Figure 33.13

33.13 Wat Chai Wattanaram (looking east), Ayutthaya, Thailand, 1630.

Figure 33.14

33.14 Walking Buddha, from Sukhothai, Thailand, mid-15th century. Bronze, 7' 2 1/2" high. Wat Benchamabophit, Bangkok.

Figure 33.15

33.15 Emerald Buddha, Emerald Temple, Bangkok, Thailand, 15th century. Jade or jasper, 2' 6" high.

Figure 33.16

33.16 Schwedagon Pagoda (looking northeast), Rangoon (Yangon), Myanmar (Burma), 14th century or earlier (rebuilt several times)

Figure 33.17

33.17 Pha That Luang (looking northwest), Vientiane, Laos, 1566, as rebuilt in 1931–1935.

Figure 33.18

33.18 Dish with two mynah birds on flowering branch, from Vietnam, 16th century. Stoneware painted with underglaze-cobalt, 1' 2 1/2" in diameter. Pacific Asia Museum, Pasadena.

Discussion Questions

What do you consider the most important cultural and religious influences in the art of India?

Compare Mughal miniature paintings to other manuscripts you have studied.

How is our understanding of the Taj Mahal informed both by historical sources and by architectural precedents?

Why is the Sukhothai Walking Buddha unusual?

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Chapter 35

JAPAN, 1333 TO 1980

Learning Objectives

Describe the religious and artistic changes that appeared during the Muromachi period in Japan.

Explain Zen Buddhism’s influence on Japanese art and architecture.

Discuss how Japanese art of the Momoyama period reflects that era’s warlord control in Japan.

Describe the role of art in the Japanese tea ceremony.

Analyze the gradual changes that appear in Japanese art when the capital moved from Kyoto to Tokyo.

List the factors that account for the rapid entry of Japanese art and architecture into the international milieu.

Compare the style of the two Muromachi painters, Sesshu Toyo and Kano Motonobu.

Discuss the advent of the Rinpa school as an alternative to the traditional schools of painting.

Demonstrate how the combination of traditional art with crafts created new avenues of creation.

Explain how the increasingly urban population of Japan enabled both literati styles and ukiyo-e.

Contrast the factors behind the Westernization of Japanese oil painting and the work of Ernest Fenollosa and Okakura Kakuzo to resist this Westernization.

Discuss how folk art and refined rusticity impacted Japanese ceramic traditions.

MAP 35.1

35.1 Modern Japan.

Figure 35.1

35.1 Ando Hiroshige, Plum Estate, Kameido, from One Hundred Famous Views of Edo, Edo period, 1857. Woodblock print, ink and colors on paper, 1' 1 1/4"  8 5/8". Brooklyn Museum, Brooklyn (gift of Anna Ferris).

Figure 35.2

35.2 Kano Motonobu, Zen Patriarch Xiangyen Zhixian Sweeping with a Broom, from Daitokuji, Kyoto, Japan, Muromachi period, ca. 1513. Hanging scroll, ink and color on paper, 5' 7 3/8"  2' 10 3/4". Tokyo National Museum, Tokyo.

Figure 35.3

35.3 Sesshu Toyo, splashed-ink (haboku) landscape, detail of the lower part of a hanging scroll, Muromachi period, 1495. Ink on paper, full scroll 4' 10 1/4"  1' 7/8", detail 4 1/2" high. Tokyo National Museum, Tokyo.

Figure 35.3A

35.3A Kokedera moss garden, Saihoji, Kyoto, Japan, modified in Muromachi period, 14th century.

Figure 35.4

35.4 Karesansui (dry-landscape) garden, Ryoanji, Kyoto, Japan, Muromachi period, ca. 1488.

Figure 35.5

35.5 White Heron Castle, Himeji, Japan, constructed in 1346 and enlarged during the Momoyama period in 1581 and again in 1601–1609.

Figure 35.6

35.6 Kano Eitoku, Chinese Lions, Momoyama period, late 16th century. Six-panel screen, ink, colors, and gold-leaf on paper, 7' 4"  14' 10". Imperial Household Collection, Tokyo.

Figure 35.7

35.7 Hasegawa Tohaku, Pine Forest, Momoyama period, late 16th century. One of a pair of six-panel screens, ink on paper, 5' 1 3/8"  11' 4". Tokyo National Museum, Tokyo.

Figure 35.8

35.8 Sen no Rikyu, interior of the Taian teahouse, Myokian temple, Kyoto, Japan, Momoyama period, ca. 1582.

Figure 35.9

35.9 Kogan (tea-ceremony water jar), Momoyama period, late 16th century. Shino glazed stoneware with underglaze iron slip decoration, 7 3/4" high. Cleveland Museum of Art, Cleveland (John L. Severance Fund).

Figure 35.10

35.10 East facade of the Katsura Imperial Villa, Kyoto, Japan, Edo period, 1620–1663.

Figure 35.10A

35.10A Tawaraya Sotatsu, Waves at Matsushima, from Shounji, Sakai, Japan, Edo period, ca. 1630. One of a pair of six-panel screens (Matsushima Screens), ink, colors, gold, and silver on paper, 4' 9 7/8"  11' 8 1/2". Freer Gallery of Art, Smithsonian Institution, Washington, D.C. (gift of Charles Lang Freer).

Figure 35.11

35.11 Honami Koetsu, Boat Bridge, writing box, Edo period, early 17th century. Lacquered wood with sprinkled gold and lead overlay, 9 1/2"  9"  4 3/8". Tokyo National Museum, Tokyo.

Figure 35.12

35.12 Yosa Buson, Cuckoo Flying over New Verdure, Edo period, late 18th century. Hanging scroll, ink and colors on silk, 5' 1/2"  2' 7 1/4". Hiraki Ukiyo-e Museum, Yokohama.

Figure 35.13

35.13 Suzuki Harunobu, Evening Bell at the Clock, from Eight Views of the Parlor, Edo period, 1765. Woodblock print, 11 1/4"  8 12". Art Institute of Chicago, Chicago (Clarence Buckingham Collection).

Figure 35.13A

35.13A Kitagawa Utamaro, Ohisa of the Takashima Tea Shop, Edo period, 1792–1793. Woodblock print, ink and colors on paper, 1' 2 7/8"  9 3/4". British Museum, London.

Figure 35.14

35.14 Katsushika Hokusai, The Great Wave off Kanagawa, from Thirty-six Views of Mount Fuji, Edo period, ca. 1826–1833. Woodblock print, ink and colors on paper, 9 7/8"  1' 2 3/4". Museum of Fine Arts, Boston (Bigelow Collection).

Figure 35.15

35.15 Takahashi Yuichi, Oiran (Grand Courtesan), Meiji period, 1872. Oil on canvas, 2' 6 1/2"  1' 9 5/8". Tokyo National University of Fine Arts and Music, Tokyo.

Figure 35.16

35.16 Kano Hogai, Bodhisattva Kannon, Meiji period, 1883. Hanging scroll, ink, colors, and gold on silk, 5' 4 3/8"  2' 9 3/8". Freer Gallery of Art, Smithsonian Institution, Washington, D.C. (gift of Charles Lang Freer).

Figure 35.17

35.17 Kenzo Tange, aerial view of the national indoor Olympic stadiums (looking northeast), Tokyo, Japan, Showa period, 1961–1964.

Figure 35.18

35.18 Hamada Shoji, large plate, Showa period, 1958. Stoneware with porcelain enamel glaze, 10 3/4" diameter. Private collection.

Figure 35.19

35.19 Kazuo Shiraga, Making a Work with His Own Body, Showa period, 1955. Mud.

Discussion Questions

What role did Zen Buddhism play in shaping the art of Japan?

What are some aesthetic qualities favored during the Japanese tea ceremony? How does this affect the site and implements used during the ceremony?

What elements characterize ukiyo-e prints? How do they compare to popular prints from northern Baroque Europe?

Which do you consider the most significant example of Japanese architecture, and why?

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Chapter 34

CHINA AND KOREA, 1279 TO 1980

Learning Objectives

Interpret the impact the Mongol emperors had on the arts of China.

Compare Chinese literati painters of the Yuan and Ming dynasties.

Describe the Ming Imperial City, including the Forbidden City and the pleasure gardens.

Discuss the concept of “primordial line” in Qing literati painting.

Describe the process of producing Chinese lacquered wood.

Explain two different instances of foreign influence in Chinese arts and culture.

List the porcelain traditions in China from the Yuan to the Qing dynasties.

Analyze the impact of Communism on Chinese art.

Compare the use of the gateway in Chinese and Korean architecture.

MAP 34.1

34.1 China during the Ming dynasty.

Figure 34.1

34.1 Aerial view (looking north) of the Forbidden City, Beijing, China, Ming dynasty, 15th century and later.

Figure 34.1c

34.1c The southern entrance to the Forbidden City was the Noon Gate. Only the emperor could walk through the central portal. Those of decreasing rank used the lateral passageways.

Figure 34.1A

34.1A Zhao Mengfu, Sheep and Goat, Yuan dynasty, ca. 1300. Section of a horizontal scroll, ink on paper, 9 7/8" high. Freer Gallery of Art, Smithsonian Institution, Washington, D.C.

Figure 34.2

34.2 Guan Daosheng, Bamboo Groves in Mist and Rain (detail), Yuan dynasty, 1308. Section of a handscroll, ink on paper, full scroll 9 1/8"  3' 8 7/8". National Palace Museum, Taipei.

Figure 34.3

34.3 Wu Zhen, Stalks of Bamboo by a Rock, Yuan dynasty, 1347. Hanging scroll, ink on paper, 2' 11 1/2"  1' 4 5/8". National Palace Museum, Taipei.

Figure 34.4

34.4 Huang Gongwang, Dwelling in the Fuchun Mountains, Yuan dynasty, 1347–1350. Section of a handscroll, ink on paper, full scroll 1' 7/8"  20' 9". National Palace Museum, Taipei.

Figure 34.4A

34.4A Ni Zan, Rongxi Studio, Yuan dynasty, 1372. Hanging scroll, ink on paper, 2' 5 3/8" high. National Palace Museum, Taipei.

Figure 34.5

34.5 David Vases, Yuan dynasty, 1351. Pair of white porcelain vases with cobalt-blue underglaze, each 2' 1" tall. British Museum, London (Sir Percival David Foundation of Chinese Art).

Figure 34.5A

34.5A Phoenix Pavilion (looking east), Great Mosque (Hua Jue Jiang Mosque), Xi’an, China, begun 1392.

Figure 34.6

34.6 Hall of Supreme Harmony (looking north), Forbidden City, Beijing, China, Ming dynasty, 15th century and later.

Figure 34.7

34.7 Throne room, Hall of Supreme Harmony, Forbidden City, Beijing, China, Ming dynasty, 15th century and later.

Figure 34.8

34.8 Wangshi Yuan (Garden of the Master of the Fishing Nets), Suzhou, China, Ming dynasty, 16th century and later.

Figure 34.9

34.9 Guanyun (Cloud Crowned) Peak, rock formation in the Liu Yuan (Lingering Garden), Suzhou, China, Ming dynasty, 16th century and later.

Figure 34.10

34.10 Table with drawers, Ming dynasty, ca. 1426–1435. Carved red lacquer on a wood core, 3' 11" long. Victoria & Albert Museum, London.

Figure 34.11

34.11 Shang Xi, Guan Yu Captures General Pang De, Ming dynasty, ca. 1430. Hanging scroll, ink and colors on silk, 6' 5"  7' 7". Palace Museum, Beijing.

Figure 34.12

34.12 Shen Zhou, Lofty Mount Lu, Ming dynasty, 1467. Hanging scroll, ink and colors on paper, 6' 4 1/4"  3' 2 5/8". National Palace Museum, Taipei.

Figure 34.12A

34.12A Shen Zhou, Poet on a Mountaintop, Ming dynasty, ca. 1490–1500. Album leaf, ink on paper, 1' 3 1/4"  1' 11 3/4". Nelson-Atkins Museum of Art, Kansas City (Purchase, Nelson Trust).

Figure 34.13

34.13 Dong Qichang, Dwelling in the Qingbian Mountains, Ming dynasty, 1617. Hanging scroll, ink on paper, 7' 3 1/2"  2' 2 1/2". Cleveland Museum of Art, Cleveland (Leonard C. Hanna Jr. bequest).

Figure 34.14

34.14 Wen Shu, Carnations and Garden Rock, Ming dynasty, 1627. Fan, ink and colors on gold paper, 6 3/8"  1' 9 1/4". Honolulu Academy of Arts, Honolulu (gift of Mr. Robert Allerton).

Figure 34.15

34.15 Shitao, Reminiscences of Nanjing: Riding the Clouds, Qing dynasty, 1707. Album leaf, ink on paper, 1' 1/4"  8 7/8". Arthur M. Sackler Gallery, Smithsonian Institution, Washington, D.C.

Figure 34.16

34.16 Giuseppe Castiglione (Lang Shining), Auspicious Objects, Qing dynasty, 1724. Hanging scroll, ink and colors on silk, 7' 11 3/8"  5' 1 7/8". Palace Museum, Beijing.

Figure 34.17

34.17 Dish with lobed rim, Qing dynasty, ca. 1700. White porcelain with multicolored overglaze, 1' 1 5/8" diameter. Sir Percival David Foundation of Chinese Art, London.

Figure 34.18

34.18 Ye Yushan and others, Rent Collection Courtyard (two details), Dayi, China, 1965. Clay, complete group of life-size figures 100 yards long.

Figure 34.19

34.19 Namdaemun (looking southwest), Seoul, South Korea, Joseon dynasty, first built in 1398.

Figure 34.20

34.20 Jeong Seon, Geumgangsan (Diamond Mountains), Joseon dynasty, 1734. Hanging scroll, ink and colors on paper, 4' 3 1/2"  1' 11 1/4". Hoam Art Museum, Kyunggi-Do.

Discussion Questions

What are examples of how Chinese literature and art are interconnected? Can you think of examples from other cultures that also bring art and the word so closely in alignment?

Why is Chinese porcelain highly valued in the Western world?

How did Western art influence Chinese art? In turn, how has Chinese art influenced the art of other societies?

What features make the gardens of Suzhou a key example of landscape architecture?