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Chinese fine art was traditionally made for imperial purposes, and has a long history in China. This is in comparison to Chinese folk art.
Calligraphy
[edit]The Chinese imperial court collects the most valuable calligraphy pieces. They done by the most talented calligraphers of each century. Every emperor, as an enthusiastic collector carried on their ancestors' tradition of adding their own seal mark on to the calligraphy pieces. These tradition made all of the pieces extremely valuable and collectible.[citation needed]
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Crossing the Frozen River, a poem in running script by Kangxi Emperor (1654—1722), Palace Museum, Beijing
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Calligraphy on fan by Mo Shilong, China, Ming dynasty, 16th century, ink on gold paper, Honolulu Academy of Arts
Ceramics
[edit]Chinese ceramics, which began in the pre-dynastic periods, has continuously improved since then. it is one of the most significant forms of Chinese art.
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Dish with underglazed blue and overglazed red design of clouds and dragons, Jingdezhen ware, Yongzheng reign 1723-1735, Qing, Shanghai Museum
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Sancai glazed ceramic horse, Tang Dynasty of China, 7th-8th Century, Musée Guimet
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Chinese glazed stoneware jar, Yuan Dynasty, Honolulu Academy of Arts
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blue glazed vase with golden medallion design, Jingdezhen ware,1875~1908 A.D., a collection of Shanghai Museum
Snuff bottle
[edit]When opium was introduced to China, Snuff bottles then became popular. The Chinese royalties were addicted to it as well, and they used it as a long-life medicine. The design of the snuff bottles flourished because the money that was poured into the industry was by the rich. Many snuff bottles were made by talented artisans, using tiny paint brushes, and painted from inside of the bottle reaching down from the top of narrow neck. They are highly collectible still to this day.[citation needed]
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Chinese snuff bottles, various time periods, British Museum in London.
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Chinese snuff bottle, 19th century, glass bottle with jadeite stopper, Honolulu Museum of Art
Cloisonné
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Large gilded copper plate with cloisonné, Qing Dynasty, 19th century, Museum für Angewandte Kunst, Frankfurt
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Pilgrim flask decorated with peaches and pomegrenates; Ming Dynasty, 1st half of 17th century, Museum Rietberg, Zurich
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Qilin-shaped incense burner (17th-18th centuries) on display at the Iris & B. Gerald Cantor Center for Visual Arts on the Stanford University campus in Stanford, California.
Engraving
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A golden canteen made during the Chinese Ming Dynasty, dated 15th century, Freer and Sackler Galleries, Washington D.C.
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A Chinese red lacquer tray over wood with engraved golden foil, from the Song Dynasty (960–1279 AD), dated 12th to early 13th century. Freer and Sackler Galleries, Washington D.C.
Jewellery
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Hair pin, Art collection in the Palace Museum, Beijing
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Hair Ornament, 19th century, Walters Art Museum
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Ceremonial Headdress, 19th century, Walters Art Museum
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Chinese Imperial Queen's Headdress, Ming Dynasty, Mings Tomb Museum
Lacquer
[edit]During the Shang Dynasty (ca. 1600–1046 BCE), the sophisticated techniques used in the lacquer process were first developed and it became a highly artistic craft,[1] various prehistoric lacquerware have been unearthed in China dating back to the Neolithic period.[1] The earliest extant lacquer object, a red wooden bowl,[2] was unearthed at a Hemudu culture (ca. 5000-4500 BCE) site in China.[3] By the Han Dynasty (206 BCE – 220 CE), many centers of lacquer production became firmly established.[1] The knowledge of the Chinese methods of the lacquer process spread from China during the Han, Tang and Song dynasties. But, eventually it was introduced to Korea, Japan, Southeast and South Asia.[4]
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Chinese Mother of Pearl Lacquer Box with Peony Decor, Ming Dynasty, 16th Century, Museum für Lackkunst, Münster (Germany)
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A detail of "Prosperity in an imperial palace", a 12 panel screen of lacquered wood (1670) on display at the Asian Art Museum in San Francisco, California.
Painting
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‘Pink and White Lotus’, hanging scroll, 14th century China, Kimbell Art Museum
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Chen Cheng-po, 1933, canvas oil painting, Collection of Taiwan Museum of Fine Art
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Wood, Bamboo, and Elegant Stone, Ni Zan, 1360s-1370s, Palace Museum
Photography
[edit]Photography was used in several China's cities soon after the invention of photography in 1839 and the arrival of European photographers in Macao. At first, people who were superstitious, thought having the camera take a picture of them would result in their spirit being taken away. By the end of the nineteenth century, all major cities had photographic studios. Some affluent Chinese people adopted photography as a hobby. Western and Chinese photographers documented ordinary street life, major wars, and prominent figures.[citation needed]
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The Cixi Imperial Dowager Empess of China
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Three-year-old Emperor of China Pu Yi, February 23, 1909, Library of Congress
The Empress Dowager Cixi had her portrait taken repeatedly.
Sculpture and carving
[edit]The 18th Century Qing dynasty covered vase depicts a woman who is holding lingzhi fungus and a peony branch. See is accompanied by a boy, crane, and a deer.[citation needed]
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Covered Vase Decorated with Female Figure, Qing dynasty, 18th century, coral, Asian collection in the Worcester Art Museum, Worcester, Massachusetts
Ivory Carving
[edit]Ivory was not a prestigious material in the rather strict hierarchy of Chinese art, where jade has always been far more highly regarded, and rhinoceros horn, which is not ivory, had a special auspicious position.[5] But ivory, as well as bone, has been used for various items since early times, when China still had its own species of elephant — demand for ivory seems to have played a large part in their extinction, which came before 100 BC. From the Ming Dynasty ivory began to be used for small statuettes of the gods and others (see gallery). In the Qing Dynasty it suited the growing taste for intricate carving, and became more prominent, being used for brush-holders, boxes, handles and similar pieces, and later Canton developed large models of houses and other large and showy pieces, which remain popular.[6] Enormous examples are still seen as decorative centrepieces at government receptions. Figures were typically uncoloured, or just with certain features coloured in ink, often just black, but sometimes a few other colours.[citation needed]
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Ivory figurine of Wen Chang, the "God of Literature". Circa 1550-1644, Ming dynasty, Royal Ontario Museum.
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A pair of ivory fans depicting scenes from Romance of the Western Chamber, approx. 1800-1911, Qing Dynasty. On display at the Asian Art Museum in San Francisco, California.
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A Chinese ivory table screen with carved decoration of an outdoor scene, from the Qing Dynasty, dated to the reign of the Qianlong Emperor (1735–1796).
Governmental seals
[edit]Seal sculpture (紐刻), is an art that originated in ancient China and is mainly popular in East Asian countries. It focuses or decorates on the head-part or the top-side of a seal. It is a kind of sculpture or mini-sculpture. In China, the utmost important seal of all is the imperial seal called 'He Shi Bi', now lost, it was said that the green jade took a form of a round shape with inscriptions read "Having received the Mandate from Heaven, may (the emperor) lead a long and prosperous life." (受命於天,既壽永昌) written by the Primer Li Si for Qin Shi Huang Zhao zheng, the Augustus Emperor of The Chinese Empire.[citation needed]
Ruyi
[edit]Ruyi is a scepter that serves primarily as a decoration. Its history began in the Qing Dynasty when the Ruyi sceptors given to noted visitors of the emperor. Now they're given as birthday presents. It is made of different materials, including porcelain and jade. The term Ruyi means "may your wish be granted" or "as you wish". The unusual shape is meant to imitate the shape of a stemmed lotus flower.[7]
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A gold ruyi carved with flowers. Qing Dynasty (1644-1911). Palace Museum, Beijing.
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Ornament with persimmon, lily & ruyi fugngus, chalcedony, 1900–49, Qing Dynasty or Republic Period. On display at the Asian Art Museum of San Francisco.
Stone carving
[edit]Woodwork
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Chinese bamboo carving, Qing Dynasty, c.1900
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Portable Buddhist Shrine, 10th century, carved wood, Walters Art Museum
Textile arts
[edit]Embroidery
[edit]Chinese embroidery is some of the oldest extant needlework. The four major regional styles of Chinese embroidery are Suzhou (Su Xiu), Hunan (Xiang Xiu), Guangdong (Yue Xiu) and Sichuan (Shu Xiu). All of them are nominated as Chinese Intangible Cultural Heritage.[citation needed]
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Embroidered silk, 1770-1820, Qing Dynasty
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Golden pheasant rank badge, 2nd rank civil servant, silk tapestry with painted details. China, Qing Dynasty, late 18th – early 19th century. Denver Art Museum
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Detail of qifu (imperial dragon robe), late 19th or early 20th century, silk, gilt thread, twill and damask weave, embroidery, Honolulu Academy of Arts
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Detail of the central embroidery work of a woman's summer robe, silk gauze, approx. 1875-1900, Qing Dynasty. On display at the Asian Art Museum of San Francisco.
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Chinese summer court robe ("dragon robe"), c. 1890s, silk gauze couched in gold thread, East-West Center
Rugs
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A room with traditional Chinese wedding decorations and rugs, Forbidden City in Beijing
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A room with blue patterned carpet and hanging dragon rug, Forbidden City, Beijing
Woven material
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Detail of qifu (imperial dragon robe), late 19th or early 20th century, silk, gilt thread, twill and damask weave, embroidery, Honolulu Academy of Arts
See also
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![]() Wikimedia Commons has media related to Art of China.
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References
[edit]Bibliography
[edit]- Chang, Zonglin. Li, Xukui. (2006). Aspect of Chinese culture. 中国文化导读. 清华大学出版社 publishing
- Institute of the History of Natural Sciences and Chinese Academy of Sciences, ed. (1983). Ancient China's technology and science. Beijing: Foreign Languages Press. ISBN 978-0-8351-1001-3.
- Rawson, Jessica (ed). (2007). The British Museum Book of Chinese Art, (2nd edn). British Museum Press. ISBN 978-0-7141-2446-9
- Stark, Miriam T. (2005). Archaeology of Asia. Malden, MA : Blackwell Pub. ISBN 1-4051-0213-6.
- Wang, Zhongshu. (1982). Han Civilization. Translated by K.C. Chang and Collaborators. New Haven and London: Yale University Press. ISBN 0-300-02723-0.
- Webb, Marianne (2000). Lacquer: Technology and conservation. Oxford: Butterworth-Heinemann. ISBN 978-0-7506-4412-9.