China:The Glorious Tang And Song Dynasties - Asian Art Museum ...

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Introduction to the Arts of the Tang and Song Dynasties By Brian Hogarth
Introduction to the Arts of the Tang and Song Dynasties Enclosed in this packet is a CD with art images dating from the Tang (618–906) and Song (960–1279) dynasties in China. The images are drawn primarily from the collections of the Asian Art Museum in San Francisco. The art images can be used to discuss themes of trade and commerce, technology, burial practices, and religious ideas, as well as arts associated with the scholar or literary class working at court during the Tang and Song. They can also be examined as individual works of art, and discussed in terms of art production, subject matter, and aesthetics. The art section of this packet includes this introduction, and a section describing the art images. This introduction includes: 1. Some advice for teachers trying to form a picture of Tang-Song China through surviving works of art. 2. Defining the roles of artists and the different markets that they served. 3. Brief background on developments in Chinese ceramics, Buddhist arts, and calligraphy and painting. 1. FORMING A PICTURE OF TANG-SONG DYNASTIES IN CHINA THROUGH ART OBJECTS When discussing with students the enclosed images of Tang and Song dynasty objects from China, teachers are advised to consider the following: • What has been collected from the past—particularly in Western museums—represents only a fragment of what was produced. The things that survive are generally durable objects from elite tombs or objects collected over the centuries by wealthy patrons and their families, which have survived many wars, social upheavals, and natural disasters. • What has been collected reflects the particular tastes of the collector. The Asian Art Museum, for example, has a strong collection of Chinese ceramics; however it has very little in the way of paintings and calligraphy from the Tang-Song periods. Therefore we have included a few examples of paintings from other collections so that this important subject is not overlooked. • Objects in most art museum environments are displayed largely for their artistic or aesthetic value. It’s easy to overlook the context of how these objects were originally used. Almost all the images in this packet had practical functions beyond their aesthetic appeal. Many were used for eating or drinking. Others were bought, sold, traded, or commissioned by different patrons from various levels of society. Some were intended to be part of an architectural environment; others were placed in tombs alongside their owners. • The idea of collecting objects from the past became quite popular during the Tang and particularly the Song dynasty. Systematic archaeological research began and illustrated catalogues were compiled during these centuries. Connoisseurship became a mark of distinction among the elite classes. An appreciation of the past found its way into new styles of art. Works of art that included references to the past carried additional layers of meaning. 46
Page 1 and 2: China: The Glorious Tang and Song D
Page 3 and 4: Table of Contents 3 An Introduction
Page 5 and 6: An Introduction to the Tang and Son
Page 7 and 8: of life. Most of its ideas and prac
Page 9 and 10: Tang and Song Religion and Philosop
Page 11 and 12: Enlightenment is not a tree to begi
Page 13 and 14: trines freely throughout the empire
Page 15 and 16: ZHU XI (1130-1200) The intellectual
Page 17 and 18: Tang and Song Literature By Zhaoyan
Page 19 and 20: ureaucrat; he loved wine and travel
Page 21 and 22: career and eventually retired to pu
Page 23 and 24: Children Children don’t know what
Page 25 and 26: But my mind is clearer than the riv
Page 27 and 28: Science in the Tang and Song Dynast
Page 29 and 30: Above: Ming dynasty armillary spher
Page 31 and 32: PRINTING Among the most globally si
Page 33 and 34: types of kilns: Ding Kiln, Ru Kiln,
Page 35 and 36: BIBLIOGRAPHY [1]. Joseph Needham,
Page 37 and 38: PERSONAL CONNECTIONS Confucianism T
Page 39 and 40: The role of the teacher in Chinese
Page 41 and 42: PERSONAL CONNECTIONS Floating on Cl
Page 43 and 44: advances in his learning and spirit
Page 45: enough, everyone in the class assum
Page 49 and 50: ased on court styles or through ind
Page 51 and 52: mented the use of hammered metal cu
Page 53 and 54: • Sancai: Literally “three colo
Page 55 and 56: Despite these persecutions and cont
Page 57 and 58: The importance of calligraphy is un
Page 59 and 60: ate, and painted in colorful washes
Page 61 and 62: CHARACTER STROKES All Chinese chara
Page 63 and 64: Mantou (northern) Kiln Long (southe
Page 65 and 66: SLIDE 1A SLIDE 1B Camel, approx. 69
Page 67 and 68: SLIDE 2A SLIDE 2B Dancer, probably
Page 69 and 70: SLIDE 3A SLIDE 3B Plate in the shap
Page 71 and 72: SLIDES 4A SLIDES 4B Pair of tomb gu
Page 73 and 74: SLIDE 5A SLIDE 5B Vase with broad m
Page 75 and 76: Why are kiln sites so important whe
Page 77 and 78: What are these paintings? Both pain
Page 79 and 80: SLIDE 7A SLIDE 7B Pillow in the for
Page 81 and 82: particular the beauty of the intera
Page 83 and 84: SLIDES 8A SLIDES 8B SLIDES 8C SLIDE
Page 85 and 86: What was ru ware and why is it impo
Page 87 and 88: What are these objects? These objec
Page 89 and 90: SLIDE 10A SLIDE 10B Vase, approx. 1
Page 91 and 92: SLIDE 11A SLIDE 11B Bowl with plum
Page 93 and 94: sumption, it was usually boiled lik
Page 95 and 96: insisted that a cup stand be fashio
Page 97 and 98:
What are these buildings? The first
Page 99 and 100:
SLIDE 14A SLIDE 14B SLIDE 14C SLIDE
Page 101 and 102:
SLIDE 15A SLIDE 15B Stele with the
Page 103 and 104:
SLIDE 16A SLIDE 16B The Bodhisattva
Page 105 and 106:
What is an arhat/luohan? The luohan
Page 107 and 108:
time, this was Liao territory. One
Page 109 and 110:
What is this painting? Illustrated
Page 111 and 112:
SLIDE 19A SLIDE 19B Solitary Temple
Page 113 and 114:
One writer commented that Li Cheng
Page 115 and 116:
Ma Yuan, and a contemporary artist
Page 117 and 118:
in the style of Wang Xizhi (mention
Page 119 and 120:
What are these images? Each image i
Page 121 and 122:
These two works are about a thousan
Page 123 and 124:
Classroom Applications The purpose
Page 125 and 126:
History and Social Science Connecti
Page 127 and 128:
HISTORICAL LITERACY: HANDOUT A1 Tan
Page 129 and 130:
1. What actions, goals and accompli
Page 131 and 132:
Xiaozong, emperor of Southern Song
Page 133 and 134:
SOCIAL SCIENCE: HANDOUT B1 Poetry A
Page 135 and 136:
HISTORICAL SIGNIFICANCE: HANDOUT D1
Page 137 and 138:
FINE ARTS CONNECTIONS Literati Pain
Page 139 and 140:
The Tang and Song Dynasties: Art Ac
Page 141 and 142:
EVIDENCE OF ARTISTIC ACHIEVEMENT: 1
Page 143 and 144:
There are several parts to your ass
Page 145 and 146:
FINE ARTS ACTIVITY: HANDOUT D Daois
Page 147 and 148:
Language Arts Connections By Donna
Page 149 and 150:
LANGUAGE ARTS CONNECTIONS DEVELOPED
Page 151 and 152:
Xuanzang is given the religious nam
Page 153 and 154:
Monkey was so excited that he did a
Page 155 and 156:
LANGUAGE ARTS: HANDOUT A3 Cloze Key
Page 157 and 158:
grew darker and darker. When it gre
Page 159 and 160:
egan to out of his head. At the sig
Page 161 and 162:
eyes began to bulge, pop, burst out
Page 163 and 164:
LANGUAGE ARTS: HANDOUT B2 Summary R
Page 165 and 166:
LANGUAGE ARTS: HANDOUT C1 Story Ana
Page 167 and 168:
LANGUAGE ARTS: HANDOUT C2 Story Ana
Page 169 and 170:
LANGUAGE ARTS: HANDOUT D Hands-on V
Page 171 and 172:
Xuanzang’s Horse, 2005. China. Sh
Page 173 and 174:
Xuanzang 172
Page 175 and 176:
Pigsy Instructions: Make two legs a
Page 177 and 178:
Classroom Connections, Bibliography
Page 179 and 180:
FOR STUDENTS: Ames, Roger T. The Zh
Page 181 and 182:
Further Reading GENERAL BOOKS ON CH
Page 183 and 184:
Maps
Page 185 and 186:
Northern Song and Liao Dynasties Na
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