Comparison and Contrast Essay on Chinese Paintings

Introduction

Craftsmanship is an essential piece of Chinese legacy and culture. China has exceeded expectations in all types of artistry for a few centuries and demonstrates the Chinese individuals' affection for it. China is an aesthetic nation that begun building up the unique fine art a large number of years prior. As the way of life created and moved far from cavern abodes, expressions of the human experience all through the nation started to take on a brush stroke plan that is as yet detectable in modern Chinese artistry. In spite of the continuous upgrades and definite improvements in the style of artworks and figures, the art held a focal topic that concentrated on nature and concordance (Ku, Lee, & Ellis, 2017).

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China is additionally outstanding for the jade carvings that are utilized in adornments, home enhancement and broad scope of different applications. Jade carvings go back to around 1,300 years and are a compelling piece of the nation's rich history (Cheng, 2017). The model of China is most notable when it identifies with the graves of antiquated rulers. The figures of dirt warriors, ponies and workers have been found in archeological burrows. These figures have fine specifying that exhibits facial highlights and point by point protective layer. The Chinese art to compare and contrast for this essay is Admonitions of the Instructress to the Court Ladies - Lady Feng and the bear, by Gu Kaizih, which is dated late 4th century AD, and the other artwork is Spring Dawn in the Han Palace by Qiu Ying which dates back to the first part of the 16th century (Huang, 2015). These comparison and contrast between the two arts relate to the analysis of their content and the characters that have been featured therein, since Gu Khaizih concentrates on the loyalty of Lady Feng to her Emperor while Qui Ying depicts how ladies should behave in courts. Gu Kaizih is inspired by his students, and his art work is a collection of the student’s work, while Qui Ying is an inspiration of his own and they also have some similarities as discussed below.

Admonitions of the Instructress to the Court Ladies - Lady Feng and the bear, by Gu KaizihGu Kaizhi was a prestigious calligrapher, painter of court pictures and a pioneer of scene painting. This scroll is not of his hand, however, epitomizes the critical components of his style. Along these lines, we state the work is "ascribed" to him. His understudies in all probability executed it. Here, Lady Feng is sparing her Emperor's life. She is putting herself in the middle of him and an assaulting bear. This is an ideal case of Confucian conduct (Cheng, 2017). As in various Chinese compositions, the foundation is insignificant, accentuating the story introduced by the figures. The presents, vacillating drapery and strips and outward appearances all make a feeling of activity or development. The feel and painting standards of this time underscore the significance of communicating a figure inward imperativeness and soul. This was more esteemed than imitating surface appearances (which is the fixation of Western specialists for a large portion of the second thousand years)

Spring Dawn in the Han Palace by Qiu Ying

This work takes as its experience a castle setting amid the Han line on beautiful spring daybreak; it portrays a wide range of exercises in the women's quarters. Among the scenes is the acclaimed story of the painter Mao Yanshou completing a picture of Wang Zhaojun. The arrangement all through the handscroll is perplexing and the brushwork unadulterated yet stable with delightfully beautiful hues. Trees and gardens are mixed among the rich royal residence structures, displaying a radiant scene as though in a domain of immortals (Cheng, 2017).

Notwithstanding gatherings of marvels, they are additionally appeared in different comfortable exercises related to literati, for example, the zither, Go, painting, and calligraphy. Alongside scenes of acknowledging antique pieces and bloom masterminding, this work speaks to a breathtaking exertion by Qiu Ying as far as authentic story. Toward the start of the parchment is Xiang Yuanbian's (1525-1590) promotion character "lu 慮" from the "Thousand Character Essay," while toward the end is a note by Xiang giving the estimation of the depiction as "200 gold." As such, doubtlessly Qiu Ying did this gem for Xiang Yuanbian and that it was most likely finished in Qiu's late years (Murck, 2015).

The long handscroll delineates an assortment of exercises on a spring morning in the royal residence of the Han Dynasty (202 BC-AD 220). However, a portion of the articles and real examples had a place with the painter's very own time. In the sketch, there are out and out 115 figures, including court women, housekeepers, eunuchs, painters, and youngsters (Cheng, 2017). In a pure environment, some of them are unhurriedly clearing the yards, watering blooms or conveying things about, others are playing Chinese melodic instruments, acknowledging works of art, playing chess, perusing books, pursuing a butterfly or moving and talking (Murck, 2015). One of the real scenes in the depiction depicts a gathering of court women and cleaning specialists viewing a royal residence craftsman paint the picture of another court woman, which was standard work on amid that time as rulers, as a rule, relied on representations to pick the court women. In this way, the women dependably paid off the craftsmen to paint them prettier than they indeed were (Huang, 2015). This scene helps numerous watchers to remember the anecdote about a stunner in the Han castle who would not fix her portraitist. Subsequently, the craftsman painted her less lovely than other court women, in this manner denying her the chance to meet the head. Afterward, when the sovereign gave the excellence away to a chieftain from a northern migrant clan as his significant other, he discovered that she was the most excellent lady he had ever observed. Instantly of wrath, the head requested the quick execution of the picture painter (Ku, Lee, & Ellis, 2017).

Comparison of the Two Arts

Both are Chinese paintings, and they are also referred to as ink-wash painting or brush painting. They both make up one of the earliest forms of arts in the world. They both use varied styles, symbolism, perspective, and techniques, which differ from the Western artworks. The artists have employed tools and media of traditional Chinese, painting – which is not familiar to many Westerners like brushes, rice paper, inkstones, and ink sticks. Just like Chinese calligraphy, the characters of this art bind up with the specific nature of the medium (Cheng, 2017). The primary material in both cases is ink, which is developed on a short stick of hard pine soot and glue that is rubbed consistently on an inkstone, with less water. Both painters painted on a surface that is absorbent thus allowing no correction or erasure. The painters had a long practice since they knew beforehand what they needed to do and their execution demanded confidence, a mastery of the technique and speed. For instance, to make the brush stroke broad, the painter had to apply pressure on the brush downward, which seems to be the case in these paintings (Huang, 2015). These subtle actions of highly flexible and carefully controlled tips of the brush reflect the dynamic character of the works of the brush during the sketch and are the main focus of attention for the artists as well as the critical viewers. Therefore, both these paintings seem mysterious to the readers. Both are traditional Chinese handscroll paintings that are appreciated from right to left, where the scenes in these artworks are arranged well in a sophisticated and intricate composition. The brush works, which are used in these artworks are refined and crisp, and the colors are elegant and bright (Ku, Lee, & Ellis, 2017).

Conclusion

The traditional Chinese arts have a significance, especially to the literature students. Different art works have different meanings, and therefore, the students and other user should be keen when analysing them. Many people embrace these art works, and therefore it is important to understand their meaning. As such, the relevance of comparing and contrasting two different paintings cannot be over looked. When people understand these paintings, they will appreciate them and know their importance.

References

Cheng, W. C. (2017). The Pictorial Portrayal of Women and Didactic Messages in the Han and Six Dynasties. Nan Nü, 19(2), 155-212.

Huang, M. Y. L. (2015). Laurence Binyon: a pioneering and authoritative curator of Chinese painting in early twentieth-century Britain. Museum History Journal, 8(1), 41-58.

Retrieved from https://www.tandfonline.com/doi/full/10.1179/1936981614Z.00000000038

Ku, K. Y., Lee, V. S., & Ellis, J. W. (2017). Using artwork as problem context in generic critical thinking instruction: A strategy for thoughts. Thinking Skills and Creativity, 25, 53-59.

Retrieved from https://www.sciencedirect.com/science/article/pii/S1871187117301888

Murck, A. (2015). Words in Chinese Painting. A Companion to Chinese Art, 457.

Retrieved from https://onlinelibrary.wiley.com/doi/abs/10.1002/9781118885215.ch22