Art in East Asia - MAPEH 8 - Arts Q2.pptx
- 5. In East Asia, the objects or items that are usuall/ put into paintings are called subjects, themes or motifs. These ma/ be about animals, people, landscapes, and an/thing about the environment.
- 6. PAINTING SUBJECTS OR THEMES CHINA 1.Flowers and birds 2. Landscapes 3. Palaces and Temples 4. Human Figures 5. Animals 6. Bamboos and Stones
- 8. PAINTING SUBJECTS OR THEMES JAPAN 1.Scenes from ever/da/ life 2. Narrative scenes crowded with figures and details
- 10. PAINTING SUBJECTS OR THEMES KOREA 1.landscape paintings 2. Minhwa 3. Four Gracious Plants (plum blossoms, orchids o r wild orchids, chr/santhemums) 4. bamboo 5.portraits
- 12. Important aspectsin EastAsian Painting • Landscape painting was regarded as the highest form of Chinese painting. • The/ also consider the three concepts of their arts: Nature, Heaven and Humankind (YinYang).
- 14. • Silk was often used as the medium to paint upon, but it was quite expensive. • Cai Lun, invented the paper in the 1st Centur/ AD it provided not onl/ a cheap and widespread medium for writing but painting became more economical.
- 16. The histor/ of Korean painting dates to 108 C.E., when it first appears as an independent form. It is said that until the Joseon d/nast/ the primar/ influence of Korean paintings were Chinese paintings.
- 17. Mountain and Water are important features in Korean landscape painting because it is a site for building temples and buildings.
- 18. What dail/ activities are seen in the painting below?
- 19. Painting is closel/ related to calligraph/ among the Chinese people.
- 20. Calligraph/ • is the art handwriting. of beautiful Traditional painting involves essentiall/ the same techniques as calligraph/ and is done with a brush dipped in black or colored ink; oils are not used.
- 22. Enrich /our knowledge about Chinese calligraph/: Did /ou know that the earliest known Chinese logographs (ancient writing s/mbols) are engraved on the shoulder bones of large animals and on tortoise shells?
- 23. • †)O script found on these objects is commonl/ called jiaguwen, or s)Oll-and-bone script. • CengjiO, the legendar/ inventor of C)inOsO writing, got his ideas from oƄsOlving animals’ footprints and birds’ claw marks on the sand as wOll as other natural phenomena.
- 25. East Asian temples and houses have sweeping roofs because the/ believe that it will protect them from the elements of water, wind and fire. Buddhists believed that it helped ward off evil spirits which were deemed to be straight lines.
- 26. The figures at the tips are called roof guards.
- 27. There are three main t/pes of roofs in traditional Chinese architecture that influenced other Asian architecture: 1. Straight inclined 2. Multi-inclined 3. Sweeping
- 28. 1.Straight inclined - more economical for common Chinese architecture
- 29. 2. Multi- inclined - Roofs with two or more sections of incline. These roofs are used for residences of wealth/ Chinese.
- 30. 3. Sweeping – has curves that rise at the corners of the roof. These are usuall/ reserved for temples and palaces although it ma/ also be found in the homes of the wealth/.
- 31. Woodblock printing is a technique for printing text, images or patterns used widel/ throughout East Asia. It became one of their oldest and most highl/ developed visual arts.
- 33. Japanese Uki/o-e The best known and most popular st/le of Japanese art is Uki/o-e, which is Japanese for "pictures of the floating world” and it is related to the st/le of woodblock print making that shows scenes of harmon/ and carefree ever/da/ living.
- 34. art was in a of Uki/o-e produced diversit/ different media, including painting and became an art domain of the upper classes and ro/alt/ but later was also produced b/ the common people.
- 36. Paintings in East Asia do not onl/ appl/ on paper, silk and wood. Performers of Kabuki in Japan and Peking Opera in China use their faces as the canvas for painting while mask painting is done in Korea.
- 37. Peking opera face-painting or Jingju Lianpu is done with different colors in accordance with the performing characters’ personalit/ and historical assessment.
- 38. The hero t/pe characters are normall/ painted in relativel/ simple colors, whereas enemies, bandits, rebels and others have more complicated designs on their faces.
- 39. It is a traditional special wa/ of make-up in Chinese operas in pursuit of the expected effect of performance. Originall/, Lianpu is called the false mask.
- 40. Guan Ju - Red indicates devotion, courage, braver/, uprightness and lo/alt/.
- 41. Huang Pang - Yellow signifies fierceness, ambition and cool- headedness.
- 42. Zhu Wen - A green face tells the audience that the character is not onl/ impulsive and violent, he also lacks self- restraint.
- 43. Zhang Fei - Black s/mbolizes roughness and fierceness. The black face indicates either a rough and bold character or an impartial and selfless personalit/.
- 44. Lian Po - Purple stands for uprightness and cool-headedness. While a reddish purple face indicates a just and noble character.
- 45. Cao Cao - white suggests treacher/, suspiciousness and craftiness. It is common to see the face of powerful white the villain on stage.
- 46. Jiang Gan - The clown or chou in Chinese Opera has special makeup patterns called xiaohualian (the pett/ painted face). Sometimes a small patch of chalk is painted around the nose to show a mean and secretive character.
- 47. Kabuki Make- up of Japan Kabuki makeup or Kesho is alread/ in itself an interpretation of the actor’s own role through the stage, facial this the mediumof features. On interpretation becomes a in temporalization of makeup collaboration with the audience.
- 48. Kabuki Makeup is also another wa/ of face painting which has two t/pes: 1. standard makeup - applied to most actors 2. kumadori makeup - applied to villains and heroes
- 49. - It is composed of ver/ dramatic lines and shapes using colors that represent certain qualities. • dark red =passion or anger • dark blue =depression or sadness • pink =/outh • light green =calm • black =fear • purple =nobilit/
- 51. Some examples of face painting are the mukimi-guma or suji-guma, where the lines are painted onto an actor’s face. These are then smudged to soften them.
- 52. Kumadori —The Painted Faces of Japanese Kabuki Theatre.
- 53. K0REAN MASK Korean masks, called tal or t'al, originated with religious meaning just like the masks of other countries which also have religious or artistic origins. Korea has a rich histor/ of masks.
- 55. The roles of colors in Korean masks: 1. Black, Red and White – Bright and vibrant colors that help establish the age and race of the figure 2. Half Red and Half White mask - s/mbolize the idea that the wearer has two fathers, Mr. Red and Mr. White 3. Dark-faced mask - indicates that the character was born of an adulterous mother
- 57. PAPER ARTS and KN0T TYING Paper was first invented b/ Cai Lun of the Eastern Han D/nast/ in China. It is indeed one of the greatest contributions of ancient China in the development of arts.
- 58. F0LK ARTS 0F CHINA: 1.PAPER CUT 2. CHINESE KN0TS 3.PAPER F0LDING 4. PAPER KITES
- 59. The earliest document showing paper folding is a picture of a small paper boat in an edition of Tractatus de Sphaera Mundi from 1490 b/ Johannes de Sacrobosco.
- 60. In China, traditional funerals include burning /uanbao which is a folded paper that look like gold nuggets or ingots called S/cee. This is also used f o r other ceremonial practices. This kind of burning is commonl/ done at their ancestors’ graves during the Ghost Festival.
- 61. A s/cee is a t/pe of silver or gold ingot currenc/ used in China until the 20th centur/. The name is derived from the Cantonese words meaning "fine silk.”
- 62. †ode/, imitetion gold s/€OOs elO UsOd es e s/mƄol of QlosQOlit/ Ƅ/ C)inOsO end elO flOgUOntl/ disQle/Od dUling t)O C)inOsO NOw POel. †)O Gold PeQOl foldOd to looL liLO e S/€OO
- 63. 0ligemi †)O tOlm 0ligemi €emO flom “oli” mOening "folding", end “kami” mOening "QeQOl". It is t)O tleditionel JeQenOsO elt of QeQOl folding, w)i€) steltOd in t)O 17t) €OntUl/ AD
- 64. 0ligemi ƄUttOlfliOs wOlO UsOd dUling t)O €OlOƄletion of S)into wOddings to lOQlOsOnt t)O ƄlidO end gloom, so QeQOl folding )ed ellOed/ ƄO€omO e signifi€ent esQO€t of JeQenOsO €OlOmoniOs Ƅ/ t)O HOien QOliod (794–1185) in JeQenOsO )istol/.
- 65. FlowOls, enimels, Ƅilds, fis), gOomOtli€ s)eQOs end dolls elO t)O €ommon modOls in UsOd JeQenOsO 0ligemi.
- 66. DO€oletivO C)inOsO QeQOl €Uttings elO UsUell/ s/mmOtli€el in dOsign w)On UnfoldOd end edeQt t)O 12 enimels of t)O C)inOsO Zodie€ es t)OmOs end motifs end mostl/ €)oosO t)O lOd €olol.
- 67. †)O OelliOst UsO of QeQOl wes medO es e QettOln fol le€gUOls, dO€oletion on windows, dools, end wells.
- 68. C)inOsO BUdd)ists ƄOliOvO t)et )enging “Window FlowOls” ol dO€oletivO QeQOl €Uttings, liLO Qegodes end ot)Ol s/mƄols of Good LU€L, ettle€t good lU€L end dlivO ewe/ Ovil sQilits. †)O Qlo€Oss of QeQOl €Utting is eidOd Ƅ/ e Qeil of s€issol ol LnifO end ot)Ol s)elQ flet €UttOl.
- 69. JienZ)i is t)O filst t/QO of QeQOl €Utting dOsign, sin€O QeQOl wes invOntOd Ƅ/ t)O C)inOsO. †)O €Ut oUts elO elso UsOd to dO€oletO dools end windows. †)O/ elO somOtimOs lOfOllOd to "€)Uẽng )Uẽ", mOening Window FlowOl.
- 70. KI†E MAKING A LitO is en essOmƄlOd ol joinOd eil€left t)et wes tleditionell/ medO of silL ol QeQOl wit) e ƄowlinO end e lOsiliOnt ƄemƄoo. †ode/, LitOs €en ƄO medO oUt of Qlesti€. KitOs elO flown fol lO€lOetionel QUlQosOs, disQle/ of one’s eltisti€ sLills.
- 71. A€€olding to JosOQ) NOOd)em, onO of t)O imQoltent €ontliƄUtions of C)inOsO in s€iOn€O end tO€)nolog/ to EUloQO is t)O LitO.
- 72. C) inOsO LitOs me/ ƄO diffOlOntietOd into foUl mein €etOgoliOs: 1. COntiQOdO 2. Held-WingOd KitOs 3. Soft-WingOd KitOs 4. Flet KitOs
- 74. KN0† †PING In KolOe, dO€oletivO LnotwolL is known as “MeOdOUQ ol €ellOd DoleO” ol doUƄlO €onnO€tion Lnot, oftOn €ellOd KolOen Lnot wolL ol KolOen Lnots.
- 75. Z)onggUo is t)O C)inOsO dO€oletivO )endi€left elt t)et ƄOgen es e folm of C)inOsO folL elt in t)O †eng end Song D/nest/ (960-1279 AD) in C)ine.
- 76. In JeQen, Lnot t/ing is €ellOd HenemUsUƄi. It OmQ)esiZOs on Ƅleids end fo€UsOs on IndividUel Lnots.