Bansonyi Essay, Research Paper

Art can be used to study the progression of a civilization

through time. Art is usually used to express one?s beliefs religiously,

politically, and sometimes as a source of communication, which is accomplished

through imagery. Symbols in works of art can be related to nature and myths.1

From the beginning of Chinese history, art and philosophy worked hand-in-hand

with the creation of a work of art. Chinese art was used as evidence of a

person?s behavior and attitude towards nature and other beings (e.g. the nicer

the painting the better the person.)2 During the seventh and eighth centuries

Chinese art was at its peak. China at this time was under the jurisdiction of

the T?ang Dynasty. Because of the beautiful work being manufactured China

became a multinational society. Paintings and sculptures were not the only works

that China would receive admiration for. Their music and literature (poems which

sometimes explained works of art) were also at their richest points,3 T?ang

art has incomparable vigor, realism, dignity? There is an optimism, an energy,

a frank acceptance of tangible reality which gives the same character to all

T?ang art, whether it be the most splendid fresco from the hand of a master or

the humblest tomb figurine made by the village potter. (Sullivan 160) When a

piece of artistic work was considered good all that really mattered was the

amount of effort that went into the piece and not the derivation of the

person?s economic class. Scarce materials were used very often in the creation

of Chinese artifacts. One of the mot famous and revered stones used was Jade,

which was very hard and indestructible. Jade cannot be found in China; it was

traded with Burma, which is located on the outer edge of China, so it is amazing

to know how much work was done with it in the 600 and 700 era. Jade was usually

used in burials in the sealing of the orifices of the body. This mineral was

also recognized for having a beautiful reverberating tone. Jade was carved by

pulverizing it with the assistance of an abrasive powder, a skill that was

modified from the Shang craftsmen from their Neolithic craftsmen.4 The fine work

on the Emerald was done through the use of a wire saw for fine details. Then it

is smoothed with a polishing wheel.5 In the process of working with Jade the

artisan would have to form a respect induced relationship between self and the

material. When the artist first receives the material he would not begin to

carve because the contour, proportions, and decoration of the piece would depend

on religious ceremony. Craftsmen would sometimes study a piece of Jade for many

years before deciding what to do with it. Jade comes in an array colors ranging

from yellow to brown and from light green to bright green, black and dark purple

and those of the highest value were white. Each color of Jade had a specific

classification such as ink black, snow, kingfisher green, sea green, grass

green, vermilion red and mutton-fat. Green stones in Chinese culture are deemed

for having healing powers. That was my main reason for having such an interest

in relics made from green minerals.6 The piece I chose to study is called the

Nine Elders of the Huichang, Mountain Scene of the celebrated gathering in 845

C.E. The Jade used is green nephrite from Hotan. This piece sits in the Peking

Palace Museum. It stands 4 ft. high, 3 ft. wide and weighs 1,830 pounds. This

piece was completed in 1786 with the addition of a poem engraved on the back of

the figurine by the Qianlong emperor. The frontal view illustrates a scene of

the first and second elders playing chess in the gazebo and the third elder

observing. Below that a small servant boy is boiling water for tea. The fourth

and fifth elders are conversing and strolling over the bridge, followed by

another boy servant. The remaining four elders can be seen on the reverse side

of the effigy. The sixth elder has his hand on a boy?s head and they are both

absorbing the beauty of nature. The seventh senior is walking with the

assistance of a bamboo stick and his boy attendant is following behind him. The

eighth superior is playing a string instrument called a Qin making music for the

listening pleasure of the ninth senior and his boy servant.7 I was drawn to this

piece because it contained such great detail and symbolism. This artifact shows

the significance of the respect one should have towards elders. This piece also

elaborates on the importance of nature to the Chinese culture. The mountains,

trees, and waterfalls are engraved in great detail and that is what makes the

carving seem life-like. BIBLIOGRAPHY Burling Hart, Judith and Arthur. Chinese

Art. Studio Publications, Inc. Froneck, Thomas. Horizon Book of the Arts of

China – Horizon Magazine Sickman, Laurence and Super, Alexander. The Art and

Architecture of China. Penguin Books Ltd. Third Edition. 1968. Sullivan,

Michael. The Arts of China. University of California Press. Los Angeles: 1973

Tregear, Mary. Chinese Art. Thames and Hudson Inc. Revised Edition 1997. Weng,

Wang-go and Boda, Yang. The Palace Museum: Peking Treasures of the Forbidden

City. The Harry N. Abrams, Inc. New York: 1982 Sharon Matute September 26, 1999

Art 101- 007 Professor Sax African carvings were not considered to be works of

art to the African people. They were used for religious purposes and magical

ceremonies. A carved image was not an idol or an image of God. It was the proper

place for a spirit to dwell. There were many different kinds of spirits, e.g.

the earth, lightning, sun, moon, spirits of the tribal founders which needed a

home or dwelling place so they can be categorized. Hence, the statues were used

to give the spirits an identity. They were also spirits who were blamed for

misfortunes when they occurred. When the spirit enters the statue, it was a

tribal custom to provide for the statute as one would for a human. Since the

Africans associated the carvings with religion, the sculptures helped them to

deal with their psychological issues.