Bansonyi
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.