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The art of Han and Tang Dynasties

2015-08-27 来源: 51due教员组 类别: Essay范文

51due网站精选Essay代写范文:“The art of Han and Tang Dynasties”。这篇论文描述了汉唐时代的美术发展历程。“装饰图案是从中国画开始的。在那个时候人们可以自由地描绘,没有模仿,因为缺乏专业的观察力和表达能力。到了汉代,像四川出土的粘土砖,绘画风格已经体现了很多相比于古代的纯观赏性的人物。很显然,图中的所有数据都是抽象的图形,它保留的只是描绘对象的代表性特征以确保其识别。然而,当谈到唐代,画家已经能够描绘出各种形状的非晶态物质,以提高环境的真实性和客观性,并在同一时间渲染气氛。”

Ornamental designs are what the Chinese painting began with at the very beginning. At that time people can freely depict without imitating because of the lack of professional observation and expression skills. When it comes to the Han Dynasty, like what is showed in fig.6, a clay tile unearthed in Szechwan, the style of painting has already been incarnated a lot when compared to the pure ornamental figures in ancient times. It is clear that all figures in the picture are abstract graphics which retained only the depicted objects’ representative features in order to make sure of its identification. We can see from both the picture and the article, the artisan symbolized the nature environment with animals living there, like fish in the water and duck in the air. Due to the limit of materials and technical means back then, such details like the water ripples and the slight change in color of the sky, are impossible to be given comprehensive consideration to. While based on the orderly arrangement of all figures in the picture, it is reasonable to believe painters, or we would say sculptors, in Han Dynasty, had already mastered the perspective technique, which stands a giant improvement.

Fig.13 is the rubbing of a stone sculpture times to Five Dynasties and Ten Kingdoms in the late Tang Dynasty. Besides the story the picture is telling, it is obvious that the brushwork of fig.13 is far more detailed than fig.6’s. Artisans at Tang Dynasty are more confident in their sculpting and painting skills and are able to express more realistic figures in the same dimension. We can see folds of clothes, people’s hairdos and beards clearly. Each tree has its own gestures, shape of leaves and stripes on the trunk. Also the perspective principles were used far more professionally than they were eight hundred years ago. Figures are not only arrayed from top to the bottom to perform their distance relations, but also through showing different sizes and levels. In this picture and fig.14 in the article as well, ornamental figures are mostly those indefinite shapes such as clouds and mountains far away. These figures function as a method to depict the appropriate ambience instead of a narrative one.

Han designs used birds instead of clouds or other natural textures to symbolize the sky, like what was discussed above, was highly limited because of their relatively low sculpturing technology. There were only a little amorphous substances existing in most of their works. Such as the peaks and knolls layer upon layer in fig.5 in the article, were depicted simply with curved lines through perspective principles and artisans at that time mostly hold being recognized correctly as the first priority of those amorphous substances figures. When it comes to the Tang Dynasty however, the painter were already able to depict diversified shapes of those amorphous substances in order to improve the authenticity and objectivity of the environment, and to render the atmosphere at the same time. Flames on the other hand, generally sever more functions other than simply rendering the ambience. In fig.14 in the article, because the story was about a house on fire and people’s reaction, flames certainly help drive the plots.

In a word, the ideals of figures were highly related to observation skills and presentational technology of a certain era. The concrete appearances are alterable but the purpose is always the same, that is to keep their identifiability and help with the aura. 【-Z】

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