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Wikipedia:Manual of Style (dates and numbers) says nothing to justify the BC/CE as the de facto standard. Restoring BCE/Ce format.
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rv Neutrality - Wikipedia:Manual of Style (dates and numbers) says consistently use BC/AD or BCE/CE - do not keep introducing BCE/CE into articles that use the BC/AD convention
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[[Image: ShangVessel.jpg|thumb|300px|[[13th century BC]] spouted ritual [[wine]] vessel (''Guang''). This vessel dates to the early Anyang period of the [[Shang dynasty]] ([[1300 BC|1300]]–[[1050 BC|1050 BCE]])]]
[[Image: ShangVessel.jpg|thumb|300px|[[13th century BC]] spouted ritual [[wine]] vessel (''Guang''). This vessel dates to the early Anyang period of the [[Shang dynasty]] ([[1300 BC|1300]]–[[1050 BC]])]]
'''Chinese art''' is [[art]], both modern and ancient, that originated or is practiced in [[China]] or by Chinese performers.
'''Chinese art''' is [[art]], both modern and ancient, that originated or is practiced in [[China]] or by Chinese performers.


==Historical development to 221 BCE==
==Historical development to 221 BC==
===Neolithic pottery===
===Neolithic pottery===
Early forms of art in China are found in the [[Neolithic]] [[Yangshao culture]] (仰韶文化), which dates back to the [[6th millennium BC|6th millennium BCE]]. Archeological findings such as those at [[Banpo]] have revealed that the Yangshao made [[pottery]]; early [[ceramics]] were [[Paint|unpainted]] and most often cord-marked. The first [[decoration]]s were [[fish]] and human faces, but these eventually evolved into [[Symmetry|symmetrical]]-[[Geometry|geometric]] abstract designs, some painted.
Early forms of art in China are found in the [[Neolithic]] [[Yangshao culture]] (仰韶文化), which dates back to the [[6th millennium BC]]. Archeological findings such as those at [[Banpo]] have revealed that the Yangshao made [[pottery]]; early [[ceramics]] were [[Paint|unpainted]] and most often cord-marked. The first [[decoration]]s were [[fish]] and human faces, but these eventually evolved into [[Symmetry|symmetrical]]-[[Geometry|geometric]] abstract designs, some painted.


The most distinctive feature of Yangshao culture was the extensive use of painted pottery, especially human facial, animal, and geometric designs. Unlike the later [[Longshan culture]], the Yangshao culture did not use pottery wheels in pottery-making. According to archaelogists, Yangshao society was based around matriarchal clans. Excavations found that children were buried in painted pottery jars.
The most distinctive feature of Yangshao culture was the extensive use of painted pottery, especially human facial, animal, and geometric designs. Unlike the later [[Longshan culture]], the Yangshao culture did not use pottery wheels in pottery-making. According to archaelogists, Yangshao society was based around matriarchal clans. Excavations found that children were buried in painted pottery jars.
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Shang bronzes became appreciated as works of art from the [[Song Dynasty]], when they were collected and prized not only for their shape and design but also for the various gree, blue green, and even reddish patinas created by chemical action as they lay buried in the ground. The study of early Chinese bronze casting is a specialised field of [[art history]].
Shang bronzes became appreciated as works of art from the [[Song Dynasty]], when they were collected and prized not only for their shape and design but also for the various gree, blue green, and even reddish patinas created by chemical action as they lay buried in the ground. The study of early Chinese bronze casting is a specialised field of [[art history]].


===Early Chinese music===
=== Early Chinese music ===

The origins of Chinese music and poetry can be gleamed in the ''[[Book of Songs]]'', containing poems composed between [[1000 BC|1000]] and [[600 BC|600 BCE]]. The text, preserved among the canon of early [[Chinese literature]], contains folk songs, religious hymns and stately songs. Originally intended to be sung, the accompanying music unfortunately has since been lost. They had a wide range of purposes, including for courtship, ceremonial greeting, warfare, feasting and lamentation. The love peoms are among the most appealing in the freshness and innocence of their language.
The origins of Chinese music and poetry can be gleamed in the ''[[Book of Songs]]'', containing poems composed between [[1000 BC]] and [[600 BC]]. The text, preserved among the canon of early [[Chinese literature]], contains folk songs, religious hymns and stately songs. Originally intended to be sung, the accompanying music unfortunately has since been lost. They had a wide range of purposes, including for courtship, ceremonial greeting, warfare, feasting and lamentation. The love peoms are among the most appealing in the freshness and innocence of their language.


Early Chinese music was based on [[percussion instrument]]s such as the bronze bell. Chinese bells were sounded by being struck from the outside, usually with a piece of wood. Sets of bells were suspended on wooden racks. Inside excavated bells are groves and marks of scraping and scratching made as they were tuned to the right pitch. Percussion instruments gradually gave way to string and reed instruments toward the Warring States period.
Early Chinese music was based on [[percussion instrument]]s such as the bronze bell. Chinese bells were sounded by being struck from the outside, usually with a piece of wood. Sets of bells were suspended on wooden racks. Inside excavated bells are groves and marks of scraping and scratching made as they were tuned to the right pitch. Percussion instruments gradually gave way to string and reed instruments toward the Warring States period.
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Significantly, the characters for music (''yue'') was the same as that for joy (''le''). For [[Confucius]] and his disciples, music was important because it has the power to make people harmonious and well balanced or, conversely caused them to be quarrelsome and depraved. According to [[Xun Zi]], music is as important as the ''li'' ("rites"; "etiquette") stressed in [[Confucianism]]. [[Mo Zi]], philosophically opposed to Confucianism, disagreed. He dismissed music as having only aesthetic uses, and thus useless and wasteful.
Significantly, the characters for music (''yue'') was the same as that for joy (''le''). For [[Confucius]] and his disciples, music was important because it has the power to make people harmonious and well balanced or, conversely caused them to be quarrelsome and depraved. According to [[Xun Zi]], music is as important as the ''li'' ("rites"; "etiquette") stressed in [[Confucianism]]. [[Mo Zi]], philosophically opposed to Confucianism, disagreed. He dismissed music as having only aesthetic uses, and thus useless and wasteful.


===Chu and southern culture===
=== Chu and southern culture ===

A rich source of art in early China was the state of [[Chu (state)|Chu]], which developed in Yangzi River valley. Excavations of Chu tombs have found painted wooden sculptures, jade disks, glass beads, musical instruments, and an assortment of [[lacquerware]]. Many of the lacquier objects are finely painted, red on black or black on red. A site in [[Changsha]], [[Hunan]] province, has revealed the world's oldest painting on silk discovered to date. It shows a woman accompanied by a [[phoenix]] and a [[dragon]], two mythological animals to feature prominently in Chinese art.
A rich source of art in early China was the state of [[Chu (state)|Chu]], which developed in Yangzi River valley. Excavations of Chu tombs have found painted wooden sculptures, jade disks, glass beads, musical instruments, and an assortment of [[lacquerware]]. Many of the lacquier objects are finely painted, red on black or black on red. A site in [[Changsha]], [[Hunan]] province, has revealed the world's oldest painting on silk discovered to date. It shows a woman accompanied by a [[phoenix]] and a [[dragon]], two mythological animals to feature prominently in Chinese art.


An anthology of Chu poetry has also survived in the form of the ''Chu Ci'', which has been translated into English by David Hawkes. Many of the works in the text are associated with [[Shamanism]]. There are also descriptions of fantastic landscapes, examples of China's first nature poetry. The longest poem "Encountering Sorrow", is reputed to have been written by the tragic [[Qu Yuan]] as a political allegory.
An anthology of Chu poetry has also survived in the form of the ''Chu Ci'', which has been translated into English by David Hawkes. Many of the works in the text are associated with [[Shamanism]]. There are also descriptions of fantastic landscapes, examples of China's first nature poetry. The longest poem "Encountering Sorrow", is reputed to have been written by the tragic [[Qu Yuan]] as a political allegory.


== Early imperial China (221 BCE–220 CE)==
== Early imperial China (221 BC – AD 220) ==


[[porcelain]]
[[porcelain]]
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=== Han architecture ===
=== Han architecture ===


== Period of division (220–581) ==
== Period of division (220 – 581) ==


=== Influence of Buddhism ===
=== Influence of Buddhism ===

Revision as of 08:48, 21 November 2004

File:ShangVessel.jpg
13th century BC spouted ritual wine vessel (Guang). This vessel dates to the early Anyang period of the Shang dynasty (1300–1050 BC)

Chinese art is art, both modern and ancient, that originated or is practiced in China or by Chinese performers.

Historical development to 221 BC

Neolithic pottery

Early forms of art in China are found in the Neolithic Yangshao culture (仰韶文化), which dates back to the 6th millennium BC. Archeological findings such as those at Banpo have revealed that the Yangshao made pottery; early ceramics were unpainted and most often cord-marked. The first decorations were fish and human faces, but these eventually evolved into symmetrical-geometric abstract designs, some painted.

The most distinctive feature of Yangshao culture was the extensive use of painted pottery, especially human facial, animal, and geometric designs. Unlike the later Longshan culture, the Yangshao culture did not use pottery wheels in pottery-making. According to archaelogists, Yangshao society was based around matriarchal clans. Excavations found that children were buried in painted pottery jars.

Jade culture

Liangzhu Jade culture

Bronze casting

The Bronze Age in China began with the Shang Dynasty. The Shang are remembered for their bronze casting, noted for its clarity of detail. Shang bronzesmiths usually worked in foundries outside the cities to make ritual vessels, and sometimes weapons and chariot fittings as well. The bronze vessels were receptaces for storing or serving various solids and liquids used in the performance of sacred ceremonies. Some forms such as the ku and jue can be very graceful, but the most powerful pieces are the ding, sometimes described as having the an "air of ferocious majesty."

It is typical of the developed Shang style that all available space is decorated, most often with stylised forms of real and imaginary animals. The most common motif is the taotie, which shows a mythological being presented frontally as though squashed onto a horizontal plane to form a symmetrical design. The early significance of taotie is not clear, but myths about it existed around the late Zhou Dynasty. It was considered to be variously a covetous man banished to guard a corner of heaven against evil monsters; or a monster equipped with only a head who tries to devour men but hurts only himself.

The function and appearance of bronzes changed gradually from the Shang to the Zhou. They shifted from been used in religious rites to more practical purposes. By the Warring States Period bronze vessels had become objects of aesthetic enjoyment. Some were decorated with social scenes, such as from a banquet or hunt; whilst others displayed abstract patterns inlaid with gold, silver, or precious and semi-precious stones.

Shang bronzes became appreciated as works of art from the Song Dynasty, when they were collected and prized not only for their shape and design but also for the various gree, blue green, and even reddish patinas created by chemical action as they lay buried in the ground. The study of early Chinese bronze casting is a specialised field of art history.

Early Chinese music

The origins of Chinese music and poetry can be gleamed in the Book of Songs, containing poems composed between 1000 BC and 600 BC. The text, preserved among the canon of early Chinese literature, contains folk songs, religious hymns and stately songs. Originally intended to be sung, the accompanying music unfortunately has since been lost. They had a wide range of purposes, including for courtship, ceremonial greeting, warfare, feasting and lamentation. The love peoms are among the most appealing in the freshness and innocence of their language.

Early Chinese music was based on percussion instruments such as the bronze bell. Chinese bells were sounded by being struck from the outside, usually with a piece of wood. Sets of bells were suspended on wooden racks. Inside excavated bells are groves and marks of scraping and scratching made as they were tuned to the right pitch. Percussion instruments gradually gave way to string and reed instruments toward the Warring States period.

Significantly, the characters for music (yue) was the same as that for joy (le). For Confucius and his disciples, music was important because it has the power to make people harmonious and well balanced or, conversely caused them to be quarrelsome and depraved. According to Xun Zi, music is as important as the li ("rites"; "etiquette") stressed in Confucianism. Mo Zi, philosophically opposed to Confucianism, disagreed. He dismissed music as having only aesthetic uses, and thus useless and wasteful.

Chu and southern culture

A rich source of art in early China was the state of Chu, which developed in Yangzi River valley. Excavations of Chu tombs have found painted wooden sculptures, jade disks, glass beads, musical instruments, and an assortment of lacquerware. Many of the lacquier objects are finely painted, red on black or black on red. A site in Changsha, Hunan province, has revealed the world's oldest painting on silk discovered to date. It shows a woman accompanied by a phoenix and a dragon, two mythological animals to feature prominently in Chinese art.

An anthology of Chu poetry has also survived in the form of the Chu Ci, which has been translated into English by David Hawkes. Many of the works in the text are associated with Shamanism. There are also descriptions of fantastic landscapes, examples of China's first nature poetry. The longest poem "Encountering Sorrow", is reputed to have been written by the tragic Qu Yuan as a political allegory.

Early imperial China (221 BC – AD 220)

porcelain

Qin sculpture

Han poetry

Han architecture

Period of division (220 – 581)

Influence of Buddhism

Secular culture

Poetry

Cao Cao, Cao Pi, Cao Zhi, Tao Qian

Calligraphy

Wang XiZhi, Wei Shuo

Painting

Gu Kaizhi

The Sui and Tang dynasties (581 – 960)

Main article: Tang Dynasty art

Buddhist architecture and sculpture

Most wooden Tang sculpture has not survived, though representations of the Tang international style can still be seen in Nara, Japan. Stone sculpture have proved they have much great longevity. Some of the finest examples can be seen at Longmen, near Luoyang.

Golden age of Chinese poetry

shi (poetry), yue fu

Bai Juyi, Du Mu, Han Yu, Jia Dao, Li Qiao, Liu Zongyuan, Luo Binwang, Meng Haoran, Wang Wei, Zhang Jiuling

Li Bo and Du Fu

Main articles: Li Bo, Du Fu

Late Tang poetry

Li Shangyin, Li Yu

Painting

Dong Yuan, Zhan Ziqian

The Song and Yuan dynasties (960 – 1368)

Zeng Gong

Song poetry

ci (poetry)

Li Qingzhao, Lu You, Mei Yaochen, Ouyang Xiu, Su Dongpo, Wang Anshi, Xin Qiji

Song painting

Liang Kai, Wen Tong

Yuan drama

Cantonese opera

Yuan painting

Wang Meng, Zhao Mengfu

Late imperial China (1368 – 1895)

Gao Qi, Yuan Mei

Ming drama

Ming painting

Matteo Ricci, Wen Zhengming, Xu Wei

Early Qing painting

Giuseppe Castiglione, Bada Shanren, Jiang Tingxi

Decorative arts

Qing fiction

Cao Xueqin, Pu Songling

Modern Chinese art

Painting

Huang Binhong Qi Baishi, Xu Beihong, Zhang Chongren

Poetry

Bei Dao, Xu Zhimo

Influence of the West

"People's arts"

Cheng Maoyun

Contemporary art since 1979

Performing arts

The Chinese government, to some exent, subsidises the training of artists, performers and athletes, which helps china to be prominent in many of the following fields:

  • Chinese folk arts - Chinese folk arts include puppetry and quyi, which consists of various kinds of storytelling and comic monologues and dialogues, often to the accompaniment of clappers, drums, or stringed instruments.
  • Chinese variety arts - Variety arts, including tightrope walking, acrobatics, animal acts, and sleight of hand date back at least as far as the Han dynasty and have gained new respectability in recent times.

Visual arts

  • Radical Chinese art has continued to develop since the late 1970s. It incorporates painting, film, video, photography and performance. Up until the mid-1990s performance artists were regularly imprisoned by the state. More recently there has been greater tolerance by the Chinese government

Unsorted

Performing arts

  • Chinese opera - Traditional drama grew out of the zaju (variety plays) of the Yuan dynasty (1279–1368) and continues to exist in many (368?) different forms, the best known of which is Beijing opera.
  • Chinese music - Traditional Chinese music appears to date back to the dawn of Chinese civilization. Modern Chinese music contain considerable western influences.

Visual arts

See also

Sources and further reading

  • Barnhart, Richard M., et al. Three Thousand Years of Chinese Painting. Wadsworth Atheneum Museum of Art: 2002. ISBN 0300094477.
  • Chi, Lillian, et al. A Dictionary of Chinese Ceramics. Sun Tree Publishing: 2003. ISBN 9810460236.
  • Clunas, Craig. Art in China. Oxford University Press: 1997. ISBN 0192842072.
  • Gowers, David, et al. Chinese Jade from the Neolithic to the Qing. Art Media Resources: 2002. ISBN 1588860337.
  • Ebrey, Patrici, et al. Taoism and the Arts of China. University of California Press: 2000. ISBN 0520227840.
  • Harper, Prudence Oliver. China: Dawn Of A Golden Age (200-750 AD). Yale University Press: 2004. ISBN 0300104871.
  • Mascarelli, Gloria, and Robert Mascarelli. The Ceramics of China: 5000 BC to 1900 AD. Schiffer Publishing: 2003. ISBN 0764318438.
  • Sturman, Peter Charles. Mi Fu: Style and the Art of Calligraphy in Northern Song China. Yale University Press: 2004. ISBN 0300104871.
  • Sullivan, Michael. The Arts of China. Fourth edition. University of California Press: 2000. ISBN 0520218779.
  • Tregear, Mary. Chinese Art. Thames & Hudson: 1997. ISBN 0500202990.
  • Watson, William. The Arts of China to AD 900. Yale University Press: 1995. ISBN 0300059892.
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