ART
“I would rather eat a meal without meat than live in a place with no bamboos. Without meat one may become thin: Without bamboos one becomes vulgar." (Su Shi 1037-1101)
Chinese art can be traced as far back as China's neolithic period, between the eighth and the second millenium BC. At that time, well-made and decorated pottery appeared. This pottery was an early sign of the important part ceramics would later play in Chinese art. As early as 1000 years before Christ, bronze was being worked to a technical level never since surpassed.
But the first flowering of Chinese art occurred during the Han Dynasty (3rd century BC to the 3rd century AD). Confucianism was the main influence at this time until the growth of Daoism and the introduction of Buddhism from India in the 1st century A.D. Buddhism and Daoism introduced to Chinese art a sensitivity to the natural world that was lacking in Confucianism which sought to convey moral values and practices. These new philosophies played a major role in shaping future artistic development. At this time, calligraphy, a characteristic of Chinese culture, was first developed as an art form, although written symbols can be traced back to a much earlier period. The art of silk manufacture was advanced and the Silk Road opened, carrying silk to Persia and opening China to foreign influences.
A later flowering came under the Tang Dynasty (618–907) which was a period of political stability and economic prosperity during which China was open to influences from India, the Middle East and Southeast Asia. A wide variety of artistic forms flourished. Later periods had their own characteristic styles: the Song Dynasty (960-1279), during which China was more inward looking, was formal, elegant and restrained, and was a great period in the history of Chinese painting; the Yuan Dynasty (1279–1368), founded by the Mongol invaders, was more lavish and decorative; the Ming Dynasty (1268–1644) is famed for its porcelain, its detail and delicacy; the Qing Dynasty (1644–1911) was marked by technical excellence but also saw a decline in creative vigour.
The 19th and 20th centuries witnessed great change and turmoil. It became increasingly difficult for artists and craftsmen to practise and standards fell. After 1949 attempts were made to revive traditional arts and crafts - research institutes were set up and master craftsmen brought together to pass on their skills to younger generations. But motifs were changed feudal and superstitious images were replaced by popular legend and by socialist realism, with strong Soviet influence.
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Since 1949, the relationship between art and politics and between artists and the State has been difficult. During restrictive periods, art has been enjoined to serve politics and artists have been assigned themes and told to express ideals and promote values prescribed by the political authorities. Standards have suffered. The lot of artists was worst during the Cultural Revolution (1966–1976) when many were sent to do manual labour, art schools closed down and themes restricted to the most inward-looking and to the most narrowly collectivist and socialist realist subjects.
During the more relaxed periods, politics has intruded less crudely and artists have enjoyed more freedom of expression under the slogan "let a hundred flowers bloom and a hundred schools of thought contend." Especially since 1978, artists have enjoyed greater exposure to foreign influences and have been allowed to experiment with a variety of styles and explore more sensitive areas. Writers have been able to examine individual feelings and personal relationships, and deal with the darker sides of Chinese life. Although carried on within limits, this is a marked contrast with the requirement to portray individuals as part of the collective and to display an uncompromisingly optimistic belief in social progress.
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