Early Chinese Art: Difference between revisions
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[https://smarthistory.org/reframing-art-history/buddhism-chinese-art/ by Dr. Cortney E. Chaffin smarthistory] | [https://smarthistory.org/reframing-art-history/buddhism-chinese-art/ by Dr. Cortney E. Chaffin smarthistory] | ||
The story of Buddhist art in China is one of dynamic cultural and artistic exchange beginning with the earliest images of the Buddha based on Indian and Central Asian prototypes through its eventual Sinicization for a Chinese audience. This chapter explores Buddhist art in China from the Han through the Tang dynasties, a period that saw the introduction of Buddhism to China and its widespread growth as a major religion. After the fall of the Han dynasty in 220 C.E., we will see how non-Chinese rulers who invaded north China during the Period of Division (220–589 C.E.), and then the later Tang dynasty (618–917 C.E.), used the religion and the construction of Buddhist monuments to assert their authority and legitimacy. Their subjects found in Buddhism a religion that could support their spiritual needs. | The story of Buddhist art in China is one of dynamic cultural and artistic exchange beginning with the earliest images of the Buddha based on Indian and Central Asian prototypes through its eventual Sinicization for a Chinese audience. This chapter explores Buddhist art in China from the Han through the Tang dynasties, a period that saw the introduction of Buddhism to China and its widespread growth as a major religion. After the fall of the Han dynasty in 220 C.E., we will see how non-Chinese rulers who invaded north China during the Period of Division (220–589 C.E.), and then the later Tang dynasty (618–917 C.E.), used the religion and the construction of Buddhist monuments to assert their authority and legitimacy. Their subjects found in Buddhism a religion that could support their spiritual needs. | ||
=====Early Chinese Texts on Painting===== | |||
[https://press.uchicago.edu/ucp/books/book/distributed/E/bo37857240.html by The University of Chicago Press] | |||
For students of Chinese art and culture this anthology has proven invaluable since its initial publication in 1985. It collects important Chinese writings about painting, from the earliest examples through the fourteenth century, allowing readers to see how the art of this rich era was seen and understood in the artists’ own times. Some of the texts in this treasury fall into the broad category of aesthetic theory; some describe specific techniques; some discuss the work of individual artists. | |||
