By Patricia Bjaaland Welch
Chinese Art is a consultant to the meanings in the back of the masses of universal motifs and logos present in all different types of chinese language paintings. a radical exam of the various utilization of usual symbols, colours, numbers, inanimate goods and personages, chinese language artwork communicates the deeper messages to be present in chinese language ornamental artwork. it's a superb reference for creditors, museum-goers and scholars of chinese language artwork, tradition and historical past.
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Additional resources for Chinese Art: A Guide to Motifs and Visual Imagery
THE TRADITION 23 The illustrations are taken chiefly from Mistra and Mount Athos. Than the paintings of the former, it may be said that no more beautiful examples of Byzantine art have yet been discovered. But it has been suggested that next in merit may properly come the cycles of the Slav churches painted by Greek artists in Serbia and Russia. This is possible. Nevertheless, it is primarily on Mount Athos that a first reconnoitre in the subject should be made; for there may be studied the whole development of later Byzantine painting in the works of both schools, from the beginning of the fourteenth to the end of the sixteenth centuries; and there only, with the exception of a few paintings in the Meteora monasteries, have survived the cycles of the later Cretan painters who were the direct forbears of EI Greco.
I), both at Ravenna. Peacocks were introduced, since their flesh was incorruptible. And the old Hellenistic and Oriental landscapes, pastoral and dramatic, were continued to depict the glories of the world to come, as in St. Constanza (fourth century) and SS. Cosmas and Damian at Rome. Some of the earliest mosaics, dating from the fifth century, have retained their Hellenistic facility. These, such as the Good Shepherds in the Mausoleum of Galla Placidia (see Plate 2. i) and St. Apollinare Nuovo at Ravenna are simply the products of a debased secular art and have no real connection with the paramount religion.
But what sort of attraction could this impersonality exercise on the common folk, unconversant with the THE TRADITION 13 philosophie mysteries? A didaetie sehool of art arose, that those who eould not read, might see, the events of the Gospels and the form of Christ in his human adventures. But in the whole unfathomable sea of symbols, popular oriental realism, Hellenistie facility, and finally didaetie iconography, that ebbed and flowed in Christian art from· the fourth to the eighth eenturies, the major quality of Byzantine art in the middle period was laeking.
Chinese Art: A Guide to Motifs and Visual Imagery by Patricia Bjaaland Welch