Chinese-Art[week-6].ppt

HistoryandCultureofChina,AnIntroductoryCourseByXiaoouLiSchoolofEnglishStudies,XISU,ChineseArt,ChineseArtBeijingOperaChinesePaintingChineseCalligraphyChineseHandicraftArticlesandSouvenirs,ChineseArt,BeijingOperaBriefHistoryofBeijingOperaMajorFeaturesofBeijingOperaFourMainRolesofBeijingOperaBeijingOperaToday,ChineseArt,BriefHistoryofBeijingOperaBeijingOperathenationalopera(ThemostinfluentialandrepresentativeofalloperasinChinainthepast200years)AcompletesystemofstageperformanceOrigin:primitivesongsanddancesofChineseancienttimesTechniquesandmovementsofBeijingOperasdancingstyle:similartothoseoftheTangDynasty.,ChineseArt,BriefHistoryofBeijingOperaHuangmeiDrama,AnhuiProvince(EmperorQianlongoftheQingDynastyloveditduringhis6secretinspectionsofthesouthernprovinces,summonedtocelebratehis80thbirthday)Kunqu,developedintheMingDynasty,popularinthepalaceamongtheupperclassesinBeijing.Meritsofotherlocaloperas-amatureartformTroupesfromHubeiandAnhuiProvincesperformedtogetherinBeijingblendedonthesamestagegavebirthtoanewgenre:BeijingOpera.,ChineseArt,MajorFeaturesofBeijingOperaFourhighlysystemizedcategoriesofsinging,dancing,mimicryandacrobatics.SkillsofChinesemartialartsAuniquesystemofstylized,fictitiousmovements,whichisstronglyrhythmicalMainlypresentedhistoricalstories1,300traditionalplays,400ofthemareoftenonshow,ChineseArt,MajorFeaturesofBeijingOperaMostplays:basedonfolktales,famousnovelsandfairytalesMostfamousBeijingOperas:TheWhiteSnake,TheMonkeyKing,TheDrunkenBeauty,Crossroads,andStrategyofanUnguardedCity,ChineseArt,MajorFeaturesofBeijingOperaCostumes:I.ThestylesoftheMingDynastycourtandcivilcostumesII.Agarishcollectionofsharplycontrastingcolors:deepred,deepgreen,white,black,yellowandblue(stage:oillamps)III.Embroideredingold,silverandcoloredthreadsIV.Specialcostumes:differentcolorsanddesignsforeachrolebasedontherank,lifestyleandoccupation,ChineseArt,MajorFeaturesofBeijingOperaThetunes-mainlycomposedoftwostyles:I.Huitune,AnhuiProvince(“Erhuang”)II.Hantune,HubeiProvince(“Xipi”)Apiercingstyleofsinging:performedmostlyontheopen-airstageinstreets,tea-houses,templecourtyardsormarketsThesinging,thevariationsofrhythmandpitch:expressingtherolesthoughtsandemotionsofdifferentcharactersinallsituations,ChineseArt,MajorFeaturesofBeijingOperaThepronunciation:hardtounderstandTwoforms(rhythmicvernacularandcapitalvernacular)ofrecitativesindialogueandmonologuetocharacterizethepersonalitiesoftheroles.Themovementsallhavetheirpatternandformula(suchas:strokingabeard,settingahatstraight,swingasleeve,liftingafoot,etc.)Astylizedroutine:eachmove,gestureorfacialexpressionissymbolic,ChineseArt,MajorFeaturesofBeijingOperaTheorchestra:stringandwindinstruments,percussioninstrumentsThemusicians:sitonthestageinplainclothesandplaywithoutwrittenscoresJinghu:akindoftwo-stringedfiddle-themostimportantmusicalinstrumentOtherinstruments:Yueqin,Pipa,Suona,gongsanddrumsofdifferentsizea,andthecastanets(thetimeclapper)madeofwoodandbambooThecastanets:the“time-beater”,ChineseArt,MajorFeaturesofBeijingOperaTheartofillusion:transformasmallstageintothewholeuniverseExpressedthroughtechniquesofexaggerationandconcentrationTheartofcombination:grandopera,acrobaticdisplay,ballet,andhistoricplayTheexcitingpanoramaofBeijingOpera:theperformingartsofsinging,dialogue,dancing,acrobaticcombatandmonologue,separatedinWesterndrama,ChineseArt,MajorFeaturesofBeijingOperaMake-up:anessentialelementinshapingcharactersDifferentmake-up:accordingtothesex,age,personalityandsocialstatusTheartoffacingpainting:applyingthe“mask”requiresgreatabilityandpatience.,ChineseArt,FourMainRolesofBeijingOperaI.MaleRolesasShengXiaoSheng:youngmensingingfalsettovoiceLaoSheng:oldmenwearinglongbeardsWenSheng:scholarsorofficialsWuSheng:militaryofficersandgeneralsinbattlescenes(welltrainedinacrobatics)Theyareleadingmaleactors,ChineseArt,FourMainRolesofBeijingOperaII.FemaleRolesasDanLaoDan:elderly,dignifiedladiesQingYi:aristocraticladiesinelegantcostumesHuaDan:ladiesmaidsincoloredcostumesDaoMaDan:horsewomenandwarriorsChouDanorCaiDan:thewifeoftheclownroleCaiDan:alsoknownasclowns(Choupozi),ChineseArt,FourMainRolesofBeijingOperaIII.Face-paintedRolesasJingHighlyexaggeratedanddecoratedrolestodisplaythenatureofgood,honest,evilanddishonestcharacters.Warriors,heroes,statesmen,demonsandadventurersFuJing:ridiculousfigureswhoareanythingbutheroic,ChineseArt,FourMainRolesofBeijingOperaIII.Face-paintedRolesasJing“Oilpaintedface”:Red:honesty,probity,courage,andbraveryBlack:impartiality,fortitude,coarsenessandrudenessWhite:anegativecharacterBlueoryellow:nagativetraitsassavageness,fiercenessorarroganceGreen:facesofdevils,unstablecharacterGolden:godsoremperorsGoodnaturepaintedwithsimplecolors;hostilegeneralsanddoubtfulcharactersbearcomplexmarks,ChineseArt,FourMainRolesofBeijingOperaIV.MaleorFemaleRoleswithFacialMake-upandClownsasChouAwkward,stingy,funnyorfoolishpeopleAClownsfacialpattern:apatchofwhitearoundhiseyesandnose,sometimesoutlinedinblack,ChineseArt,BeijingOperaTodayEarlydaysof20thcentury:upto1millionfanswenttotea-houseorvarietytheatrestowatchBeijingOpera.MeiLanfang(1894-1961)influencedEnglishartistCharlieChaplin(1889-1977)andGermanartistBertoldBrecht(1898-1956)TheCulturalRevolution-TheEightModelOperaticPlays:ThestoryofRedLantern,TotaketheWeihuMountainbyStategy,ShajiabangNowadays:popularwithelderlypeople;themajorityofChineseyoungpeopleknowverylittleaboutthisartform,ChineseArt,BeijingOperaTodayMorethan390traditionalChineseOperasarestillbeingperformedthroughoutChina.BeijingOperatroupeshavebeenabroadtoperformAuniquepositioninChineseartaswellastheworldsartisticheritage.Nationalinstylebutacceptedinternationally,ChineseArt,ChinesePaintingHistoricalDevelopmentCharacterThefeaturesCategoriesaccordingtothestyleCategoriesaccordingtothecontentThesymbolicfeaturesChinesepaintingwithcalligraphyEngraving(Seal),ChineseArt,HistoricalDevelopmentofChinesePaintingWest-EastHanDynastyandSixDynasties(206B.C.-589):traditionalChinesepaintingapproacheditscurrentshape.ThroughoutthelateZhou,Han,WeiandSixDynasties:thetechniquesusedinfigurepaintingmatured.SuiandTang:landscapeandflower-and-birdpaintingsbecameanindependentcategory.,ChineseArt,HistoricalDevelopmentofChinesePaintingFiveDynastiesandNorth-southSongDynasties:highachievementsScholarpainting,appearingintheTangDynastyanddevelopingintheSongDynastyboomedintheYuanDynastywithfreehandbrushworkstyleandvividandboldexpression.BuddhistpaintingartandtheWesternartsinfluencetraditionalChinesepaintingalot.,ChineseArt,CharacterofChinesePaintingUsingbrushes,ink,ChinesepigmentsandsealsDrawingonXuanpaperorsilkChinesepainting(thetraditionalpainting):originalstyle,distinctivenationalfeaturesTheaestheticsystem:entirelydifferentfromthatoftheWestTheuniquenationalcharactersAnindependentsystem,ChineseArt,CharacterofChinesePaintingTheconvention:centralfocusperspectiveorrealisticportrayalFreedomonartisticconception,structuralcompositionandmethodofexpressionBetterexpressthepainterssubjectivefeelingsUsingtheformtoexpressthespiritXieyi:thefeelingisafundamentalapproachtotheChinesepictorialart.,ChineseArt,CharacterofChinesePaintingTocombinetheformsofartlikecalligraphy,poetryandsealengravingatthesametimeAgoodpaintingislikeagoodpoem:somewell-knownpaintingmastersarealsogreatpoetsandcalligraphersTheconceptofturninganaturalimageintoan“artisticimage”Thesubjectscanbefilledwithfeelings,ChineseArt,CharacterofChinesePaintingThebrushtechniques:linedrawing,stylizedexpressionofshadeandtexture,thedottingmethodandtheapplicationofcolorTheuseoflinesisimportant:18differentwaysofdrawinglineswiththebrushinfigurepainting,ChineseArt,ThemainfeaturesofChinesePaintingDepictingthesentiments“Qiyun”:theexperienceofapainter“Qi”:cosmicspirit;“breath”or“vapor”thatvitalizedallthingsandgiveslifeandgrowthtothemLikenessinspiritresidesinunlikenessTakingnatureasateacherandtheheartasasourceofinspirationUseimaginationtodepictthemarvelous:inspirationYanZhenqing(708-784,Tang);MiFu(Song);ZhengnBanqiao(1693-1765,Qing),ChineseArt,GeneralDescriptionofChineseCalligraphyFourskillsforancientChinesetopursue:Zheng(theancientmusicalinstrument),Chess,calligraphy,ChinesepaintingBrush,inkandpaperDifferentmethodsfortheuseofink:thickink,lightink,dryink,missingink,wetink,witheredinkandswellingink,ChineseArt,GeneralDescriptionofChineseCalligraphyInksticks:plainblackandcoloredInkslab:avaluableandpracticalculturalinstrument,andalsoapieceofartconcentratingwithinittheartofpainting,calligraphy,wordcarving,andsculpture.Softandelasticinkbrushes:theidealstoolstoexpressthevariouscalligraphystylesBrushes:differentsizesandmaterials(sheepwoolorwolfwool),ChineseArt,GeneralDescriptionofChineseCalligraphyStylesofChineseCalligraphyFivemainstyles:I.ThesealformII.TheOfficialScriptIII.TheRegularScriptIV.TheCursiveScriptV.TheRunningScript,ChineseArt,GeneralDescriptionofChineseCalligraphyStylesofChineseCalligraphyI.Thesealform:1.tortoiseshellscript2.bronzescript3.WarringStatessealscript:“inscriptionsondrumstones”4.smallsealscript:thestandardizedformofdifferentformsofthesealscriptafterthefirstQinEmperor,ChineseArt,GeneralDescriptionofChineseCalligraphyStylesofChineseCalligraphyII.TheOfficialScript1.ZhouScript,ShiScript2.Averydecorativeshapewithwideandflatandextendingtwosides3.HanDynasty:achievedthehighestartisticlevel4.Styles:squareanddignified,refined,elegant,forceful,rigorous,plainandnatural,ChineseArt,GeneralDescriptionofChineseCalligraphyStylesofChineseCalligraphyIII.TheRegularScript1.ZhengScript2.developedintheWei,Jin,SouthernandNortherndynasties;culminatedintheTangDynasty3.itsforms:squarebutvaried4.Thedots,bengingandstraightstrokes:coordinative5.YanZhenqing,LiuGongquan,ChineseArt,GeneralDescriptionofChineseCalligraphyStylesofChineseCalligraphyIV.TheCursiveScript1.Simple,HastyScript2.appearedinthesealscriptperiodandformeditsindependentstyleintheHanDynasty3.thehorizontalandfallingstokeshadaverticaltendency,ChineseArt,GeneralDescriptionofChineseCalligraphyStylesofChineseCalligraphyIV.TheCursiveScript4.Types:officialcursivescript,currentcursivescript(smallcursivescript)andwildcursivescript(theBigCursiveScript),ChineseArt,GeneralDescriptionofChineseCalligraphyStylesofChineseCalligraphyV.TheRunningScript1.XingYaScript2.betweenthecursivescriptandtheRegularScript3.anaturalandvividimpression4.WangXizhi,WangXianzhi,ChineseArt,GeneralDescriptionofChineseCalligraphyTheStructureofChineseCalligraphyOneelementinChinesecalligraphyismanoeuvrability:controllingthebrushonthepaperatrightspeedwithrequiresforcethetechniqueofwritingincludesatleast18kinds(startingstroke,closingstroke,curvestroke,andstraightstroke,etc.),ChineseArt,GeneralDescriptionofChineseCalligraphyTheStructureofChineseCalligraphyThestructureinvolvesthesuitableandartisticarrangementofthestrokesbasedontheformandthewritersaestheticinterestPrinciplesandskills:dense,sparse,slant,forthright,viol,full,concentrated,scattered,proportional,harmoniousa