Asian Art at MIA

The event that I went to is an art exhibit that is part of the Minneapolis Institute of Art’s Asian art collection featuring art from China’s Ch’ing, Ch’ien Lung, Qing, and Ming dynasties in the late 1500’s to the 1800’s. According to the exhibit, China’s culture has existed for approximately 3,500 years. China also has the world’s largest population and is considered the leading cultural force in East Asia because of its unmatched artistic tradition. Regarding cultural development, China was less submerged with neighboring cultures in the Middle East and Europe because of its large land expanse and the desire to keep its own traditions and philosophy. However, while they were less submerged they still were influenced through the various trading routes. Specific dates and times regarding cultural development were a little unclear or unknown.

China’s achievements in art and technology stemmed from a highly organized, family based, collectivist, and large power distance society, which is evident in the language, education, and government institutions. Chinese art is largely shaped by religion, philosophies of Confucianism and Taoism, and later Buddhism. “The inventiveness, technical virtuosity, and artistic diversity maintained by Chinese artists over so long a time are unmatched anywhere in the world” (MIA, 2013).

Landscape After Huang Kung-wang - Wang Sih-min, 1670

This is a classic lanscspe painting, made using ink and colors on paper, that was created by Wang Sih-min in 1670 during China’s Ch’ing dynasty. According to the exhibit, Wang Shin-min was part of an influential mainstream literari group known as the Four Wangs and the learder of the Ch’ing orthodox school of painting. This is an example of the stylistic reconstruction of Chinese landscape panting that was created by Wang’s teacher, Tung Ch’i-ch’ang, and that is typical of Ch’ing orthodox school painting. This style became known as orthodox and politically safe lineage for literari painting Under Wang’s leadership.

Ch’ing Orthodox Painting – Artist Unknown 

This is another example of Ch’ing Orthodox tradition of landscape painting inspired by Tung Ch’i-ch’ang (1555-1636). According to the Minneapolis Institute of art, Tung Ch’i-ch’ang divided Chinese art into Northern professional and Southern literary schools and worked to demonstrate the value of past masters. This was said to be a common practice in elitist groups during the late Ming and early Ch’ing dynasties.

Bamboo and Rocks - Chu Sheng, 1688

This lanscspe painting, made using ink and silk, was created by Chu Sheng in 1688, also durring China’s Ch’ing dynasty. This style of painting was inspired by Sung dynasty masters, Su-shih and Wen T’ung who were celbrated bamboo painters from the 11^th century.

In general, there were a lot of families visiting the art institute. Many people were there looking at various pieces. It was common to happen upon a group of 2-3 people gathered around a certain piece discussing with notebooks and pens.

Some of the cultural values that were represented in this exhibit were the importance placed on royalty, prosperity, intellectualism, education, philosophy, and ancestors. The artwork also demonstrated the value placed on contemplating the afterlife, but was more focused on a philosophy of life and being in harmony with one another and with nature. Other concepts that appeared to be valued within the cultural include beauty, and taking pride in the detail, and intricacy of the artwork. This was evident in the intricacy and detail that was displayed even in everyday objects. The art displayed did not tend to emphasize the individual personalities of the artists but appeared to demonstrate the values of a collectivist society, including harmony, respecting older family members and institutions, and conformity.

The Ch’ing dynasty was much acknowledged compared to the other dynasties. It was surprising to see that the only tapestry paintings were from the Ch’ing dynasty. 

Jade Mountain Illustrating the Gathering of Scholars at the Lanting Pavillion – Artist Unknown, 1784

This carving on light green jade is an example of art from the Qianlong period of the Qing dynasty. This carving represents a gathering of 41 scholars and officials that took place at Lanting or Orchid Pavillion in the present day Zhejiang province on March 3^rd of the year 353a.d.  According to the display, the purpose of this gathering was to celebrate a Spring Purification Festival. An introduction to a collection of poems written at the event know as ‘Preface to the Poems Composed at the Orchid Pavilion’ Written by Wang Xizhi, was transcribed on the carving by the Qianlong emperor, and is described as “the best known and most copied calligraphic work in art history” (MIA, 2013). The introduction gives a detailed description of a beautiful and tranquil mountain landscape and the activities of the scholars that took place at the event.

As an outsider I was amazed at the detail that was represented in each piece. I was most amazed at the jade carvings. The detail present from the trees and pathways down to the people was mesmerizing. I felt as though I had stepped into 16^th, 17^th, and 18^th century China.

The Chinese appear to be very proud of representing their culture. Through each piece the artist shows how much time and talent went into it. No piece was hastily put together, which is something that we in American culture today also do. Creating a work of art represents who the artists were and where they came from, something that is definitely represented here.

Large Storage Jar with Cover - 17^th to 18^th century 

This porcelain jar was made during China’s Qing dynasty. An inscription on the rim states “Made in the reign of Kangxi”. This inscription reinforces the value placed on royalty in the culture.  

Bowl – 17^th century

This bowl is from China’s Ming dynasty. According to the display, this bowl was made from nephrite and stained in order to darken the color and increase the value. This was apparently a common practice for jade carvings when the color of the jade used was considered to be of a lower-grade. The design in the center of the bowl symbolizes prosperity. 

Moghul Jades – 1736 to 1795

These items are an example of delicately carved craftsmanship, popular among the aristocracy during the Ch’ien-lung dynasty. During that period, Chinese art began to be influenced by the artistic style and culture of India.

The culture is presented as a very intricate culture. Intricacy and detail is very heavily presented, but I’m prone to wander what everyday life was like. There were a few pieces that were for everyday use, but even those were quite intricate. The philosophical and religious mindsets are also heavily presented. The art present in this display appeared to represent the work of philosophers and the educated elite but other members of society did not appear to be represented.

My experience at the Minneapolis Institute of Art increased my understanding and appreciation for Chinese art and culture tremendously. I learned a lot about the values that were important to Chinese culture in the 1500’s to 1800’s, and how those values are expressed through art, as well as the everyday objects that were present. It is easy to see that beauty, harmony, and appreciation for nature were very important in this society. I felt that this was a wonderful assignment for intercultural communication because learning about other cultures help us to understand and appreciate others that are different than ourselves and give us more insight into our own culture.

"Asian Art." Www.artsmia.org / Collections / Asian Art. Minneapolis Institute of Arts, 2400 Third Avenue South, Minneapolis, Minnesota 55404, n.d. Web. 07 Mar. 2013.