The third exam will follow the same
format as the previous two and cover the material since the second exam. Below
are notes on what I expect you to know and some essay questions for use in reviewing.
| I. | What
you need to know: |
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| a. | Works
reproduced in Clunas, Art in China: |
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| Figs.
31, 32, 34, 37 [the correct date is 1723, not 1715], 39, 40, 60 [don't worry
about the deity's name], 61, 62, 74, 75, 77, 81, 82, 83, 84, 85, 86, 87,
90, 91, 99, 100, 101, 105, 107, 108, 109, 111, 115, 116, 118, 121, 122,
124. (A few of these works are also reproduced on the website, although
sometimes in a different view.) |
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| b. | Works
in the "List of Images by Period," from the Yuan dynasty through
20th century. The list includes a few works that we either did not cover
or I don't think you need to learn, so you can omit the following: |
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| (Ming) | Dai Jin, Fishermen
on the River (2 images) Qiu Ying, Farewell at Xunyang (2 images) Wu Bin, Fantastic Landscape |
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| (Qing) | Chen Shu (1660-1736),
Mallows, Aster, Beetle, and Butterfly Teapot, Qing dynasty (Kangxi period, 1662-1722) |
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| (20th c.) | Chen Yifei and Han
Xin, Looking at History Zhao Yixiong (1934- ), Awakening of the Tarim |
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| c. | You should also be thoroughly familiar with the information on Study Sheets #10 - 13. | |||
| II. |
Sample essay questions: |
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| 1. | Compare the architecture
of the imperial palace with that of a scholar's garden, focusing on design
principles and symbolism. |
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| 2. | Referring to at
least two different media, discuss the use of auspicious images in Chinese
art. |
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| 3. | Although traditional
accounts of Chinese painting assume a sharp division between "amateur"
and "professional" masters, many Ming and Qing artists do not
fit either stereotype. Explain why this is so for Chen Hongshou and Zheng
Xie specifically. |
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| 4. | In the 20th century,
many artists have tried to develop forms of artistic expression that are
both "Chinese" and "modern." Choose one artist (for
example, Xu Beihong, Lin Fengmian, Zhang Daqian [Chang Dai Chien]) and describe
how he addressed this problem. |
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| 5. | What role did Communist
ideology envision for the visual arts, and what impact did its implementation
have on artists? |
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| 6. | How was Tiananmen Square made into a public space of immense symbolic importance in modern China? | |||
| The in-class review will be on Monday, May 5, so try to do some review before then and bring questions to class. | ||||