Tang dynasty painting

rdf:langString Tang dynasty painting

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rdf:langString an armed cortege, mural from the tomb of Li Xian at the Qianling Mausoleum, early 8th century AD

rdf:langString painting on a silk scroll of a female dancer from the Astana Cemetery of Gaochang , c. 702 AD

rdf:langString Buddhist art depicting musicians in paradise, a mural from the Yulin Caves of Dunhuang, Tang dynasty

rdf:langString female figure as the planet Venus from the painting "Tejaprabhā Buddha and the Five Planets" , depicted as playing the pipa, c. 897 AD

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rdf:langString Female figure as Venus, T'ang dynasty.jpg

rdf:langString Traditional Chinese instrument players - Yulin Cave 25.jpg

rdf:langString Anonymous-Astana Graves Dancer.jpg

rdf:langString Figures in a cortege, tomb of Li Xian, Tang Dynasty.jpg

rdf:langString During the Tang dynasty, as a golden age in Chinese civilization, Chinese painting developed dramatically, both in subject matter and technique. The advancements in technique and style that characterized Tang painting had a lasting influence in the art of other countries, especially in East Asia (Korea, Japan, Vietnam) and central Asia. A considerable amount of literary and documentary information about Tang painting has survived, but very few works, especially of the highest quality. A walled-up cave in the Mogao Caves complex at Dunhuang was discovered by Sir Aurel Stein, which contained a vast haul, mostly of Buddhist writings, but also some banners and paintings, making much the largest group of paintings on silk to survive. These are now in the British Museum and elsewhere. They are not of court quality, but show a variety of styles, including those with influences from further west. As with sculpture, other survivals showing Tang style are in Japan, though the most important, at Nara, was very largely destroyed in a fire in 1949. The rock-cut cave complexes and royal tombs also contain many wall-paintings. Court painting mostly survives in what are certainly or arguably copies from much later, though the front section of the famous portrait of the Emperor Xuanzong's horse Night-Shining White is probably an original by Han Kan of 740-760. The Tang dynasty saw the maturity of the landscape painting tradition known as shanshui (mountain-water) painting, which became the most prestigious type of Chinese painting, especially when practiced by amateur scholar-official or "literati" painters in ink-wash painting. In these landscapes, usually monochromatic and sparse, the purpose was not to reproduce exactly the appearance of nature but rather to grasp an emotion or atmosphere so as to catch the "rhythm" of nature. The long-lasting tradition of the Southern School began in this period.