Abstract
In this article, the writer discusses that Song dynasty and other landscape painting was much influenced by daoist ideas of the supremacy of nature. They were admired in Japan where monks sometimes taught artists just as occasional Japanese reached Chinese monasteries. The writer maintains that the rise of landscape painting in China helped to inspire Japanese monochromatic art that soon evolved on its own in response to Zen Buddhist influence. Several examples are mentioned of both genres with 6 figures.

From the Paper
"Landscape painting has remained the preeminent form of Chinese painting into the present. The term of shanshui or `mountain and water' refers to landscape painting as understood by the Chinese in rather a continuum from the 4th and 5th centuries. By the 11th century, landscape painting had become the most important form in China, stimulated and influenced by ..."

Tags:landscape, japan, monochrome

Abstract
This paper will discuss the representation of the natural landscape in Xie Ling-yun's poem "Visiting the Southern Pavilion". It will be shown, through a comparative analysis of Chinese texts on landscape painting, that Xie Ling-yun's poem plays with, and is juxtaposed against, the generic rules of landscape painting. The poetic landscape, which appears to be a celebration of the beauty of summer, is actually a reflection upon mortality and suffering. From this perspective, Xie Ling-yun's poem may be seen to have philosophical depth lacking in most landscape painting.

Abstract
This paper provides an analysis of the history of blue and green landscape painting in Chinese culture, focusing on ancient masters of the tradition. The moral purpose of landscape painting is explored, including the combination of inner spirit and nature reflective of a majority of such works.

From the Paper
"Different landscape schools or movements of painting have arisen throughout human history. Both material and documentary evidence exist for the study of blue-and-green landscape representation in early Chinese art. As renowned Chinese arts scholar, Michael Sullivan, explains only some of these representations were rendered in painting. There have survived from the Han and pre-Han periods objects on which landscape is depicted in varying degrees of naturalism or stylization, such as stone reliefs, inlaid bronzes textiles..."

Tags:Han, T'ang, dynasties, Buddhism, Taoism, culture, Yin, Yang, empty space, cosmos, reflection, understanding

Abstract
This paper analyzes two pieces of art in terms of their content and design, as well as investigating the periods during which these pieces were produced. The two works that are explored are "Landscape with Saint John on Patmos" by Nicolas Poussin and Paul Cezanne's "Mont Saint- Victoire". Both images are of landscapes featuring mountains, yet the overall composition and execution of both pieces is remarkably different

Abstract
In Chinese art and literature the representation of landscapes is frequently encountered. Over centuries, artists and poets have devised complex grammars that govern their depiction of the natural world. This paper will explore these grammars with respect to works by Xie Ling-yun, China's premier early landscape poet and Fan K'uan, one of the greatest of all Chinese landscape painters. Two respective works of this poet and painter will be discussed in order to demonstrate two singularly different approaches to the idea of the artistic representation of landscape.

Abstract
The paper discusses how landscapes are today a staple in art, but the form developed over time and showed various cultural influences at different times in that development. The paper looks at how the seventeenth century was a time of major developments in painting styles in a number of countries, and landscapes were given particular attention in Holland and Italy, in different ways. The paper notes that classical landscape painting followed the Renaissance model of using works from antiquity as models and sought to show the landscape as a serene and harmonious design layout.

From the Paper
"Landscapes are today a staple in art, but the form developed over time and showed various cultural influences at different times in that development. The seventeenth century was a time of major developments in painting styles in a number of countries, and landscapes were given particular attention in Holland and Italy, in different ways. Classical landscape painting followed the Renaissance model of using works from antiquity as models and sought to show the landscape as a serene and harmonious design layout. Much of the subject matter was derived from Greek and Roman mythology or from Christian stories. Such a landscape was idealized, with the human figures part of the ideal and dressed in archaic dress. Some of..."

Tags:landscape, holland, italy

Abstract
This paper explains that the painting "The Architect's Dream" by American artist, Thomas Cole, masters historical perspective by combining structures from several epochs--Egypt, Greece, Rome and Europe--within the confines of a simple painting, thus depicting the evolution of architecture. The author points out that Cole, who was the founder of the Hudson River School, a group of artists that followed the style of American romanticism and realism, filled the landscape of this painting, accurately and in detail, with human structures of each age. The paper concludes that this piece of art from the romantic times is not so much a history lesson as it is a story of human ingenuity and spirit, which praises man's triumphs throughout the ages by giving tribute to the beauty of history's great accomplishments that still inspire humankind today.

From the Paper
""The Architect's Dream" is a large painting, about 8 feet long by 6 feet tall. Just looking at the different buildings throughout the eons is very enthralling. And so, I stood in front of this painting for at least ten minutes just taking in the sheer power of it. I imagined what it would look like IF someone actually built a city like the one Thomas Cole painted. I could see the romanticism in the expression on the Architect's face as he lays relaxed and wondering about his strewn books. I put myself in his position and tried to imagine looking upon such a dream city, but in reality."

Tags:recession, romanticism, realism, power, landscape

Abstract
In this article, the writer discusses changes in Chinese landscape painting from the fourth to the fourteenth centuries.

From the Paper
"Chinese painting evolved from the fourth to the fourteenth centuries as technological sophistication coupled with cultural transformations affected the creative arts. Helen Gardner sees these changes as linked at least in part to the growing significance of Zen Buddhism that emerged in Sung painting as of the late tenth century. This brief essay will examine a small selection of Chinese paintings to trace these changes. The five traditional colors employed in China are white black red yellow and blue-green ..."

Tags:Chinese art, landscape

Abstract
This paper examines and reviews Margaret Atwood's short story "Death by Landscape", focusing on the various characters in the work. Lois, the main character in the short story, is a compulsive collector of landscape art. This need to buy and stare into the landscape of a painting is incomprehensible to her family. The paper further describes how the family believes Lois would never ventured into the wilderness whether it be on vacation or a trip to her in-laws.

From the Paper
"Lois, the main character in the short story by Margaret Atwood, is a compulsive collector of landscape art. This need to buy and stare into the landscape of a painting is incomprehensible to her family. All they know of Lois is that she would never and has never ventured into the wilderness whether it be on vacation or a trip to her in-laws. Lois simply doesn't do the wild any longer. The purchase of a new painting for her flat which she has just moved into sends Lois back to when she was 13 years old. In fact, the reader is..."

Tags:paradox, irony, exile

Abstract
This paper examines how, while much of art progressed toward abstraction in the early part of the twentieth century, Regionalist painting continued relatively the same. One artist, Stuart Davis, spear-headed the movement to paint the American scene in a imaginative new way. It looks at how one of his works, "Landscape with Garage Lights," is a prime example of this progression of art and how it proved to be a new benchmark in Regionalist painting. It also shows how, by rejecting earlier traditionalist beliefs and embracing modern influences, he comments on the urban American life with abstract forms and highly saturated colors, creating a truly unique and upbeat work of art.

From the Paper
"Matisse and the emergence of jazz also influenced Davis. Matisse helped pioneer the use of highly saturated colors in his works, and this concept did not go unnoticed by Davis. Although these saturated colors did not truly represent any real landscape, that did not stop Davis from making use of them. In Landscape with Garage Lights there are strong reds, oranges, blues, and greens. Every color seems to be of the variety that a child could easily pull out of his/her small box of Crayola crayons. However, this assortment of primary colors causes the work to evoke an upbeat response. This upbeat response can be compared to the rise of jazz music during the period. Jazz was a new, experimental, and colorful way to write and play music."

Tags:art, ashcan, regionalism, abstract, matisse, color