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The allegorical image represents three elderly men tasting vinegar. The identity of the three men varies. Chinese versions often interpret the three men to be Su Shi, Huang Tingjian, and a monk named Foyin. Other variations depict the three men to the founders of China's major religious and philosophical traditions: Confucianism, Buddhism, and ...
Confucian art is art inspired by the writings of Confucius, and Confucian teachings. Confucian art originated in China, then spread westwards on the Silk Road, southward down to southern China and then onto Southeast Asia, and eastwards through northern China on to Japan and Korea.
Unlike Taoist or Buddhist temples, Confucian temples do not normally have images. In the early years of the temple in Qufu, it appears that the spirits of Confucius and his disciples were represented with wall paintings and clay or wooden statues. Official temples also contained images of Confucius himself.
This tradition receded after the Yuan dynasty (1271–1368), when neo-Confucianism underscored the importance of the Analects over the other arts and technical fields. [ citation needed ] At the Guozijian , the Imperial University, law, math, calligraphy, equestrianism , and archery were emphasized by the Ming Hongwu Emperor in addition to the ...
In Chinese art, the Four Gentlemen or Four Noble Ones (Chinese: 四君子; pinyin: Sì Jūnzǐ), is a collective term referring to four plants: the plum blossom, the orchid, the bamboo, and the chrysanthemum.
Chinese painting and calligraphy distinguish themselves from other cultures' arts by emphasis on motion and change with dynamic life. [4] The practice is traditionally first learned by rote, in which the master shows the "right way" to draw items.
Confucianism focuses on the practical order that is given by a this-worldly awareness of tian. [12] The worldly concern of Confucianism rests upon the belief that human beings are fundamentally good, and teachable, improvable, and perfectible through personal and communal endeavor, especially self-cultivation and self-creation.
While Confucianism was the ideology of the law, the institutions and the ruling class, Taoism was the worldview of the radical intellectuals and it was also compatible with the spiritual beliefs of the peasants and the artisans. The two, although opposite ends of the philosophical spectrum, jointly created the Chinese "image of the world". [4]