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The recognition of a spiritual element in landscape art is present from its beginnings in East Asian art, drawing on Daoism and other philosophical traditions, but in the West only becomes explicit with Romanticism. Landscape views in art may be entirely imaginary, or copied from reality with varying degrees of accuracy.
The usage of landscape painting as ornament is suspects to be borrowed from other societies outside Han empire during its expansion to the Near East. Landscape and animal scene began to appear on the jars, but the decoration has little to do with connection with the natural world.
South Asian art encompasses the arts of the Indian subcontinent, while Central Asian art primarily consists of works by the Turkic peoples of the Eurasian Steppe. West Asian art encompasses the arts of the Near East, including the ancient art of Mesopotamia, and more recently becoming dominated by Islamic art.
A standard primer on classical East Asian bamboo painting is Hu Zhengyan's "Ten Bamboo Studio Manual of Painting and Calligraphy" (1633), with woodblock print illustrations. Because of the volume of bamboo works painted over time, the production of a work of ink bamboo became one of the standard subjects to which an East Asian student could be ...
Shan shui painting is a kind of painting which goes against the common definition of what a painting is. Shan shui painting refutes color, light and shadow and personal brush work. Shan shui painting is not an open window for the viewer's eye, it is an object for the viewer's mind. Shan shui painting is more like a vehicle of philosophy. [6]
The court painters became more imaginative and creative, giving a new direction to landscape painting. [2] As a result, the Tang era had an everlasting influence influence on Central and East Asian art. The court painters played a key role in defining female beauty uniquely, through their paintings, especially “the court lady paintings”. [3]