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Art of Asia
Course: Art of Asia > Unit 2
Lesson 10: Tang dynasty (618–907)- Tang dynasty (618–907), an introduction
- An Introduction to the Tang dynasty (618–906)
- A Tang silk brocade
- Tang Yue ware
- Tomb figurines, Tang dynasty
- Tomb figures of a man and woman on horseback
- Tomb figure of a groom
- Stele of the Buddha Maitreya
- Dancer
- Camel
- Central Asian wine peddler
- Chinese Buddhist cave shrines
- Mogao caves at Dunhuang
- Jataka tales at Dunhuang
- Dunhuang Historical Art, Cave 323
- A silk painting of sacred Buddhist images from Dunhuang
- The paintings and manuscripts from cave 17 at Mogao (1 of 2)
- The paintings and manuscripts from cave 17 at Mogao (2 of 2)
- Hong Bian, the monk in the Library Cave, Mogao
- Zhou Fang, Ladies Wearing Flowers in Their Hair
- Taoism in the Tang and Song dynasties
- Admonitions Scroll, attributed to Gu Kaizhi
- Han Gan, Night-Shining White
- Zither (qin) inscribed with the name “Dragon’s Moan”
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Tang Yue ware
Celadon begonia-shaped bowl, Yue ware, 618–907 C.E., Tang dynasty, China (Shanghai Museum). Speakers: Dr. Kristen Brennan and Dr. Steven Zucker. Created by Smarthistory.
Video transcript
(jazzy music) - [Steven] We're in the ceramic galleries in the Shanghai Museum, and
we're looking at an oblong bowl dating to the Tang dynasty. This was made between 618 and 907 CE. This is at least 1,400 years old. - [Kristen] So when we think
about the Tang dynasty, we often think about the sancai,
or these polychrome-glazed, whereas we see them in almost
every museum collection with Asian art. This one, however, speaks
to another development that was also in progress,
from far earlier. - [Steven] The craftsman who made this is interested in achieving a
purity in terms of its color, in terms of the thinness
of the wall of the bowl, but also in terms of its shape. Gone are all of the figurative elements, and in its place is a pure abstraction, a love of the material
itself in its purest form. - [Kristen] This is
porcelain, it's the Yue ware, and this particular type
of porcelain is glazed with this greenish, brownish, yellowish, very shiny, translucent glaze. What they were after is a jade-like glaze. - [Steven] I think in our world, we take glass and plastic for granted. In a world that was full of
rough textures, of earth colors, this kind of purity must've
felt almost miraculous. - [Kristen] Just the fact that kilns could fire the bodies
of these porcelain vessels from such an early time, and
actually earlier than this, is quite remarkable. - [Steven] The Chinese technical
facility is extraordinary, not only in terms of being
able to shape this vase, but being able to fire it. That technology simply wasn't available in most other parts of the world. - [Kristen] It's quite a large vessel. It's sitting on a round foot. The entire object is
glazed inside and out, all the way down to the
foot, with an evenness. You can hardly see the body below. - [Steven] And the shape of the vase is referencing ever so subtly the begonia, this four-lobed flower. - [Kristen] Four tiny little indentations, the mark of a finger pushing in slightly just to make that
reference to this flower. - [Steven] And so, gone
is almost all reference to the natural world. This is a vessel that is about the artistry
of ceramics itself. (jazzy music)