Spring Gazing From the High Terrace, Essay Example

The national culture of one country differs so much from another on the grounds of the creation of particular elements of presentation that usually represent the value of items as they serve as the epitome of the real worth of a particular nation’s culture. Culture, in a sense, serves as the description of the personal being of each individual that thrives in a country. The capacity of such culture to become more effective in determining what type of personality the people have could be accounted for the value of beauty and solid presentation of culture that is given attention to in each piece of art that has been created in the past and has been passed on from one generation to another. There are instances when these elements are correlate to each other; particularly representing a valuable indication of what the culture of that nation is about and how such culture could be accounted for accordingly.

In this presentation and analysis, the Chinese culture, as highlighted in particular works of verbal and visual art shall be given attention to. Two particular works, Emperor Huizong’s Spring Gazing from the High Terrace and the textual writing that comes along with it shall be given specific consideration for analysis. The visionary that serves as the representation of the verses shall be accounted for its artistic value and the considerable indication of distinction on how it supports the representation that the verse does imply in relation to the appreciation of nature’s beauty in spring.

First to note is the visual presentation in which the painting features a light water-color treatment that mixes spring colors as they are used to represent the different elements of nature. These considerations entail to mandate a sense of appreciation on the vibrant colors of spring and how well it displays the concept of visual artistry to make sure that it brings a message into the thinking of the audience. Light as the treatment of the color-palette is, the different elements of the entre painting basically come together to make sure that represent a valuable insistence on the beauty of spring and how it soothes the senses into a calm yet vigorous feeling. In China, the consideration over color combination is one specific element that is used to create a more definite cultural valuing that identifies well with what is understood as the primary consideration of development; one that makes a distinct essence of cultural-art.

In relation to the verbal presentation of what spring is, the verses of the Spring Gazing from the High Terrace is one good verbal indication of nature’s visual and abstract beauty. Using the elements of nature and describing each element fully brings in a sense of realization and familiarity into the thinking of the reader. This poem strongly indicates the real values of developmental emergence of cultural value that is itemized as the primary sense of improvement that characterizes modern Chinese valuation of modern art.

For instance, the line “mists calm, clouds charming, the dew has already lighted” marks the beginning of spring and how it embraces the idea of the changing feel of the weather. As if describing the clouds, the sky and the surroundings, this line represents spring as lightly descending, affecting everything that is happening around and making a distinct picture that affects the entire being of nature’s current value. What makes this valuable distinction of nature’s grand transformation is also presented in the painting with light treatment of imagery, almost allowing the audience to imagine further what the images in the painting aim to imply.

Relaxing; this is what both the verbal presentation and the visual presentation being analyzed herein aim to imply in relation to what the real value of spring is. Both works entice the human element represented in each work as the human’s neutral connection with nature is understood as the most important aspect of consideration that creates a valuable distinction in the artistic works being given attention to. For instance, the line the day is long and the person is languid at this time of apricot blossoms insists on how the calming effect of spring does create a sense of comfortable ambiance for an individual, making it easier for him to choose to relax during this season. Welcoming the sun and the blossoms of the flowers, the painting suggests such idea as well. With flowers represented in vibrant colors contrasted by the calming hues of the sky creates a calming effect that makes the one looking at the painting to actually feel what it is like to experience spring in China.

The connection between the two works that have been analyzed is that of the focus they have on the aspect of representing human value and its distinct connection with nature. This element of connection is what identifies well with the idealism of the Chinese culture in relation to the peace of mind that a human individual’s connection with his surrounding brings. True to its sense, both works were able to justify why the Chinese culture aims to impose on the reflective positivity that nature has in defining human realism, a matter that coveys a definite term of intervention specifically mandating a course of balance that humans need in order to survive life’s twists and turns just as nature survives its own points of transformation. To the Chinese culture, such form of balance between nature and humans play a great role in establishing good points of insistence on how human individuals ought to embrace the different points of developments that ought to be given attention to. Noticeably, these works that have been analyzed for this presentation of facts and analysis of artistic value present a definite insistence on how the mandates of culture actually helps in identifying the basic concepts of distinct consideration  of human transformation and stability that correlates with the behavior of nature as well.

Works Cited

Emperor Huizong, “Spring Gazing from the High Terrace,” in Mao Jin ?? ed., Erjia gongci ???? (Siku quanshu ed.), fasc. 1, 19b. Translation by Hui-shu Lee.

Barnhart, Richard M., et al. Three Thousand Years of Chinese Painting. Wadsworth Atheneum Museum of Art: 2002.

Chi, Lillian, et al. A Dictionary of Chinese Ceramics. Sun Tree Publishing: 2003.

Clunas, Craig. Art in China. Oxford University Press: 1997.