During the Paleolithic era, the first ceramics were identified in the history of Chinese art. The richness in terms of the raw materials is clear to see as the country contains in abundance. Colson (17) argues that the main construction materials include tiles, bricks, and hand- built ensembles with the help of kilns, as well as the most sophisticated which hailed from the imperial court. Industrial scale was used in the production of the ceramics as they can be found in almost every part of the world.
Very few of the painters or potters of the products are renowned to this day as the workshops were owned by the emperors and the rate of exports of them were high as gifts for trades. Decorative art was also an art form within the Chinese context, as it resonated around the display aspect. Much of the raw materials within the country and valuable level of their abundance was instrumental for delivering pf the skill used in decoration ranges. For example, the jade from China was associated with magical powers and it was practical in the stones and bronze ages (Graff 115).
They were also developed as party of the every day tools and weapons for use. Specialized artists later took on the jade to make decorations out of ivory, Chinese silk, cloisonné enamel, rhinoceros horn, lacquer to mention just a few among other materials. An additional decorative art was that of the folding screen and used the availability of mythology and nature forms for effective representation. They were largely considered ornamental and affected the historical era of literature at the time.
Infrastructure Chinese art has developed with the cultural intervention achieved through infrastructure and its subsequent improvement over time. The top quality nature of all various cultural infrastructures within the country has been testament to the growth and attraction of numerous visitors to the country. In the first dimension, cultural diversity in the country has ensured that the production of art forms is on a large scale as compared to any other country in the world (Guillain 22).
For example, the Chinese population is over a billion people, and therefore the financial outlay of its infrastructure is developed in order to ensure all network systems like transport and communication avail the artistic impressions. The level of mega- projects injected into the cultural depiction has also contributed to the development and growth within the borders. Another of the distinct Chinese art dedication has been through the infrastructural growth through on projects aimed at marketing the same.
For example, the increased participation of major projects in large cities like Beijing and Shanghai has put the country on the world map. Warehouses, grand theatres, auditoriums, as well as ultra-modern facilities are a major coup within the country in promoting the artistic efforts. Hu (19) points to the historical facilities like the auditoriums, archives centers and museums have all been positioned within the country to allow for authenticity and originality in locating of the unique landscapes of the products.
Similarly, the infrastructure has boosted the ability to enhance the tourism demands of the visitors from the world all over in order to manage the progress of artistic deliveries. It has translated to the organized and cultured means all along with the growing demand on an annual basis. Cultural Context Chinese art is reliant on the cultural aspect of its people for the maintenance, depiction and growth throughout history. In the country, there are fifty-six recognized ethnic groupings in the country with the diverse nature of their cultural depictions.
Thus, it shows that the language, art, architecture and ensembles of the people show various artistic representations according to the respective basing (Jung 1). The coverage of the regional and local representations also has an influence in the way art is maintained amongst the people.
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