Horse and Groom Analysis - Essay Example

Horse and groom The horse and groom reveal artistic design of a man and horse. The horse appears ready to carry a man on a journey. The adornment on the horse and the sparkling attire on which the man is wearing resembles a great journey in waiting perhaps to collect the bride. The picture (horse and groom) has intense and rich color message delivery. It mainly entails yellow, black, red, white and green. The color varying content entailed in this process reveals of essential traditional value of certain selected colors. The Chinese emperor entailed deep use of the colors. The groom’s attire and the horse’s saddle have a huge segment of yellow contents. The Yellow color that corresponds with earth is Chinese most beautiful and very prestigious color. The picture hence communicates elevated prestige for the both horse and the groom. It is a high class living from Chinese society. The color yellow is linked Chinese adage which says, Yellow creates Yin and Yan. The adage implies that implies that yellow is the hub of everything. The color was ranked above brown, and it signifies the neutrality or good luck (Hearn, 39). The essence of Yellow highly linked close to gold for when it is paired with red in place of gold color. In Chinese culture, Yellow color was the emperor’s main and is held as the figurative color of the five past legendary emperors of olden China. Yellow frequently adorned royal palaces, temples and altars and the color was applied in the robes and clothing of the emperors. From value and worth of yellow color in the past days of china it application in the art reveals extreme passion augment prestige. The Yellow color also represents liberty and freedom from worldly cares or secular attachments and is thus highly esteemed in Buddhism religion. Monks’ garments are mostly yellow, as are also elements of most Buddhist temples. The message communicated by the use of yellow color also symbolizes heroism. Fig a: horse and groom The horse is majorly Black, apart from segments of the head, tail and loin. The meaning of black color and entailed message related to unity. According to Taiji symbol, application of black and white to signify the unity and harmony of Yin and Yang but antique Chinese, indicates black as the chief of colors and the culture honored black more constantly than any other comparable color. The essence of the significance of black color reveals of Lao Zi’s which admits that five colors cause people to be blind; thus Dao School selected black as the main color of the Dao. Furthermore, Black color which corresponds to water is hugely a neutral color. The entailment of black in this scenario hence reveals of amplified unity in the empire for which the groom and the horse resembled. The saddle and the breast section of the groom’s attire are green. The green is connected with prosperity, health and harmony (Hearn, 38). It hence portrays the both the groom and the horse as healthy and prosperous. The art resembles a prosperous and healthy empire. There is also the inclusion of white color on the foot, the tail and the head of the horse. Since the horse resembles a properly maintained kingdom, and the horse is supported on white hooves. The head of the horse white resembles the start or leadership of the empire has the white color and the tails which resembles the end, or even subjects have white color. Normally, White color corresponds to metal and mainly represents gold. It also symbolizes brilliance, fulfillment and purity. It hence revels that the kingdom was headed and ended in purity. The subjects were needed to be pure and thus attain fulfillment. The posture of a man reveals a kingly mode of life. He appears brave, calm and very much collected. The man is ready to go for a mission. His hair style is kingly and unique. He seems to lack virtually nothing. The horse is properly fed and ready for a mission. They appear to be in conversation as the horse is perhaps listening to grooms command. Comprehending that the horse signifies the empire and the man are the emperor then the emperor appears to be in controls of the empire. The model tells of a grace setting of issues. The horse is properly set with saddles and relevant attachments symbolizing the well-being of the empire which the emperor cares extensively(Hearn, 34). The drawing of the black horse with a white head standing on special hard pad is totally enchanting piece of work. The bright yellow cloth adorning the man is resembled bright or happy mood as the men is in nice fitting shoes. The man’s hair is tied excellently well. Zhao did the artistic and enhanced passion spreading the message on the ruling empire in that period. The story behind the horse and groom highlights Zhao’s message of on admonition to people in power. The leaders need to observe the abilities of the people in authority (top of them) who command and to utilize their talents conscientiously in the enhanced governance of the people (Hearn, 34). The picture informs of a case inherent to an emperor who neglected the counsel of his officials was unfair and wicked. It also re-ignites of the scenario when scholar-officials rarely resigned from any government and opted to live in retirement. Similar action had long been comprehended as immediate withdrawal of support, a type of silent protest in situations or circumstances deemed very intolerable. In Times of rule or dynastic change were particularly fraught, and a bunch of loyalists of any fallen dynasty frequently refused service in the incoming new regime. During the time, Scholar-officials were in some cases forced out of office, subsequently banished as a consequence of factionalism for the people in power. In similar cases, the mainly alienated people turned to art to express their personal beliefs. The personal would appear to conceal in entailed symbolic language, beliefs that could vehemently incite reprisals. The groom and the horse art reveals majorly the transcription of a sequential historical text which could be normally transformed into a typical strident protest directed on against factional inherent politics (Wong & Dorothy, 89). It is similar to illustrations that were directed on to a Confucian classic and thus became stinging indictment of entailed sanctimonious or and even essence of irresponsible behavior. The artistic work of this similar extend was highly personal nature, and similar works were roughly or always dedicated to endeared close friend or even kindred spirit. Most scholar-official painters eminently worked using ink on paper and such subjects including bamboo, rocks and old trees (Hearn, 37). Horse and groom reveal extensive drawing using a similar kind of disciplined and entailed brush skills that were suitable for calligraphy. This action steadily demanded distinguished art from the varying colorful, subsequent illusionistic style of enhanced painting highly preferred by a group of court artists and entailed professionals. Horse and groom artist, Zhao Mengfu typically epitomized the new model artistic paradigm of notable scholar-amateur. He was a scholar-official after training and had skilful qualities of a brilliant calligrapher and thus he applied his enhanced skill with a brush while undertaking painting. In horse and groom and all other works he undertook, there is indicated intent on distinguishing his nature of scholar-painting from other works of professional existent craftsmen. In conclusion, the pictures reveal a rich background and tradition of the Chinese people which reveals an extensive and adapted culture that values the horse. The attachments on the horse all communicate significant information regarding the past Chinese empire. The rich use of the colors informs of extensive application paint and colors to communicate information. The posture of the man, the horse, signifies proper correlation of issues entailed. The horse also is in constant communication with the groom in terms of actions and deeds thus revealing congruency and essential standing of things in the empire. Works cited Hann, Michael. Symbol, Pattern and Symmetry: The Cultural Significance of Structure. London: Bloomsbury Publishing, 2013. Internet resource. Hearn, Maxwell K. How to Read Chinese Paintings ; [in Conjunction with the Exhibition Anatomy of a Masterpiece: How to Read Chinese Paintings Organized by the Metropolitan Museum of Art, New York, and Held There from March 1 Through August 10, 2008]. New York, NY [u.a.: Metropolitan Museum of Art [u.a., 2008. Print. Komaroff, Linda, and Stefano Carboni. The Legacy of Genghis Khan: Courtly Art and Culture in Western Asia, 1256 - 1353. New York: The Metropolitan Museum of Art [u.a., 2002. Print. Wong, Dorothy C. Chinese Steles: Pre-buddhist and Buddhist Use of a Symbolic Form. Honolulu: Univ. of Hawaii Press, 2004. Print. Read More