Documentary records reveal that, just like any form of ancient art, the Chinese gallery at the Metropolitan Museum art has managed to create some of the most iconography forms of art of their times. For many years, these forms of art have acted as the site for reference to a combination of Chinese art and cultural reference. Perhaps, no better site with reference to the documentation of the Chinese artifacts from the entire globe can outplay the gallery in the league of reference. The Museum and its artifacts have played a significant role in revealing the various historical activities that were carried out by the ancient Chinese. Among the most conspicuous and interesting features that have been shown in this gallery is the set of album leaves. Comparative analysis of the three chosen forms of art portrayed the various interesting historical themes that were experienced in China.
For many years, the Chinese art leaves have been regarded as one of the noble yet classic status of the Metropolitan Museum. These forms of art have stirred indignation among many scholars and artists. The scholars and artists have said that, these collections have proved to be some of the best permanent collections in the museum. These forms of art, reveals how the Chinese had developed various forms of innovation to accomplish the transmission and distribution of some of the most important and vital text. The forms of arts gave an opportunity for an artist to express and participate in the various contemporary issues that were influencing the society.
The authenticity of the Chinese art leaves translated by Wen Fog provokes varied forms suggestions varying from social, artistic and religious presentation. As observed by various scholars, these forms of art provides anomalous interpretation with reference to everybody`s understanding. Scholarly articles, journals and documented paintings suggest that Chinese art leaves are predecessors of the beautiful architectural presentation of the China as a nation. A closer look at the first form of art reveals dry tree leaves clustered on the river bank. The river presented is most likely to be in its youthful stage with conspicuous features such as a deep narrow valley and high erosive capacity. The clouds presented in the picture are cirrus suggesting relatively little rain. As revealed by the picture, on the bank of the river is a tiny hurt clinging in a manner that it is almost falling down. Socially, this art demarcates the hardest times that China as a nation was facing. It reminds every scholar and artist, on the wee years when China was in hard moments. The cling of the hurt demarcates the poor social background of the people of China (Lombardo 82).
Picture II
This form of art is the second most fascinating piece in this gallery. The art conspicuously presents a structural branch containing various mature leaves. The leaves are relatively dark, showing that they are growing in a productive land. At the tips of the branches, there are more than five flowers that are ready to blossom. A closer look at the leave branches indicates moisture or dew on the sides. The leaves are elongated enough and at the youthful stage of growth. A detailed analysis of the sky reveals brilliant clouds that are glowing in the distance (Lombardo 83). The paintings have been represented by relatively subtle drawings but still in a black and white color. Socially, this form of artwork symbolizes Chine`s blossom into a new world. The art is one of the classical representations of the futurist movements that show the growth of china as a nation. In an attempt to reveal the socio-economic growth of china during that period, the artist decided to use some of the youngest growing leaves. The artist further provided flowers for the leaves to show the blossoming of his nation (Lombardo 85).
Picture III
This form of art represents the artist last presentation. On the drawing, it is conspicuous to see mature trees. Upon the sky, the white clouds have already flown and the sky is white. The river has already accomplished its erosive capacity and has attained its maturity. The picture represents China attainment of maturity age. Lack of leaves and flowers on the drawing represents that China has grown to maturity and did not need further guidance. The artist mainly used the leaves to show the growth of China as a nation (Targeted News Service n.d).
In conclusion, various documentary records show that, the above descriptions are the contemporary issues embedded on the Chinese gallery at the Metropolitan Museum art. Some critics still reveals that these forms of art are anomalous and confusing. However, in all dimensions, the artist has managed to optimize the element of growth and movement in the form of art (Forte 856). Therefore, it shows that, the pieces of arts have not only managed to appeal to the artist but to the entire sectors of Chinese economy. This approach makes these pieces of artwork to be considered sound in the land of China and the global world since memorial to date.
Works Cited
Forte, Antonino. "Ancient China: Chinese Civilization from its Origins to the Tang Dynasty." Journal of the American Oriental Society 123.4 (2003): 851-60
"Treasures of Ancient Chinese Art Return to Public View at the Freer." Targeted News Service Oct 01 2010
Lombardo, Daniel. "The Yin Yang of Painting: A Contemporary Master Reveals the Secrets of Painting found in Ancient Chinese Philosophy." Library Journal 126.5 (2001): 82-3
