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Thirteen Emperors Painting

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Thirteen Emperors Painting
There are four paintings that I want to show and analysis. Tow of them from ancient China, and the other two paintings from the Western imperial portraiture.

Firstly, look at this painting. This painting is part of The Thirteen Emperors, which is collected in Museum of Fine Art Boston. This painting was created by the painter - Yan Liben around AD. 581 - 604. More specifically, the material of this painting is Classical Chinese Painting On Silk, from this short sentence, we can know this emperor is emperor Wen of Sui Dynasty, his name is Yang Jian. From this painting, we can see the emperor wear the emperor uniform which is black and red, and two entourages stand behind him. Here is a question, why the two entourages looks smaller than the …show more content…
This painting was created in A.D. 547 and named The Emperor Justinian and his entourage, and belongs to the Basilica of San Vitale. It is a mosaic, which connected with the Byzantine art. The background of the picture is a golden mosaic with a beautifully decorated pattern on top and a greenish blue on the bottom. The whole picture is painted white, purple, yellow, green and red alternately. It looks very beautiful, bright and dignified. The emperor Justinian was in the center of the picture. He wore a hat inlaid with jade, and he wore a fuchsia robe with golden circular. This picture drew the 12 people, and just like the 12 Christian disciples. Then, as I mention before, the shape of these 12 people are similar and slender, reflecting the characteristics of Byzantine-style in this period. The religious atmosphere in this painting is …show more content…
More specifically, this full portrait done in colors depicts Xuanzong with a dark countenance and a full beard. He wears a black gauze cap with wing-like projections folded upwards and is adorned in a yellow robe with cloud-and-dragon decoration. One hand holds onto his belt inlaid with precious materials as he sits on a beautifully carved dragon chair placed on a brocaded rug with coiled-dragon patterns. The painting style is quite realistic throughout and the angles to the drapery lines powerfully rendered, the washes of the facial area emphasizing the sitter's character. Judging also from its opulent colors, this work most likely came from the hand of a painter at the Ming court. Generally, this painting is more exquisite than Yan Liben’s
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