Genghis Khan united the nomadic tribes

in Mongolia and from 1211 to 1215 pushed

Into north china, destroying the land
behind him.

Genghis divided the vanquished lands

Between four of his sons before his death.
The first military target was Xixia which was
located in the middle and western areas of
China and in 1205, 1207 and 1209, the
Mongolian army launched three massive
invasions. Under such military threat, the
helpless Xixia was forced to pay tributes to
the Mongol and sue for peace.
the effects of the Mongol conquest

The effects of the Mongol conquest of china

Can hardly be overstated. It is estimated that
50,000,000 Chinese were killed; almost half
Of the total population. China never fully
Recovered from this destruction at the hands
Of the Mongol hordes , who were not so
Numerous as they were efficient and ruthless.
rt reflects political styles

The painters of the Yuan dynasty held the song

Government responsible for allowing their
Country to be overrun by Mongols. Yuan artist
Saw the military weakness of song reflected
In the southern song landscaped paintings,
Which seemed to them to express a soft
Sentimentality.
Some Yuan painters rebelled by discarding
washes from their painting method while others
Substituted dry brush.
›
 


They include ncient rt in Mongolia, from the

Upper Paleolithic Period (40'000-1200 B.C.), the
rt of the Steppes Empire (third century B.C to
first century .D.), the rt of the Mongol Empire
(1206-1368), Buddhist rt of Mongolia, rt of the
19th Century, and rt of the 20th Century.
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Petroglyphes from prehistoric time are carefully carved in canyons at the foot of
sacred peaks in the ltai Mountain range in Western Mongolia (Rock Painting).
Drawings were found carved and painted on rocks as well as on cliffs. The motifs
are.animals, hunting scenes, and chariots. meditation and ritual scenes of
tengerisme (shamanism) of an ancient people. These depict an ancient world
dominated by deer, bears, hunters, wolves, and life stock. The engravings
measure from a tiny argali sheep of two centimeters, to a life-size horse in full
flight. The images are often cut through oxidized rock. Making use of the colors of
different layers of the rock to make the carvings stand out from their surroundings.
Petroglyphes in Bayan Olgii in Western Mongolia include an image of a deer
attacked by wolves, hunting scenes and scores of wild animals. Others depict
more domestic scenes of yaks dragging carts, the wheels and horses flattened
sideways like hieroglyphs, and two-dimensional herders on horseback.
Khubilai Khan, first Yuan Emperor, Empress Chabi Consort of
Shizu 1215-1294 Shizu

by anonymous painter by anonymous painter

 ð
 
 
  

The Southern Sung period, for all its cultural glories, is regarded
by historians as an age of weakness in the Chinese state,
characterized by retrenchment in area and influence, humiliating
military impotence, and a mood of nostalgia bordering on
escapism. The conquest of China by the Mongols put China
completely under foreign rule for the first time. The political
policies of the Mongol rule did not have a widespread
interruption to the arts in China. Superficially, the Mongol ruling
elite adopted Chinese customs and habits. Painters liked to
depict scenes of the ruling elite's life of horse racing and
hunting. Portrayals of horses had served for centuries as
pictorial metaphors for the character and special concerns of
the Chinese literati and scholar-officials and could carry a
variety of auspicious wishes and other messages.
Cao Zhibai

The painter in the Yuan Dynasty,

a native of Songjiang,Shanghai
City. His style name was Zhen
Su and his sobriquet was Yun
Xi.Following the style of Li
Cheng and Guo Xi,his
landscapes painting executed
elegant strokes with free
atmosphere.
Han Lin Tu
Xi Shan Fan Ting Tu
Ëian Xuan

The painter in the end of the

Song Dynasty to the Yuan
Dynasty,a native of
Wuxing,ZheJiang province.His
style name was Shun Ju and his
sobriquets were Yu Tan,etc.He
passed a civil recruitment
examination with distinction.fter
the kingdom Song had fallen,he
gave up his official position.He
was talented in painting human
figures, flower-and-bird, horses
and landscapes,and excelled in
calligraphy and prose. His style
gave considerable influence
to Zhao Mengfu.
Young nobleman on horseback, a handscroll painting
Yuan pottery

While the Mongol occupation destroyed much, it also shook China free
from the static traditions and techniques of the late Southern Song and
made possible many innovations, both in painting and in the decorative
 . The north was not progressive, and the main centre
of pottery activity shifted permanently to the south. The northern
traditions of Jun and Cizhou ware continued through the Jin and Yuan,
bolder but coarser than before. New shapes included a heavy, wide-
mouthed jar, sometimes with decoration boldly carved through a black
or brown slip or painted
Cizhou kiln,
#  
 Pinyin Cizhou
yao, Wade-Giles
romanization Tz¶u-chou
yao, kiln known
forstoneware produced in
Handan (formerly Cizhou),
Hebei province, in
northern  
, primarily
during the Song (960±
1279) dynasty.
The kiln produced hard
pillows, vases, bottles, and
other vessels decorated
with simple but
marvelously assured
brushwork in brown, black,
or gray on a white, cream,
buff, or, occasionally,
turquoise background.
 )

 Wade-Giles
romanization ting,  


glazed stone
ware produced for many centuries,
beginning in the 8th century ad.
Usually white in colour, Ding ware is
either plain or decorated with incised,
molded, impressed, or carved designs,
among which the phoenix, lily, and peony
are popular. The most important types of
Ding ware are „
Ding (³white´
Ding),  Ding (³flour´ Ding), and  Ding
(³earthen´ Ding), and characteristic forms
include bowls, cups, and dishes. Fired
upside down, many pieces of Ding ware,
especially bowls, have an unglazed rim
banded with metal.

 
 Pinyin Guan yao, or
Wade-Giles Kuan
yao,  


kilns known for
creating an imperial variety
of stoneware during the 


  (ad 960±1279). fter the
Song     
to the
south, Guan kilns produced ware
from about 1127 at Hangzhou,
Zhejiang province. One of the
official kilns, Jiaotan, has been
located by scholars near Wugui
Shan (Tortoise Hill); many rich
examples of the ware were
unearthed there. Guan ware was
characterized by a wash of brown
slip and by glazes varying from pale
green to lavender blue.


 Wade-Giles
romanization Chien ware, Japanese
name temmoku ware, Temmoku

also spelled Tenmoku, dark

brown or
blackish  


stonewar
e made for domestic use
chiefly during the 


  (960±1279) and
into the early 14th century.
Jian ware was made in
Fujian province, first in kilns
at Jian¶an and later at
Jianyang.

 
 Pin-Yin Jun yao, or Wade-
Giles Chün yao,  


kiln known for
the stoneware it created during the Northern
Song period (960±1126) in Junzhou (now
Yuzhou), in northern Henan. One class of
glazed wares produced at the kiln consisted
mostly of opalescent blue pieces (ranging
from grayish blue to a plum colour), many
strikingly splashed or mottled in purple or
crimson. These glazes generally had a fine
network of cracks. nother well-known class
had a type of red, or flambé, glaze and was
most often seen in flowerpots, bulb bowls,
elegant shallow dishes, waterpots, and
small boxes.