The+First+Prose+Poem+on+the+Red+Cliff--Wen+Zhengming


 * The First Prose Poem on the Red Cliff**




 * Artwork Identification **

Artist: Wen Zhengming (1470-1559)
Country: China Date: 1555-1558 Period: Ming Dynasty Size: 55 3/8 x 13 in. Medium: Ink on paper, hanging scroll Museum Accession Number: 76.3 Current Location: Detroit Institute of Arts Provenance: Founders Society Purchase, Robert H. Tannahill Foundation Fund Wen Zhengming, a Chinese painter, calligrapher, and scholar during the Ming Dynasty,was born in Suzhou, Jiangsu Province, China. He is considered one of the leading figures of the Wu School of scholar artists in China and an expert at four styles of calligraphy: clerical, standard and cursive. Painting in many styles, Zhengming utilized a variety of techniques ranging from finely detailed brushwork to less defined free wash. //The First Prose Poem on the Red Cliff// ,inspired by a famous poem of the same name, was painted in the literati style. The literati style is a traditional Chinese painting style practiced predominately by amateur artists, which eventually became an important aesthetic quality that many trained artists sought after inside their work(Eno). //The First Prose Poem on the Red Cliff// depicts a journey down the legendary Yangzi River and its surroundings.
 * Introduction**

//The First Prose Poem on the Red Cliff// utilizes the simplicity of black ink and ink wash on light colored paper to employ a monochromatic color scheme. The brushstroke is dry and wispy, appearing more as a sketch than a painting. There is a significant amount of negative space, untouched by Wen Zhengming's paint brush**.** The elongated vertical orientation of the space in addition to the darkest values of the foliage at top and bottom draw your eye from one end of the painting to the other. The rocky shore painted at the bottom of the work seems to be at eye level, with trees creating the landscape. Tall, sparse trees fill the vertical space in the distance and a rather large and gnarly shaped tree with thick, heavy foliage dominates the shoreline. Far above, at the top of the work, is a looming cliff that dwarfs all below it, including the viewer. It seems to lean out overhead, making it seem very dominant. Crooked trees jut out from the side of the cliff, similar to the gnarled tree below on shore. While passing between these bold sections of land and nature, the viewer sees the finely painted boat completely alone in the center of the piece accompanied by only a few subtle suggestions of the boat’s effect on the water. The remaining surface of the water, however, remains calm. Standing on the boat is a delicately outlined man steering the boat toward its destination; seated are three additional men in thinly outlined robes, suggesting they are of higher status. Despite the immense scenery, the men seem to be chatting and enjoying a leisurely ride amidst the vast open space in which they float. The strokes of the painting are free, yet detailed, and seem to capture the gentle breeze by the Red Cliffs and the shoreline. Located at the bottom of the piece are several seals imprinted in red ink. The painting hangs as a scroll when displayed and then coiled for transportation.
 * Descriptive Analysis**

Wen's inspiration for this piece was Su Shi’s poem, [|The First Prose Poem on the Red Cliffs]**.** The poem was written in 1082, centuries before the creation of the painting. Below is an excerpt from the poem**:**
 * Formal and Contextual Analysis**

//The clear breeze over the river, or the bright moon between the hills, These we may take...free, And they will never be used up. These are the endless treasures of the Creator, Here for you and me to enjoy together.//

//...Only the Clear wind on the River, And the bright moon between the mountains… You can take these without prohibition And use them without exhausting them.//

This poem tells the story of a mystical boat ride the poet took along the Yangzi River. Accompanying Shi down the river are a few friends, and as they sail along they become inspired by the vast red cliffs, the way the moonlight sheds down upon them, and the grandeur of the river. These red cliffs are famous for their historical significance. In 208 AD, a battle between a stronger northern China and a weaker southern China was won by the south, forever representing the ability of the weak to overcome the strong ("The Battle").



Su and friends begin to discuss human relevance in the universe and the realization of their own mortality as they travel. One of them begins to play a sad song on a flute. The song is described, “as if grieving, as if loving, as if weeping, as if reproaching" (Chen). The emotionality of the song along with the natural elements that surround them cause them to analyze their seemingly minute existence in the universe. In the painting, Wen visually captures the deeper themes of Su Shi’s poem depicting the men miniature in proportion to the towering red cliffs thus symbolizing man's miniscule existence in comparison to the immeasurable universe.

Many artists were inspired by Su Shi’s poems of the red cliffs; Wen himself is known to have painted copies of other artisits’ renditions. The images below show the striking similarities between a detail from Wen Zhengming’s painting and a copy Wen created of a painting by Zhao Bosu that was inspired by Su Shi’s second Prose Poem on the Red Cliff. Because artists were trained through the practice of copying existing works by masters, it is not unusual for many artists’ works to have similarities. Wen's copy of Zhao's boat on the left and Wen’s own rendition on the right are similar in composition as well as in style.



As Wen's style and subject choice may have been influenced by other artists' works, it is also true that the societal norms would have impacted his art. Wen Zhengming worked neither as a professional nor for profit; to do so would have placed him in the lower class of artisans as opposed to the highest class held by his family (Clunas, 2002, par.10 and Cahill, 1993, p.243). The use of works of art as a means of income was considered less prestigious than the pursuit of art purely for personal interest. Wen’s paintings could not be purchased and were instead used suitably in high-class society as part of the formal gift exchange (Clunas, 2002, par.10). It was proper, when given a gift for any reason, to reciprocate with a sentiment of equal value; this aided in the establishment of social relationships and status (Clunas, 2002, par.13-15). Wen is known to have given his paintings to ill friends and to reciprocate attendance at his wife’s funeral, although the credibility of the funeral attendee’s connection to Wen’s wife is questionable (Clunas, 2002, par.3). As Wen Zhengming became more widely known and respected as an artist, the value of his paintings increased and it is suspected that “friendships” were stretched and the gift giving custom was taken advantage of by those seeking a work by Wen Zhengming (Clunas, 2002, par.11). Not only was it desirable to have one of the master’s works, but these traditions suggested that through ownership of a painting by Wen Zhengming, there was an implied relationship or connection with the artist himself (Clunas, 2002, par.11). Russel Storer was right when he alluded to the "entangled web of social interactions and obligations" of Wen Zhengming and other Ming Dynasty artists (p.16).

Wen is known to exemplify the literati theme of self-expressive goals (Department of Asian Art). The literati ideals Wen embraced were forged out of the Confucian philosophy that self-discovery and isolation leads to self-fulfillment and therefore leads to a more harmonious state and society. Traditional literati painting would often combine painting, poetry, and calligraphy into one piece of art. As with many paintings of this influence, color was seen as a distraction and instead the paintings emphasized line to convey meaning using monochromatic dry brushstrokes. This characteristic of Chinese landscape painting stresses simplicity as a means to capture the subject's life force, soul, or overall essence. The First Prose Poem on the Red Cliff visually captures the significance of the scene and expresses the Confucian themes and literati ideals that Wen was known for.

Click on thumbnail image to see full image and additional information. //Garden of the Unsuccessful Politician//, Ming dynasty, dated 1551, Wen Zhengming (Chinese), Album of eight paintings with facing pages of calligraphy; ink on paper (1979.458.1)
 * Additional Works**

//Living Aloft: Master Liu's Retreat//, dated 1543, Wen Zhengming (Chinese), Hanging scroll; ink and color on paper (L.2001.85.2)

Department of Asian Art- The Metroploitan Museum of Arty. (2004). //Landscape painting in Chinese Art//. Retrieved March 5-15, 2009, from Heilbrunn Timeline of Art History: http://www.metmuseum.org/toah/hd/clpg/hd_clpg.htmHough, J. (n.d.).
 * References**

//Ming Dynasty//. Retrieved March 9, 2009, from art-virtue.com: http://www.art-virtue.com/painting/history/ming/ming.htm

The Department of Asian Art- The Metropolitian Museum of Art. (2004). //Nature in Chinese Culture//. Retrieved March 10, 2009, from Heilbrunn Timeline of Art History: http://www.metmuseum.org/toah/hd/cnat/hd_cnat.htm

//Printed Sources://

Cahill, James. “Tang Yin and Wen Zhengming as Artist Types: A Reconsideration.” //Artibus Asiae//53.1/2 (1993): 228-248. -exploration of artists' influences and the effect of their social position on the art they create

Clunas, Craig. “Intimacy and Painting in Ming China.” //History Today// 52.8 (August 2002): 25 pars. -exploration of an artists' purpose, giving art as gifts in China

Silbergeld, Jerome. “Back to the Red Cliff: Reflection on the Narrative Mode in Early Literati Landscape Painting.” Ars Orientalis 25 (1995): 19-38. -comparison of many artists' depictions in ink of the poems about the Red Cliffs

Storer, Russel. "Theorization of Art as a Commodity: Wen Zhengming and the Commodity Culture of the Late Ming Dynasty." //Museum of Contemporary Art, Syndey// (2005): 1-18. -explores the complicated social networking of Ming Dynasty China, and the role of art

Tregear, Mary. //Chinese Art.// (New York: Thames and Hudson, 1997):158. -book describing the history of Chinese art

//Online Sources:// Chen, Paul. "First Prose Poem on the Red Cliffs: Su Shi (1037-1101)." [] -information about Confucianism and poet Su Shi, including excerpts from his works

Department of Asian Art. "Landscape Painting in Chinese Art". In //Heilbrunn Timeline of Art History//. New York: The Metropolitan Museum of Art, 2000. [] -description of landscape paintings origins, influences, and progression "The Battle of Red Cliffs." Cultural China. [] -description of the historical battle at the Red Cliffs and its significance

 "Wen Zhengming." //Oxford Art Online//. [|http://www.oxfordartonline.com:80/subscriber/article/grove/art/T091122pg1]

Eno, R. "Traditional Chinese Painting" [|http://www.indiana.edu/~ealc100/Art1.html] -description of the difference between literati and academic painters

"Constructivist Approach." North Central Regional Educational Laboratory. []


 * Art Lesson 1**
 * Lesson Title:** A Journey down the Yangzi River -- Discovering meaning and purpose in Chinese landscape painting
 * Grade Level**: Upper Elementary (3-5)
 * Time:** Seven 50 minute class periods


 * Key Concepts:**
 * 1) Chinese painting and poetry: In Chinese literati culture painting and poetry are interconnected and complimentary arts.
 * 2) Chinese landscape painting: landscape painting in China utilizes unique formats not present in traditional Western art forms.
 * 3) Culture and its art: Culture influences artists' formal choices and artistic intent.

Students will:
 * Lesson Objectives:**
 * 1) Analyze art works from China individually and collaboratively
 * 2) Create a concept map using Kidspiration software based on information gained during analysis.
 * 3) Conduct online-guided research to discover, analyze, compare and contrast and make judgments about works from ancient China.
 * 4) Create a landscape painting combined with a poem to express their ideas about their journey down the Yangzi River.
 * 5) Actively participate in the class critiques during the final days of the lesson.

This lesson meets the following [|National Arts Education Standards]: VA.K-4.4: Understanding the visual arts in relation to history and cultures (?) VA.K-4.6: Making connections between visual arts and other disciplines (?) V.A.K-4.1: Understanding and applying media, techniques, and processes (?)
 * Standards**

This lesson meets the following [|National Educational Technology Standards for Students]**:** 1. Creativity and Innoviation (a, b and c). 3 . Research and Information Fluency (b, c and d) 4. Critical Thinking, Problem Solving and Decision Making (b, c and d)

//Overview// The purpose of this lesson is to introduce students to the cultural tradition of landscape painting in Chinese Art. The students will seek to discover meaning and artistic intent that is unique to Chinese culture. The students will be guided through a variety of activities that will utilize multimedia technologies to enhance learning and engagement. A culminating studio component will challenge students to apply their understanding of the key concepts using their own artistic vision.
 * Teaching and Learning Activities**

//Activity 1: Describing a journey through a Chinese landscape// (50 min.) Intro/ Set: Day one (50 min.) Begin: pretend you are traveling through a mystical land. What would you see, hear or smell there? What does this mystical land look like? As a large group show a short slide show of landscape photos from the Yangzi River region of China.

Next, project a large image of //The First Prose Poem on the Red Cliffs.// Using Kidspiration or Inspiration software demonstrate for the students creating a concept map based upon the describing words (adj.) the students generate while viewing the artwork. As a group the students will analyze the work. They will take turns giving thoughts and ideas of what to add to the concept map based up what they visually see (identify) and what their interpretations are. It is helpful if you have a chart reminding students of art words to use during critiques and analysis. Check out this link for ideas[|:] [|art descriptive words] //On their own//: have the students use the Kidspiration or Inspiration software to recreate their own concept map. This time they will add additional links to the concept map for describing what they might see, hear, feel or think if they were in the boat traveling down the Yangzi River. Guiding question: “Now imagine you are traveling down the Yangzi River in your boat; what else might you see, hear, think or feel? Who would travel with you?

//Activity 2: Connecting to Culture// (50 min**.)** Materials: Computer Lab with Internet, Student Handout (H-1), pencils Online resources: [|http://www.art-**virtue.com/painting/history/ming/ming.htm**](information on Wu School of painting Wen Zhengming was known for) [] (Information on Chinese painters) [] (links for info on Wen Zhengming)

The students will work collaboratively in groups of two. Each pair will need access to a computer with internet. The students will visit the websites below to seek out information, analyze art works from China, make judgments and discover the connection between art and poetry writing in China.

On screen or project image of //First Prose Poem and Red Cliffs// by Wen Zhengming. Tell the students that there is a lot more to be discovered about this artist and others like him. //“Today we will go on a journey with our partner to discovery who this artist is, where he came from and why he and others like him created this type of work.”// Guide students to this URL: http[|: //www.artcyclopedia.com/artists/wen_zhengming.html] Tell them this is where they will begin discovering the information they need. This website is a portal for links to museums and other locations with information regarding Wen Zhengming’s work. The student’s hand out will guide them through this discovery process. Assessment and guide for wiki lesson Note: Depending on student’s familiarity with using computers and the internet this lesson may take up to two full 50 min. class periods.

//Activity 3: “Creating Their Journey”// -- Culminating Studio lesson: 4-5 50 min. Class periods The studio purpose of this studio lesson is to allow the students an opportunity to express what they have learned about Ming Dynasty landscape painting styles and their connection to poetry. Throughout this lesson the students will be expected to make many formal choices of their own which may or may not respond to the style of Wen Zhengming’s work or the Wu school style of painting. The students will be challenged to create their own version of a journey down the Yangzi River based up the concept map they created in the first lesson. The finished product is intended to respond to Chinese formats for landscape painting and the cultural connection between a representation of nature and poetry. The students will choose: · Format ( hanging scroll, hand scroll or fan) ·Composition and details ( a sketch should be created) ·Location of poetry on the painting ·Color schemes or palette: monochromatic, analogous, pastels, earth tones exc.

//Materials:// Materials are flexible for this studio portion based up availability or need. Many creative substitutions can be made. Here is a list of suggested materials: Sized Rice paper suitable for holding water based media or water color paper (hot pressed) cut in to elongated horizontal or vertical orientations (for hanging or hand scrolls) Separate 9 x 10 sheets for album or fan shaped paper cut to reasonable size.
 * Sumi-e painting sets or liquid water colors
 * Plastic mixing trays with wells
 * Sketch paper cut to similar proportions of final image ( for layout)
 * Chinese painting/calligraphy brushes (preferred) or watercolor brushes
 * Chinese calligraphy stamp set (optional)
 * Pencils (2B, HB, 2H)
 * Craft glue and wooden dowels 3/4" (or substitute)

//Teaching Resources// Instructional books or DVD demonstrations of Sumi-e painting, Chinese poetry readings (audio books), photographs of landscapes from central and southern China and Yangzi river valley, traditional music from China (CD, MP3), Books about China for kids. Poster prints of similar works from China, Map of China

//Day one: Laying out ideas// As a group brainstorm ideas for images to include in landscapes; create a concept map to layout student's ideas. Use this to begin a discusson of Wen Zhengming‘s formal choices and how they were influenced by his culture:
 * Color is a distraction from the meaning
 * Poetry, calligraphy and painting are all linked through artist meaning and self-expression
 * Format chosen changes how the viewer interacts with the piece.

Demo sketching a layout emphasizing: Foreground, middle ground, background Sketching: Working independently the students needs to choose their format, color schemes and composition using sketch paper and pencil and/or colored pencil. It may also be helpful for the students to print out their concept maps they created during the first activity to use for a reference. Also, supplying the students with landscape photos of the Yangzi River region will aid their success.

//Day 2: Chinese painting techniques// Read a traditional Chinese poem or play a song to set tone and mood for lesson Demonstrate: Painting with ink and Chinese brushes It is important at this point to learn techniques of Chinese painting and calligraphy. There are many good books and instructional videos/DVDs to aid your students learning. Showing them variation of line through pressure is very important as well as demonstrating dry brush and wash techniques. It is also important to show how simple brush strokes can be used to suggest details like leaves, flowers, trees or people. Guided practice: Before the students begin the final project allow them to practice strokes and techniques on scrap paper. It is also useful to teach how to repair mistakes or to turn a mistake into a “happy accident”. Tell them to think about what techniques they might want to use in their works.

//Day 3 and 4 : Creating their landscapes// The students will sketch the final layout for their landscape on final paper. It is important to tell them to draw very lightly. The students should begin painting using wash techniques first. They will need to let the wash areas dry before adding details with dry brushing or fine lines. Note: You will need to leave at least a 2” margin around the whole paper so that you may attach support for hanging later. Drying: long narrow sheets of paper may require taping down while working. If the edges curl upon drying place heavy books on the classes work when finished for a day or two to flatten. It may be usefull to give each student their own masonite board to tape their painting to untill their painting is complete.

//Day 5: Poetry writing and finishing scrolls// For this portion it is very useful to collaborate with the student’s classroom teacher. Have the students prepare a poem or prose based upon their work and bring it to class. Remind them that the poem does not need to rhyme. The purpose of the poem is to express thoughts, ideas and emotions they could not express through painting alone. The students can work alone or in groups to give each other suggestions. Providing examples of translated Chinese poetry may aid in their progress. When the poems are completed the students can write their poems in their best script on their painting. You may choose to have them use pencils, black felt tip pens or gold metallic pens.

Finishing the scrolls, books or fan: using wood dowels or paper towel rolls glue the edges of the painting by brushing on glue and rolling the edges around the supports. Craft glue applied with a brush works best. You will need to have the students hold down after gluing until the glue sets. It is also fun to add metallic cords and buttons for rolling up and closing.

//Day 6 and 7: Class Critique// In these two final days of the lesson, the students will bring with them their landscape sketches, poems, and scrolls. Half of the class will hang up there artwork around the art room, using thumbtacks to hold their art projects in place. Make sure they know how to properly do this. They should not puncture their artwork with the thumbtacks, but rather place the thumbtacks into the cork board so that the simply hold the artwork in place without puncturing it. Once every student is set up, go around the room and allow the class to spend 5 minutes critiquing each piece. Allow the students to raise their hands and talk about what they see and how it is similar or different to their projects. The teacher should act as more of a facilitator as opposed to an instructor at this point, using methods outlined in the [|constructivists' approach] to art education. Simply ask the students what they see and allow the conversations to develop between the students themselves. This will help them develop both communication and critical thinking skills. When appropriate, expand the students' vocabularies by explaining words such as contrast, negative space, tension, value, etc. Be careful though, this is not meant to be a vocabulary lesson. Simply explain the meanings of these words when a child uses the definition, but not the word itself, when offering a comment or criticism. Repeat this same process for the second day, and if necessary call on students who were not very active participants during the first critique.====

Mastery: My best work || 2 Advancing: A good effort but could improve || 1 Beginning: Not my best work || Student / Teacher Scores ||
 * Assessment**
 * Criteria || 3
 * Participated in group activities including: critiques, class discussions and Kidspiration map-making: * relayed constructive comments and ideas
 * showed respect for others ||  ||   ||   ||   ||
 * Completed all infromation on internet activity handout ||  ||   ||   ||   ||
 * Created at least one sketch and generated ideas for final project ||  ||   ||   ||   ||
 * Created a Landscape painting: * demonstrating good composition including a foreground, middle ground and background
 * utilized Chinese painting techniques
 * displayed organization and intention in ideas and mark making ||  ||   ||   ||   ||
 * Created poem or writing sample:
 * relating to images displayed in painting
 * adds additional meaning to artwork
 * is transcribed on image using best handwriting and is free of spelling and grammatical errors ||  ||   ||   ||   ||

=**__Creating Painted Scrolls__**=


 * __Overview__ :** This lesson is designed to help high school art students think about the visual elements that are represented within poetry. Students are required to choose and read 3 different poems by the same author. After reading each poem, and choosing the best one, the student is going to use Ink or Watercolor to paint one painting which relates visually to the poem's narrative. The poem, and paintings created from it, do not necessarily have to be landscape oriented, however they must contain some visual element for the students to expand upon. Students will also be taught how to construct their own hanging scrolls for use in painting the imagery of their poems.

__**Essential Questions**__ **:** Does using the internet help to acquire knowledge about a culture that would have previously been inaccessible? Does this knowledge help to understand your poem choice's own cultural base for creating visual imagery that relates to it? How does this understanding of cultural base benefit the creation of artwork? How does this cultural understanding help you relate to your own culture in comparison to theirs.


 * __Grade Level__:** High School 12th grade.


 * __Lesson Length__:** The lesson should take a total of ten 50 minute class periods.


 * __Required Materials__**:
 * 1) Acid Free Watercolor Paper measuring 11 inches by 30 inches.
 * 2) Watercolor paint, Ink, Brushes, Pencil
 * 3) Acid Free Glue
 * 4) 5/8 inch Dowel Rods cut to measure 12 inches.
 * 5) 3 poems from the same author.
 * 6) Phone Book (for weighting the glued Dowel Rod to the paper)
 * 7) Twine (for use in hanging the Dowel Rod Scroll)
 * 8) Staple Gun, staples
 * 9) Plywood boards for stretching the watercolor paper.
 * 10) Plastic or metal palette for mixing watercolor and inks.


 * __Key Concepts and Lesson Objectives__:** By researching Wen Zhengming's work, students will familiarize themselves with aesthetic values of literati style painting. After this familiarization students will research a poet of their own choice in order to find three separate poems to work with. Ideally the students will merge the aesthetic values of literati painting with their own poem choices in order to gain a greater understanding of how artists often times utilize multi cultural influences in painting. Students will also have hands on experience in constructing both paintings and hanging scrolls.

__**Class Day 1**__**:** Students will be taken to the school's library and allowed to explore individually and collectively for the first 50 minute class period. During this time students will be encouraged to read many different author's poetry until they find three poems from which to work. Students should be encouraged to utilize the internet during their poem search. During this research time the students will be given the introductory concepts of why they are choosing poems. By the time they choose their poems each student should understand that they will be required to paint one painting of their final poem choice.

__**Class Day 2**__**:** Students will be given an introduction into Wen Zhengming and some of his work. Using a projector the teacher will show multiple images from his portfolio, and read several of the corresponding poems. The following websites may be useful for the instructor: [|Wintry Trees], [|Metmuseum] , and [|More]. This process should take approximately half of the class period. During the other half of the class period the instructor will choose several of the students' poems and have a class discussion on how each poem can be translated into visual imagery through painting and drawing.

__**Class Day 3**__**:** Students will utilize the entire 50 minute class period to draw thumbnail examples of each poem's imagery. Instructors are encouraged to help the students with finding specific terms and phrases that will translate in to the visual imagery necessary for the scroll paintings.

__**Class Day 4**__**:** Continue to work on thumbnail drawings, and begin to cull the most effective thumbnails from the rest.

__**Class Day 5**__**:** Begin with a demonstration on how to stretch watercolor paper over wooden boards for painting on. This is a necessary step in utilizing wet media on the paper to minimize buckling and warping of the surface. First soak the paper in a tray of water until fully saturated. Next, lay the paper out onto the board, and staple the outside edges of the paper to the board with a staple gun. This demo should take approximately 15 minutes. The remainder of the class will be spent assisting students as they stretch their three pieces of paper onto similar wooden boards.

__**Class Day 6**__**:** Students should begin to transfer their three best thumbnail drawings onto the three stretched pieces of paper. This transfer will further help the student to cull unnecessary imagery from their work, resulting in a more literati style painting structure. If time is left after transferring images the students may begin to paint.

__**Class Day 7**__**:** Utilize the entire 50 minute class period to paint on their paintings. If necessary students should take home their dry painting on boards at the end of the day to finish their painting as homework.

__**Class Day 8**__**:** Begin the class with a demonstration of how to glue the dowel rods onto the top and bottom of a 11 inch by 30 inch piece of paper. To do this, first use a metal yard ruler and exacto knife to cut the stapled part of the paper off of the paintings. Next lay down a thin layer of glue onto the top of a dowel rod and onto the corresponding area of the paper. Then roll the edge of the paper around the dowel rod to adhere it, weight with a phone book, and leave to dry. The remainder of the class should be spent assisting students with cutting and any relative help that may be needed.

__**Class Day 9**__**:** After removing the phone books and ensuring that the dowel rods are attached, cut the twine into 16 inch long pieces. Using an exacto knife lightly score the top dowel rod around its circumference a half inch from the edge. Tightly tie each edge of the twine onto the rod so that it fits inside the groove created by the knife cut. This will be used to hang the created scroll.

__**Class Day 10**__**:** Group critique. All students work will be hung around the classroom, and each student will explain why they chose the imagery from each poem, and which scroll they feel best captures the essence of their poem. Students should be encouraged to ask questions and constructively add criticism that will enable better work in the future.


 * Creating Painted Scrolls meets the following** [|National Educational Technology Standards for Students]


 * **1.** || **Creativity and Innovation** ||
 * **2.** || **Communication and Collaboration** ||
 * **3.** || **Research and Information Fluency** ||
 * **4.** || **Critical Thinking, Problem Solving, and Decision Making** ||
 * **6.** || **Technology Operations and Concepts** ||


 * Creating Painted Scrolls meets the following** [|National Arts Education Standards]
 * Visual Arts || [[image:http://artsedge.kennedy-center.org/images/icons/grades/9_12.gif width="27" height="17" caption="Grades 9-12"]] || **[|Content Standard: 1:]** Understanding and applying media, techniques, and processes ||
 * Visual Arts || [[image:http://artsedge.kennedy-center.org/images/icons/grades/9_12.gif width="27" height="17" caption="Grades 9-12"]] || **[|Content Standard: 2:]** Using knowledge of structures and functions ||
 * Visual Arts || [[image:http://artsedge.kennedy-center.org/images/icons/grades/9_12.gif width="27" height="17" caption="Grades 9-12"]] || **[|Content Standard: 3:]** Choosing and evaluating a range of subject matter, symbols, and ideas ||
 * Visual Arts || [[image:http://artsedge.kennedy-center.org/images/icons/grades/9_12.gif width="27" height="17" caption="Grades 9-12"]] || **[|Content Standard: 4:]** Understanding the visual arts in relation to history and cultures ||
 * Visual Arts || [[image:http://artsedge.kennedy-center.org/images/icons/grades/9_12.gif width="27" height="17" caption="Grades 9-12"]] || **[|Content Standard: 5:]** Reflecting upon and assessing the characteristics and merits of their work and the work of others ||
 * Visual Arts || [[image:http://artsedge.kennedy-center.org/images/icons/grades/9_12.gif width="27" height="17" caption="Grades 9-12"]] || **[|Content Standard: 6:]** Making connections between visual arts and other disciplines ||