AP Art History Content Area 8

The Emerald Buddha is probably carved from ______.

Jade

During the Qing dynasty, what European group was invited to the imperial court?

Jesuits

Night Attack on the Sanjo Palace (identifier)

Kamakura Period, Japan. c. 1250-1300 C.E. Handscroll (ink and color on paper).

Many of the Chinese loyal to the former emperor refused to serve the new emperor during the Yuan period. Which of the following could be a reason for this rejection?

They weren't Chinese (Mongols)

Gold and jade crown (identifier)

Three Kingdoms Period, Silla Kingdom, Korea. 5th to 6th century CE. Metalwork.

Kano Motonobu was largely responsible for establishing the Kano style and was very likely the son-in-law of whom?

Tosa Mitsunobu

Which of the following schools combined colorism with Chinese ink brush outlines in the 16th century?

Tosa and Kano schools

In his painting Kumgang Mountains, the Korean Choson Dynasty artist Chong Son evoked an actual scene. Which of the following describes this type of painting?

True view painting

Travelers among Mountains and Streams (identifier)

Fan Kuan. c. 1000 C.E. Ink and colors on silk.

Taj Mahal (facts)

Form/Content: White marble architecture, very symmetrical and ornamented. Plan = enter through a fore-court that had shops and marketplaces, pass through a gateway with inlaid red sandstone, surrounded by gardens and waterways with jets. Taj is on a raised panel at the north end of the gardens and is flanked by two buildings (mosque and guesthouse). Exterior has a bulbous dome and four minarets of equal height, minarets are ornamental. The minarets are leaning slightly outward instead of going straight up. Large emphasis on balance and harmony. There are eight levels on the interior, referential to eight levels of Muslim paradise. Eight halls and siderooms connecting to a central space (cross-axial form). Center is made to hold the remains of the King's favorite wife. Walls are inscribed with verses from the Quran, marble is inlaid with semiprecious stones -- symbolizing that this is a holy place. The gardens have the elements and designs of pleasure gardens. Chatbot garden design. Function: Tomb for Mum Taz, mausoleum, garden. Also promotes Shah Jahan's divinity and power. Context: Built by ruler Shah Jahan, he was the fifth Mughal ruler. The Taj Mahal was supposedly a tomb for his fourteenth and favorite wife, Mum Taz, who died during childbirth. It was known as the "luminous tomb" during Mughal rule. Located in Agra on the banks of the Yanuna River. This burial was not traditional because Sunni Muslims prefered open-air burials, but Mughals decided to do indoor burials likely because of outside Indian influence. Interpreted to be a symbol of love (probably not true because Shah Jahan was a very egotistical man and proclaimed himself to be "king of the world;" more likely a vanity project).

Angkor, the temple of Angkor Wat, and the city of Angkor Thom, Cambodia (facts)

Form/Function: - largest religious monument in the world - 400 kilometers large - contains various capitals of the Khmer empire from 9th to 15th century - includes temple of Angkor Wat in Angkor Thom - full of temples, monuments, hydraulic structures (basins, dykes, reservoirs, canals) and communication routes - villages sprinkled throughout park are still inhabited today - built entirely out of stone, and almost all surfaces covered with high relief ornaments and base relief images - Buddhist monks and nuns still worship there today - Angkor temple dedicated to Vishnu, the protector or preserver Content: - Organization = ancient sanskirt and khmer texts say that temples should be organized to be in harmony with nature - planned according to sun and moon, calendar of the year - central axis should be aligned with the planets - plan of the universe or mandala - Structure = expansive enclosure wall separates the temple grounds from the moat - the temple is comprised of three passageways running around the temple, also known as galleries and a central sanctuary, marked by 5 stone towers - 5 stone towers mimic Meru, the mythical home of the gods in both Hinduism and Buddhism - stacked nature of temple supposed to literally represent mountains to invite the gods, hallmark style of architecture - galleries create empty spaces that represent the mountain ranges and oceans surrounding the mountain - Meru is considered an axis-mundi or an axis connecting heaven and Earth - so this temple is like a lavish home for Vishnu - Decoration = 1200 square meters of carved base relief - represent 8 different hindu stories - more prominent one is Churning of Ocean of Milk - shows the beginning of time and the creation of the universe (links King to Gods in direct line since creation of the world) - Devas (gods) fighting asura (demons) to reclaim order and power - to save the Earth amrita (the elixir of life) has to be released from the Earth - relief depicts the moment when the gods and demons are churning the sea of milk - playing tug of war with Naga (the snake) to churn the oceans - once the elixir is released Indra (the king of all gods) is seen descending to collect it and save all the worlds Context: - has become Cambodian national symbol; on the national flag - Siem Reap region of Cambodia - name means "City Temple" in Khmer (national language of Cambodia) although this is likely not the original name - strangely no texts that mention the city by name- built by King Suryavarman II (1113-1145/50 C.E.) "protector of the sun" - many scholars believe that the temple was also intended to serve as a mausoleum after the King's death - construction started shortly after he took the throne and was finished shortly after his death - based on inscriptions found and the style of architecture - building temples was used by Khmer kings to legitimize their rule and gain protection from the gods - needed to prove that the gods did not support his predecessor, assert that their temple was where they would choose to live on Earth - probably used 300,000 workers, including architects, construction workers, stone masons, sculptors, and servants to feed them

Lakshmana Temple (facts)

Form: -Sandstone -Axial plan -Panchayatana temple type: Configuration of 5 rooms is the typical setup for Indian temple -High base/platform -Deep entrance porch -Complex horizontal banding crosses the ribs of the tower Content: -Series of rooms -Tallest part of building: marks spot of most important part of building (inner sanctuary that holds the image) -4 shrines/chapels around main room -Lion statues (symbols of male figures) -Murti: embodied image of a divine figure -Mandapa: hall -Sensuous couple (controversial figures): shows deeper connection with gods -Pancharatha (five facets on each side) Function: -Hindu temple dedicated to Vishnu -Mandir temple: Space that is the house for gods (in this case, for Vishnu) -place of worship, the divine endowed in its idealized architectural form Context: -Chandella Dynasty 950 CE -Khajuraho, India (North Central India) -Between the 10th and 13th centuries over 80 temples dedicated to Vishnu and Surya were located at this site -Central shrine is flanked by three others, represents the womb while the rest of the temple represents the parts of life -Commemorating a military victory, depicting the pleasures of life (religion, victory, sexuality)

Forbidden City (identifier)

Beijing, China. Ming Dynasty. 15th century CE and later. Stone masonry, marble, brick, wood, and ceramic tile.

Jahangir Preferring a Sufi Shaikh to Kings (identifier)

Bichitr. c. 1620 C.E. Watercolor, gold, and ink on paper.

White and Red Plum Blossoms (identifier)

Ogata Korin. c. 1710 - 1716 CE. Ink, watercolor, and gold leaf on paper.

The portrait of Jaswant Singh (Maharaja Jaswant Singh of Marwar) exemplifies the combination of his two worlds. Which of the following are representations of his two worlds as seen in his portrait?

Order of stars and necklace

Which of the following was the unifying characteristic of the regional dynasties of South Asia in the 3rd through 1st centuries BCE?

Patronage of Buddhism

Which of the following might suggest the donor's high status from the Yuan Temple vase?

Phoenix and dragon motifs

The caves of Ajanta are famed for which of the following?

Early Indian painting tradition

After the overthrow of the Tokugawa, a new period ensued called the Meiji, which translates to ______.

Enlightened Rule

The Silla rulers of Korea embraced Buddhism not only as a source for religious enlightenment but also as a protective force. They constructed Buddhist temples in and around their capital city, Kyongju. Based on this premise, which of the following would describe the Silla perception of these Buddhist temples?

Supernatural defense against external forces

Taj Mahal (identifier)

Agra, Uttar Pradesh, India. Masons, marble workers, mosaicists, and decorators working under the supervision of Ustad Ahmad Lahori, architect of the emperor. 1632-1653 C.E. Stone masonry and marble with inlay of precious and semiprecious stones; gardens.

Chairman Mao en Route to Anyuan (identifier)

Artist unknown; based on an oil painting by Liu Chunhua. c. 1969 C.E. Color lithograph.

According to the traditional interpretation, the Korean ruler of Paekche sent to the ruler of Japan a gilded bronze statue of Buddha and Buddhist scriptures, sutras. What period marks this event?

Asuka

How did the Taian teahouse encourage intimacy among the guests and tea host?

Dimness and small size

The Noon Gate in the Forbidden City has five portals. Only the emperor can walk through the center portal. The next two portals immediately to the left and right of the center portal are reserved for the imperial family and high officials. The final two portals provide passage for everyone else. Which of the following rituals does this gateway describe?

Imperial Court ritual

In 552 CE, the ruler of a Korean kingdom sent a gift to Japan that was to have a profound influence on the culture and the art of the country. Which of the following was that gift?

Gilded bronze buddha statue

Korea's Golden age occurred during which of the following periods?

Great Silla

Funeral banner of Lady Dai (Xin Zhui) (identifier)

Han Dynasty, China. c. 180 BCE. Painted silk.

How is the story about the wild elephant from the Akbarnama an allegory for Akbar's early years as a ruler?

He could control an unruly state

Angkor, the temple of Angkor Wat, and the city of Angkor Thom, Cambodia (identifier)

Hindu, Angkor Dynasty. c. 800 - 1400 CE. Stone masonry, sandstone.

Longmen caves (identifier)

Luoyang, China. Tang Dynasty. 493-1127 CE. Limestone.

Great Stupa at Sanchi (identifier)

Madhya Pradesh, India. Buddhist; Maurya, late Sunga Dynasty. c. 300 B.C.E.-100 C.E. Stone masonry, sandstone on dome.

The Vairocana Buddha is not the historical Buddha. The Tang sculptors have created a serenely majestic figure of the Buddha. The smooth planes emphasize the figure's massive volume; the folds of his robes fall in a few concentric arcs. Therefore it can be said surface detail has been represented by which of the following?

Monumental simplicity

Todai-ji (identifier)

Nara, Japan. Various artists, including sculptors Unkei and Keikei, as well as the Kei School. 743 C.E.; rebuilt c. 1700. Bronze and wood (sculpture); wood with ceramic-tile roofing (architecture).

Chinese garden design is akin to ______.

composing a poem

The silk banner discovered in the tomb of the Marquise of Dai depicting dragons, immortal beings, and possibly the Marquise herself is thought to represent which of the following?

heavenly, human, and underworld realms

By the 19th century the British were the official rulers of India. They brought the Industrial Revolution and railroads to India. The Victoria Terminus was conceived as which of the following?

Cathedral to modernization/train station

Borobudur Temple (identifier)

Central Java, Indonesia. Sailendra Dynasty. c. 750 - 842 CE. Volcanic-stone masonry.

Nishiki-e or brocade pictures were highly valued because of their sumptuous and brilliant colors as well as being printed on high quality paper. During which of the following periods were such works created?

Edo

Gold and jade crown (facts)

Form: 10 3/4 inches tall. The daegwan shape is inspired by trees. Function: Only used in ceremonies by the Silla royalty. Koreans first practiced shamanism and they would be worn during coronation to emphasize the power of the wearer. Worn around the head, almost like a visor. Content: Over time crowns became more and more lavish. Three vertical elements on each side symbolize the sacred tree. Due to the worship of nature, the gem-embedded gold jutting outwards is thought to be inspired by antlers. Gogok - name of gold discs that dangle to create movement for the wearer. Jade ornaments symbolize ripe fruit hanging from the branches of the tree (fertility, abundance). Context: The Korean peninsula divided into 3 kingdoms during this time. The Silla Kingdom was in the SE part of the peninsula, most powerful part of peninsula. Gold that exists in Asia is a lot more yellow and softer than American gold. Because of the softness, it is not as desirable; it needs to have other alloys in it. VERY successful and wealthy kingdoms, found in tombs.

Travelers among Mountains and Streams (facts)

Form: 7 feet long, painted handscroll. Hung and decorative. Takes advantage of scale for the grandeur and the monumentality of the mountains. The people are smaller. Intention to paint things not through human eyes. This is a single composition where the artist is constantly shifting their viewpoint. Function: It expresses the cosmic vision of man's harmonious existence in the vast and orderly universe. The amount of details pulls you in to make this painting an experience. Not just a landscape, but the idea that these details are so minute perpetuates the idea of the insignificance of man in the universe. Content: Rocky outcropping covered by trees, two men with donkeys, temple partially hidden in forest, gritty rock faces (take up about 2/3 of the painting). In the background, you see mountains flanked by smaller mountains and waterfalls. Insane amounts of details. The signature of the artist is hidden in bushes on the lower right. Hierarchy of Chinese painting styles. This is an idealized landscape. Extension of Chinese calligraphy (equal importance). Context: Fan Kuan's only surviving work. This was an example of a landscape painting way before Europeans. Painted during the Song Dynasty. Fan Kuan lived as a recluse, he was also a poet, and he was an artist disenchanted with popular art. Considered a Neo-Confucist (reinterpretation of Confucianism), Neo-Confucianism was intended to be the opposite of Buddhism. Linked with Daoism because of the emphasis with harmony and the nature of the world. Four Treasures of a Scholar's Studio: Paper, brush, ink, and an inkstone.

Great Stupa at Sanchi

Form: A stupa is considered to be a sepulchral monument -- a place of burial or a receptacle for religious objects. The earliest stupas contained portions of the Buddha's ashes, and as a result, all stupas began to be associated with the body of Buddha. The domed shape of the stupa is thought to represent a person seated in meditation. This stupa is made out of stone and sandstone. Function: This was intended to be a sacred site for the Buddhist religion for worship. Buddhists worship via circumambulation, where they walk around the stupa in a circle in a clockwise direction. This stupa is also venerated as a symbol of the Buddha's final moments and houses relics relevant to the final part of the Buddha's life. Content: The structure of the stupa is a chatra structure. A chatra is a triple umbrella structure symbolizing the three jewels of Buddhism: the Buddha, the Dharma (doctrine), and the Sangha (community). This stupa also has a yasti, a central pillar symbolizing the cosmic axis that supports the chatra both physically and metaphorically. The dome symbolizes the dome of heaven enclosing the Earth. The upper level walkways are known as the medhi, and are elevated terraces sixteen feet above ground. The gateways of this stupa are known as the Toranas. The Toranas face in the cardinal directions, and are freestanding and highly ornamented. These feature two squared posts topped by capitals of sculpted animals and figures, surmounted by three architraves. The most ornate carvings are in finer sandstone than the rest of the stupa. The names of the workers are inscribed into these ornate carvings, and the ivory carvers were laborers of Vidisha (a city twenty miles away). A stone fence is also punctuated by the Toranas, and is known as the vedika. Context: This was built at the birthplace of King Ashoka's (the first king to openly embrace Buddhism) wife, Devi, daughter of a local merchant before getting married to King Ashoka. Madya Pradesh was also an important site for long-distance trading. Stupas in general also have karmic benefits. The builders or patrons of the stupas will not be reborn in a remote location and will not suffer from extreme poverty in their next life. Visitors also visit the stupa to help them understand the Buddha's teachings, and so that they can cease to be caught up in samsara (the endless cycle of birth and death) and can reach nirvana.

Funeral banner of Lady Dai (Xin Zhui)

Form: Banner made of silk, painted. 6 feet long. Function: Decorate the tomb and glorify her death/journey to the afterlife. Content: It tells the story of death and the afterlife. At the very top, it represents the heavenly realm. Below that, the banner depicts Lady Dai and all of her attendants. Below the attendants, Lady Dai is in an open casket at her funeral and being mourned. The very bottom is the underworld. Context: Chinese, Han Dynasty, 2nd century. Mawangdui, Hunan province. This was found in a tomb with her husband and son. Her husband was a very healthy dignitary. Her individual tomb was in the best condition of the three (significantly untouched). The tomb had multiple rooms, including a dining room. There was a separation in offerings between the term-15husband and the wife.

Forbidden City (facts)

Form: City precinct -- section of Beijing. 90 palace compounds, includes 98 buildings and moats. These structures are made out of tile, clay, stone and wood. Function: Consolidate the power and families of the Ming Dynasty. Content: Supposed to represent the heavenly court -- a huge concept in Confucianism. Some of the main complexes are the Palace of Heavenly Purity, the Palace of Earthly Tranquility, the Emperor's Palace, and the Hall of Celestial and Terrestrial Union. The Emperor and his family lived there; this was a centralized center of political power. Divided into inner and outer courts. The outer court is where attendants and advisors (as well as their families) lived. The inner court was where the emperor (and his family) and the very close to nobility would live. The houses were each designed to face South and situated on the North axis, cementing the perfect ideal for a Chinese home for centuries onward (feng shui). Context: Ming Dynasty. Home to 24 emperors. Took 500 years to build to completion. It was built by the Manchu imperial family to consolidate their power. Bilaterally symmetrical.

The David Vases (facts)

Form: White porcelain with cobalt-blue underglaze Function: Made as an altar piece for a Daoist temple in Xingyuan. In the temple, there were these two vases and an incense holder which has yet to be found. Content: The handles are elephant heads. The neck and foot have leaves and flowers. The whole vase depicts dragons, birds, clouds, and flora. The birds are phoenixes. On the central part of the vase is Chinese dragons. The important part of the vases is the dedication (the earliest known dedication on blue and white porcelain). Context: Vases were made in Jingdezhen. This style was already very popular. They were made to honor a deified general. He was deified because of his supernatural wisdom, power, and supposed precognition.

Chairman Mao en Route to Anyuan (facts)

Form: Colored lithograph. Used smooth stone and metal to print. Based on oil painting. Lithography. Function: Supposed to portray Mao Zedong as a hero. Gain communist followers and portray their leader as strong. Content: Marching on his way to the coal mines of Anyuan. Going through a storm, coming out of a fog, powerful. Mountain vapors are supposed to depict the earthly realm. Hierarchy of scale (taller than the mountains). Telephone pole and dam — shows that China is modern, Mao is the future (in contrast to how he's depicted). Mao is within this mythical landscape while wearing normal attire. Context: From Anyuan, Jiangxi. Depicts Mao, Chinese communist revolutionary, founder of the people's republic of China. Showing his commitment to the communist party by being able to weather any storm. The coal mines are where he organized a nonviolent strike with thousands of railway workers and miners (Anyuan Miner Strike - 1922). Marks Mao Zedong forming bonds with commoners to strengthen the communist party. Marks movement of Mao paintings, Mao paintings during the Cultural Revolution (1966 - 1976) were made to combat criticism. After the tragedies of the Great Leap Forward (industrialization of China leading to famine and poverty, 1958 - 1961), this revitalized communism and China/Mao's reputation. The portrait it was based off of was painted in 1961 at the bitter end of the Great Leap Forward. Gave rise to socialist realism (propaganda). Original artist of the oil painting was a member of the Red Guard (radical youth group).

Terra cotta warriors from mausoleum of the first Qin emperor of China (facts)

Form: Emperor Qin lined his burial complex with a treasury of riches and piles of precious gemstones said to represent the stars, sun and moon. He was deeply concerned with the universe and looked to the cosmos as a guide for crossing over to an immortal existence. Function: The First Emperor ascended to the throne of the Qin state at age of 13. He immediately began to plan his burial, and more importantly, his underground palace to carry him into the afterlife. He envisioned a subterranean domain that would parallel his worldly existence after corporal death. Content: The terra-cotta army includes warriors, infantrymen, horses, chariots and all their attendant armor and weaponry. There are unusually high levels of mercury around the complex. Historians believe the Emperor may have set up a system of mercury rivers because some evidence points to the fact that he believed in the life-giving power of mercury. Context: The unification of China is, without question, the greatest symbol of the Qin dynasty's power and influence. The First Emperor known for innovations that consolidated his rule. During his reign, he introduced the standardization of currency, writing, measurements and more. He connected cities and states with advanced systems of roads and canals. He is also credited with continuing the construction of the Great Wall.

Jahangir Preferring a Sufi Shaikh to Kings (facts)

Form: Folio. Part of bigger album originally, but they were separated. Watercolor, gold, ink on paper. Function: Made as a folio for a larger album to honor the emperor and show his power. Shows how he valued religion over kings. Content: Hierarchy of scale — the emperor is in the center and is the largest. The sufi is the second largest, and closest to the emperor, showing that he values religion over royalty. Flakes of gold go around the emperor's head and there's a sundisk and crescent moon behind him depicting the harmony of day and night. Faces different men of differing cultures. Sufi isn't touching the book, because he didn't want to harm the divinity of the emperor. Ottoman sultan below the sufi shaikh. Below the Ottoman sultan is King James I of England (facing forward showing that he's uneasy in the face of someone so great). Below King James I is the artist in Hindu garb, showing that Hindu artists would still create Islamic pieces. Angels at the bottom inspired by European, one has a broken arrow, one has closed eyes (closed from emperors' radiance). Many-headed figure is holding up the hourglass. Context: Mughal Dynasty. Part of a bigger album. Very inspired by European art. Six of the albums were attributed to Jahangir. All the kings are showing their humility and deference to the emperor. King James I is inspired by an actual painting by a European artist. Folios and albums with calligraphy and paintings were pretty traditional for the time, but the European influence is new. Valuing a holy man over kings.

Portrait of Sin Sukju (1417 - 1475) (facts)

Form: Full-length portrait (full body). Faces slightly to the right. Hanging scroll. Angular lines. Plays with perspective (trying to make it look 3 dimensional). Function: Meant to honor the accomplishments of the distinguished court member and eventual prime minister. Suggests his loyalty to the king and the idea that Sin Sukju deserves respect. Serves as a site of ritual to Sin Sukju's family and helps guide the family's worship. Considered to be a piece of propaganda used to show the dominance of the government over the Korean people. Content: Depicts Sin Sukju as loyal to the court during a chaotic period. On his chest are rankings, indicating his elite status and position in the court. Pair of peacocks surrounded by plants and clouds. Seated in full length view with head turned slightly, common for the period, only see one ear. Seated, full-length. Wrinkles and solemn expression contrast simplicity of attire. Context: Second half of the 15th century. Commissioned by the Imperial Bureau of Painting. Sin Sukju was a scholar and politician who rose to the status of Prime Minister in 1445. At this time, Korea was Confucianist and Confucianism has a large emphasis on the respect for elders and ancestors. Honor for painting to be made because it showed that Sin Sukju was going to be made a respected ancestor. Rank badges are typically made of embroidered silk, indicate rank of anyone from local official to prime minister. Portrait reflects Korean belief that the face reflects important facets of the self. Not made by a single painter. Interest in details.

Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as the Great Wave, from the series Thirty-six Views of Mount Fuji. (facts)

Form: Multi-colored wood block print. 10 by 14 inches. Pieces overlaid and lined with black ink lines. Function: Response to domestic travel in portrayal of Mount Fuji. Content: Depicting Mount Fuji in the background. Great Wave crashing down on a fishing boat, the boat appears to be swallowed by the wave. Composed to frame the mountain. From a series called the 36 views of Mount Fuji. Throughout the series, the angles of the mountain and perspective changes. Ukiyo-e print (woodblock print made during the Edo period — Buddhist term for floating world). Context: Katsushika Hokusai was inspired by Western prints from Dutch trade (linear perspective, horizons, emphasis on contrast). Mount Fuji is the highest mountain in Japan. It's also a sacred site. Wanted to establish more of what Mount Fuji was like from a commoner's perspective in his 36 views of Mount Fuji. Most iconic work of Japanese art.

Todai-ji (facts)

Form: Name means "Great Eastern Temple" and refers to its location and size. Chief monastery (monk) = Kokubunji. Biggest building project in Japan twice. Cypress wood framed the building (very valuable wood because of its strength and knottiness). Two gates, two pagodas. Function: Commissioned by Emperor Shomu and Empress Komyo as a way to unite the Japanese people under one rule and one religion. Rebuilt by shogun Minamoto Yoritomo and a Buddhist priest Shojubo Chogen. Rebuilt after the Genpei Civil War as a way to re-establish a sense of nationalism (burned down during the war). Because they used the surrounding forest to build this the first time, they had to clear multiple forests in order to maintain the desired cypress wood. Content: Guardian kings were made by sculptor Unkei and they're made out of wood. Unkei was a proponent of the Kei School of Sculpture. These were 25 feet tall wooden sculptures with intricate drapery, very dramatic contrapposto. Very fierce looking; powerful and dynamic. Super masculine. Meant to protect the Buddha by scaring people off. Layered wooden planks and blocks and they were carved out of that. They didn't use nails for the carpentry -- the wood was carved so that it would join together. Originally painted. The Great Buddha (Daibutsu) sits atop a massive bronze lotus pedestal. Elegant naturalism of the Nara era. The Buddha was originally a different material, but then it was replaced by the bronze. Engraved with images of the historical Buddha and the Bodhisattavas (deity who refrains from entering Nirvana to help others). Context: The Silk Road. Korean Buddhism influencing Japanese Buddhism. Mahayana Buddhism (collective buddhism) promoted by the government/emperor. Architecture was heavily influenced by Korea and Song Dynasty. Rebuilt after the Genpai Civil War (1180 CE).

Borobudur Temple (facts)

Form: Pyramid shape, open air passageways throughout, central axis mundi, volcanic stone masonry Function: Made by the rulers to be a temple dedicated to Buddha. Content: Set upon a hill, vertically enhanced to increase elevation. Open air passageways, radiates around the central axis mundi. 504 statues of Buddha, 1460 stone reliefs, 1212 decorative reliefs along path. Reliefs narrate Buddha's teachings (Dharma) and events relating to Buddha's past lives (Jakata). 160 relief sculptures adorning the base of the monument hidden behind stone blocks added later on to support the weight of the monument. Three upper terraces, 72 stupas. Temple's apex is a large central stupa (world's largest). Context: The rulers of the Sailendra Dynasty created it, and it was designed by Gunadharma. 100 years after its completion, it fell into disrepair because the people of Java moved away. It was rediscovered in 1814 by a British lieutenant. When it was in use, the devotees would circumambulate along the walkways -- a spiritual journey that would elevate the consciousness. Buddhism's central belief is the paradoxical nature of human life, and in order to meet the goal of enlightenment, you have to eliminate suffering. This temple takes people from the earthly realm of desire to the world of forms.

Longmen caves (facts)

Form: Sculptures were carved into the existing limestone into the side of a mountain. Statues vary in size. Linear and abstract motifs (typical of Wei Dynasty). Dynamic, low-relief, decoration reflects the Chinese style. Function: Records the lineage of patriarchs who passed on Buddhism and also other famous people of the times to honor them. Religious purposes but also to assert Tang sovereignty and power. Used for assimilation into buddhist culture. Content: Site contains 110,000 buddhist sculptures, 60 stupas, 2,800 inscriptions on steles. Central binyang cave created around 508 CE. Some figures were previously painted, the Buddha would be sitting on the altar. They would be carved deep into the rock face to make it 3D. Fengxian temple depicts Varokana Buddha and his monks, the guardians are flanking his sides to protect him (high relief, 55 ft tall (hierarchy of scale)). Detailed masculine body structures. Elongated legs and exaggerated poses. Kanjing was an area that was recently opened to the public, it shows more specific depictions of monks on their way to enlightenment (29 monks in one chamber meditating in a wall carving). Context: Inscription buildings states that Wu Zetian was the primary patron. Over 800,000 workers on site. Reflective of how Buddhism came to China and its spread. The Wei Dynasty was founded by Toroba nomads from Northern China, they used the Chinese style in their artwork to gain acceptance from the rest of China. The relief carvings commemorate historical events.

Night Attack on the Sanjo Palace (facts)

Form: This is an emaki, a traditional Japanese handscroll. This is also an example of otoko-e, or "men's paintings." The action is moving from right to left, a traditional feature of Japanese art. The strong diagonal lines and the swift, active brushstrokes present throughout the piece emphasize movement. This piece is an example of a handscroll with ink and color on paper. Function: This was designed to be unrolled and viewed up close as a story of sorts. This is detailing the Heiji Rebellion (mentioned later in context). Content: This uses a vibrant outline and color and each character appears multiple times throughout the piece, lending itself to a narrative function. The tangled mass of bodies juxtaposed with the lone archer shows the hierarchy of scale. The lone archer leads the escape from a burning palace that makes a lightning bolt shape to divide the scene and show the contrast between life and death. The story of the painting goes as follows: Violence escalates with shoving and colliding carts and warriors; the escalation includes stabbing and slashing into becoming the Sanjo palace incident of the Heiji rebellion. Context: This was made in the 13th century to commemorate the Heiji Rebellion of the 12th century. The Heiji Rebellion was a short civil war between rival subjects of the Emperor Go-Shirakawa fought in order to resolve a dispute about the political power of the emperor. This was made during the Kamakura period but the events predate the Kamakura shogunate. This genre of otoko-e is known as gunki monogatari, which is roughly translated to war tales.

White and Red Plum Blossoms (facts)

Form: Two fold screens (sort of like room dividers). Blended colors. Boneless painting because there's no exterior outline. Function: Decoration, room divider. To establish the reputation of Ogata Korin and match the function of a traditional Japanese folding door. Content: Both abstract and realistic. Non-naturalistic metallic color. Non-naturalistic upward tilt. Tree's colors are muddy and unnatural; they don't have a distinct outline. Artist understood how they grew. Allows for viewing of 2D painting to be seen in three dimensions. Context: Ogata Korin is from Kyoto. Considered part of the Rinpa movement (school of Korin). Made Ogata Korin's career. Inspired by Chinese literature, shifted to depicting nature. Inspired by works of Hon'ami Koetsu and Sotatsu. Korin was member of Kyoto family of merchants and samurai that owned a number of objects made by Koetsu and Sotatsu which Korin studied carefully and tried to recreate. Used this style for textiles, lacquerware and ceramics.

Ryoan-ji (facts)

Form: Zen Buddhist temple. Complex of 23 sub-temples. Function: Built under the empire of Hosukawa family. They held power during the 5th century. Two parts of the garden: dry garden and wet garden. The garden in general serves as a center for meditation. Many theories on what the garden is supposed to represent, most agree that the dry gardens are supposed to represent constellations or islands in a cloudy sea. Content: The zen dry gardens are minimalistic and abstract. White sand, moss islands. Rocks protrude. Meant to be viewed by a nearby veranda. Asymmetrical arrangement. Reminiscent of traditional Japanese paintings. Function as mountain ranges on a clear day, bring perspective to pieces. Reflects Japanese aesthetic. White sand is raked in wavy patterns to look like water. The wet gardens' buildings are strange and out of place on purpose. Natural to environment around it. Traditional Japanese religion. Wet gardens usually contain a teahouse, the water in the gardens represent purification and they are often used in rituals. The hojo is the main building of the monastery and it is the abbot's residence. A lot of people in the gardens are there for religious reasons. Many paintings in study spaces that depict rocky crags, overall reflection of the garden itself. Tranquility. Context: Translates to peaceful dragon temple. Great Zen center for the elite during the 16th and 17th centuries. Garden symbolizes Zen, Buddhism, and Japanese culture. Dry garden stones are surrounded by gravel, little use of plants in the dry garden. This garden is one of the most famous examples of a rock garden and it is inspired by aspects of both Japanese and Chinese culture. Shinto and Zen Buddhism emphasizes meditation as a path towards enlightenment. Values rustic simplicity, truth, and attention to the world around you. Unclear what the gardens originally looked like. A lot of the rocks throughout the garden have the names of the laborers inscribed on it. Kyoto was Japan's cultural center and capital until 1868. Traditional natural beauty, simplicity, serenity.

Shiva as Lord of Dance (Nataraja) (facts)

Form: small size, circular base, mobile for prayer, cast bronze Function: In Hinduism, the Shiva is the embodiment of the divine. This acts as the moment when fate activates the divine energy during worship and establishes a connection between Shiva and the worshipee. Content: Nataraja (Nata - dance, raja - lord/king). Follows the Shiva Shastras rule (rules of sculpture) of proportions. Represents perfect embodiment, stuck in the moment of dance within the cosmic circle of fire. Cosmic circle of fire illustrates the continuous cycle of the life of the universe. The upper right hand holds the damuru (drum) and it syncopates the act of creation with the passing of time (continuous -- it will never stop). The lower right hand forms the gesture of the Abyhaya Mudra, this gesture is a gesture of comfort for Hindus ('don't be afraid, those who follow the path of righteousness will have my blessing'). Upper left hand holds the Angi (the flame of destruction) which destroys the sound of damuru. The lower left hand is diagonal across the chest and shows fulfillment of meditation/state of tranquility. The right foot is stepping on the demon Apasmara (dwarf of ignorance). The strings are the Shiva's hair stretching through the circle of fire, but he still remains calm. This calmness represents the mask of a God's eternal essence. Context: This was made to be transported by Hindu devotees during processional parades; priests would hold them and chant. The Shiva would normally be dressed in clothing to resemble the divine. In Hinduism, there is a triad of powerful energy within the cosmos: Brahma (creator), Vishnu (sagacious preserver), Shiva (destroyer). Shiva marks the natural end of life. It destroys the end of one life so that a new one can begin. Sculpted by the Chola Dynasty, the longest lasting empire in Southern India.

Shiva as Lord of Dance (Nataraja) (identifier)

Hindu; India (Tamil Nadu), Chola Dynasty. c. 11th century CE. Cast bronze.

Which of the following artists attached an explanatory inscription to his scroll indicating the sequence of its creation?

Huang Gongwang

Portrait of Sin Sukju (1417 - 1475) (identifier)

Imperial Bureau of Painting. c. 15th century CE. Hanging scroll (ink and color on silk).

Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as the Great Wave, from the series Thirty-six Views of Mount Fuji. (identifier)

Katsushika Hokusai. 1830-1833 C.E. Polychrome woodblock print; ink and color on paper.

Lakshmana Temple (identifier)

Khajuraho, India. Hindu, Chandella Dynasty. c. 930-950 CE. Sandstone.

Ryoan-ji (identifier)

Kyoto, Japan. Muromachi Period, Japan. c. 1480 C.E.; current design most likely dates to the 18th century. Rock garden.

Jomon culture was the first distinctly Japanese culture. Which of the following did it develop first?

Pottery/ceramics

Terra cotta warriors from mausoleum of the first Qin emperor of China (identifier)

Qin Dynasty. c. 221 - 209 BCE. Painted terra cotta.

Which of the following is a Buddhist monastery?

Sanchi

One of the most important tasks of the Chinese artist was which of the following.

Serve as an instrument through which nature could reveal itself

Which of the following is most characteristic of the paintings of the northern Song artist Fan Kuan?

Shifting perspective

The indigenous Cham culture was native to _______?

South Vietnam

The profusion of sexually amorous couples in Indian art indicates which of the following?

Spiritual favor and prosperity

What was the favorite exercise of cultivation and refinement in the Momoyama period?

Tea ceremony

A confederacy of Deccan sultanates ended the ________ in Southern India.

Vijayanagar Empire

During the Kamakura period, there was more frequent and positive contact with China. Which of the following developments was brought to Japan as a result of this contact?

Zen Buddhism

The Ming architecture of Beijing follows the traditional Chinese construction technique. Which of the following identifies that traditional construction technique?

Wood bracketing system

The David Vases (identifier)

Yuan Dynasty, China. 1351 C.E. White porcelain with cobalt-blue underglaze.