Art of Asia - Homework Questions for Final
In her essay, "The Imaginary Orient," Linda Nochlin examines the well-known painting, Snake Charmer, by the Orientalist artist Jean-Leon Gerome. Specifically, she argues that the painting represents the Orient as "a world without change, a world of timeless, atemporal customs and rituals, untouched by the historical processes that were "afflicting" or "improving" but, at any rate, drastically altering Western societies at the time." (pgs. 35-36). Ultimately, she wants the reader to acknowledge the imaginary Orient that artists like Gerome have produced in their paintings. What pictorial or stylistic elements of Snake Charmer buttress her arguments?
Nochlin focuses on the absence of history in Snake Charmer, noting that "time stands still" in the painting, which was created during a pivotal time in Turkish history, when the Ottoman government was reforming, and France was trying to exert its influence. In the mid-1860s, public education programs were introduced, as well as public works projects, communication systems, and railroads. Despite this, the painting lacks any reference to these changes or European influences. Snake Charmer only shows Turkish people, and the background is completely of Turkish style - blue tiles, carpet, etc. Despite this, Nochlin notes that implicit in this painting is the presence of the white man - the white male gaze which creates this painting. Implications of an inferior culture are present in the painting. Stones in the mosque are crumbling, indicating the need for European intervention to "help". Altogether a reflection of the colonial enterprise. It has a huge impact on the lives of everyday people, yet westerners are completely absent from the painting. It is a fantasy downgrades the sophistication of non-western cultures.
Although Thailand was the only Southeast Asian country to not be colonized, presence of European ideas and culture still pervaded their own artistic production. In what ways does the painting below demonstrate European impact on Thai artists working in the 19th century?
People Gathering demonstrates many characteristics that reflect European influence in Thailand. The three-dimensional perspective is employed, and it is a realist landscape. Figures wear European dress, and utilize European technology like the buggy in the foreground. However, despite the European influence, the subject matter continues to reflect Thai culture, as the event depicted is a lotus flower, a symbol of Buddhism, rising from the lake.
During the Edo Period (1615-1868) of Japan great social and artistic change resulted in new genres of art, the most prominent known as the ukiyo-e (floating world pictures). According to your reading, what characterizes the ukiyo-e genre and what social group was the major patrons of this new artistic subject matter?
The ukiyo-e genre was a kind of painting depicting the extravagant luxuries of urban life for the elite, merchant, or bourgeoise, classes during the Edo Period. Scenes usually depict different kinds of amusements and recreational activities, like street dancing, festivals, eating, and socializing. Also dominant in the ukiyo-e genre were vivid depictions of architecture, with castles, temples, bath houses, palaces, theatres, and restaurants. Stylistically, the ukiyo-e genre employs the birds-eye-view perspective, multi-paneled screens, and gold leaf.
By the late 19th century, Vietnam had become a French colony. As part of their colonial project, the French sought to exploit the country of its raw materials and educate the local population in certain elements of French culture. In 1925, the French established an official art school, the Ecole Superieure des Beaux-Arts in Hanoi. Discuss how the following work was informed by the artist's French training.
The work, which depicts a woman in a coastal landscape, shows artist Tran Van Can's French training. The creation of portraiture, particularly as an exploration of technique, was prominent in the Ecole school. Furthermore, the painting makes use of European materials - oil and canvas. Despite reflecting the political and military movements of the time, particularly Vietnam's pursuit of independence, the painting retains influences from French training.
The introduction of woodblock-print for non-Buddhist literature and subject matter made art available to all social classes. Printed subject matter came to include images of the everyday, famous actors and erotica, reflecting the interests of these new patrons. Describe and examine how the following works - Viewing Maple Leaves by the Waterfall + Sakata Hangoro III as the Villian Mizuyemon - are examples of ukiyo-e.
Viewing Maple Leaves by the Waterfall is a woodblock print. The subject matter is erotic - two younger women lead an older man, flushed, towards the waterfall. The delicate lines of the kimonos mirror the delicate lines of the waterfall. This is an example of ukiyo-e because the subject matter is of everyday life, depicting people in lives of luxury, enjoying nature and eroticism, isolated from any kind of hardship or pain. Sakata Hangoro III as the villain Mizuyemon is an example of ukiyo-e for its depiction of theater actors, much like a modern movie poster. These actors gave performances to entertain the people of the elite classes. This woodblock print depicts an actor as a villain, with "squinting eyes, twisted mouth, and contorted arms" set against a dark background.
Define the terms "yamato-e" and "kare-e". How does art in the yamato-e style differ from that of the kare-e style? Why did the yamato-e style gain prominence during the Heian period? Discuss in relation to "Handscroll of the Tales of Genji" and "Detail of Chuju jinbutsu giga".
Yamato-e is a distinct Japanese style of painting and kare-e is a style of Chinese painting, both of which achieved prominence in Japan during Heian period. As seen in Handscroll of the Tales of Genji, the yamato-e style is characterized by Japanese subject matter, bright colors, a birds-eye-view perspective, and distinct facial features. In the Handscroll of the Tales of Genji, bright shades of green, yellow, and pink depict a seen that looks down on a scene of Japanese courtly women who are depicted with the "line for the eye, hook for the nose" facial features. The yamato-e style developed during the Heian period as a rejection of Chinese and Korean artistic styles, during a time when a distinct national identity began to form in Japan. In wanting to develop a Japanese style, many artists began to focus on depicting Japanese landscapes, architecture, dress, and people. The kare-e style was also popular during the Heian period, characterized by monochromatic coloration, Chinese themes and styles, and calligraphy. An example of the kare-e style comes from Chuju jinbutsu giga, or the image of the Monkey and Frog. The image is satirical, depicting monkeys and frogs at a Buddhist ceremony, with the monkey appears as a monk demanding money for performing a ritual. Subject matter seems to be critical of Buddhism, referencing possible corruption in the religious organization. Painted in black and white, this highly calligraphic, monochromatic image is a clear example of the kare-e style.
