ARTH 2861 Final Exam

PLAN OF THE WESTERN PRECINCT OF HORYU-JI. Reproduction after Penelope Mason History of Japanese Art, 2nd ed. New York: Prentice Hall, 2005, 67. [Fig. 12-22]

A temple include a gate, pagoda (to 塔) kondo 金堂 (Golden Hall or Main Hall), and kodo 講堂(Lecture Hall), along with belfry, sutra repository, sometimes a separate refectory, and dormitories. The pagoda, Main Hall and Lecture Hall are all enclosed within a cloister (garan 伽藍), in block plan, often with simple axial arrangement of buildings.

JAPAN Historic Period: Asuka 飛鳥 period (552- 645 CE), Early Nara 奈良 (Hakuho 白鳳) period (645-710 CE)

Asuka, a district of Yamato; under Empress Suiko Buddhism spread through the effort of the court. Center in the Kinki area - Nara and south. Buddhism said to have been introduced in 552 from SW Korea; ardently propagated by Prince Shotoku (Shotoku Taishi 聖徳太子). Compromise between Buddhism and Shinto. Art and architecture styles imported from SW Korea chiefly, but of basically Chinese form.

MAGATAMA. Kofun period, 5th-6th century. Jadeite. Eta Funayama tumulus, Nagomi Town, Kumamoto prefecture; Tokyo National Museum. Photo DNP Art Communications Co. Ltd. [Fig. 12-17]

Both Chinese style and local production of mirrors; horse trappings; crowns, magatama 曲玉 (comma-shaped jades).

The Tang International Style in Nara Japan Historic period: Nara 奈良 period (645-794) Early Nara (Hakuho白鳳) period: 645-710 Late Nara (Tempyo 天平) period: 710-794 CE

Contacts with Korea reduced after early Tang influences permeated East Asia. The sources for Japanese art therefore more directly Chinese; the style became progressively more like High Tang. A formal capital on grid plan established at Fujiwara (north of Asuka) in 694. During Tempyo period, capital established at Heijokyo 平城京 (Nara); later moved to Heian (Kyoto) in 794. Flourishing period for the arts, temple building and the spread of Buddhism. Key figure: Emperor Shomu 聖武, builder of Todai-ji 東大寺

SUEKI VESSEL. Kofun period, ca. 6th century. High-fired pottery with ash glaze. Height 21-3⁄5" (55 cm). Tokyo National Museum. Photo DNP Art Communications Co. Ltd. [Fig. 12-16]

Domestic pottery in the tradition of Yayoi. Sue pottery (gray earthenware) used in funerary and ritual purposes. o Objects founds in tombs are similar

Shōsōin (the imperial storehouse of treasures)

Donated by Empress Kōmyō after Emperor Shōmu died in 756. Shōsōin is located on the grounds of Tōdaiji. Reflects metropolitan culture of Tang China; exotic, luxury goods of gold and silver, textiles, glass, ceramics, musical instruments, and foreign motifs; Nara now considered the eastern terminus of the Silk Road

Goryeo period (918-1392)

Founded by Wang Geon, with vision of restoring glory of Goguryeo Kingdom; new capital at Songdo. In conflict with Khitan Liao. Cultural influence from Song China. Pervasive influence of Buddhism.

HANIWA FIGURE OF FALCONER. Kofun period, 6th century. Terra-cotta. Height 29-4⁄5" (75.8 cm). Yamato Bunkakan, Nara. [Fig. 12-18]

Haniwa 埴輪: clay sculptures of objects, animals, birds and humans placed on the mounds of tombs.

GENERAL VIEW OF HORYU-JI. Asuka period, 7th century. Nara prefecture. © DAJ/Getty Images. [Fig. 12-21]

Horyu-ji Temple 法隆寺, founded in 607; rebuilt after 670, Block plan with latitudinal axis; Main Hall (Kondo) on east, pagoda west. Five-story pagoda; Kondo (Golden Hall) o Enclosed area considered nucleus of complex: garan

Three Kingdoms Period

Important role played by Korea in the transmission of Buddhism from China to Japan. Goguryeo and Baekle first to embrace Buddhism; when Old Silla conquered the other two kingdoms and formed the Unified Silla dynasty (668 - 935) it embraced Buddhism of Tang China. Capital at Gyeongju. Influences of Chinese Six dynasties style most evident in 6 th- and 7 thcentury Korean and Japanese Buddhist art (element of time lag in transmission of styles).

Joseon dynasty (1392-1910)

Japanese invasion of Korea in 1592 and 1597. Contacts with Ming dynasty China. Influence of Confucianism and prominence of scholar-officials. o Government adopts neo-confucianism

Periods

Korea: Neolithic (1-comb patterned vessel), 3 kingdoms period [goguryeo kingdom, baekje kingdom (1-incense burner), silla kingdom, unified silla kingdom (1-seated buddha at seokguram cave temple)], goryeo, joseon, 20th ce, 21st ce Japan: jomon, yayoi, kofun, asuka, nara, heian, kamakura, muromachi, momoyama, edo, meiji, 20th ce, 21st ce

TOMB OF EMPEROR NINTOKU. Kofun period, late 4th-early 5th century. Sakai, Osaka prefecture. © Yoichi Tsukioka/amana images/Getty Images. [Fig. 12-15]

Large tombs of various shapes; keyhole shape typical and seems to be associated with Yamato power; stone sarcophagi; stone chambers in later examples may contain horse-riding equipment. Art known through contents of the tombs. Tomb of Nintoku Tennō 仁徳天皇, near Osaka, late 4th - early 5th century o Area remains untouched because it houses the emperor o Private property o Keyhole shape surrounded by mote, similar to a tumulus

FIGURINE. Late Jomon period, ca. 1500-1000 BCE. Low-fired clay. Height 10-1/4" (26.2 cm). Tokyo National Museum/Granger Collection/The Art Archive. [Fig. 12-7]

Many figurines, mostly female, appeared after Middle Jomon. Other art forms included stone objects, ornaments, lacquer, basketry, engravings on stone. o Possibly female, appearance of breasts o Sympathetic magic - if you break the figurine you are protecting humans

Ise Shrines (Ise Jingu),

Mie prefecture; rebuilt every twenty years, first known structure rebuilt c. 690, 62st rebuilding in 2013; dedicated to chief deities of Shinto; idealized storehouses, built on stilts; entrance on long side; within four enclosures; symmetrical arrangement of buildings; reflect continental influence in plan. Built of cypress wood, miscanthus (kaya) reeds for roof o Primogenitor of the imperial line o 4 walls; N-S orientation gate (torii, literally bird-perch) main hall (shoden) 2 treasuries (storehouse, azekura) o gate (torii, literally bird-perch) o Chinese influence seen

Jomon 縄文 period, c. 10,000 - 300 BCE

Name from "cord-marking" characteristic of pottery decoration. Tribal people lived in small groups; shell-mounds; pit-dwellings; period divided into several stages of cultural development. Pottery: cord-marked; hand-made; engraved with applied decoration; earliest functional, cooking vessels, later differentiated usages; variety of shapes and decorations appeared in Middle Jomon.

Yayoi 弥生 period, c. 300 BCE - 300 CE

Named after site in Tokyo where pottery was first found; functional, reddish pottery. Contact with both China and Korea. Rice, iron, and bronze introduced from mainland via Korea (see Korea section). Rice culture transformed early subsistence economy based on hunting and gathering; gave rise to agricultural settlers. Iron for tools, bronze for ritual objects; bronze bells (dōtaku 銅鐸); non-Chinse style bronze mirrors. Tribal group gaining power in Kinki 近畿 area (central Japan - Nara-KyotoOsaka region). Surface dwellings; raised storehouses, which later became models for palaces and shrines.

Kofun 古墳 (Ancient Tomb) period, 300 - 600 CE

Period of mounded tombs. Bronze-iron age; consolidation of Yamato state and the imperial system. Literary information on the period from the Kojiki (Record of Ancient Matters, 712) and Nihon Shoki (Chronicle of Japan, 720). Religion shamanistic Shinto 神道 (the way of the gods); polytheistic, veneration of spirits (kami 神) in nature, sacrifices to deities and purifications.

Three Kindoms, 57 - 668 CE Goguryeo 高句麗, 37 BCE - 668 CE Baekje 百濟: 18 BCE - 663 CE Silla 新羅, 57 BCE - 668 CE

Royal culture in eastern and southern Korea during the Three Kingdoms period. Elaborate Gold crowns with jade, horseriding gear found in royal tombs. Use of glazed stoneware, bronze mirrors and weapons. Confucianism, Daoism, and Buddhism arrived from China; indigenous shamanistic tradition

Neolithic, Bronze, Iron Ages, c. 6000 BCE - 300 CE Lelang (Han Chinese dominance), 108 BCE - 313 CE

Scarce ceramics and stone implements found in Neolithic sites; pottery decorated with comb or cord patter, similar to early Jomon pottery of Japan. Agriculture, bronze and iron reached Korea from China in the 3rd century BCE. Under influence of Han; Lelang and Taifang were settled by Chinese immigrants. Much contact with both China and Japan.

· 12-3 Sacred grove Miyako Island, Okinawa prefecture.

Shamanistic practices that continued from ancient times to modern day. o Shinto religion § "the way of the gods" o Nature of Japanese religion is essentially animistic, believe in the existence of spirits in everything o Build shrines to express the presence of and their devotion to the gods

format

Subject:______________________________ Site (if known):________________________________ Period:________________________________ Technique/medium:____________________________ Significance:_____________________________________________________________

SEATED BUDDHA AT SEOKGURAM CAVE TEMPLE. Unified Silla period, ca. 751. Granite, height (Buddha only) 11'2" (3.42 m). Near Gyeongju. © Topic Photo Agency/Corbis. [Fig. 11-10]

Unified Silla Period (668-935), Confucianism and Buddhism synthesized

BOTTLE WITH ABSTRACT DECORATION. Joseon dynasty, early 16th century. Buncheong ware; light gray stoneware with incised design on a white slip ground. Height 8-1/8" (20.5 cm), diameter of body 5-7/8" (15 cm). Lee'um, Samsung Museum of Art, Seoul. [Fig. 11-23]

abstract markings, more modern

Lee Bul. THE SECRET SHARER. 2011. Stainless-steel frame, acrylic, urethane foam, PVC panel, PVC sheet, PET, glass and acrylic, beads. Dimensions variable. Installation view of "Lee Bul: From Me, Belongs to You Only," Mori Art Museum, Tokyo. Collection: Amore Pacific Museum of Art, Yongin, Korea. © Lee Bull. Photo: Watanabe Osamu. Courtesy: Mori Art Museum. [Fig. 11-47]

addresses changes and inequalities, dog shaped sculpture

THE ARHAT DEOKSEWI. Joseon dynasty, 1562. Hanging scroll, ink and color on silk. 18 × 11-3/8" (45.72 × 28.89 cm). Los Angeles County Museum of Art. Murray Smith Fund M.84.112. © 2013 Digital Image Museum Associates/LACMA/Art Resource NY/Scala, Florence. [Fig. 11-26]

arhat- disciple of buddha who has attained spiritual enlightenment, commissioned by the queen

PRIEST GANJIN. Nara period, 8th century. Dry lacquer, painted, height. 32-1⁄10" (81.7 cm). Toshodai-ji, Nara. Photo Benrido Inc., Kyoto. [Fig. 13-10]

captures blind monk ganjin using hollow dry-lacquer method

MIROKU BOSATSU. Asuka period, 7th century. Camphor wood. Height 34-1/2" (87.5 cm). Chugu-ji, Nara prefecture. Photo Benrido Inc., Kyoto. [Fig. 12-29]

carved from wood with a lacquer surface

VESSEL STAND WITH SNAKE DECORATION. Silla kingdom, 5th-6th century. Gray stoneware with traces of natural ash glaze, height 23" (58.7 cm). Arthur M. Sackler Museum/Arthur M. Sackler Museum, Partial gift of Maria C. Henderson and partial purchase through the Ernest B. and Helen Pratt Dane Fund for the Acquisition of Oriental Art, 1991.501. Photo: Imaging Department © President and Fellows of Harvard College. [Fig. 11-7]

ceremonial stand with snake imagery

CROSS-SECTION OF FIVE-STORY PAGODA, HORYU-JI. Gary Cross © Dorling Kindersley. [Fig. 12-24]

circumambulate clockwise around the pagoda

VESSEL. Middle Jomon period, ca. 2500-1500 BCE. Low-fired clay. Height 16-1/2" (42 cm). Kimbell Art Museum, Fort Worth, Texas/Art Resource, NY/Scala, Florence APx 1974.03 [Fig. 12-5]

coiling and cording technique, may have been used for ritual practices

STELE OF KING GWANGGAETO OF GOGURYEO. Replica of 414 CE original. Granite. Height 23' (7 m). Independence Hall of Korea, Cheonan. Lawinc82 (Creative Commons Attribution-Share Alike 3.0). [Fig. 11-3]

commissioned as a memorial by gwanggaeto's son

CHEOMSEONGDAE ASTRONOMICAL OBSERVATORY. Silla kingdom, 634. Stone, height 30'9" (9.4 m). Gyeongju. © Steven Vidler/Eurasia Press/Corbis. [Fig. 11-9]

commissioned by queen seondeok who valued celestial guidance

SEATED WILLOW-BRANCH GWANSE'EUM BOSAL (THE BODHISATTVA OF COMPASSION). Goryeo dynasty, late 14th century. Hanging scroll, ink, colors, and gold pigment on silk. Height 62" (159.6 cm). Arthur M. Sackler Museum/Arthur M. Sackler Museum, Bequest of Grenville L. Winthrop, 1943.57.12. Photo: Imaging Department © President and Fellows of Harvard College. [Fig. 11-12]

commissioned for a temple, provided an aid for meditation and worship

JAR WITH GRAPEVINE DECORATION. Joseon dynasty, 17th century. Porcelain with decoration painted in underglaze iron-brown slip. Height 22-1⁄5" (53.8 cm). Ewha Women's University Museum, Seoul. [Fig. 11-25]

created for court use, painted with an underglaze iron-brown slip

FIVE-STRINGED LUTE (BIWA). Chinese, Tang dynasty, 8th century. Red sandalwood and chestnut inlaid with mother-of-pearl, amber, and tortoiseshell. Length 42-1/2" (108.1 cm), width 12" (30.9 cm), depth 3-1/2" (9 cm). Shosoin, Todai-ji, Nara. Photo Imperial Household Agency. [Fig. 13-3]

decorated instrument believed to have originated in china

Sin Yunbok. "WOMEN ON TANO DAY". Joseon dynasty, late 18th-early 19th century. Album leaf, ink and colors on paper. 11-1/8" × 13-7/8" (28.3 × 35.2 cm). Gansong Museum of Art, Seoul. akg-images/VISIOARS.

depicts an important korean festival during joseon period

THE AFTERMATH OF FIGHTING IN SEOUL. Koreans suffer on the street. Photo, 1950. Max Desfor/AP/Press Association Images. [Fig. 11-34]

depicts the turmoil and aftermath of the korean war

DETAIL OF DRAGON POSTS. 17th century, kondo, Horyu-ji. Nara prefecture. © G.Sioen/DeAgostini/Universal Images Group/Alamy. [Fig. 12-27]

dragons guard the building and protect buddha's law

Lee Ufan. FROM POINT. 1978. Stone pigment and glue on canvas. 5'11-1/2" × 7'5-2⁄5" (1.82 × 2.27 m). Studio Lee Ufan. [Fig. 11-40]

elegant simplicity echoing joseon dynasty porcelain

FIVE-STORY PAGODA, HORYU-JI. Asuka period, 7th century. Nara prefecture. © Ivan Vdovin/Alamy. [Fig. 12-23]

employs rich buddhist symbolism with the number 5 and the jewel tip symbolic of wisdom

EWER IN THE SHAPE OF BAMBOO SHOOT. Goryeo dynasty, 1100-1150. Celadon-glazed stoneware with incised decoration. Height 10" (25.4 cm). Victoria and Albert Museum, London. © V&A Images—All rights reserved. [Fig. 11-14]

example of a plain/minimal celadon used for ritual and utilitarian purposes

Mansudae Studio. KIM IL-SUNG. 1972. Bronze originally gilded but gilding later removed. Height 65' (20 m). Mansudae Hill, overlooking Pyongyang. Mark Harris/The Image Bank/Getty Images. [Fig. 11-36]

example of socialist realist art

Tori Busshi. SHAKA TRIAD. Asuka period, 623. Gilt bronze. Height 46" (116.8 cm). Kondo (main hall), Horyu-ji. Nara prefecture. Photo Benrido Inc., Kyoto. [Fig. 12-26]

fear not mudra, one of the most famous bronze statues housed in the kondo

BANKNOTE (50,000 WON) FEATURING SIN SAIMDANG. 2009. Bank of Korea. © Glyn Thomas/Alamy. [Fig. 11-33]

first woman to be on korean currency

MAIN HALL, INNER SHRINE. Last rebuilt 2013. Ise-jingu, Mie prefecture. © Jingū-shichō. Sengu Photo Library. [Fig. 12-2]

gable; gable-end pillars; roof billets (katsuogi); forked finials (chigi)

BUDDHA ROSHANA. Nara period, 8th century, reconstructed 17th century. Bronze. Height 53' (16 m). Daibutsuden, Todai-ji, Nara. © Luca Tettoni. [Fig. 13-6]

gigantic buddha commissioned by emperor inspired by enormous chinese buddha's

THE GREAT BUDDHA HALL (DAIBUTSUDEN). Original structure completed during the Nara period in 752. Destroyed in 1180. Current building completed in 1707; extensively restored 1906-1913. Todai-ji, Nara. Demetrio Carrasco © Dorling Kindersley. [Fig. 13-5

great eastern temple, represents public face of nara buddhism

JUICHIMEN KANNON (ELEVENHEADED AVALOKITESHVARA). Late Nara/early Heian period, late 8th-early 9th century. Painted wood. Height 3'3-3⁄10" (1 m). Hokke-ji, Nara. [Fig. 13-9]

important wooden statue with mystical ties to the empress

BODHISATTVA SEATED IN MEDITATION. Silla kingdom, 6th-7th century. Gilt bronze, height 36-4⁄5" (93.5 cm). Likely the Bodhisattva Maitreya. National Museum of Korea, Seoul. DeAgostini Picture Library/Scala, Florence. [Fig. 11-8]

indicates advanced metal casting practices borrowed from china

DETAIL OF PAINTING ON EAVES, INJEONGJEON (THRONE HALL), SEOUL. Joseon dynasty, originally built in 1405. Periodically destroyed and restored. Current structure dates from 1804. Richard Nebesky/Lonely Planet Images/Getty Images. [Fig. 11-18]

inspired by chinese architectural traditions, used for state affairs

Paik Nam June. TV BUDDHA. 1974. Video installation with bronze Buddha statue. 63" × 84-3⁄5" × 31-1/2" (160 × 215 × 80 cm). Stedelijk Museum, Amsterdam. © estate of Paik Nam June. [Fig. 11-43]

installation combining religion and technology

COMB-PATTERNED VESSEL. Neolithic period, ca. 3000 BCE. Earthenware with incised decoration. Height 16" (40.5 cm). Hanyang University Museum, Seoul, South Korea/The Bridgeman Art Library. [Fig. 11-2]

jomon pottery of neolithic period

TAMAMUSHI SHRINE. Asuka period, ca. 650. Cypress and camphor wood, with lacquer. Height 7'7-1/2" (2.33 m). Gallery of Temple Treasures, Horyu-ji, Nara prefecture. Photo Benrido Inc., Kyoto.

lacquer painting on wood, Jataka of the Bodhisattva's sacrifice to the tigress (jatakas are the Buddha's birth stories

INCENSE BURNER. Three Kingdoms period, Baekje kingdom, 6th century. Gilt bronze. Height 24-1⁄3" (61.8 cm). Buyeo National Museum. [Fig. 11-6]

mixing of Buddhist and Daoist elements

MAP OF NARA. Reproduction after Penelope Mason History of Japanese Art, 2nd ed. New York: Prentice Hall, 2005, 45. [Fig. 13-2]

modeled after tang china's capital city

DANCING SCENE. Three Kingdoms period, Goguryeo kingdom, 5th century. Wall painting. Muyongchong Tomb, Tonggou, near Jian. Samsung Foundation of Culture, Korea. [Fig. 11-4]

mural found in korean tomb

HUNTING SCENE. Three Kingdoms period, Goguryeo kingdom, 5th century. Wall painting. Muyongchong Tomb, Tonggou, near Jian. Pictures from History. [Fig. 11-5]

mural found in korean tomb

RECONSTRUCTION, CEREMONIAL HALL. Original structure: Late Yayoi period, 1st-3rd century CE. Yoshinogari Historic Site, Saga prefecture. © MIXA/Getty Images. [Fig. 12-13]

o All raised on stilts to avoid flooding o House for chieftains of the clan, becomes "house of the gods" of the clan o Turning an architecture of functional use into sacred architecture

DOTAKU. Late Yayoi period, 2nd-3rd century CE. Bronze. Height 18-3/4" (47.5 cm). Hyogo prefecture. Tokyo National Museum. Photo DNP Art Communications Co. Ltd. [Fig. 12-9]

o Bronze bell, not musical o Ritual objects, belonged to elite, buried with them, objects associated with status

DETAIL OF "HUNGRY TIGRESS" PANEL. Asuka period, ca. 650. Cypress and camphor wood, with lacquer. Height 7'7-1/2" (2.33 m). Gallery of Temple Treasures, Horyu-ji, Nara prefecture. Photo Benrido Inc., Kyoto

o Continuous narrative, includes temporal dimension

DETAIL OF THRONE AND SCREEN PAINTING OF THE SUN, MOON AND FIVE PEAKS. Joseon dynasty, 1405. Injeongjeon (Throne Hall), Seoul. Photo Dale Quarrington. [Fig. 11-19]

o Folk painting o Daoist subject - sun and moon are yin and yang symbols, 5 mountains allude to five elements o Expressed in Korea in this decorative scheme

WEDDED ROCKS. Futamigaura, Ise-Shima National Park. © Ei Katsumata - FLP/Alamy. [Fig. 12-1]

o Japanese believed the existence of many gods

VESSEL. Jomon culture, 12,000 BCE. Low-fired clay. © Sakamoto Photo Research Laboratory/Corbis. [Fig. 12-4]

o Marks made by impressing cords

NONAKADO STONE CIRCLE. Late Jomon period, ca. 1500-1000 BCE. Oyu, Akita prefecture. Photo: Nonakado, Akita. [Fig. 12-8]

o Particularly in north, found at a burial cite

DOTAKU WITH IMAGES OF ANIMALS AND PEOPLE (DETAIL). Middle-Late Yayoi period, ca. 100 BCE-300 CE. Bronze. Height 16-7/8" (42.8 cm). Kagawa prefecture. Tokyo National Museum. © Sakamoto Photo Research Laboratory/Corbis. [Fig. 12-10]

o Stick like images, figure with bow and arrow shooting an animal o Shows granary, house raised on stilts

DRUM-SHAPED WINE BOTTLE DECORATED WITH BIRD, FISH, AND LOTUS. Joseon dynasty, 16th century. Buncheong ware; light gray stoneware with decoration painted in iron-brown slip on a white slip ground. 6-1⁄10" × 9" (15.5 × 24.1 cm). Museum of Oriental Ceramics, Osaka, Japan. Gift of the Sumitomo Group. [Fig. 11-22]

o Vessel covered with white slip, defining type of ceramic ware of the joseon dynasty

VESSEL. Late Yayoi period, 1st-3rd century CE. Terra-cotta. Height 13" (32.6 cm). Tokyo National Museum, Japan/De Agostini Picture Library/The Bridgeman Art Library. [Fig. 12-12]

o White slip with geometric patterns, storage jar

SHEAVES OF RICE AND STRIPS OF PAPER (SYMBOLIZING PURITY). Offered to the kami by the Emperor Ise-jingu. Mie prefecture. © Jingū-shichō. Sengu Photo Library. [Fig. 12-20]

offering made to kami (supernatural beings) in shinto religion

KONDO (MAIN HALL), HORYU-JI. Asuka period, 7th century. Nara prefecture. © CulturalEyes-AusGS/Alamy. [Fig. 12-25]

offers practitioner solace from world of suffering, used for worship and ceremony

TENJUKOKU EMBROIDERY. Asuka period, 7th century. Fragments of the original, embroidered silk. Chugu-ji, Nara prefecture. Photo Benrido Inc., Kyoto. [Fig. 12-30]

one of japan's national treasures, oldest surviving example of japanese embroidery

KANNON (BODHISATTVA OF COMPASSION). Asuka period, 7th century. Gilt bronze. Height 26-1⁄3" (67 cm). Gallery of Temple Treasures, Horyu-ji, Nara prefecture. Photo Askaen Co., Ltd, Nara. [Fig. 12-28]

one of the most popular and frequently depicted deities in japanese art

Song Su-nam. SUMMER TREES. 1983. Ink on paper. Height 25-5/8" (65 cm). British Museum, London. Courtesy Seoshin Gallery. © The Trustees of the British Museum (1995,1012,0.8). [Fig. 11-41]

oriental ink movement, traditional with a contemporary twist

Kimsooja. CITIES ON THE MOVE, 2,727 KM BOTTARI TRUCK. 1997. Single channel video, 7:33 min. loop, silent. Eleven-day performance in South Korea. Commissioned by Korean Arts & Culture Foundation, Courtesy of Kimsooja Studio. [Fig. 11-46]

performance piece, kimsooja travels through cities associated with her past

THE ONGNYUCHEON (JADE STREAM), HUWON (SECRET GARDEN), CHANGDEOK PALACE. Joseon dynasty, 1636. Seoul. Daderot. [Fig. 11-20]

place for rulers to find refuge from state affairs

WINE CUP. Joseon dynasty, 15th century. Porcelain. Height 1-5/8" (4.1 cm), diameter 4-1/2" (15.5 cm). Metropolitan Museum of Art, New York. Rogers Fund, 1917 (17.175.1). © 2013 Image copyright Art Resource/Scala, Florence. [Fig. 11-24]

plain white porcelain reflection neo-confucian tastes

A SCENE FROM THE MASS GAMES (ARIRANG FESTIVAL). 2007. May Day Stadium, Pyongyang. © Philippe Agret/AFP/Getty Images. [Fig. 11-38]

politicized message glorifying north korea

Attributed to Yi Myeong-gi. PORTRAIT OF OH JAESUN. Joseon dynasty, 1791. Hanging scroll, color on silk. 59-7/8" × 35-1/4" (152 × 89.6 cm). Leeum, Samsung Museum of Art, Seoul. [Fig. 11-27]

portrait painting flourished during joseon dysnasty because of confucianism valuing ancestor worship and family lineage, portrait of meritorious subject

MONK WITH ORIGINAL WOODBLOCK FROM THE TRIPITAKA KOREANA. Goryeo dynasty, 1251. Haeinsa Monastery, Mount Kaya. Eye Ubiquitous/SuperStock. [Fig. 11-13]

project to carve buddhist texts onto woodblocks to preserve buddha's teachings and protect korea

Han Jun-bin. WE'RE THE HAPPIEST IN THE WORLD. 1975. Ink on paper. 4'4-2⁄5" × 3'8-7/8" (1.3 × 1 m). National Gallery, Pyongyang. Photo Jim Hoare. [Fig. 11-37]

propaganda .to show north korea as a paradise

SUNGNYEMUN (GATE OF EXALTED CEREMONIES). Joseon dynasty, originally built in 1398. Seoul. Photononstop/SuperStock. [Fig. 11-17]

provides visitor with insight into Joseon culture, sophisticated, stately, and authoritarian

Suh Do-ho. REFLECTION. 2004. Large-scale fabric installation (polyester fabric, metal armature). Dimensions variable. On exhibition at the Maison Hermès Gallery, Tokyo. © Do Ho Suh. [Fig. 11-48]

reflective, shows insubstantial quality of memory

An Gyeon. DREAM JOURNEY TO THE PEACH BLOSSOM LAND. Joseon dynasty, 1447. Handscroll, ink and light colors on silk. 15" × 41-3/4" (38.7 × 106.1 cm). Central Library, Tenri University, Tenri (near Nara), Japan. [Fig. 11-28]

relied heavily on chinese landscape painting traditions

Attributed to Lady Sin Saimdang. MICE NIBBLING AT A WATERMELON. Joseon dynasty, 16th century. A panel from a screen painting, ink and color on silk. 13-3/8" × 11-1/8" (34 × 28.3 cm). National Museum of Korea, Seoul. [Fig. 11-32]

rich in symbolism, duality, yin and yang, nature imagery

HANIWA FIGURE OF SEATED FEMALE SHAMAN. Kofun period, 6th century. Terra-cotta. Height 27" (68.5 cm). Tokyo National Museum. Photo DNP Art Communications Co. Ltd. [Fig. 12-19]

seated female shaman

WINE POT WITH BOWL. Goryeo dynasty, 1150-1200. Celadon-glazed stoneware with incised, inlaid, and underglaze copper decoration. Height 13" (34.2 cm). National Museum of Korea, Seoul. De Agostini Picture Library/akg-images. [Fig. 11-16]

shows creative results of technical innovation

KICHIJOTEN. Nara period, 8th century. Color and gold on hemp. 20-7/8" × 12- 1/2" (52.9 × 32 cm). Kondo, Yakushi-ji, Nara. Photo Askaen Co., Ltd, Nara. [Fig. 13-1]

shows cross-cultural influences in buddhist subjects, indian in this one, epitome of beauty in nara era

GOVERNMENT BANKNOTE FEATURING EMPRESS JINGU. Meiji period, 1878. British Museum, London © The Trustees (CIB,EA.302). [Fig. 12-14]

shows that women occupied powerful positions in yayoi society

JONGMYO, THE ROYAL ANCESTRAL SHRINE. Seoul. Joseon dynasty, originally constructed in 1394; rebuilt in 1608 after destruction by Japanese invaders. Photo Barry Shell. [Fig. 11-21]

shrine for ancestral worship for the ruler of the kingdom

YAKUSHI BUDDHA (MEDICINE BUDDHA). Nara period, late 7th-early 8th century. Bronze. Height 8'4" (254 cm). Kondo, Yakushi-ji, Nara. Photo Askaen Co., Ltd, Nara. [Fig. 13-4]

subject believed to cure illness, trans-continental influence

RECONSTRUCTED JOMON PIT DWELLING. Jomon period. Sannai Maruyama, Aomori City. JTB Photo/SuperStock. [Fig. 12-6]

typical pit house of jomon period constructed from wood with a thatched roof

MAEBYEONG BOTTLE. Goryeo dynasty, late 12th-early 13th century. Celadon-glazed stoneware with incised and inlaid decoration. Height 13" (33.7 cm). Tokyo National Museum. Photo DNP Art Communications Co. Ltd. [Fig. 11-15

used as a storage jar, more ornate due to inlay and underglaze painting, shows expansion of pottery

Jeong Seon. PANORAMIC VIEW OF THE DIAMOND MOUNTAINS (GEUMGANG-SAN). Joseon dynasty, 1734. Hanging scroll, ink and colors on paper. 40-5/8" × 37" (130.1 × 94 cm). Lee'um, Samsung Museum of Art, Seoul. [Fig. 11-29]

using bird's eye perspective and dark brushtrokes to contribute to korean style of landscape paintings

Lee Joong-sup. THE BULL. 1953. Oil on paper. 12" × 16-1/4" (30.5 × 41.3 cm). Ho-Am Museum, Yongin, South Korea. [Fig. 11-35]

using bull as a symbol of labor and perseverance in korea

Yun Suk Nam THE KITCHEN. 1999. Mixed media installation, 9'10-1⁄10" × 9'10-1⁄10" × 7'2-3/5" (3 × 3 × 2.2 m). Artist's collection. [Fig. 11-45]

vision of domestic spaces

WANG GEON. Goryeo period, 10th century. Bronze. Height 56" (143.5 cm). Gaeseong, Central History Museum, Pyongyang. [Fig. 11-11]

wang geon leader of goryeo

PEDESTAL AND ASSORTED VESSELS. Middle Yayoi period, ca. 100 BCE-100 CE. Painted earthenware. Property of the Culture Agency Japan. [Fig. 12-11]

wide variety of ceramics produced during yayoi to serve complex ceremonial and everyday needs