Asian Art History Exam 2
Jingdezhen ware Bowl with painting of twin birds Porcelain with overglaze enameling 1723-1735 China *Predictive mode-controlled outcome, precise design *Painting on porcelain with enamel *Applied over the glaze after it's fired *Imitates the same design on paintings *Uses the same process to "paint" on the enamel
•Was this object produced under the catalytic or predictive mode? Why? •What new technology made the vibrant colors possible? How is it applied? •What trend does the surface decoration reflect? Comment on the relationship between ceramics and paintings.
"Krishna Holds Up Mount Govardhan to Shelter the Villagers of Braj," folio from a Harivamsa (Legends of Krishna) manuscript, c. 1590-5, Mughal dynasty. Ink, opaque watercolor, and gold on paper. India. *Emperors tolerated different beliefs within their empire-ruling as religious minority *Stories are not preexisting in manuscript, artist had to invent new compositions **Found a style that went along with Hindu iconography *Translating Hindu classics into Persian *Story shows the incarnation of Vishu (Hindu god) *Krishna-blue skin, saffron robe He's protecting the villagers from the destructive god, Indra *His garment="Indian Yellow", early use of traditional Indian pigment in Mughal paintings **Combining Hindu subject matter with Persian stylistic elements Landscape style-multicolored with animals
•Where is this story from? What painting style did the painter use? •What is the patron's political agenda? •How does this folio reflect the intersection of Persian tradition in Mughal India?
Round box with triple pommel pattern carved lacquer Yuan dynasty 13th-14th cen. China *Used before plastic was invented-Lacquerware is durable material with vibrant colors and stays in good condition *Base layer is made of wood -Then 30+ layers of lacquer is painted on surface Lacquer is from sap of lacquer tree-Urushiol: poisonous in liquid form -When dried, becomes hard and food-safe *Uses colorants: cinnabar-turns red -carbon ink/iron-turns black *Decoration: Painting and/or carving *Lines are achieved by layering black and red lacquerware in top of each other after each layer dries Then, once carved, you can see the fine black lines that could never be achieved by just painting it on
•Why is lacquerware so valuable? •Think about production process and the property of this material. •How are the lines (decorations) achieved?
Yuan dynasty Seven-lobed platter with scene of children at play Carved red lacquer 14th century China *Used before plastic was invented-Lacquerware is durable material with vibrant colors and stays in good condition *Base layer is made of wood -Then 30+ layers of lacquer is painted on surface Lacquer is from sap of lacquer tree-Urushiol: poisonous in liquid form -When dried, becomes hard and food-safe *Uses colorants: cinnabar-turns red -carbon ink/iron-turns black *Decoration: Painting and/or carving *Story of plate: Scene in a garden- boy reaching into the pond with a fan, lots of children playing Lots of detail: ALL the space is filled with design *Many kids= prosperity within the family Cultured family-antiques on the table *All sons would aspire to become a government official or military officer
•Why is lacquerware so valuable? •Think about production process and the property of this material. •What is the technique and theme of decoration?
Buddha's finger bone Jade, ink, gold Sealed ninth century / Tang dynasty (618-906) Famensi, Chang'an, China From Famen Temple-established in the 6th century Gateway towards Buddhist teachings (Famensi) Housed in Pagodas (like stupas)-built to house relics *Bone found in secret chambers below pagoda (underground) **NO-Not real finger bone**-supposed to be the finger bone of the first Buddha, Siddhartha Found 4 "bones" in the 3 chambers (2 bone, 2 jade) *Hollow in center-symbolism that Enlightenment has no limits or boundaries-also means the center of the universe *Eliminating the difference between the relic itself and what it represents-authenticity doesn't matter Doesn't have to be real, as long as it follows the teachings
Briefly explain the circumstances under which this object was produced and discovered. Is it a real finger bone? Why is it hollow and what is the symbolism? What does this example tell us about the nature of religious relics? Do they always have to be "real" to work?
Nested reliquaries Gold, silver, precious stones Sealed ninth century / Tang dynasty (618-906) Famensi, Chang'an, China From Famen Temple-established in the 6th century Gateway towards Buddhist teachings (Famensi) Housed in Pagodas (like stupas)-built to house relics Found 4 "bones" in the 3 chambers (2 bone, 2 jade) underground (under Pagoda) *This box was found in chamber 3 (last chamber in secret niche) Used to house/protect the Buddha bone Symbolism in design- the ideal of multiplicity in Buddhism *4 sides=4 directions of mandalas covering all the universe, layered realms, multiple encasement Some of the boxes represent the earliest diamond mandala (5 Buddhas, 40 Bodhisattvas)
•Briefly explain the circumstances under which this object was produced and discovered. What is its function? •What is the symbolism in the design of the reliquary boxes? Think about it in relation to the Buddhist universe as seen in Mandalas.
Jian ware Tea bowl with 'oil spots' Black-glazed stoneware 12th-13th century China *Reflects Karamono (Chinese objects) -Refined courtly aesthetic *Exported from China and used as tea bowl in Japanese tea ceremony *Purpose of gold rim is strictly decorative
•In the context of Japanese tea ceremony, there are two main groups of objects which reflect very different aesthetics. Which aesthetic does the object reflect? •Why is a bowl produced in China discussed in the context of Japanese tea ceremony? •What is the purpose of the gold rim? (practical or decorative)
Porcelain 'chicken cup' wine-cup with underglaze blue and overglaze enamel color. Ming dynasty 1465-1487. Jingdezhen ware. China *Predictive mode-precise design, controlled outcome of image *The blue is underglaze (painted on before firing) *Other colors are overglaze (enamel applied on top of the clear glaze) *Underglaze: color painted on before clear glaze is applied, then fired-has a hazy, blurry effect, faded colors *Overglaze: the same process with an extra step-add more color (enamel) on top of glaze-has more vibrant colors with a clearer picture
•Was this object produced under the catalytic or predictive mode? Why? •How are the blue and other colors in this cup achieved? •Please explain underglaze, overglaze, and the overall process.
Ding ware Dish with dragon and cloud motifs White stoneware with incised décor and metal rims 12th-13th century, China *Predictive Mode-distinct design/pattern that can be duplicated, made design BEFORE firing *Surface decoration applied with a mold stamp-easier/faster than hand carving *This dish was fired upside down, leaving the rim unglazed *Rim is covered with metal later to cover up the unglazed portion
•Was this object produced under the catalytic or predictive mode? Why? •How is surface decoration applied here? •Why is the rim a different color?
Jingdezhen ware Bowl with Five-Toed Dragon Porcelain with underglaze blue décor 1426-1435 China *Predictive Mode-duplicates are possible (minus hand-painting variations) *Near-total control of process/outcome *Used a blue underglaze, with a clear glaze over top (fired once) *Underglaze: a color or design applied to pottery before it's glazed *Dragon motif: represents the emperor Bowl's shape: shape of monk's bowl Bottom has lotus petals *All represents imperial power and Buddhist belief
•Was this object produced under the catalytic or predictive mode? Why? •How is the blue applied? Why does underglaze mean? •What do the shape of the bowl and the surface decoration symbolize?
Jingdezhen ware Bowl with floral patterns and Xuande Reign Mark Porcelain with underglaze blue décor 1426-1435, China *Predictive Mode-duplicates are possible (minus hand-painting variations) *Near-total control of process/outcome *Used a blue underglaze, with a clear glaze over top (fired once) *Underglaze: a color or design applied to pottery before it's glazed *Mark on bottom is a reign mark: a way to assert imperial control (Center circle) A reliable way of dating ceramics
•Was this object produced under the catalytic or predictive mode? Why? •How is the blue applied? Why does underglaze mean? •What does the mark on the bottom tell us?
Jingdezhen ware Jar with painted fish and water plants Porcelain with underglaze blue décor 1320-1370 China *Predictive Mode-duplicates are possible (minus hand-painting variations) *Near-total control of process/outcome *Used a blue underglaze, with a clear glaze over top (fired once) *Underglaze: a color or design applied to pottery before it's glazed *They are able to control the outcome better-and hand paint the decoration BEFORE firing, instead of waiting for the decoration to occur during firing process
•Was this object produced under the catalytic or predictive mode? Why? •How is the blue applied? Why does underglaze mean? •What technical limitation does underglaze blue solve?
Jun ware Bowl Stoneware with pale blue glaze 12th-13th century China *Catalytic mode-can't control the outcome of the drops/running of the glaze *Excess glaze drops solidify at just the right moment *Gives a unique design /effect-no two are alike *It's fired upright, so the glaze at the very top starts to run down, leaving the color of the body seen
•Was this object produced under the catalytic or predictive mode? Why? •How was the two drops on the side formed? Why is it so special? •Why is the color at the rim different?
Jun ware Planter Stoneware with purple-azure glaze 14th-15th century China *Catalytic Mode (controlled accident)-flaws and accidents are part of the process *No two have the same outcome *Purple/fuchsia/blue color-dotted design *Decoration is not painted on. Instead, stimulants are introduces (metal colorants or rapid cooling) to induce chemical reactions Results will vary, success rate is low
•Was this object produced under the catalytic or predictive mode? Why? •Please comment on surface decoration and technique. How are the color variation and gradation achieved?
Guan ware incense burner. Stoneware with stained crackle Southern Song (1127-1279) China. *Catalytic Mode-Can't control exact outcome, crackles can vary, no two look the same *Crackles-caused by different contraction rate of body and glaze-reveal dark body *2+ layers of crackles *Antiquarianism: imitating ancient bronze shapes *Reflects the connection and sharing of design in multiple cultures (trade?)
•Was this object produced under the catalytic or predictive mode? Why? •What is the surface decoration here? (beyond the celadon glaze) •Does its shape have special origins? What cultural trend does it reflect?
Longquan ware Meiping vase Celadon-glazed stoneware Southern Song (1127-1279) China. *Predictive Mode-specific/controlled color glaze(?) *Thick, jade-like celadon glaze, foot unglazed-pale blue-green color *Very simple shape, little to no other surface decoration *Made for the higher class
•Was this object produced under the catalytic or predictive mode? Why? •What is the surface decoration here? (beyond the celadon glaze) •How does the decoration reflect its production process?
Brush washer. Ru ware. Northern Song 10-12th century China *Predictive Mode-controlled outcome of color *Simple design and shape, 2+ layers of crackles *Used spurs-they wanted to glaze as much of the object as possible Spurs: three pointed structure that the pottery was placed on in kiln
•Was this object produced under the catalytic or predictive mode? Why? •What is the surface decoration here? (beyond the celadon glaze) •What is the piece of "kiln furniture" for? Why and how is it used?
Jian ware Tea bowl with hare's fur striations Black-glazed stoneware 12th-13th century China *Catalytic mode-can't control the exact outcome/fur design *Contrasts with the light, green color of the matcha *Thick glaze (copper-oxide)-creates a sketchy, hair-like texture *Metal on rim for decoration
•Was this object produced under the catalytic or predictive mode? Why? •Why are dark colored bowls preferred for tea drinking? •What is the main surface decoration here?
Dry landscape garden outside the abbot's quarters at Ryoan-ji temple, Kyoto, Japan. Muromachi period. *Represents wabi aesthetic: extremely simple design *In zen monasteries- "Temple of the Peaceful Dragon" *Rocks=mountains *Sand/gravel=water *Supposed to be viewed/experienced from the outside-cannot disturb the gravel designs *Provides an alternative way of viewing nature/inspires meditation *Enigmatic rock formation-Viewer can only see 14 of the 15 rocks while seated
•What aesthetic value and religious ideas do this garden represent? •What do the rocks and sand symbolize? •How is this garden supposed to be experienced? What is the enigma in its design?
Teahouse at Myoki-an. Attrib. Sen no Rikyu (1521-1591). Japan. Early Momoyama period *Reflects wabi aesthetic: Tea houses became even smaller and more simplistic (tea huts) *Built specifically designed rooms for tea gatherings *Tokonoma: alcove- 2 mats (one for host, one for guest) *Entrance is very small-People need to crawl through it **Would have to bow to get in-shows humility, and stripping away of social status before entering *In front on tea, all are equal
•What aesthetic value does the Japanese tea hut reflect? •What is the function and significance of the entrance and the alcove?
Lion grove Garden. Suzhou, China. View of Heart of the Lake Pavilion. Yuan Dynasty. 1342 with later addition. *Rocks, water, architecture, and plants *Rocks are the most treasured objects-Variation of shape and texture shows the force of mother nature on such a hard material **Asymmetric forms= looks like mountains "Artificial mountains" to put in their yards/gardens (Jiashan) *Was the scholars' favorite activity to do while in retirement *The garden represents the scholar, his ego, and his values
•What are the key elements of a Chinese scholar's garden? Why are rocks so important? •Why did scholars like to build gardens? What did garden mean to them?
Wang Xizhi (303-361), three calligraphy model books with "presenting oranges". Tang Dynasty (618-906) tracing copy. China. *Casual notes-a greeting to a friend (INFORMAL) *3 letters-all saying "Hi, how are you? I'm doing good"-sending 300 oranges, with frost coming, I couldn't get very many Characters are uneven and different sizes (shows casualness) *There's a difference between spoken and written word (written is a lot more strict than the actual meaning) Collection seals all over it Tie: calligraphy model book-it's a book with the original writing by the calligrapher *People copy and recreate off of this book *The earlier the copy, the better/closer it is to the original
•What is going on in this piece? Comment on the content and circumstance. •What is a "model book" and why are they important? •Why is a tracing copy so valuable?
Under the order of Shah Jahan. Taj Mahal. 1632-53. White marble. Mughal dynasty. India Mausoleum built for king's beloved wife *Symbol of India *Represents the celebrated history and civilization *Persian influence with the architecture-mosques and dome structures *Monumental scale, gardens, ornamentation, and white marble makes it unique compared to other high class burial sites *Built along Yamuna River-an integral part of plan *Very geometric and highly symmetrical design: ideal of balance and harmony *Structure is built on an elevated platform (can be viewed from many perspectives) *Persian influence shows the Mughal rulers Tumurid heritage *Octagonal designs integrated: symbolize the eight levels of paradise
•What is the cultural significance of Taj Mahal? •What it the main source of inspiration for this architecture style? •How does this example reflect the key characteristics of Mughal architecture?
Vase Porcelain with celadon glaze Jingdezhen ware (in the style of Ru ware) Qianglong period (r.1723-1735) China *Attempting to recreate Song-Dynasty catalytic mode ceramics *Imperial power had control over ceramics-wanted more predictive mode ceramics (catalytic mode was lost/forgotten) *No-Were criticized for not achieving the same effect Larger blocks of of brighter colors Crackles are too bold/one-dimensional Couldn't create the same translucent, celadon color
•What is the potter trying to achieve here? •What is his point of reference? And what is the biggest challenge? Was he successful? Why?
View 1 from Ten Views from a Thatched Lodge. Lu Hong (7-8th century). Handscroll, ink on paper. China, Tang dynasty. China *Painting looks naive because scholar is NOT a professional painter (Intended) *Theme=Chinese scholar's garden *Conveys the scholar himself, his ego, and his values *Reflects the comfort of the high social class *The painting is plain, humble, and close to nature *The many stamps around the painting deems it as important to the society/country
•What is the real theme of this painting? •What is the artist trying to convey through this? •How does this painting reflect the popularity of scholar's gardens and its cultural symbolism?
Genji holding the newborn by the third princess. Fragments of the Genji Monogatari Emaki (Tale of Genji Scroll), ca. 1120-40 Handscroll, ink and colors on paper, Japan Read from right to left Kana calligraphy: scribbles-people should already know the story (illegible) *Used Orthogonal Projection-lines in picture are parallel to each other (no vanishing point) *Diagonal lines form an unrestful image, matching the emotional story line Yamato-e: Japanese painting *e-maki-illustrated scrolls * "Blown off roof"-we can see interior space * Tsukuri-e: make-up painting (lots of layers of colors *"slit eye hook nose"-face depiction *Celebrating baby's first 50 days Shows veranda (right)-dramatic angle *Shows Genji holding baby-he decides to take care of him (Karma)-curtains hiding this image
•What is the relationship between text and image on the Tale of Genji scrolls? •What features of "Japanese style painting" are present in the Genji scroll paintings? •How are drama and emotions portrayed in the images? •Please comment on what's going on in this image.
The retired emperor visits Genji and the third princess. Fragments of the Genji Monogatari Emaki (Tale of Genji Scroll), ca. 1120-40 Handscroll, ink and colors on paper, Japan Read from right to left Kana calligraphy: scribbles-people should already know the story (illegible) *Used Orthogonal Projection-lines in picture are parallel to each other (no vanishing point) *Diagonal lines form an unrestful image, matching the emotional story line Yamato-e: Japanese painting *e-maki-illustrated scrolls * "Blown off roof"-we can see interior space * Tsukuri-e: make-up painting (lots of layers of colors *"slit eye hook nose"-face depiction *Third princess (left) has affair with Kashiwagi (Genji's nephew), gets pregnant and is ashamed/wants to become a nun Court ladies(right) trying to listen to the gossip Genji (bottom) and half bro (bald)-trying to stay quiet
•What is the relationship between text and image on the Tale of Genji scrolls? •What features of "Japanese style painting" are present in the Genji scroll paintings? •How are drama and emotions portrayed in the images? •Please comment on what's going on in this image.
Yugiri visits Kashiwagi on his death bed. Fragments of the Genji Monogatari Emaki (Tale of Genji Scroll), ca. 1120-40 Handscroll, ink and colors on paper, Japan Read from right to left Kana calligraphy: scribbles-people should already know the story (illegible) *Used Orthogonal Projection-lines in picture are parallel to each other (no vanishing point) *Diagonal lines form an unrestful image, matching the emotional story line Yamato-e: Japanese painting *e-maki-illustrated scrolls * "Blown off roof"-we can see interior space * Tsukuri-e: make-up painting (lots of layers of colors *"slit eye hook nose"-face depiction *Kashiwagi dies, Genji is with him Drama formed by diagonal lines in corner Emotionless expressions (contrast from drama) Court ladies (left)-trying to listen in
•What is the relationship between text and image on the Tale of Genji scrolls? •What features of "Japanese style painting" are present in the Genji scroll paintings? •How are drama and emotions portrayed in the images? •Please comment on what's going on in this image.
Western Han dynasty Zun vessel Earthernware with lead-fluxed glaze 206 B.C. - A.D. 9 China *The Zun is made of earthenware, while the original is made of bronze *Skeuomorph: formally functional feature turns into a decorative element (Handle) *Functional: waterproof, food/drink-safe *Decorative: beautiful, unique color
•What is the relationship between this ceramic zun and its original prototype (in another material)? Explain skeuomorph. •What functional and decorative purpose do the glaze serve?
Western Han dynasty Jar with loop handles Ash-glazed earthernware 206 B.C. - A.D. 9 China *It's the first occurrence of glaze Accidentally developed, naturally occurred *Glass-forming ingredients in ashes within kiln falls on object and creates glaze texture *The top half is brighter/smoother than the bottom-the ash falling on only the top
•What is the significance of ash glaze in the development of glazes? •How is ash glaze done? •How can you recognize the glazed part?
Bichitr, Jahangir Preferring a Sufi Shaikh to Kings, c. 1615-18, Mughal dynasty. Opaque watercolor, gold and ink on paper. India. *Emperor reveals his religious devotion *Sufi (religious leader)-closest to emperor **Emperor favors visitation from a holy man aver an audience with kings (scripture on top and bottom of painting) *Hierarchy of scale, and status emphasized by golden halo, only one guest can interact with the emperor *Showing the audience who's who within the painting -Artist: holding painting, clothing shows he's Hindu -Angels: creating a holy, mystical world-somewhere other than earth -Floral patterns -Extravagant decoration for the emperor
•What is the story in this painting? What is the message behind it? •How does this reflect power and politics? •What stylistic elements did the artist incorporate?
Plate with coats of arm. Porcelain with underglaze blue and overglaze enamel color. 1700-1710. China *Made for the nobility-international clientele *Porcelain was made in Jingdezhen then shipped to Canton (Guangzhou) to be decorated by specialists in the export workshops *Made for overseas market
•Who likely ordered this plate? Domestic or international clientele? •How would this plate be produced? What technique and what process was involved?
"Kizaemon" Ido ware tea bowl Earthenware with glaze Sixteenth century Korea (now in Japan) *Highly regarded due to their appeal under "wabi" aesthetics Wabi: the mundane, shows change/aging *Harmony * Tranquility * Respect * Purity * Reflects Wamono aesthetics (Japanese objects)
•Why are some rustic, imperfect ceramics like this highly regarded in Japan? •In the context of Japanese tea ceremony, there are two main groups of objects which reflect very different aesthetics. Which aesthetic does this object reflect?
Shigaraki ware Storage jar Stoneware with natural ash glaze Sixteenth century Japan *Highly regarded due to their appeal under "wabi" aesthetics Wabi: the mundane, shows change/aging *Harmony * Tranquility * Respect * Purity * Reflects Wamono aesthetics (Japanese objects)
•Why are some rustic, imperfect ceramics like this highly regarded in Japan? •In the context of Japanese tea ceremony, there are two main groups of objects which reflect very different aesthetics. Which aesthetic does this object reflect?
Tang dynasty Tomb guardian Tricolor-glazed earthenware AD 675-750 China *Lead flux is added with different colorants (tri-colored palette) *It's both a technical issue, and eventually became an aesthetic choice (artisans embraced the quality/technique) * Used as funerary object
•Why are the different colored glazes running down the object? •Is the running glaze a technical issue or aesthetic choice, or both? •What is the function of this type of object?
