South, East, and Southeast Asia

208. Jahangir Preferring a Sufi Shaikh to Kings

Bichitr. c. 1620 .c.e Form: watercolor, gold, and ink on paper Content: Context: -Seizer of the world: -Salim, whose birth was assured by a Sufi, Shaikh Salim, gave himself the honorific title of Nur ud-Din("light of faith") and the name Jahangir("Seizer of the world")

199. Angkor, the temple of Angkor Wat, and the city of Angkor Thom

Cambodia, Hindu, Angkor Dynasty c. 800-1400 c.e. Form: stone masonry, sandstone Churning of the Ocean of Milk: Content: -center: Vishnu -Sides: demons(asuras) and gods(devas) -story: -Vishnu tricks them to churn the water of the cosmic ocean using a sacred mountain(mountain Meru) and a supernatural five-headed snake as a rope -asuras and devas take turns pulling, causing the mountain to swivel back and forth, stirring the waters -when the mountain suddenly begins to sink, Vishnu keeps it afloat till their churing produces the elixir -top register: life-size heavenly maidens: apsaras: -slim-waisted and bejeweled -bottom register: crocodiles and fish: represent heaven -some parts are gold Context: -the churning was a popular motif -the longest bas-relief(or low) -skilled carving South Gate of Angkor Thom Content: -motif of churning the ocean of the milk: -54 devas, guardian gods -54 asuras, demon gods -base: -two sets of elephant statues that flank the entrance on both sides -a figure of god Indra carrying his usual weapon, a lightning bolt, sitting on each elephant: lord of compassion Context: -four gates facing four cardinal directions -south gate best preserved, most famous Sculpture: -a row of elephants on the base: as they are carrying the base: carrying the weight of the stone universe -ornamental niches with a figure of dancing Ganesh -two bands of figurative sculptures: high relief -8 deities that ruled over 8 parts related to cardinal directions: facing the direction that they protect => guardians/Angkor -one band has figures of Vishnu -another band has figures of Shiva -figures of women: -each engaged in some worldly activity (applying cosmetics, changing clothes, looking into mirrors, washing their back) before she realizes the presence of the divine surrounding her: portrayals of women attired in traditional costume -sexual imagery: -sexuality was the way of the gods -sexual activities were considered a holy act Context: -King Jayavarman VII: -a devout Buddhist -depicted himself as Buddha: his facial sculptures -greatest king unified the whole empire -capital: many people came: intended to make it huge: influenced art and architecture throughout Asia

198. Borabudur Temple

Central Java, Indonesia. Sailendra Dynasty. 750-842 c.e. Form: volcanic stone masonry Content: -a pyramid base with stacked platforms(3), five concentric square terraces and three circular platforms -five concentric square terraces: -low relief panels: depict life and teachings of Buddha -three circular platforms: -72 stupas, each containing a life-sized statue of the Buddha -according to the universe in the Buddhist cosmology: -universe is divided into three superimposing spheres -kamadhatu: the sphere of desire: where we are bound to our desires(bottom, lowest sphere) -rupadhatu: the sphere of forms: where we abandon our desires but are still bound to name and form -arupadhatu: the sphere of formlessness: where there is no longer either name or form: nirvana Context: -pilgrimage site, journey to the englightenment -go around to get to the top -heads of statues have been stolen -the greatest Buddha assembly of Buddha in the world -takes 8 years to clean and restore stones -an extensive drainage system was put in place to prevent the erosion that had taken such a toll on the temple

201. Travelers among Mountains and streams

Fan Kuan c.1000 c.e. Form: Ink on silk Content: -two man driving a group of donkeys -a temple partially hidden in the forest -skillful use of scale: humans are overwhelmed by the vastness of nature -nature: where mankind best fit Context: -the only surviving work by Fan Kuan Fan Kuan -painted most majestic landscape painting of the early Song period -lived as a recluse -one of many poets and artists of the time of upheaval who were disenchanted with human affairs -turned away from the world to seek spiritual enlightenment: Neo-Confucianism Political upheaval: -The Five Dynasties quickly succeeded one another in the north and more than twelve independent states were established in the south -recluse scholars who fled to the mountains saw the tall pine tree as representative of the virtuous man Confucianism: -loving others, compassion to others, "what you do not wish for yourself, do not do to others", humble, self-discipline -Confucius: believed that a leader needed to exercise self-discipline in order to remain humble and treat his followers with compassion to lead by positive example Neo-Confucianism: -ancient yin and yang: polar opposites yin: feminine, dark, receptive, yielding, negative, and weak yang: masculine, bright, assertive, creative, positive, and strong -balance of opposites

194. Funeral banner of Lady Dai(Xin Zhui)

Han Dynasty, China Form: painted silk Content: -on the top of the innermost of four nesting coffins -may be "name banner" used to identify the dead during the mourning ceremonies -might be used in funeral procession -may have been burial shrouds intended to aid the soul in its passage to the afterlife -an early example of pictorial(representing naturalistic scenes not just abstract shapes) art in China -four horizontal registers: -heavenly realm: -dragons: protection -moon and sun are emblematic of a supernatural realm above the human world -things associated with water and earth: represent underworld -Lady Dai and her attendants: image of her in the afterlife enjoying the immoral comforts of her tomb -body of Lady Dai with mourners: people mourning her death(same outfit: happen at the same time) -underworld -earlist known portrait in Chinese painting Context: -Tomb: -died of heart attack -four layers of coffins -body swaddled in 20 layers of silk -packed tightly+sterile environment => no oxygen => no decay of her body -burial chamber filled with fine fabrics, silk garments, wooden figures: represent large army of servants who would tend her needs in the after world -reveal a world where the rich and powerful not only desired to live forever -buried with a massive array of foods -top compartment represent a room where she was supposed to sit while having her meal: found cushions, an armrest and her walking stick => she would enjoy the comforts of her earthly life for eternity -silk was highly valuable

202. Shiva as Lord of Dance(Nataraja)

Hindu; India(Tamil Nadu), Chola Dynasty, c. 11th century c.e. Form: cast bronze Content: -intended to be movable: lifting and hosting onto a shoulder -legs wrapped with a white and red cloth, adorned with flowers and surrounded by candles -the literal embodiment of the divine(god shiva) -faith activates the divine energy inherent in the statue, and at that moment, Shiva is present = staff god, Bundu mask, power figure -circle: core/moving of time -holding a drum: rhythm of time -holding fire in hands -hair: Ganges River Function: -Hindu devotees carried these statues in processional parades as priest followed chanting prayers and bestowing blessings on people gathered for this purpose -sometimes adorned in resplendent red and green clothes and gold jewelry: denote glorious human form of the gods Context: -Chola Dynasty: -well-known for bronze sculpture -this image of Shiva is taken from the ancient Indian manual of visual depiction, Shilpa Shastras(The Science of Rules of Sculpture), which contained a precise set of measurements and shapes for the limbs and proportions of the divine figure -arms were to be long like stalks of bamboo, faces round like the moon, and eyes shaped like almonds or the leaves of a lotus -the Shastras were a primer on the ideals of beauty and physical perfection within ancient Hindu ideology -Shiva: constitutes a part of a powerful triad of divine energy within the cosmos of the Hindu religion: -Brahma: the benevolent creator of the universe -Vishnu: the sagacious preserver -Shiva: the destroyer: -in Hindu religious philosophy all things must come to a natural end so they can begin a new, Shiva is the agent that bring about this end so that a new cycle can begin

205. Portrait of Sin Sukju (1417-1475)

Imperial Bureau of Painting. c.15th century c.e. Form: hanging scroll(ink and color on ink) Content: -dressed in his official robes with a black silk hat on his head -a rank badge on his chest: made of embroidered silk: indicate the status of the official, which could be anyone from the emperor down to a local official -his rank badge: a pair of peacocks amongst flowering plants and clouds and gold embroidery: auspicious scene suiting a civic official -facial features were painted with the goal of transmitting a sense of unique, physical likeness: the Korean belief that the face could reveal important clues about the subject -artists might collaborated on portraits, each one did one part of the painting Function: -an official honored for his distinguished service at court and loyalty to the king during a tumultuous time -hung within the family shrine to guide the soul in the practice of ancestral worship -Confucianism: -emphasize the honor and respect for one's elders and ancestors -when a person died, the soul of the deceased remaining among the world of the living until it gradually dissipated Context: -artists in the Royal Bureau of Painting (a government agency staffed with artists) created portraits of officials awarded with this honored title -Sin Sukju: -an eminent scholar and a powerful politician who rose to the rank of Prime Minister -painted Chinese style painting: helped scholars to identify specific works and promoted speculation on the cultural exchange between China and Korea

203. Night Attack on the Sanjo Palace

Kamakura Period, Japan c. 1250-1300 c.e. Form: handscroll (ink and color on paper) Content: -warriors captured the retired emperor, placed him in a cart and set fire to the palace Context: -a masterpiece of "Yamato" style painting: -in Japanese Yamato means: Japanese painting -non-religious -detailed -a tradition of strong color -Chinese influence

207. Ryoan-ji wet garden

Kyoto, Japan. Muromachi Period, Japan. c. 1480 c.e. Form: rock garden Content: Context: -Zen Buddhism: -a practice that was uninterruptedly transmitted from master to disciple, and that goes back to the spiritual awakening of a man named Siddharta Gautama, the Buddha, 2500 years ago in India -Zen is Zazen or Zen meditation(za means sitting, and Zen means meditation in Japanese), or seated meditation -through the practice of zazen that Gautama got enlightened and became the Buddha -Zazen is an attitude of spiritual awakening which when practiced, can become the source from which all the actions of daily life -zen garden: -create a miniature stylized landscape through carefully composed arrangements of rocks, water features, moss, pruned trees and bushes, and uses gravel or sand that is ranked to represent ripples -small and surrounded by a wall -meant to be seen while seated from a single viewpoint outside the garden -intended to imitate the intimate essence of nature, nor its actual appearance, and serve as an aid to meditation about the true meaning of life

195. Longmen caves

Luoyang. China. Tang Dynasty Form: Buddhist stone statues caves and niches carved into the steep limestone cliffs Content: Context: -located on both sides of the Yi River, south of the ancient capital of Luoyang -worked on the sculpture continued over a 150 year period and used for a long time -Luoyang was considered to be the cradle of Chinese civilization -Central Binyang Cave: -commissioned by an emeror in memory of his father -was painted bright blue, ochre, red, and gold(gone now) -central Buddha seated on a lion throne: historical Buddha -Buddha of the future: "giving" hand gesture -assisted by two bodhisattvas(enlightened being who have put off entering paradise/nirvana in order to help others attain enlightenment and protect Buddha): guardians -low relief: lateral walls, ceiling, and floor -high relief: statues, no in around => imperial procession -Tang Dynasty: -the age of "international Buddhism" -monks traveled throughout Asia -Central Vairocana Buddha: -55 ft high including pedestal -biggest: enlightened Buddha -each side flanked by a bodhisattva, a heavenly king, and a thunderbolt holder -the Buddha, monks, and bodhisattvas display new softer and rounder modeling and serene facial expressions -heavenly guardians and vajrapani: more engaging and animated -Four heavenly kings: four gods, each of them watches over cardinal direction of the world -vaisravana: the one holding the stupa: chief of four kings, guardian of the northern direction -vajrapani: -name means: one with lightning in his hand -symbol of the power of Buddha -often shown in a wrathful form to the Buddha's left: protector of Buddha -depicted in pictures and idols with a thunderbolt or lightning bolt in his hand -portrayed as the remover of obstacles: prayed in times of illness and when there is a need for some kind of strength => power figure/Akanga -guardian of the south

192. Great Stupa at Sanchi

Madhya Pradesh, India; Buddhist; Maurya, late Sunga Dynasty Form: stone masonry, sandstone on dome Function: Context: -largest of several stupas at the pilgrimage site(includes rooms for monks and pilgrimages to live) -best-preserved example of an Indian stupa -Stupas: dome-like structures -originally mounds honoring the relics of great leaders or princes -later became associated with the relics of the Buddha -represent the world mountain -cardinal points marked by the gates -early Buddha stupas were mounds surrounded by a fence -stone fence: represents the realm of the gods -three chatras(stone disks): symbolize Indian royalty and represent unbrella to shelter/protect the relics held within -when Buddha died, his physical remains were distributed among ten burial mounds -king Ashoka subdivided into even more sites(stop on the way of worship) to make pilgrimage longer -worship: -walk around the stupa in a clockwise fashion -decorated dome with flowers -stupa: symbol of the Buddha's final release -approaching the top: approaching nivrana -the movement echoes the movement of the earth(people) and the sun(stupa): in harmony with the universe -stupa at Sanchi: -originally a modest burial mound of mud and clay for Buddha's remains -repaired and doubled in size: the elaborate stone fence was added on ground level -carve stories of the life of the Buddha in details(previous lives, jatakas) -create images of the patrons -the image of the Buddha in human form does not appear at Sanchi but symbolically with the images of footprints, riderless horses, umbrellas, an empty seat: having attained nirvana after so many previous lives, it would be inappropriate to show him in the physical form that he has left behind -pillars of Ashoka: pillars placed at Buddhist monasteries, many important sites from the life of the Buddha and places of pilgrimage -indicate Buddhism's readiness to incorporate indigenous, local belifs into the Buddhist practice: some gateways adorned with female fertility spirits -four elaborately carved gateways carved in a finer sandstone by ivory carvers -each facing one of the four cardinal directions -south gate: original entrance -top of the North Gate originally has a central chakra figure, now represented by an arc only -figures of fly whisk bearers: represent different teachings of Buddha -toranas(gateways): in Japan known as "tors" -tree: Bodhi tree where Buddha attained enlightment -might have enshrined the relics of Buddha but no relics in it now

197. Toda-ji

Nara, Japan. 743 c.e. rebuilt 1700 Form: -sculpture: bronze and wood -using the joint block technique: use eight or nine large wood blocks over which another layer of wooden planks were attached -outer wood carved and painted: trace of color remain -architecture: wood with ceramic-tile roofing Content: -Great Buddha: -a human tooth, pearls, mirrors, swords, and jewels were discovered inside of the knee of the great Buddha: relics of Emperor Shomu -Nio guardian statues: -represent Nio Guardian Kings: protectors against evil spirits: -fierce and threatening appearance to ward off evil spirits and keep the temple grounds free of demons and thieves -common stand guard outside the temple gate at Japanese Buddhist temples -open mouth to the right and closed mouth to the left -one has mouth open: -called Agyo, uttering word "ah" meaning birth, the beginning -one has mouth closed: -called Ungyo, sounds "um/om", meaning death, the end Context: --Nara: capital of Japan -Todaiji/Great Eastern Temple: -the head temple of all temples in Japan -represent imperial Buddhist architecture -temple grew so powerful so that the Japanese capital was moved from Nara to lower its influence on government affairs -first destroyed by fire, rebuilt based on Chinese style -greatly damaged again and rebuilt in 1700 -remains of the original: Tegai gate of the western wall and the inner sanctuary -Great Buddha statue: -damaged and recast several time, current: 1692 -the largest bronze statue in the world -consumed most of Japan's bronze production for several years and left the country almost bankrupt -dedicated with great pomp and ceremony, local monks and ambassadors from China, India, and distant places came -popular called Great Buddha of Nara -installed in the Great Buddha Hall, the largest wooden building in the world -Nandaimon Gate: Nio statue inside -whole forests were cleared to find tall cypresses for pillars

193. Terra cotta warriors from mausoleum of the first Qin emperor of China

Qin dynasty. Form: painted terra cotta Content: -soldiers with unique facial expressions and positioned according to rank -revealed swords, arrow tips, and other bronze weapons -chrome plating: reveals the sophistication of ancient Chinese metallurgy -in pristine condition -hands: identical -only eight molds were used to shape their heads -distinctive surface features were added with clay after assembly => each soldier appears to be unique in its facial features: high level of craftsmanship Function: -created to accompany the first emperor of China into the afterlife: continuation of life in afterlife Context: -the first emperor of Qin: -standardized coins, weights, and measures -interlinked the states with canals and roads -build the first version of the Great Wall -did not finish: due to uprising after his death -pits may contain 8,000 figures -Unexcavated Tomb: -filled with modles of palaces -replicas of the area's rivers and streams made with mercury -hills and mountains of bronze =>golden garden -precious stones such as pearls are said to represent the sun, moon, and other stars -terra cotta figures of dancers, musicians, and acrobats full of life and caught in mid-performance -found skeletons of rare animals buried in clay coffins with ceramic zookeepers watch over them -horse skeleton with ceramic grooms -graves of high status citizens with their jewels and possessions -skeletons of workers sentenced to death -labor: -craftsmen -prisoners -people working to repay a debt -people covered the terra cotta warriors and the tomb with dirt and planted trees and grass to make it seem like a hill

Ryoan-ji dry garden

Ryoan-ji(Temple of the Peaceful Dragon) Zen rock gardens (translated as "dry-mountain-water) Content: -rocks on white sand -viewed from the proper angle: evoke the tranquil outline of a branching tree -images as diverse as a tigress escorting her cubs across water and the Chinese character for "heart" or "mind" -framed on the south and west by an oiled-dirt wall protected by a shingled roof Context: -originated in medieval Japan -renowned for their simplicity and serenity -simplicity: -made of only clay walls, raked sand, and fifteen rocks -actual designers: -anonymous professional laborers called sensui kawaramono "riverbank workers as gardeners" assisted by Zen monks: -names of Kotaro and Hikojiro were found chiseled into the back of one of the fifteen rocks -highly influenced by the ideals of the tea ceremony, in which honesty, rusticity, and understatement are held in esteem -ideals of wabi(honesty and understatement) resonated well with the Zen branch of Buddhism, which incorporated tea architecture into temple design, leading to gardens like Ryoan-ji -wabi: a powerful design technique that uses simplicity and understatement to allow the viewer's imagination to "fill in the blanks" -Zen monks meditated by staring into the blankness of the garden

196. Gold and jade crown

Three Kingdom Period, Silla Kingdom, Korea Form: Jade and gold Content: -luxurious materials conveyed the social status of the tomb occupant in the afterlife -"world tree": connect heaven and earth -tiny gold discs -jade ornaments: symbolize ripe friuts hanging from tree branches, representing fertility and abundance Function: -used in ceremonial rites of the Sillia royalty -also used for burial Context: -Three Kingdoms Period -controlled by China -people stayed in contact with China and Japan -Silla: -"country of gold by the Chinese" -golden age of Korean art -Before adoption of Buddhism, Koreans practiced shamanism, a kind of nature worship that requires the expertise of a priest-like figure, or shaman, who intercedes to alleviate problems facing the community -Sillia royalty upheld shamanistic practices in ceremonial rites such as coronations and memorial services -the gold crowns emphasized the power of the wearer through precious material and natural imagery -second type of crown: the conical cap: -worn over a topknot to proclaim the rank and social status of its wearer -feathers or flowers(ornaments) often used to decorate the crown: geographically specific to each kingdom -jewelry: also represent the rank and identity of the wearer -influence from the west: similar crown found in Afghanistan

204. The David Vases

Yuan Dynasty, China. 1351 c.e. Form: white porcelain with cobalt-blue underglaze Content: -Chinese motifs: -dragons, waves and floral scrolls -Geometric patterns: inspired by Islamic metalwork or architectural decoration => influence of the Middle East/Islam Function: -made for the altar of a Daoist temple -had incense burning in it Context: -dedication: a man named Zhang Wenjin presented these two vases and an incense burner to the temple -owned by Sir Percival David, who built the most important private collection of Chinese ceramics in the world -Chinese called cobalt hui hui qing or "Muslim blue" -cobalt blue was imported from Iran, probably in cake form, then grounded into a pigment, which was painted directly onto the leatherhard porcelain body -"blue-and-white" porcelain was used in temples and occasionally in burials within China -Marco Polo compared this kind of ceramic to cowrie shells, or porcellane in Italian, means "little piglet", an apt description for the shell's shape: the derivation of our "porcelain" -Chinese ceramics: supreme in the world -porcelain: -high-fired white ceramics, bodies are translucent and make a ring sound when struck -may be fired in oxidizing or reducing conditions(increasing or restricting the amount of oxygen during the precess) -blue: reducced oxygen -red: oxidized -Northern porcelains were usually fired in oxidation=>warm, ivory-colored glazes -Southern porcelains were fire in reduction=> cool, bluish tinge -ceramic trade established in the Song dynasty, Ming dynasty is famous for porcelain -Chinese porcelain influenced the ceramics of importing countries and was influences by them