AH Unit 6: The Arts of Asia

Under the Wave off Kanagawa

1830-1833 C.E. also known as the great wave. (Painted. By Hokusai). From the series 36 Views of Mt. Fuji, woodblock print; ink and color on paper. Is one of the most famous Japanese artworks, was created when Japan was restricted to outside access (closed themselves off from everyone except Dutch- was a closed culture= the things they do, they do well). Eventually Americans came and forced them to open up their borders. Painted 1830-1833 (~30 years before Japan opened up to trade again). Was used for European artists later (after Japan opened up). Hokusai created an art style, similar to linear perspective, has converging lines (tip of wave flows into Mountain, eye goes to Mountain, composition is very important). Low horizon and Prussian blue and variant to linear perspective= evidence of Dutch influence. Mountain in background= Mt. Fuji, sacred to Japan. Original prints were made to be souvenirs to townspeople. Hokusai did not make any images of the wealthy, only of common people. His art style often included contrasts (in this one, contrasted near and far, and natural and man-made). Not a painting- a wood block print.

Buddha

Bamiyan, Afghanistan, Gandharan. c. 400-800 CE (destroyed in 2001 by Taliban). Cut rock with plaster and polychrome paint. 175' tall. There are three total. Connected by caves that are filled in oil paintings (earliest examples of oil paintings) and murals. Gandharan style— has greek/western influence- looks very naturalistic (wet fabric effect.). First hurt by Mongols, then during Anglo-Afghan war, then completely destroyed by the Taliban. Also, details made with mud plaster, which did not last long. In this valley because the Silk Road goes through this valley. Blown up by the Taliban in 2001. (Mongols had also hurt it before). Circumambulate the feet.

Forbidden City (!)

Beijing, China. Ming Dynasty. 15th century C.E. and later. Stone masonry, marble, brick, wood, and ceramic tile. Is split into inner and outer courtyard (inner= for family). In 1420, in an effort to consolidate his control over the throne, the emperor of the Ming dynasty moved China's capital to a site in the North (Beijing). Is split into inner and outer There he built a vast complex of palaces and administrative buildings now covering 178 acres. Because access was restricted to the imperial family and to those who had business with them, it came to be known as the Forbidden City. 24 Ming and Qing emperors live there (500+ years). Took 1,000,000 workers almost 20 years to construct. Main buildings on north and south axis, color, etc.—everything has symbolic meaning. N and S axis (represent order that he will restore to his emperor). Meridian gate= main entrance. Hall of Supreme Harmony= largest building (where officials lined up for an audience with the emperor). Emperor was typically associated with the dragon, represented the top of the empire. Daily business was conducted in the inner court (where emperor, empress, concubines, etc. lived). Has gardens, more intimate feel. Forbidden city = cage, inhabitants rarely got to leave. Greatest danger= fire. Animal sand figures on the roof guard against fire and evil spirits. Ended in 1911—emperor abdicated the throne, ordinary people now able to enter the city. Split into inner and outer court (inner= for familial affairs). Made from wood, no nails (mortise tenon joints). Confucianism is reflected in the layout (in confucianism, social harmony is the ultimate goal of every follower). Courtward style residence (home itself is arranged around a central courtyard—like a donut).

Angkor Wat (Angkor, the temple of Angkor Wat, and the city of Angkor Thom) (!)

Cambodia. Hindu, Angkor Dynasty. c. 800-1400 C.E. Stone masonry, sandstone. Built by King Suryavarman II in 1116 CE and was finished in 1150, when the king died. Legitimized Suryavarman's claim to the throne by laying claim to the power of the gods→ built home of the gods so that they would support his claim. Showcased ability to marshal resources and manpower (300,000 people), and make a temple so grand that it was the only place that the gods would consider living in. Legitimizing his claim was important for Suryavarman II because he usurped the throne by killing the previous king, his uncle. No knowledge of original name of the temple→ might have been so important that it didn't need one. Largest religious site in the world. Dedicated to Hindu god Vishnu (Principal god of preservation/protection). Suryavarman II translates to protector of the sun→ temple might not only worship Vishnu, but also Suryavarman by acting as his mausoleum after death. 4,000 feet of bas reliefs depicting eight different Hindu stories, the most important being the Churning of the Ocean of Milk: a creation story where gods (devas) and demons (asuras) are fighting for control of the elixir of life (amrita), which needs to be released from the earth in order to then be used to restore peace and balance to the world. Devas and asuras are working together by playing tug-of-war with the Naga, or serpent king, in order to churn the ocean of milk, creating the amrita which they will then fight for. The god Indra is at the top, flying to catch the amrita to save it from the demons so that the world can be peaceful and orderly again. Central sanctuary marked by five stone towers, mimicking the five mountain ranges of Mt. Meru, the original mythical home of the gods for Hindus (and forms of Buddhism that retain gods). Moat surrounding the temple is symbolic of the oceans that surround Mt. Meru at the center of the universe. The temple is therefore an axis mundi by symbolically manifesting Mt. Meru in Cambodia, allowing Vishnu to reside there as he resided in the mythical mountain. This also puts the center of the universe inside the domain of Suryavarman II. Similar to Borobudur, the design of Angkor Wat is a mandala, a map to the center of the universe where the primordial mountain is located, from which one can access the ultimate reality and gain enlightenment. Gradually the site transitioned into a Buddhist temple (called a wat), and it is still a major pilgrimage site for Buddhists today. Ashlar masonry with very very fine joints--in places it looks like a single piece of stone--and almost every surface is carved with reliefs. Part of a larger site that was built over time by Shayavarman II and his successors, each new king adding a new temple or construction. Is now on the Cambodian flag. The sandstone was carried from far away.

Funeral Banner of Lady Dai (Xin Zhui)

Han Dynasty, China. c. 180 BCE. Painted silk, height 6'8.5". From the tomb of the Marquess of Dai, Mawangdui, Changsha, Hunan. Lady Dai was found in an airtight tomb 39 ft. Underground, locked inside four layers of coffins. Her husband and her son were in the same tomb. A thick layer of white paste-like soil was on the floor, and her body was wrapped in 20 layers of silk. She was found in 80 liters of an unknown liquid that was mildly acidic. The layers of caskets were put inside a compartment in the center of a funnel shaped, clay lined, massive cypress burial vault. Moisture absorbing charcoal was then packed around the vault and the top was sealed with 3 feet of additional clay. Her burial chamber was filled with precious goods (fabrics, bizarre delicacies, a wardrobe of 100+ silk garments, 182 pieces of lacquer ware and 162 carved wooden figures (represented army of servants for her life in the afterworld.) Banner is split into registers: the top is the heavenly realm (with human/dragon deity, a toad, crescent moon, and three legged cow)(sun and moon represent supernatural and human worlds), then Lady Dai and her attendants, then the body of Lady Dai with mourners, then the underworld. She was very wealthy (only elite were buried this well, and could afford silk banners). Was very well preserved. There were four compartments surrounding her central tomb. The top represented a room where Lady Dai would sit while having her meal (had walking stick, and a meal, cushions, and an armrest). Unknown function: Maybe a 'name banner', to identify the dead during ceremonies or to help the soul pass to the afterlife. Earliest known portrait of an individual in China.

Nataraja: (202)

Hindu; India (Tamil Nadu), Chola Dynasty. c. 11th century C.E. Cast bronze, height 26 7/8", diameter 22 ¼". Metropolitan Museum of Art, NYC. Dance of Shiva, statue, made to be carried/transported by devotees, Shiva= creator and destroyer, eyes are shaped like almonds or lotus leaves, surrounded by ring of fire (represents constant creation and destruction of the universe). In upper right hand has his drum (beat symbolizes creation and the passage of time), in lower right hand has mudra (hand gesture- don't fear). In top left hand has a flame ('ragne'- flame of destruction, destroys everything that the drum creates), lower left hand points to left food- represents refuge for the troubled soul. Is also stepping/crushing the demon (which represents ignorance). Shiva's tranquil face shows calmness. His hair represents Ganges river (primordial waters, very important to Hinduism) and also snakes (hair strands end in cobra heads- cobra symbol of destruction and life). Ring of fire also represents Samsara.

Borobudur (!)

Island of Java in Indonesia, built by rulers of the Sailendra Dynasty, 800 CE, monument/temple (Candi) to the Buddha, volcanic-stone masonry.The idea of path is an important concept in Buddhism. Borobudur— one of the most remarkable and impressive monuments in the world. Fell into disuse 100 years after it was built when rulers relocated to another part of the island. Rediscovered in 1814 by British Lieutenant Governor (Sir Thomas Stamford Raffles). Candi Borobudur's design was created by poet/thinker/architect Gunadharma. Basic structure is similar to a pyramid/sacred mountain, a caitya (shrine), or a stupa (reliquary). Sailendra (dynasty)= 'lord of the mountain'. Overall plan is actually a 3D mandala (diagram of the cosmos used for mediation). Consists of a series of open air passageways that radiate around a central axis Mundi. People circumambulate clockwise along walkways that gradually ascent to the top. Geometry, geomancy, and theology all instruct on how to achieve enlightenment. Also covered in carved relief sculptures that guide the pilgrims. Contains 504 statues of the Buddha, 1460 stone reliefs, and 1212 decorative reliefs. Narrate Buddha's teachings (the Dharma) and stories about his past lives (Jataka tales) and stories from Buddhist scriptures (sutras). Also 160 hidden relief sculptures at the base. At the very top of the temple is a large central stupa (symbol of an enlightened mind). Main part of Buddhism= impermanent nature of existence. Enlightenment= 'no self', you don't exist (and thus cannot suffer). As pilgrims walk, go on journey of enlightenment. Also move from the darkness to the light. Mandalas and Stupas were not only aesthetic, they also were thought of as 'spiritual technologies' that harnessed spiritual energies. Four stairways align with cardinal points, made out of volcanic stone. Does not actually have spaces for worship. Has ten levels= ten levels of a Bodhisattva that must be passed to attain the Buddhist perfection. Entire structure is a staircase. Panels depict the history of the Buddha, tell the cause and effect of good deeds, and describe the behavior of the Javanese Society. Based off of the Buddhist division of the universe, has three main tiers. Temple has had to be redone because it was abandoned when it was found.

Jowo Rinpoche

Jokhang Temple, Tibet, West/Central Asia, 500 BCE- 1980 CE. Buddha Shakyamuni, semiprecious stones, gold, paint— Siddhartha Guatama (alternative name). During the time of the Buddha, there was only one school of Buddhism, but there came to be more over time. Jowo Shakyamuni= Jowo Rinpoche (rinpoche = precious one in Tibetan language). Larger than life size image of the Buddha Shakyamuni in the Jokhang (Jowo=lord, khang=house) Temple in Tibet. Is seated against a resplendent gold and bejeweled throne. Image itself is made of gilt metal (allows for gold hue and blue hair). Is seated with his legs in the lotus position (padmasana). Left hand is in the mudra (hand gesture) of meditation, right hand is in the gesture of 'calling the earth to witness'— These gestures signify the moment of his enlightenment. Is wearing a thin monks' robe. Is presented with magnificent jewels crown and robes. Has been reconstructed several times (most recent took place after the Cultural Revolution). It is not known what it looked like originally. Thought to originally have a wrathful deity protruding from his neck (but does not exist anymore). Fancy crown and robes were also added later. Continued restoration and veneration show its religious and cultural importance in Tibet. Considered to be the most sacred and important Buddha image in Tibet because it was believed to have been carved by the celestial architect Viswakarma in India during the lifetime of the Buddha. Significant and sacred because of its actual likeness to the Buddha and the fact that it was carved by Viswakarma. Similar to other Buddhas (claims of likeness and celestial origins). Was actually carved during the early to middle 7th century. Invention of putting Buddha in human form dates to the turn of the first century CE. Was carved in the 7th century because that is when a Chinese princess brought it to Tibet as part of her marriage dowry. Tibet's earliest and foremost Buddhist Temple, was constructed to house a sacred image of the Buddha. Jowo=lord, khang=house. Statue was carved by celestial architect= Vishnukarma during the lifetime of the Buddha. Was blessed by the Buddha himself. Depicts Buddha around the age of twelve. Is dressed/fed for special occasions as if it were the Buddha on earth. Temple was founded in 647 by King Songsten Gampo (who unified China by marrying princess from Nepal and China. Queen Wencheng brought the statue with her as her dowry from China. Main hall still original from when it was first built. In the front is a large plaza and open porch (usually filled with Tibetan monks), Exterior decorated with deer and wheel motifs (symbols of Buddhism, represent his first sermon when he 'turned the wheel of the Dharma' in a deer park. Interior is a dark and atmospheric labyrinth of chapels dedicated to various gods, illuminated by candles and incense. Before entering, most pilgrims circumambulate the temple on the Barkhor (sacred path that is lined with market stalls selling yak butter, which pilgrims buy to give as offering. Gold is also brought and is applied directly to the face and body of the statue. Families with a sick family member will write their name in gold on red paper and burn it in a butter lamp before the statue as a prayer. Believe in the Jowo Rinpoche as a transformational object— just seeing the statue will transform them, give them energy, and help them at the time of death.

Night Attack on the Sanjô Palace

Kamakura Period, Japan. c. 1250-1300 CE. Hand scroll (ink and color on paper), 16.25" x 23'. Hand scrolls (or emaki) were meant to be placed at lap level and read by simultaneously unfurling the scroll on the right and reading and re-furling the scroll on the left. These scrolls were transported and stroed in custom-made boxes, and were careful unfurled and read within a person's home. Small enough to be held in the lap, which created a sense of intimacy and emotional tension between the reader and the narration. The Night Attack on the Sanjô palace is a thirteenth century portrayal of something that happened a century earlier. Emaki combine text and pictures. Is also an example of the otoko-e (men's paintings, were action packed, recorded historical events). Sanjô palace was the home of Emperor Go-Shirakawa, who was known for being wily and long-lived. He had recently abdicated and gave the throne to his son Emperor Nijô. The two emperors backed vying sides of the Fujiwara clan (a conspiratorial family clan or often chose emperors). One member of the Fujiwara clan was Fujiwara no Nobuyori, who plotted against everyone else. The Night Attack was part of his bid to seize power by abducting both the current emperor and his father (the previous emperor). Tried to abduct when the head of the Taira clan (a supporter of Emperor Nijó) left to go on pilgrimage. Nobuyori lead the coup on Dec. 9, 1159. The emaki depicts the seizing of the retired emperor (Go-Shirakawa) from within the palace. Is very graphic and frightening. Palace guards are beheaded, attendants hunted down and killed, ladies in waiting trampled to death. Paintings during the Kamakura period reflect the tastes of the new military leaders— stressed realism and action. The emaki ends with the final warrior taking control of his rearing horse and a single archer at the very end of the scroll. Is significant because of its detail and the fact that few other scrolls like this (that follow a narrative and span a length of time, as opposed to a still image).

Lakshamana temple (!)

Khajuraho, India. Hindu, Chandella Dynasty. c. 930-950 C.E Sandstone. Height of relief sculpture registers approx. 3'3" Carvings on exterior often depict idealized female beauty. Women had roles as symbols of fertility, growth, and prosper. Also have carvings of mithuna (loving couples)— symbolize divine union and moksha (release from samsara), some of them are very explicit (but not intended to be provocative, served a ritualistic/symbolic function). Also tell stories/historical events of the Chandella period. Lakshmana temple was one of several temples built by the Chandella kings in their new capital of Khajuraho. Original patron of the Lakshmana Temple was a leader of the Chandella clan (Yashovarman). Central deity at the Lakshmana temple is an image of Vishnu in his three-headed form (Vaikuntha), sits inside temple's inner womb chamber (grab grip). Every Hindu temple has a womb room. Womb rooms were dark, windowless, and designed for intimate, individualized worship. Structure of the Lakshaman Temple= example of Nagara style. Nagara temples consisted of a shrine known as vimana (shell of the womb room), and a flat roofed entry porch (mandapa). Base structure = sikhara (mountain peak). Devotees approach the lakshmana temple from the east and circumambulate it. Gradually go further up, climb stairs, and encounter another set of images (deities sculpted within niches) (most have triple bend contrapposto pose). On exterior juncture wall between the vimana and the mandapa there are erotic images (union of vimana and mandapa). Once they pass the final mandapa there is an enclosed passagee along the wall of the shrine (so they can circumambulate the sacred structure- clock wise). On exterior: Many carvings. In womb room: No carvings.

Ryoan ji (!)

Kyoto, Japan. Muromachi Period, Japan. c. 1480 C.E.; current design most likely dates to the 18th century. Rock garden, 2669 sq. ft. Fuijwara clan- family dominating politics, had many estates. During a switch from aristocratic (Fujiwara) to military, built Buddhist temple founded by military leader. Temple was later built down during war, during which general was killed. Is Zen Buddhist. Has Pure Land Garden, influenced by Pure Land Buddhism— Buddhism combined with Japanese concept of Pure Land (Pure Land— any garden should create an idealistic snapshot of all of Japanese nature, lots of plants, flowers, a pond, animals, architecture). Normally has large pond with lotuses, surrounded by pagodas, trees, etc. Built when military leaders were trying to take power from the aristocrats (Fujiwara). Transferred ownership. Bodhi- the knowledge/wisdom of the Buddha. Zen Buddhism believed that enlightenment was attained through meditation, and believe that ignorance is stopping people from achieving enlightenment. Zen Buddhists reject Buddhist scriptures, other Buddhas (essentially, minimalist buddhism). Ultimate reality= samsara. Meditate over paradoxes (to try and expand their thinking). Karesansui—dry garden, literally means 'dry mountain water', originated in medieval Japan, are known for their simplicity and serenity. (sand garden, very minimalistic, elements of the Pure Land garden represented through mossy rocks, oceans/water represented through combing/raking the sand). Water= calmness, so their temples were always built around water (or, if using a dry garden, raked sand). Dry garden rocks (are 15), but you can only ever see 14 at a time. They are laid out in a pattern where one is always hidden (believe that you can only see all 15 if you achieve enlightenment, accept the fact that their are 15, but you can only see 14). — create harmonized environment, coherent, rhythmic, etc. Japanese gardens meant to reward contemplation, but the practice/goal of Zen meditation does not depend on the passive observation of external stimuli. Creation/maintenance of the garden are seen as zen activities, as labor is one of the principal paths to enlightenment. Was originally an estate for the Fujiwara clan. Is a pilgrimmage/tourism site today.

Chairman Mao en route to Anyuan

Liu Chunhua; based on an oil painting by Liu Chunhua. c. 1969 C.E. Color lithograph, 29 ½" x 21 3/5". Oil on Canvas (originally), then made into a lithograph and made into posters, leaflets, etc. Was made by schoolchildren. Is the most reproduced artwork of all time. Shows young Mao Zedong (Chinese Communist Revolutionary, founding father of the People's Republic of China, and leader of China from 1949-76). Liu Chunhua chose to depict a celebration of Chairman Mao (who was by then in his seventies) and his long standing commitment to the Communist Party. Painted in 1967 (at the beginning of the Great Proletarian Cultural Revolution), and uses socialist realism to portray Chairman Mao as a revolutionary leader committed to championing the common people. In the painting, Mao is on his way to Anyuan (a province in central China where he went to organize a strike of 13,000 miners and other people who represented the suffering of the working class to promote the Communist party— Strike was in 1922, painting was painted in 1969). Depicts a very complex social change that involved suffering among all classes (riots, famine, social instability, etc.). Also uses cooler colors- depicts calmness. Mao is standing strongly and confidently and is wearing a traditional robe (as opposed to his common western clothes). Was used as a piece of propaganda to promote Mao (works like this/propaganda art are very common during the beginning of a ruler's reign). Mao did not commission to have the work done, but propaganda work was important as Mao was in power during a very difficult time of major reform and had to be depicted as being strong and confident. Is standing on top of a mountain, above the clouds— also shows power. Is holding either a scroll or umbrella— shows that he is well off. Is also depicted as thinner than he actually was— shows that he knows hunger— can relate to the common people. Telephone pole is in background (mixes old culture with new).

Longmen caves (!) (?)

Luoyong, China. Tang Dynasty (493-1127 CE). Limestone. (Detail: Vairocana Buddha, disciples, and bodhisattvas) Complete 676. Limestone Buddha= 44' high. Has 2300+ grottoes and niches, 100,000 Buddhist statues (that range from a couple centimeters to 17+ meters tall), and 2800+ inscriptions carved into the cliff, largest such complex in China.Grottoes on the west side were used for ceremonies which honored the sea, the caves carved on Mt. Xiang to the east were home to many Buddhist monks. The carving of grottoes into the mountainsides to serve as Buddhist temples originated in India and passed to China along the Silk Road. Tunnels go for more than a mile. Main temple is the Fengxian temple (has 9 images carved into the rock, was sponsored by emperor Gazing and future empress Wu, shows a Buddha surrounded by bodhisattvas, a heavenly king, and a thunderbolt god. Buddha, monks, and ei bodhisattvas are round and serene, guardians are animated and forceful. Monumental temple depicts a colossal seated Buddha figure upon the back wall, flanked by attendant figures). Buddhism was the state religion of the Wei dynasty, and the emperor was seen as a reincarnation of the Buddha. Was first carved during the Wei dynasty. After Wei fell, not many were made until the Tang Dynasty. Buddhas are dressed in the costume of the Chinese scholar. Longment style— loose drapery over flat figure, not blocky.li Could commission a carving for someone else. The Vairocana statue represents all of the other Buddhas, is a universal Buddha, is more powerful. It is flanked by a set of disciples and Bodhisattvas, and by a set of heavenly kings and guardians carved into the side walls, forming a semicircle

Great Stupa at Sanchi (!)

Madhya Pradesh, India. Buddhist; Maurya, late Sunga Dynasty. c. 300 B.C.E.- 100 C.E. Stone masonry, sandstone on dome, approx. 120' diameter, 54'high. Stupa mound- spherical burial mound, represents burial mound of buddha within which his relics were placed (or relics of great Buddhists teachers/monks). Could also take the form of small containers/reliquaries (which would have contained ashes of deceased persons). Stupas appear as focal point of worship in Buddhists sanctuaries in Ajonta and Alora. Sanchi (central India, has one of the best examples of a Stupa, was commissioned by Ashoka). Surrounded by several smaller stupas. Four gateways then added (called toranas)- mark the cardinal directions. Worshipers entered through the gateway, then walked around the stupa in a cardinal direction (maybe represents walking around great mountain at the center of the universe or walking around wheel of dharma). Stupa undecorated, gateways highly decorated. One gateway; voluptuous figure with fruit-bearing tree— fertility deity. Supposed to connect secular with religious. Gateways often depict narrative scenes, but Buddha is never depicted in human form. Depicted in emblems of royalty (umbrella, horse, wheel, stupa, etc.) As Buddhism spread throughout Asia, shape of Stupa evolved. In East Asia, stupa were taller and had more levels (like Japanese temple shape). Sanchi Stupa crowned by a chakra (parasol-like structure symbolizing high rank, intended to honor and shelter the relics. Indian King Ashoka demonstrated his conversion to Buddhism by vigorously promulgating the religion across India. His edicts were carved into stone and wood. Placed Buddha's ashes inside 84,000 stupas. His best known dedications are the Sarnath lion capital imprinted on India's currency and the Wheel of law at the center of the national flag. Stupas believed to be the living presence of the Buddha (to hold his protective powers and living energy. Buddhists visit stupas to perform rituals that help them to achieve most important goal of Buddhism— Four Noble Truths, so they can cease to be a part of samsara. Two symbols of Buddha: Body tree (that he had meditated under), wheel on foot (wheel of dharma), roof of Sahnchi= chakra, parasol like structure symbolizing high rank, was intended to honor the relics. East represents Budda's birth, south enlightenment, west first sermon, north nirvana

Todai-ji (!)

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. serves as the Kegon school of Buddhism. Is the largest wooden building in the world, and houses the Great Buddha/Veriocana statue. Was rebuilt in the 18th century (fell in 1180 during the Gunpei civil war) , and had to use concrete and steel because no trees were big enough. Was once one of the powerful 7 great temples. Shows propaganda and reflects intermingling between Buddhism and politics in Japan, and shows spiritual unification of various Japanese clans. Its huge size and religious art reflect the wealth/power of the throne . Emperor Shomu ordered Buddhist temples to be built through Japan. This national system of monasteries= Kokubun-ji. Emperor Shomu promoted Buddhism and made it the official religion of state. Was created partially to try and unify and strengthen the country, and to tie religion to politics. FROM PRESENTATION: In the early 7th century, Japan's Yamato imperial court established regular contacts with China's Tang imperial court— facilitated knowledge to flow from China, through Korea, into Japan. Buddhism was granted quasi-state recognition status by Japan's imperial court and welcomed among the noble families, so a bunch of temples were built around the Kansai region (including cities Nara and Kyoto). One of these temples was the Todaji. Temple architecture at first appears to be very similar between China and Japan, but are slightly different. The focal point of Japanese temples was the main worship hall (which housed a large Buddha statue). Because of Tang confucian principles, everything was aligned on a North-South or East-West axis. Temple threshold- arch gateway. Symmetrical layout of the buildings reinforced the cosmic order. Upon reading the temple worship hall, you see the physical presence of Buddha and focus your prayers towards religion. Concepts from Japan's Shinto (Way of the Gods) religion are evidenced in the gateway (Torii) and the almost exclusive use of wood as the building material. Shinto can be summarized as the worship of terrain phenomena/natural forces. The Variocana Buddha (great Buddha) used so much bronze that Japan did not have any bronze left for more than a century. Is surrounded by a halo with flame imagery and smaller buddhas sitting on lotuses (which show divine wisdom). Statue is hollow and has relics inside of if it. Powerful, reflects Japan's capacity for violence and civil war. When completed their was an 'eye opening ceremony' that was very important and was written about by many historical figures. Nió (Benevolent Kings) are a pair of protectors who stand guard at the entrance to most Japanese Buddhist temples, on either side of the gate. The gate is called the Nió-mon (Nió gate). The Nió's threatening presence wards off evil spirits and thieves, and make sure that no miscellaneous thoughts or emotions enter the heart and disturb the state of concentration (so that people inside can attain Supreme Enlightenment). Each Nió is named after a particular cosmic sound. The one with an open mouth is Agyo (who is saying the word for birth— AH). The one with the closed mouth is named Ungyo and is saying Un/Om which means death. The mouths may also represent open= to ward off demons and closed= to keep good spirits inside. Or: Ah is the first letter in the Japanese syllabary and 'Un' is the last (represent all possible outcomes in existence). Was built during the Nara period, in which Japan copied China. Japan was very receptive to foreign goods and ideas, and promoted Buddhism as the protector of the state. At first, Buddhism was patronized by members of the Imperial court. Visitors pass through a deer park to get there (Buddha preached his first sermon in a deer park)

White and Red Plum Blossoms

Ogata Korin. c. 1710-1716. Ink, watercolor, and gold leaf on paper. Each screen - 5'2" x 5'7". The transformation of a landscape painting into a dream vision. Realistic and abstract. Supposed to set them at a tilt (to give 3-D effect). Would have been placed separately from each other but close. Only depicted the lower part of the tree to make viewer feel close to the scene. Painting depicts 2 plum trees with a river in between them on a two fold screen. The plum tree on the left was white, contrasts with the red one on the right. Incorporates both abstract and realistic aspects of the trees. Was painted by Ogata Korin in Japan (1714-1715). Was painted on a two-fold screen with a wet pigment technique, created a new style of art (or not the first, but perfected). Is significant because it survived WWII in Japan and provides insight into the paintings of 18th century Japan. Was created for wealthy people in Japan. Same concept as Ryoan Ji (even though you cannot see it (tops of trees) it is there). Nature is closely tied to Shinto religion. Japanese houses more dynamic than ours. Japanese are very dynamic, can be moved, are often screens and can be folded, nature often depicted on these screens. Whats different about Korin = combo of abstraction and naturalism (trees are very realistic, stream is more abstract). Tarashikomi = style of painting, controlled, but still let the paint bleed and do what it wants. Second layer of paint is applied on top of the first, onto of a moistened canvas.

Notes on Porcelain (for David Vases)

Porcelain was first produced in China around 600 CE. Were most advanced in the world. Chinese word 'ci' means either porcelain or stoneware. Porcelain is fired at a very hot temperature. Porcelain= white ceramic. Different regions had different types of porcelain (depending on temperature, ingredients, etc.). Were first exported in large quantities during the Song Dynasty (government supported bc was an important source of revenue). Ceramic trade maintained throughout the Yan dynasty (Mongol), Ming, and Qing. Marketswere concentrated in different regions at different times, but continually influenced globally. Were imitated in Korea and Japan. In Europe, however, porcelain was barely known before the seventeenth century (English and Germans produced mass quantities of a similar hard-bodied ware in the 18th century). Chinese porcelain influenced the ceramics of importing countries (and were also influenced by other countries themselves—started to develop designs specifically for foreign market sales).

Portrait of Sin Sukju

Sin Sukju (1417-1475). Imperial Bureau of Painting. c. 15th century C.E. Hanging scroll (ink and color on silk). 65 ¾" x 43 1/8". Goryeong Sin Family, Yeongseong-gun Branch, Cheongju, South Korea. painting of Politician and scholar during Cheongiu dynasty (during which prime minister had total control). Hanging scroll. Believe that reading the face reveals important details about the person (this one reveals dignity and wisdom). Has an insignia on his chest— rank badge, used to identify his status. His badge was done with gold thread. Used canon of proportions, but is individualized (each has a different face, but are positioned the same. Painted to honor the person depicted.

How to identify a Buddha:

The earliest surviving representations of the Buddha date from hundreds of years after his death- not portraits in the usual sense. Vary greatly from place to place and period to period, but almost always have: symbols of radiance (halo, flame, gold-covered), superhuman physical characteristics (large size, lump on the head that signifies wisdom, fingers all the same length, or special markings on the palms and soles of the feet), long earlobes (from when Buddha, as prince, wore earrings), Monk's robes. Common hand positions: right hand over right knee (symbolizes Buddha's calling the Earth as a witness during his victory over negative forces), right hand held up with palm out (symbolizes giving reassurance), hands held at chest with fingers turning invisible wheel (symbolizes turning 'wheel of doctrine', i.e. preaching).

Gold and Jade Crown

Three Kingdoms Period, Silla Kingdom, Korea. Fifth to sixth century C.E. Metalwork, height 17 ½". National Museum of Korea, Seoul, Republic of Korea. meant to serve as a luxury crown, would be placed on the burial grounds of the wealthy, otherwise would be used by Silla kingdom (Koeran kingdom), 5th to 6th century, 3 kingdoms period. Worn also during ceremonies (coronations, memorials— not worn commonly etc.) was a symbol of power. Metalwork. 17.5" tall. Were influenced by China, esp. their burial techniques. High class: used gold and jade, lower class used other materials. Materials also show high amount of trade through Silk Road. Has three branches coming off the top of the crown— believed in sacred tree that was in their capital and served as axis Mundi. Also has antlers coming off the side, represent very important animals. Coming off of the branches are gold disks and jade pieces called goguk, meant to represent fruit. The gold is very soft and pure. This one was found in a burial— shows China's influence.

Terracotta warriors

Tomb for the first Qin emperor of China, supposed to immortalize the emperor. Mercury used to represent rivers and the empire. Each warrior has a distinctive face, over seven thousand separatewarriors and horses. Also over 10,000 real weapons. Warriors were very realistic, would have originally been painted. Four pits have been excavated so far, others still contain warriors (project not finished). Qin Shi Huang= first Qin emperor, started building this tomb when he was thirteen. Changed a lot in China—created new currency and writing, and built more on the Great Wall. One of the first examples of an assembly line project (heads, ears, toros, etc. made separatelyand then attached). Changed face and height for each one (sometimes the height depicted hierarchy). Supposed to protect the emperor after death. Haven't yet excavated under his tomb (because of toxic levels of mercury— has rivers of mercury that imitate the rivers of China). Has tomb, and then a ways off his terra-cotta warriors (warriors are closer to his enemy).

The David Vases

Yuan Dynasty, China. 1351 C.E. White porcelain with cobalt-blue underglaze, 2' x 8'2", two vases and an incense burner were dedicated to a Daoist temple in China, made specifically for this purpose, name and date and purpose inscribed on the top. Were offered to the temple in honor of a general who had recently been made a god. Incense burner was lost. Named David after collector who purchased them, were also brought together by David. Blue and White porcelain- porcelain= specific, lustrous ceramic made from a pure clay. Porcelain (name) came from Marco Polo who thought it looked like the inside of a seashell. Made during when China was part of the Mongol (Yuan dynasty) empire. Traded porcelain a lot (with the foreign markets in mind), Blue and White China= blue is from cobalt (from Iran) and is painted onto the porcelain. Fired at very high temperatures so that it becomes glass—had very advanced kilns. Result of a global Mongol empire. Blue and white motifs also based off of tastes in local markets in Iran. Covered in typical motifs. Have dragon, vines and flowers. And a phoenix. Inscription is between the leaves. Handles are elephants (looks similar to a bronze container). Dragons symbolize power (esp. over nature and the supernatural).

Travelers among Mountains and Streams (201)

painted by artist (Fan Kuan) (1000 CE, ink on silk, 6'9.5") after the fall of the Tang Dynasty. Painted in the Northern Song Dynasty, would go out in nature and connect, and search for a truth (Neo- confucianism), would make sketches of what they saw in nature and just sit for hours (element of self-sacrifice?), trying to understand the essence of trees, mountains, etc. not just the things themselves. Shows connection with nature. Not an actual place, would go out and do multiple sketches to discover essence and once they had gained the essence they would combine works together to put on hanging scroll. Monumental landscape painting. Not much is known about Fan Kuan, but his studies of nature lead to a knowledge of the whole world (parts combined lead up to whole). Mountain is symbolic of solidity and constancy and timelessness, and a 'master among servants' (esp. after political unrest after Tang collapse). Has three different parts- foreground, middle, and background. Artists had names for different types of brush strokes. VALUE- difference between light and dark. Balance of Li and Qi (light and dark, yin and yang, etc.) Supposed to represent/give feeling of absolute truth. Physical manifestations of the invisible. Would have been on view for people to see and venerate/worship, can also be rolled, hanging scroll (would hang on wall). 'Ennobling, inspiring, represents correct balance between naturalistic form and the deeper significance of those forms'. In lower right corner there is a man with several donkeys- very small, shows that man is small and vulnerable but the mountain is not. Li=Principle, Qi=Vital force