Art of South and East Asia; New Forms for Traditional Ideas

The Palace at Versailles

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Terra cotta warriors from Qin emperor (pg 190)

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Allegory of Law and Grace

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Henry IV receives portrait of Marie de Medici

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Lindisfarne Gospels

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Chairman Mao en route to Anyuan

FORM: Color lithograph FUNCTION: Iconic representation of Great Leader's career CONTENT: Poster-like; vivid colors, dramatic and obvious political message; dominated by pictorial representation; art was done anonymously; individualistic artistic fame seen as counter-cultural CONTEXT: During the Cultural Revolution (1966-76), artists focused on creating portraits of Mao, or "Mao paintings," which represented Mao's effort to regain his political hold. This movement aimed to correct the disasters of the 1950s, especially the widespread famine and deaths that resulted from Great Leap Forward (an attempt from 1958-61 to rapidly modernize China, transforming it from an agrarian economy into an industrialized, socialist society), and reinvigorate Communist ideology. High art was dismissed as feudal or bourgeois;

School of Athens, Raphael

FORM: Fresco FUNCTION: Decoration in Pope Julius II's library CONTENT: Illustrates the vastness and variety of the papal library, Open, clear light uniformly spread throughout composition, figures gesture to indicate philosophical thought, Building might reflect Bramante's plan for St. Peter's, Plato (with featurs of Leonardo) and Aristotle in center, Raphael is in the corner at fsr right, Michelangelo resting on stone block writing a poem CONTEXT: The two thinkers in the very center, Aristotle (on the right) and Plato (on the left, pointing up) have been enormously important to Western thinking generally, and in different ways, their different philosophies were incoporated into Christianity. Plato points up because in his philosophy the changing world that we see around us is just a shadow of a higher, truer reality that is eternal and unchanging (and include things like goodness and beauty). For Plato, this otherworldly reality is the ultimate reality, and the seat of all truth, beauty, justice, and wisdom. Plato holds his book called the Timaeus. Aristotle holds his hand down, because in his philosophy, the only reality is the one that we can see and experience by sight and touch (exactly the reality dismissed by Plato). Aristotle's Ethics (the book that he holds) "emphasized the relationships, justice, friendship, and government of the human world and the need to study it. 1509-1511 Raphael (Apostolic Palace, Vatican City)

Night Attack on the Sanjo Palace (pg 229) write short summary

FORM: Handscroll (ink and color on paper) FUNCTION: present the battle of the 1159 Heiji Rebellion (Kamakura Period) ; narrative work -Inspired by interests of new national leadership and threats of foreign invasion CONTENT: Painted 100 years after the civil war depicted in the scene; Elevated viewpoint; Strong diagonals emphasizing movement and action; swift active brushstrokes; narratives read from right to left; Depersonalized figures, many with only one stroke for the eyes, ears, and mouth; Tangled mass of forms accentuated by Japanese Armor; Lone archer leads the escape from the burning palace with equestrian Japanese commander behind him; code of the warrior is reflected in large quantity of war-related literature and paintings; unrolls like a film sequence; CONTEXT: The Heiji disturbance, which occurred late in 1159, represents a brief armed skirmish in the capital. The event itself was of relatively minor importance. Supporters of Go-Shirakawa, who possessed sovereign authority as a "retired emperor," vied for influence with the sovereign. One faction, composed of Fujiwara Shinzei and Taira Kiyomori, gained more influence over another group, led my Fujiwara Nobuyori and Minamoto Yoshitomo. Nobuyori and Yoshitomo advanced on the palace, captured the retired emperor, placed him in a cart and set fire to the palace. This scene is depicted here, and Nobuyori and Yoshitomo appear prominently as they attack and burn the palace, kill partisans of the Taira, and parade their decapitated heads.

Portrait of Sin Sukju (1417-1475)

FORM: Ink on silk FUNCTION: Imperial Bureau of Painting; political propaganda advocating the degree of political power and dominance possessed by Sin Sukju CONTENT: This painting shows Sin Sukju dressed in his official robes with a black silk hat on his head. In accordance with Korean portraiture conventions, court artists pictured subjects like Sin Sukju seated in a full-length view, often with their heads turned slightly and only one ear showing. Crisp, angular lines and subtle gradations of color characterize the folds of his gown. Here, the subject is seated in a folding chair with cabriole-style arms, where the upper part is convex and the bottom part is concave. Leather shoes adorn his feet, which rest on an intricately carved wooden footstool. In proper decorum, his hands are folded neatly and concealed within his sleeves. He wears a rank badge on his chest. CONTEXT: Joseon Period: Ming Chinese influence; Korea considered a client state; invasion of Japan Sin Sukju was a prominent political figure, serving under six kings; the materials the work is consisted of were of very high value and demand, alluding to its importance

Gold and Jade Crown (pg 213)

FORM: Metalwork; gold and jade FUNCTION:Maybe for ceremonial purposes; perhaps only for burial CONTENT: Worn around the forehead, this tree-shaped crown (daegwan) is the headband type found in the south in royal tombs at the Silla capital, Gyeongju. Between the fifth and sixth centuries, Silla crowns became increasingly lavish with more ornamentation and additional, increasingly elongated branch-like protrusions. In this crown, three tree-shaped vertical elements evoke the sacred tree that once stood in the ritual precinct of Gyeongju. This sacred tree was conceived of as a "world tree," or an axis mundi that connected heaven and earth. Two additional antler-shaped protrusions may refer to the reindeer that were native to the Eurasian steppe that lies to the north of the peninsula. Attached to the branch-like features of the crown are tiny gold discs and jade ornaments called gogok. These jade ornaments symbolize ripe fruits hanging from tree branches, representing fertility and abundance. With sunlight falling on its golden discs, the crown must have been a luminous sight indeed. CONTEXT: Shamanistic; 5th-6th Century ( Buddhism hasn't reached asia)

Las Meninas

FORM: Oil on Canvas FUNCTION:Group Portrait CONTENT: elazquez is watching his subjects and steps away from his canvas in the left. Wears the Royal Order of Santiago indicating knighthood. Infanta Magharita of Spain is in center with Meninas (servants) a dog, dwarf, and midget. 2 chaperones stand behind in half shadow. Jose Nieto (head of Queen's tapestry works) might be in doorway. King and Queen appear in mirror at back of room. Darks and lights draw us into the canvas. Dappled effect of light on shimmering surfaces. CONTEXT: 1656 Diego Velazquez; Baroque

Ryoan-ji garden

FORM: Rock Garden FUNCTION: One of its original functions in its early years was to serve as a mausoleum to the late Hosokawa Emperors. But the temple's main purpose soon became to serve as a place where Zen Buddhist monks could work on obtaining enlightenment Served as a focus for meditation CONTENT: The garden of Ryoanji embodies the teaching of Zen philosophy and is the perfect setting for contemplation. The simplicity and austerity of the garden's design allows observers to cultivate a peaceful state of mind and reflect among oneself. It was a primary goal of Zen Buddhism for its followers to reach enlightenment and the peaceful setting of the Ryoanji garden was meant to make that enlightenment a closer destination. There are many interpretations for the meaning of the garden. It was believed to be originally named "Tiger Cubs Crossing the Sea", so it was therefore interpreted that the rocks represent baby tigers crossing a river. There are also many common theories that the rocks represent islands and the sand represents water, or the rocks represent mountain peaks rising above a bed of white clouds. Despite contradicting observations in meaning, many common in observations of artistic context have been established. A left-to-right movement can be observed as shown through the placement of the rocks, and the arrangement of the groups of rocks counteracts the movement, creating an asymmetrical balance. In addition, rhythm is achieved through the arranging of stones in different heights, and each stone is strategically positioned to evoke a feeling of harmony. There are 15 rocks, but the garden is designed so that only 14 can be seen from any viewing position, and it is said that only through achieving enlightenment can one be able to see the 15th rock. CONTEXT: In 983 Fujiwara Saneyoshi constructed the first temple at this location. Most traces of his original work have vanished except for the large pond that covers much of the lower garden. Destroyed in the Ōnin war that devastated much of Kyoto, reconstruction began in earnest with Hosokawa Katsumoto, a powerful member of the Buke clan of Kyoto, who founded Ryōan-ji proper in the upper half of the grounds. Here he lived with resident Zen monks until his death in 1473. Following a fire in 1488, his son Hosokawa Masamoto financed the construction of the present garden. c. 1480 (current design 18th century)

White and Red Plum Blossoms (Gardner's pg 9)

FORM: Watercolor on paper; Tarashikomi technique in which paint is applied to a surface that has not already dried from previous application; -creates a dripping effect useful in depicting streams or flowers -Stream cuts rhythmically through the scene; -White plum blossoms on left, red on right; FUNCTION: How do you know where you are? CONTENT: -The stream at the center cuts through the pair of screens and gives the impression of expansion. -The elegant pattern of the stream symbolically expresses the rhythmical flow of water. -The plum flowers are depicted with pigment only, without any outlines. This technique became quite popular and was known as "Kōrin Plum Flowers." -Buds are scattered here and there among the fully opened flowers in a pleasing manner. -swirls in paint indicate water currents; -reintepretation of traditional arts CONTEXT: 1716; transition to a modern style; neo-classical; nationalism going around; Meji Restoration;

The David Vases (pg 766)

FORM: White Porcelain with cobalt blue underglaze FUNCTION: Part of a Daoist altar set; An offering to a general who had recently been made a god CONTENT: One of the most important examples of blue and white porcelain in existence; Made for the altar of a Daoist temple, along with an incense burner which has not been found; Dedication on the side of the neck of the vessels; earliest known blue and white porcelain dedication; Inscription on one of the vases "Zhang Wenjin...a disciple of the Holy Gods, is pleased to offer a set comprising of one incense burner and a pair of flower vases to General Hu Jingyi...as prayer for the protection and blessing of the whole family and for the peace of his sons and daughters." Blue color imported from Iran; Chinese expansion makes the cobalt blue available; vases were modeled after bronzes; Elephant-head shaped handles; Neck and foot of vases: leaves and flowers; Central Section: Chinese dragons with traditional long bodies and beards; dragons have scales and claws and are set in a sea of clouds; Named after Sir Percival David, a collector of Chinese Art CONTEXT: Both vases contain the exact date, artist and reason for creation. They both also have a dragon and a floral pattern on the top and bottom; Yuan Dynasty, China

Todai-ji (Pg 225)

FORM: Wood with ceramic tile roofing FUNCTION: Buddhist Temple CONTENT: Great eastern temple; Temple and Buddha inside have been razed several times during military unrest; seven external bays on façade; influenced by monumental Chinese architecture; largest wooden building in the world; Noted for its colossal statue of seated Vairocana Buddha; monumental feat of casting; Emperor Shomu embraced Buddhism and erected sculpture as a way of stabilizing Japan during economic crisis; largest metal Buddha statue in the world; Right hand means "do not fear" right hand means "welcome"; Todai-ji is a temple of the Kegon sect of Buddhism, which reveres the Buddha Vairocana (Birushana in Japanese) as the cosmic, central Buddha. The principal image of the temple is a bronze statue of Vairocana, colossal in scale. CONTEXT: 743 (rebuilt c. 1700)

Travelers among Mountains and Streams (Gardner's pg 207)

FORM: ink on silk; hanging scroll; FUNCTION: Examine landscape and art for art's sake CONTENT: -Daoist philosophy evident in the artist isolating himself from civilization to be with nature and study it; -produced very complex landscapes; -different brushstrokes describe different kinds of trees: coniferous, deciduous, etc; long waterfall on right balanced by mountain on left; -waterfall accents height of mountain; Not a pure landscape: donkeys laden with firewood are driven by two men; -small temple appears in the forest; man seen as small and insignificant in natural world; -vision of man's harmonious existence in a vast but orderly universe CONTEXT: Song Dynasty; Taoist belief of nature and harmony

Funeral Banner of Lady Dai (Xin Zhul) (pg 197)

FORM: painted silk FUNCTION: Placed on dead body to speed its journey to the afterlife CONTENT: function aligns with the prominent Chinese belief in the veneration of ancestors; use as a sort of "attraction point" for the spirits of the deceased solidifies the belief that they still posses the ability to intervene in worldly affairs; expresses the richness of yin-yang duality in early Chinese thought probably carried in a procession to the tomb then placed over body; Yin symbols at left, yang symbols at right, center mixes the 2 philosophies; painted in three distinct regions; Top: heaven with crescent moon at left and legend of ten suns at the right; in the center, 2 seated officers guard the entrance to the heavenly world; Middle: earth with Lady Dai in center on white platform about to make her journey to heaven with a walking stick that was found in her tomb; mourners and assistants appear by her side; dragon's bodies are symbolically circled through a bi in a yin and yang exchange; Bottom: the underworld; symbolic low creatures frame the underworld scene: fish turtles, dragon tails; tomb guardians protect the body CONTEXT: 180 BCE (Han) Golden Age; Lady Dai's banner is important for two primary reasons. It is an early example of pictorial (representing naturalistic scenes not just abstract shapes) art in China. Secondly, the banner features the earliest known portrait in Chinese painting.

Under the Wave off Kanagawa (The Great Wave) (pg 791);

FORM: polychrome woodblock print; ink and color on paper -Painting of a Tsunami over Mount Fuji. -Hokusai has arranged the composition to frame Mount Fuji. The curves of the wave and hull of one boat dip down just low enough to allow the base of Mount Fuji to be visible, and the white top of the great wave creates a diagonal line that leads the viewers eye directly to the peak of the mountain top. FUNCTION: Express human vulnerability against nature CONTENT: The wave is about to strike the boats as if it were an enormous monster, which symbolizes the irresistible force of nature and the weakness of human beings Personification of nature, seems intent on drowning figures in boats; Mount Fuji seems to be one of the waves; -Striking design contrasts water and sky with large areas of negative space CONTEXT: 1830-1833; Ukiyo-e is a genre of Japanese woodblock prints and paintings, principally produced between the 17th and the 20th centuries and featuring motifs of landscapes, tales from history, the theatre, and pleasure quarters -first time landscape is a major theme in Japanese prints; Last series of prints called Thirty-six Views of Mount Fuji;

Forbidden City (pg 767)

FORM: stone masonry, marble, brick, wood, ceramic tile; raditional Chinese palatial architecture FUNCTION: served as the home of emperors and their households, as well as the ceremonial and political center of Chinese government. CONTENT: Largest and most complete Chinese architectural ensemble in existence; 9,000 rooms; 30ft tall walls to keep people out and keep those inside in; only the royal court could enter (hence the name Forbidden city); Each corner of the rectangular plan has a tower representing the 4 corners of the world; On each side of the city walls, there is a gate, namely, Meridian Gate (Wumen) in the south, Gate of Divine Prowess (Shenwumen) in the north, East Prosperity Gate (Donghuamen) in the east and West Prosperity Gate (Xihuamen) in the west; Focus is the hall of Supreme Harmony (throne room and seat of power); wood structure made with elaborately painted beams (meant for grand ceremonies); Yellow tile roofs and red painted wooden beams placed on marble foundations unify the structures inside into an artistic whole; New years, winter soltice and emperors birthday are celebrated; Surrounding wall of the Forbidden city was characteristic of a Chinese city: privacy within provides protection. (containment part of Chinese culture) CONTEXT: 15th Century (Ming Dynasty); "golden cage"

Jahangir Preferring a Sufi Shaikh to Kings

FORM: watercolor, gold, and ink on paper FUNCTION: Record Jahangir's life CONTENT: Jahangir is shown seated on an elevated, stone-studded platform whose circular form mimics the disc above. The Emperor is the biggest of the five human figures painted, and the disc with his halo—a visual manifestation of his title of honor—is the largest object in this painting. Jahangir sought to bring things together from distant lands; Seated on an hourglass throne; sand (Time) is running out; Surounded by a halo of sun and moon (Jahangir is source of all light); Sits on renaissance carpet; figures of small cherubs from European painting; Artist in lower left corner (signs his name on the footstool); Artist holds a miniature with 2 horses and an elephant (gifts from his patron?); James I of England in lower left corner; Ottoman Sulton (not real portrait); Holy man is handed book by Jahangir (Holy man ranks above all others); Quotation says that "Though outwardly shahs stand before him, he fixes his gaze on dervishes" CONTEXT: 1615 Mughal Empire; mix of east and west