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Sesshu painted in a style that was called haboku meaning

08/12/2021 Client: muhammad11 Deadline: 2 Day

Prebles’ Artforms

Twelfth Edition

Chapter 18

Traditional Arts of Asia

Learning Objectives

18.1 Demonstrate how key aspects of Buddhism and Hinduism are reflected in their art.

18.2 Explain how Southeast Asian art both absorbed and expanded upon influences from India.

18.3 Describe how Buddhism, Daoism, and Confucianism influenced Chinese and Korean art.

18.4 Discuss how Japanese art reflected both indigenous and external influences.

Historical Map of Asia. [Fig. 18-1]

India (1 of 13)

18.1 Demonstrate how key aspects of Buddhism and Hinduism are reflected in their art.

Ancient Indus Valley

Between 3,000 and 5,000 years ago

Carved male torso compared with classical Greek Spear Bearer

Underlying bone structure difficult to see

Few works survive

Migration of Aryan tribes

Concept of reincarnation

Beliefs written in Vedas and Upanishads

Male Torso. Harappa, Indus Valley. c.2400–2000 BCE. Limestone. Height 3-1⁄2”. National Museum of India, New Delhi. Photograph: akg-images/Jean-Louis Nou. [Fig. 18-2]

India (2 of 13)

18.1 Demonstrate how key aspects of Buddhism and Hinduism are reflected in their art.

Spiritual leaders of sixth century BCE

Siddhartha Gautama (Buddhism)

Mahavira (Jainism)

India (3 of 13)

18.1 Demonstrate how key aspects of Buddhism and Hinduism are reflected in their art.

Buddhist Art

Belief that to eliminate desire (cause of suffering), one must follow the moral code of Eightfold Path

Did not initially allow production of images

India (4 of 13)

18.1 Demonstrate how key aspects of Buddhism and Hinduism are reflected in their art.

Buddhist Art

Needed icons to support contemplation

Artistic and architectural styles influenced by regional cultures

India

Stupa

Domelike structure evolved from earlier burial mounds

Four gates aimed in cardinal directions

Devout walked around its ritual path

Great Stupa at Sanchi

Built over a period of about 200 years

The Great Stupa. Sanchi, India. 10 BCE–15 CE. Exterior. Photograph: veice/Shutterstock. [Fig. 18.3a]

India (5 of 13)

18.1 Demonstrate how key aspects of Buddhism and Hinduism are reflected in their art.

Buddhist Art

Great Stupa

Gateways include layers of sculpture in relief

Tell story of Buddha’s life

Do not depict him directly

The Great Stupa. Sanchi, India. 10 BCE–15 CE. A view of the Buddhist sculpture in Sanchi temple. © Andrzej Rostek/Shutterstock. [Fig. 18.3b]

India (6 of 13)

18.1 Demonstrate how key aspects of Buddhism and Hinduism are reflected in their art.

Buddhist Art

Evolution of architecture

Buddhist pagodas merged Indian stupa and Chinese watchtower

Resulting stepped tower adopted and changed by Japanese

Evolution of Buddhist Architecture.

Early Indian stupa. 3rd century to early 1st century BCE. [Fig. 18-4a]

Later Indian stupa. 2nd century CE. [Fig. 18-4b]

Chinese pagoda. 5th to 7th centuries CE. [Fig. 18-4c]

Japanese pagoda. 7th century CE. [Fig. 18-4d]

India (7 of 13)

18.1 Demonstrate how key aspects of Buddhism and Hinduism are reflected in their art.

Buddhist Art

Gandhara (now Afghanistan/Pakistan)

Distinctive style gained after Alexander the Great’s conquest

Combination of East and West

Bodhisattva, a person who delays enlightenment to help others achieve it

Sculptor shows knowledge of Roman, Greek traditions

Depicted with rich garments and jewels

Bodhisattva. 2nd–3rd centuries.

N.W. Pakistan, Gandhara region. Photograph: akg-images/Jean-Louis Nou. [Fig. 18-5]

India (8 of 13)

18.1 Demonstrate how key aspects of Buddhism and Hinduism are reflected in their art.

Buddhist Art

Gupta dynasty (c.320–540)

Noted for developments in politics, law, math, and the arts

Carved stone Standing Buddha

Simplified mass of the figure

Wears conventional monk garment

Long earlobes refer to earlier aristocracy

Topknot symbolizes enlightenment

Standing Buddha. 5th century. Red sandstone. Height 5’3”. Photograph: akg-images/De Agostini Picture Lib./G. Nimatallah. [Fig. 18-6]

India (9 of 13)

18.1 Demonstrate how key aspects of Buddhism and Hinduism are reflected in their art.

Buddhist Art

“Beautiful Bodhisattva” Padmapani

Fine linear definition and elegance

Full, rounded shapes

This style spread with Buddhism to China, Southeast Asia

"Beautiful Bodhisattva" Padmapani (detail). c.600–650. Fresco from Cave 1. Ajanta, India. Photograph: Duane Preble. [Fig. 18-7]

India (10 of 14)

18.1 Demonstrate how key aspects of Buddhism and Hinduism are reflected in their art.

Hindu Art

Principal gods of Brahmna, Vishnu, and Shiva

Hindu temples

Two parts

Porch for purification of worshipper

Garba griha, sacred Womb Chamber where an image of the god is kept

Kandarya Mahadeva Temple

Garba griha marked by tall tower

Kandarya Mahadeva Temple. Khajuraho, India. 10th–11th centuries. Exterior. © Zzvet/Shutterstock. [Fig. 18-8a]

India (11 of 13)

18.1 Demonstrate how key aspects of Buddhism and Hinduism are reflected in their art.

Hindu Art

Hindu temples

Kandarya Mahadeva Temple

Erotic scenes symbolize divine love in human form

Allegory of ultimate spiritual unity

Natural beauty and fullness of human figure

Scene from Kandarya Mahadeva Temple, Khajuraho, Madhya Pradesh, India. Erotic reliefs. 1025–50, Chandella dynasty. © hecke/123RF. [Fig. 18-8b]

India (12 of 13)

18.1 Demonstrate how key aspects of Buddhism and Hinduism are reflected in their art.

Hindu Art

Shiva

Encompasses creation, preservation, dissolution, and re-creation

Roles shown in sculptures rich in iconography

Shiva as Lord of the Dance

Performs within orb of the sun

Tramples monster of ignorance

Purifying fire of destruction and creation

Implication of movement

Multiple arms and gestures

Impassive, composed face indicates nothing to fear

Shiva as Lord of the Dance. India (Tamil Nadu) Late 12th–early 13th centuries. Copper alloy. Height 24-3/4” The Metropolitan Museum of Art/Rogers Fund/Harris Brisbane Dick Fund, 1964 (64.251). [Fig. 18-9]

India (13 of 13)

18.1 Demonstrate how key aspects of Buddhism and Hinduism are reflected in their art.

Hindu Art

Muslim techniques to render Hindu subjects

Conquer by Islamic Mughal rulers in sixteenth century

Basohli style

The Approach of Krishna

Erotic desire symbolizing spiritual longing for union with the divine

Bright colors reflect emotional state

The Approach of Krishna. Pahari region, India. c.1660–70. Basohli style. Color, silver, and beetle wings on paper. 6-7⁄8” × 10-1⁄4”. The Cleveland Museum of Art, OH, USA/The Cleveland Museum of Art, Edward L. Whittemore Fund/Bridgeman Images. [Fig. 18-10]

Southeast Asia (1 of 2)

18.2 Explain how Southeast Asian art both absorbed and expanded upon influences from India.

In what is now Vietnam

Under Chinese rule

Cultural influence from India

Buddhism and Hinduism

Borobudur

Elaborate version of a stupa

More than 10 miles of relief sculpture along corridors

Pilgrims walk, contemplate landscape

Borobudur. c.800. Java, Indonesia. Aerial view. Robert Harding/Alamy Stock Photo. [Fig. 18-11a]

Borobudur Buddhist temple. Stonework reliefs in lower galleries.

Richard Wareham Fotografie. [Fig. 18-11b]

Southeast Asia (2 of 2)

18.2 Explain how Southeast Asian art both absorbed and expanded upon influences from India.

Angkor Wat, Cambodia

Influenced by Borobudur

Faces due west

Buddhas, bodhisattvas, and Hindu gods appearing to be portraits of real rulers

Originally surrounded by a moat

Emphasis on fertility

Ruler thought himself descendant of Vishnu

Angkor Wat. Cambodia. c.1120–50. West entrance. Vladimir Korostyshevskiy/Shutterstock. [Fig. 18-12]

China and Korea (1 of 14)

18.3 Describe how Buddhism, Daoism, and Confucianism influenced Chinese and Korean art.

Interaction of traditions of Confucianism, Daoism, and Buddhism prior to the modern period

Art of Ancient China

Bronze objects

Ritual vessel

Intricate composite animal forms

Taotie mask

Honoring ancestors

Beliefs evolving into Confucianism

Ritual Vessel. China. 12th century BCE. Cast bronze. Height 7-1⁄8”. Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington, D.C. Gift of Eugene and Agnes E. Meyer, F1968.29. [Fig. 18-13]

China and Korea (2 of 14)

18.3 Describe how Buddhism, Daoism, and Confucianism influenced Chinese and Korean art.

Art of Ancient China

Emperor Qin Shihuangdi

Unified China before death in 210 BCE

Intent upon guarding his afterlife

About 6,000 Terra Cotta Warriors to protect him

Terra Cotta Warriors. Pit No. 1, Museum of the First Emperor of Qin. Shaanxi Province, China.

Qin dynasty, c.210 BCE. Jarno Gonzalez/Getty Images. [Fig. 18-14]

China and Korea (3 of 14)

18.3 Describe how Buddhism, Daoism, and Confucianism influenced Chinese and Korean art.

Art of Ancient China

Han dynasty (206 BCE–221 CE)

Wu Family Shrine

Elaborate relief sculpture

Captured in stone tomb relief

Full of energy, inner life force of qi

Stone Tomb Relief. Wu Family Shrine, Shandong Province, China. 2nd century CE. Rubbing; ink on paper. 28-1/4” × 81-3/4”. Far Eastern Seminar Collection, 2002-307.19. © 2018. Princeton University Art Museum/Art Resource NY/Scala, Florence. [Fig. 18-15]

China and Korea (4 of 14)

18.3 Describe how Buddhism, Daoism, and Confucianism influenced Chinese and Korean art.

Han dynasty (206 BCE–221 CE)

Daoism

Achieving harmony with life force that animates all beings

Mirror with Xiwangmu

Queen Mother of the West in harmony of the Dao

Opposite Lord Duke of the East

Meeting yearly on 7th day of 7th month

Inscription with fortune for the owner

Mirror with Xiwangmu. China. Six Dynasties period, 317–581. Bronze. Diameter 7-1⁄4”. Cleveland Museum of Art, OH, USA/The Severance and Greta Millikin Purchase Fund, 1983.213/Bridgeman Images. [Fig. 18-16]

China and Korea (5 of 14)

18.3 Describe how Buddhism, Daoism, and Confucianism influenced Chinese and Korean art.

The Chinese Painting Tradition

Combines calligraphy and landscape

Painting and writing closely related

Same brushes and ink used for both

China and Korea (6 of 14)

18.3 Describe how Buddhism, Daoism, and Confucianism influenced Chinese and Korean art.

The Chinese Painting Tradition

Fan Kuan, Travelers Among Mountains and Streams

Kuan regarded as greatest landscape painter of Song dynasty (960–1279)

Imaginative creation intended to capture the energy of nature, not a real place

Massive cliffs in vertical composition

Textured details from specific brushwork

Fan Kuan. Travelers Among Mountains and Streams. Song dynasty. Early 11th century. Hanging scroll. Ink on silk. Height 81-1⁄4”. National Palace Museum, Taipei, Taiwan, Republic of China. VCG Wilson/Corbis via Getty Images. [Fig. 18-17]

China and Korea (7 of 14)

18.3 Describe how Buddhism, Daoism, and Confucianism influenced Chinese and Korean art.

The Chinese Painting Tradition

Song dynasty displaced in 1125

New painting style

Southern Hangzhou

Emphasized smaller, intimate landscape

Ma Yuan, Watching the Deer by a Pine-Shaded Stream

Meticulous brushwork fades into mist

Off-balance composition

Literati painting

Amateurs devoted to art and poetry

Ma Yuan. Watching the Deer by a Pine-Shaded Stream. Southern Song dynasty. Album leaf. Ink on silk. 9-1⁄2” × 10”. © Cleveland Museum of Art, OH, USA/Gift of Mrs. A. Dean Perry, 1997.88/Bridgeman Images. [Fig. 18-18]

China and Korea (8 of 14)

18.3 Describe how Buddhism, Daoism, and Confucianism influenced Chinese and Korean art.

The Chinese Painting Tradition

Yuan dynasty, 1279–1368

Most innovative artists lived outside official sponsorship

Literati painting

Huang Gongwang, Dwelling in the Fuchun Mountains

Handscroll

Meant to be viewed by scrolling from right hand to left hand

Respect for the past

Painters must comprehend tradition before expressing individuality

Huang Gongwang. Dwelling in the Fuchun Mountains (detail). Yuan dynasty. Handscroll. Ink on paper. 13” × 252”. Press Association/Zuma. [Fig. 18-19]

China and Korea (9 of 14)

18.3 Describe how Buddhism, Daoism, and Confucianism influenced Chinese and Korean art.

The Chinese Painting Tradition

Respect for the past

Qiu Ying’s Fisherman’s Flute in comparison to Fan Kuan’s Travelers

Looming, massive forms offset with fine details

Motif of scholar finding refreshment in nature

Qiu Ying. Fisherman’s Flute Heard Over the Lake. c.1547. Hanging scroll. Ink and color on paper. 62-7⁄8” × 33-1⁄8”. The Nelson-Atkins Museum of Art, Kansas City, Missouri. Gift of John M. Crawford Jr., in honor of the Fiftieth Anniversary of the Nelson-Atkins Museum of Art. F82-34. [Fig. 18-20]

China and Korea (10 of 14)

18.3 Describe how Buddhism, Daoism, and Confucianism influenced Chinese and Korean art.

The Chinese Painting Tradition

Development of Chinese painting in Ming and later dynasties

Academic versus literati styles

Cicada on a Banana Leaf

Free execution with subtle political comments

Cicada a symbol of rebirth

Bada Shanren. Cicada on a Banana Leaf. Qing dynasty. 1688–1689. Leaf “f “ from an album Flowers and Birds. Ink on paper. Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington, D.C. Gift of Charles Lang Freer. F1955.21e. [Fig. 18-21]

China and Korea (11 of 14)

18.3 Describe how Buddhism, Daoism, and Confucianism influenced Chinese and Korean art.

Chinese Ceramics

Held in high regard

Porcelain

Turns white when fired

Initially, only blue color could withstand high temperatures

Porcelain Plate. Mid-14th century. China, Late Yuan dynasty. Painted in underglaze blue. Diameter 18”. Metropolitan Museum of Art. Purchase, Mrs. Richard E. Linburn Gift, 1987. Acc.n.: 1987.10.

[Fig. 18-22]

China and Korea (12 of 14)

18.3 Describe how Buddhism, Daoism, and Confucianism influenced Chinese and Korean art.

Korean Art

Variations on Chinese ceramic styles

Blue-green celadon glaze

New style of decoration

As seen in Wine Pitcher

Etched shapes filled with white and black slip before a second firing

Gourd-shaped Ewer with Inlaid Willow and Bird Design. Korea. Goryeo dynasty (918–1392).

13th–14th centuries. Wheel-thrown stoneware with incised and slip-filled decoration and green glaze. 12-3/8” × 8-1/4” × 5-7/8”. Los Angeles County Museum of Art. Anonymous gift (55.13.2). [Fig. 18-23]

China and Korea (13 of 14)

18.3 Describe how Buddhism, Daoism, and Confucianism influenced Chinese and Korean art.

Korean Art

Lotus Sutra

Meant for Buddhist teachings

Fine strands of silver and gold

Lotus Sutra. Illustrated manuscript. Korea, Goryeo Dynasty. c.1340. Gold and silver on indigo-dyed mulberry paper. 9” × 4-1/2”. Metropolitan Museum. Section 1, Acc. No. 1994.207. [Fig. 18-24]

China and Korea (14 of 14)

18.3 Describe how Buddhism, Daoism, and Confucianism influenced Chinese and Korean art.

Korean Art

Shinto

Religion of nature and ancestor worship

Ise Shrine

Rebuilt every 20 years

Sacred site within a forest

Japan (1 of 12)

18.4 Discuss how Japanese art reflected both indigenous and external influences.

Architecture

Shinto

Religion of nature and ancestor worship

Gods dwell in forests, fields, waterfalls, huge stones

Ise Shrine

Rebuilt every 20 years

Sacred site within a forest

Combines simplicity with subtlety

Main Shrine. Ise, Japan. c.685 Rebuilt every 20 years. Photograph: Kyoto News. [Fig. 18-25]

Japan (2 of 12)

18.4 Discuss how Japanese art reflected both indigenous and external influences.

Architecture

First cultural borrowing

Chinese Buddhism

Shinto gods became sacred beings

Chinese script

Confucian teachings

Temple complex of Horyuji

Buddhist monastery

Kondo, Golden Hall where Buddha statues are kept

Elaborate bracketing system

Horyuji Temple. Nara, Japan. c.690. Aerial view. Photograph: Kazuyoshi Miyoshi/Pacific Press Service. [Fig. 18.26a]

Kondo. Structural diagram. From The Art and Architecture of Japan, Robert Treat Paine and Alexander Coburn Soper. Reproduced courtesy of Yale University Press, London. [Fig. 18.26b]

Japan (3 of 12)

18.4 Discuss how Japanese art reflected both indigenous and external influences.

Architecture

Katsura Detached Palace

Blend of human-made and natural elements

Sliding screens allow indoor-outdoor flow

No grand entrance

Tea house

Constructed of common natural materials

Embodies attitudes of simplicity, naturalness, and humility

Katsura Detached Palace. Kyoto, Japan. 17th century. Gardens and tea house. John S Lander/LightRocket via Getty Images. [Fig. 18.27a]

Katsura Detached Palace. Kyoto, Japan. 17th century. Imperial villa and gardens. Photograph: akg/Bildarchiv Steffens. [Fig. 18.27b]

Japan (4 of 12)

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