chapter 3.3 art of india, china, and japan part 3 history and context copyright © 2011 thames &...
TRANSCRIPT
Chapter 3.3
Art of India, China, and Japan
PART 3HISTORY AND CONTEXT
Copyright © 2011 Thames & Hudson
3.56 Map of Asia: India, China, and Japan
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PART 3HISTORY AND CONTEXT
Chapter 3.3 Art of India, China, and Japan
Introduction
India, China, and Japan are part of Asia
Philosophy and religious traditions Religious pluralism and syncretic (blending two or more belief
systems)
Characteristics often in common:
• Meditation
• Respect for ancestors
• Harmony with nature
Copyright © 2011 Thames & Hudson
PART 3HISTORY AND CONTEXT
Chapter 3.3 Art of India, China, and Japan
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Philosophical and Religious Traditions in Asia
Buddhism Teachings of Buddha Acceptance of difficulties Desire to attain Enlightenment
Confucianism Based on philosophy of Confucius Self-discipline Ancestral worship
Daoism (The Way) Based on teachings of Lao Zi Balance of opposites Harmony with the universe
Copyright © 2011 Thames & Hudson
PART 3HISTORY AND CONTEXT
Chapter 3.3 Art of India, China, and Japan
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Philosophical and Religious Traditions in Asia cont.
Hinduism Reincarnation Karma Polytheistic
Islam Belief in a single God (Allah) Follow the teachings of the Koran
Shinto (Way of the Gods) Belief in Kami (spirits in nature) Ancestral worship
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PART 3HISTORY AND CONTEXT
Chapter 3.3 Art of India, China, and Japan
India
Peninsula in southern Asia bordered on north by Himalayas
One-third the size of the United States
Stylistic characteristics of art: Very detailed and elaborate decoration
Emphasis on human body
• Often sensual
• Suggestive of fertility
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PART 3HISTORY AND CONTEXT
Chapter 3.3 Art of India, China, and Japan
Buddhism in Indian Art
Buddha (The Enlightened One) Born a prince in Nepal, India
At age 29 became an ascetic
His teachings were spread throughout India after his death
Buddha’s remains buried in eight stupas (burial mounds) marking important locations in his life
3.57 Great Stupa, third century BCE, enlarged under the Sunga and Andhra Dynasties, c. 150–50 BCE, Sanchi, India
3.58 East gate of Great Stupa, Sanchi, India
3.59 Bodhisattva Padmapani, Cave 1, Ajanta, India. Cave painting, second half of 5th century
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PART 3HISTORY AND CONTEXT
Chapter 3.3 Art of India, China, and Japan
Hinduism in Indian Art
Hinduism is the third largest religion in the world, and the majority of its followers are in India
Thousands of temples in India, built by centuries of rulers
3.60 Kandariya Mahadeva temple, c. 1000, Khajuraho, Madhya Pradesh, India
3.61 Detail of exterior sculpture, Kandariya Mahadeva temple
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PART 3HISTORY AND CONTEXT
Chapter 3.3 Art of India, China, and Japan
Islam in Indian Art
Mughals took over India in mid-16th century, and ruled for centuries
Commissioned new artworks Persian artists
Indian artists
3.62 Bichitr, Jahangir Preferring a Sufi Shaykh to Kings, from the St. Petersburg album, Mughal Dynasty, c. 1615–18. Opaque watercolor, gold, and ink on paper, 18⅞ × 13”. Freer Gallery of Art, Smithsonian Institution, Washington, D.C.
3.63 Taj Mahal, 1631–48, Agra, India
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 3.3 Art of India, China, and Japan
PART 3HISTORY AND CONTEXT
Click the image above to launch the video
“The Abode of Paradise”: The Taj Mahal
To appreciate the astonishing achievement of the Taj Mahal in more detail, watch:
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PART 3HISTORY AND CONTEXT
Chapter 3.3 Art of India, China, and Japan
China
Yellow and Yangtze rivers
Same size as the United States
Stylistic characteristics of art: Reveals respect for heritage and ancestral worship
Encourages an inspired meditative state
Generally uniform, symmetrical, and precise
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PART 3HISTORY AND CONTEXT
Chapter 3.3 Art of India, China, and Japan
Chinese Scroll Painting
The Three Perfections: Calligraphy
Painting
Poetry
Hanging or hand scrolls
Read from right to left
Should be experienced like a personal journey, not all at once
Are often marked with signs of ownership or appreciation
3.64 Wang Meng, Ge Zhichuan Moving His Dwelling, c.1360. Hanging scroll, ink and color on paper, 54¾ × 22⅞”. Palace Museum, Beijing, China
3.65 Zhang Zeduan, Along the River during the Qingming Festival, Northern Song Dynasty, 11th century. Handscroll, ink and color on silk, 10” × 17’ 3”. Palace Museum, Beijing, China
3.66 Detail of Zhang Zeduan, Along the River during the Qingming Festival
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PART 3HISTORY AND CONTEXT
Chapter 3.3 Art of India, China, and Japan
Death and the Afterlife
Ancestral worship
Fine objects buried with the dead
Chinese believed dead become supernatural beings
3.67 Ritual wine vessel (guang), late Shang dynasty, c. 1700–1050 BCE. Bronze, 6½ × 3¼ × 8½”. Brooklyn Museum, New York
3.68 Detail from painted banner from tomb of Lady Dai Hou Fu-ren, Han Dynasty, c. 168 BCE. Silk. Hunan Museum, Changsha, China
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PART 3HISTORY AND CONTEXT
Chapter 3.3 Art of India, China, and Japan
Japan
Country made up of many small islands
About the same square-footage as California
Stylistic characteristics of art: Reveals great reverence for nature
• Japan is vulnerable to tsunamis and earthquakes
• Kami – spirits present everywhere, including in nature
Often asymmetrical and organic
Contemplative to promote meditation
3.69 Sonoko Sasaki, Sea in the Sky, 2007.Tsumugi-ito silk thread and vegetable dyes, 70⅞ × 51¼”. Collection of the artist
3.70 Sonoko Sasaki at work at her loom
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PART 3HISTORY AND CONTEXT
Chapter 3.3 Art of India, China, and Japan
The Japanese Tea Ceremony
Chanoyu (Way of the Tea) Ritual can take several hours
To find peace, quiet conversation
Rooted in Zen Buddhism – working toward Enlightenment
Tea masters highly trained
3.71 Sen no Rikyu, Taian teahouse, interior, c. 1582. Myoki-an Temple, Kyoto, Japan
3.72 Hon’ami Koetsu, Teabowl (called Mount Fuji), Edo period, early 17 th century. Raku ware, 3⅜” high. Sakai Collection, Tokyo, Japan
3.73 Hungry Tigress, panel from the Tamamushi Shrine, Horyu-ji Temple, Nara, Asuka period, c. 650. Lacquer on wood, shrine 7’7¾” high. Horyu-Ji Treasure House, Japan
3.74 Scene from the Tale of Genji. Heian period, first half of 12th century. Hand scroll, ink and color on paper, 8⅝ × 18⅞”. Tokugawa Art Museum, Nagoya, Japan
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PART 3HISTORY AND CONTEXT
Chapter 3.3 Art of India, China, and Japan
Ukiyo-e
Japanese woodblock prints Easily reproducible for the masses
Inexpensive
“Pictures of the floating world” Capture moments in daily life
From Buddhist belief that life is fleeting
Scenes include geishas, actors, brothels, landscapes, and different classes of women
3.75 Kitagawa Utamaro, Two Courtesans, second half of 18th century. Woodblock print, 12⅝ × 7½”. Victoria and Albert Museum, London, England
3.76 Mary Cassatt, The Child’s Bath, 1893. Oil on canvas, 39½ × 26”. Art Institute of Chicago
3.77 Katsushika Hokusai, “The Great Wave off Shore at Kanagawa”, from Thirty-Six Views of Mount Fuji, 1826–33 (printed later). Print, color woodcut. Library of Congress, Washington, D.C.
3.78 Yin and yang symbol
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields Copyright © 2011 Thames & Hudson
PART 3HISTORY AND CONTEXT
Chapter 3.3 Art of India, China, and Japan
Discussion question
1. In what ways are religion and philosophy reflected in artworks from Asia? Cite examples from India, China, and Japan.
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields Copyright © 2011 Thames & Hudson
PART 3HISTORY AND CONTEXT
Chapter 3.3 Art of India, China, and Japan
Discussion question
2. Humankind’s relationship with nature is a strong element in many artworks from Asia. Consider the artist’s interpretation of nature in three artworks introduced in this chapter.
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields Copyright © 2011 Thames & Hudson
PART 3HISTORY AND CONTEXT
Chapter 3.3 Art of India, China, and Japan
Discussion question
3. Chinese scroll paintings are a unique kind of artwork. Discuss the format of a scroll, how it is viewed, and the skills needed by the artist. How do these characteristics of scroll paintings differ from other kinds of painting you have studied?
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields Copyright © 2011 Thames & Hudson
PART 3HISTORY AND CONTEXT
Chapter 3.3 Art of India, China, and Japan
Discussion question
4. Religious and political leaders often influence the kinds and quantities of artworks made in a certain time or culture. Cite two examples in which a ruler or leader impacted the art of Asia. What role did he or she play?
PowerPoints developed by CreativeMyndz Multimedia Studios
PART 3HISTORY AND CONTEXT
Chapter 3.3 Art of India, China, and Japan
This concludes the PowerPoint slide set for Chapter 3.3
Gateways to Art: Understanding the Visual Arts By Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Copyright © 2011 Thames & Hudson
PowerPoints developed by CreativeMyndz Multimedia Studios
PART 3HISTORY AND CONTEXT
Chapter 3.3 Art of India, China, and Japan
3.56 Drazen Tomic
3.57 iStockphoto.com
3.58 © Tom Hanley/Alamy
3.59 © Susanna Bennett/Alamy
3.60 © Frédéric Soltan/Sygma/Corbis
3.61 © Pep Roig/Alamy
3.62 Freer Gallery of Art, Smithsonian Institution, Washington, D.C., Purchase F1942.15a
3.63 iStockphoto.com
3.64, 3.65, 3.66 Palace Museum, Beijing
3.67 Brooklyn Museum, Gift of Mr. & Mrs. Alastair B. Martin, the Guennol Collection, 72.163a–b
3.68 Hunan Museum, Changsha
3.69 Courtesy the artist
3.70 Photo Shunji Ohkura
3.71 TRIP photographic library, photographer F. Good/Art Directors
3.72 Sakai Collection, Tokyo
3.73 Horyu-ji Treasure House, Ikaruga, Nara Prefecture, Japan
3.74 The Tokugawa Art Museum, Nagoya
3.75 V&A Images/Alamy
3.76 The Art Institute of Chicago, Robert A. Waller Fund, 1910.2
3.77 Library of Congress, Washington, D.C. Prints & Photographs Division, H. Irving Olds collection, LC-DIG-jpd-02018
3.78 iStockphoto.com
Picture Credits for Chapter 3.3