Indian & Southeast Asian Artwork

Shiva as Lord of the Dance, India chola dynasty, 11th century, cast bronze

• shiva has multiple arms, displaying mudra to display what he’s doing (symbol of the hand)

• Four arms & hands showcase the creation and passage of time, he has lotus shaped eyes/almonds, and a solemn position of the face.

• He raises his hands towards his foot to signify spiritual grace. He is standing on the daemon of existence, adorned in rich green-ish metal.

• Was made during the chole dynasty/golden age. Was paraded around a village for communal veneration.

-standing triumphantly atop an evil opponent

Bamiyan Buddahs, Afghanistan, 6th-7th century, stone/stucco

Figures measure too over 100 feet high. One represent rariochana—the transcendent Buddah and the smaller one depicts the historical Buddah. both sculputres are carved niches of a cliff side in high relief, allowing for circumbulation. Cultural diffusion is evident by how the Buddahs are wearing flowy robes, drapery (Hellenistic Greek). Statues were covered in pigments of many hues so they appear to be made out of metal. The cuts to the faces represent destruction of religious images (iconoclastic). Bamiyan is located in central Asia, and it was close to the Silk route which attracted missionaries and merchants. Taliban forces demolished the Bamiyan because western forces were taking care of it rather than the people. Was meant to pay respect to shakyami.

Great stupa at Sanchi, Pradesh India, Sunga dynasty, made during 300 B.C.E - 100 C.E made of masonry

A stupa is a visual representation of a Buddah meditating, the yasli on the balls on top of temple represent the head of the Buddah. The base of the stupa represents the Buddah crossed legs in meditation (lotus position. Each gate in a stupa represents the four great life events of the Buddah (birth), (Enlightenment) (sermon) and (nirvana). THe gates are turned @ night to reflect axis mundi. The practice of stupa led to the spread of Buddhism in Thailand, Nepal, and Tibet. Karma is a fundamental component of Hundism and Buddhism, stating that individuals present actions will impact their future. King Ashoka of India was the first king to embrace Buddhism and inspired the construction of Buddahs along India, be built stupas in religions that were less available

Jowo Shakyamuni, Jokhana temple, Tibet, Yarung Dynasty, 7th century, metals with semiprecious stones

Larger than life-sized image of the Buddah Shakyamuni, adorned in gold and bright blue hair, made of guilt metal. Both of his legs are in lotus position (padmasana), left hand is in the mudra (hand gesture) of meditiation

Borobudur, Borodudar Indonesia, Saliendra Dynasty, 800 C.E

Its basic structure resembles a pyramid, but can also be referred to as a shrine or stupia or even mountain. Entire site contains 540 Buddah statues, 1,460 stone reliefs on the walls, Open-air passageways allow followers to radiate around the mundi as well as circumambulation. The rulers of the Saliendra Dynasty built this temple around 800 CE, but it fell into disuse around 800 CE

Janangir Preferring a Sufi Shaikh to Kings, Bichitr, 1615-1618, Opaque watercolor gold and ink on paper

A miniature painting with flames of gold surrounding the emperors head, against a larger gold disks. The crescent moon surrounding the disks border symbolizes night & day, and the rulers emperorship and divine truth. Jahangir is elevated, extending a gift to the Shaikh. Two men await his attention: Ottoman sultan, English King James I. The kings hand positions are re-arranged to make the Jahangir not a target, while the Ottoman sultan waits respectfully with his hands clasped. Bichitr paints himself in the bottom right with him holding a painting of two horses and elephant (imperail gift). The Folio was once apart of an album, attributed to the rule of Jahangir, he was the son of Akbar the great. The folio was meant to immortalize Janagir

Longmen Caves, Lvoyang China, 5th-8th century, gray limestone

Contains 2300 Caves and niches filled with Buddhist art, the steep limestone clifts extend for almost a mile. the central Buddah is seated on a line throne is shakyamuni, and next to him are two bodhisattvas who help enlighten others instead of ascending to the afterlife. The Buddahs monastic robe is tucked underneath him, and reference Classical Greeco-Roman times. The flattened and elongated bodies of the bodhisattvas are hidden under their skirts and jewelry. The Buddahs long ears indicate wisdom. Most carvings date between the end of the 5th century to the middle of the 8th century during the northern wei-tang dynasty’s. the wei dynasties were founded by tribesmen/nomads of northern China, and tried to adopt Chinese culture by moving their capital closer to China

Funeral Banner of Lady Dai, Han Dynasty, Chinese, 2nd centuary, silk

• painted silk banner over six feet long, represented naturalistic scenes divided into four registers:

• the heavens, the earth, the underworld, and funeral scenes.

• The central figure is the deceased Lady Dai, flanked by celestial beings, symbolizing her journey to the afterlife and her status in the community.

• Above the scenes of lady dai two men face eachother guarding the heavenly realm, a diety with human head and dragon body

• Three elite tombs were found in 1972, one of lady dais husband,her, and their son

• The moon and sun are symbolic of a supernatural world This banner served as a representation of the cosmic order and the deceased's connection to both heaven and earth, reflecting the belief system of the Han Dynasty regarding the afterlife.

Terracotta warriors, Qin Dynasty China, c. 210 BCE, painted terracotta

Upclose, each figures is depicted as a unique individual with their own set of hairstyles and features. out of the 4 pits, pit 1 is the largest and is reinforced with logs which are covered by a wooden ceiling and inside contains 11 corridors with soldiers lined up in battle position. The weapons they have on their sides are brandished, and are real made from precious metals. Caravarlymen are depicted with a saddled horse dressed in a short armor jacket worn over a robe and pleated skirt. Many historians believe that the burial of these many figures were meant to protect and aid Emperor Qin in the afterlife. The Qin Dynasty was the first ever dynasty in China, and the pits were discovered by farmers.

Forbidden City, Benijing China, Ming and Qing dynasties, 1406-1420, wood,marble,paint

Architects followed the ideal cosmic order in confucian ideology that established Chinese social structures→ the layout made sure that all activities for each associated family was done appropriately. The outer court belonged to the realm of state affairs, only dignified men were allowed there, while the outer court is for a domestic space—the imperial family. The Palace of earthly tranquility and hall of celestial aligned cities central axis. The inner court and their homes formed the shape of k’uh, which symbolized mother and earth, a metaphor for the proper feminine roles for women within the empire. The forbidden city was completed in 1420, and housed families during the ming and Qing dynasty.

Gold and Jade Court, Silla kingdom- Korea, 5th century, gold & Jade

The three tree-shaped vertical components reference the sacred tree that once stood in a ritual ceremony in the city of Gyeongju.

The two additional antler protrusions reference the reindeer that was native to Eurasia, north of the Koreon Pennusila.

-Tiny gold discs and Jade ornaments are attached to the branch-like structures. These Jade ornaments symbolize fruits hanging from branches aka fertility and abundance.

• Koreons used to practice shamanism prior to Buddhism and upheld practices like coronations. The crown emphasized the power of the wearer, where powerful objects like these were often buried with the elite in their tombs.

• The Silk road helped spread beliefs of Shamanism and metalworking techniques to make this crown, displaying cultural interactions.

Portrait of Sin Sukju, Royal Bureau of painting, 15th century, Joeson dynasty, hanging scroll ink and color on silk

Depicts Sin Sukju as a meritorious subject, he is dressed in official robes with a black silk hat seated in a full-length view. Crisplangular lines along with subtle additions of color make up the composition of his gown. He is seated in a folding chair with cabriole-style arms. His rank badge is shown on his chest, made up of images of birds amongst plants and clouds. The delicate nature of his face is juxtaposed with the undulating lines and bold choices of color for his clothes. The portrait was made to honor officials for their service at court, and be cherished by families. Koreons believed that the face could reveal important clues about a subject, which is why he is given wrinkled around his eye and deep mouth groves to give a sense of dignity. Sukju was well popular in court. Koreon developed interests to the face through Jesuits in China.

Todai-ji, sculptures are unkey and keikei, 743 CE rebuilt 1700 CE, Bronze wood ceramic-tile

Contains a massive bronze Buddah statue, and quarters for monks. A small figure 2 the daibutsu base suggests it almighty presence, where it sits on a bronze lotus pedastal with engravings of shakyamuni. The Nanadaimon holds 2 massive wooden sculptures of guardian kings, each standing fiercely opposite of one another in contrapposto. Todai-ji was the largest building project ever in Japan and when it was rebuilt in 12th century, it housed many shoguns. It was burnt down mainly because of war feuds between clans, Chinese Buddhist would awaken the gaurdian statuses and other by painting eyes on them.

Night attack on the sanjio palace, kamarakura period Japan, c. 1250-1200 CE, hand scroll with ink and color on paper

The night attack was apart of nobuyoris efforts to seize power by abducting the present emperor and the retired one, go-shirakaura. This scroll celebrates Japans change from a world ruled by royal court, to one ruled by Samurais, as it threatened the authority of emperors and court leaders. This action-packed or otoko-e scroll showcases the seizing of power of the past emperor led bu an ox in an carriage. Noburyori orders the formed eperor into the carriage, where yoshitmato appears in his horned helemet and bow and arrow, riding away from the crowd.

Peaceful Dragon Temple- Ryoanji, Kyoto Japan, 15 century edo period, rock and gravel and paint

When visitors passed through the main gate they would encounter the mirror pond and a science view of the mountains. The earthly tones like gravel rocks and moss contrast with blossoming foliage to evoke stillness. Some suggest that the garden represents a floating island on an ocean or a mother tiger carrying cubs, or a pure abstract form meant to insight meditation. Ryochji a temple located in north Kyoto, connected to a branch Buddhism called zenism. The garden could be inspired by both Jjapanese and Chinese culture because zen Buddhism derived from China

Taj Mahal, Masons, mosacists, amad Lahori, agra pradesh india, 1632-53 C.E, Stone masonry with marble, gardens

• The Islamic gunpowder empire composes of the mughal, containing modern day India,

• The emperor decides to build the Taj Mahal for the death of his wife, after she gave birth to their daughter (mausloeum)

• Emperor wanted the palace to mimic islamic paradise

• The Palace included the wifes tomb, mosques and other diplomatic duties

• Geometric grid, balance, bilaterial and harmony by splitting symmetry the palace into 2 domains

• Brick and red sandstone, a common motif that showcased political power

• Itlaian stone techniques made internal designs like aresbques surrounding the dome, among calligraphy

Red and white ink plum Blossoms, Ogata Korin, Edo period 18th C.,

• the combination of abstraction and naturalism movement, is reffered to as Rinpa or "School of Korin""

• Initially inspired by Japanese classical literature, the Rinpa movement

• Korin transforms a simple landscape, into a dream vision its sublte green background denies space or time

• Contour lines angle the space @ a upward lift

• The trunks of trees are composed of pools of ottled color, without an outline, called somewhat of an organic shaping + tarashikami

• The view experiences the flat imagery ina threee dimensional form

• fragmented trees

Travelers among mountains & streams, fan kuan, c. 1000 CE, song dynasty, ink and color on silk

• fogaround the natural landscape fades out from the mountain, leading to negative space

• emphasis on outline/value

• limited color pallet, and faded color on silk

• precision on mountains rock (oulines)

• Composite is divided into three, triparite

• Reveals the harmony of men and nature, by the merchants and donkeys aswell as mountain.

• Calligraphy becomes the most popular form of art in China, knowing calligraphy was a symbol of edu/merit in Chinese society

The David Vases, Yuan Dynasty, China 14th century, white porcelin, with cobalt-blue underglaze

• Named by a British porcelin collector, named David

• Handles made to look like elephants, held up by handles

• Brilliant designs of pheonixs and dragons soaring

• symbol of ying & yang flow line the rivers of the sea below the handles, incorporates multiple animals to showcase balance and harmony

• porcelin is plain white, allowing designs to pop

• yuan dynasty was the first dynasty ruled by foreign powers (mongols)

• Blue was an imported color from Afganhan and later donated to the British Museum. The vases exemplify the artistic excellence of the Yuan Dynasty and are celebrated for their intricate motifs that represent auspicious symbols in Chinese culture.

Todai-ji, Various artists, sculptures unkey & keikei, 743 CE, rebuilt 1700, Bronze wood, cereamic tile roofing.

• Contains a massive bronze buddah statue, and quarters for monks

• Unkeis fierce guardian figures stands contrapposto opposite to the muscular gaurdian king

• Buddhism arrived to Japan in the Sixith century, along the silk route, Similar statues inspired by Chinese buddha ones, commisioned by Emperors

• When the statues were completed, the Chinese court initiated the "eye opening" ceremony by an Indian monk to awaken the statue

• Unkei was a leading figure in the Kei school