Unit 8: South, East, and Southeast Asia, 300 bce-1980 ce

Madhya Pradesh, India. Buddhist; Maurya, late Sunga Dynasty. c. 300 BCE-100 CE. Stone masonry, sandstone on dome.
- Buddhist shrine, mound shaped, faced w/ dressed stone
- three umbrellas at top, representing Buddha, Buddha's Law, and Monastic Orders
- railing at crest of mound surrounds umbrellas, symbolically a sacred tree
- double stairway at sound end leads from base to drum, where there is a walkway for circumambulation
- originally painted white
- hemispherical dome replication of dome of heaven
- four toranas grace entrances, at cardinal points
- torana: richly carved scenes on architraves; Buddha does not appear himself, but symbolized by empty throne/ tree, under which he meditated; some may also represent sacred sites where Shakyamuni Buddha visited/taught; horror vacui of composition; high-relief
- 600 donors have inscriptions carved into stupa, revealing project funded by women as well as men; common people as well as monks

Great Stupa at Sanchi

Central Java, Indonesia. Sailendra Dynasty. c. 750-842 CE. Volcanic-stone masonry.
- massive Buddhist monument contains 504 life-size Buddha's 1460 narrative relief sculptures on 1300 panels 8200 feet long; there are 1500 stupas and one million carved blocks of stone
- iconographically complex and intricate; many levels of meaning; may reflect Buddhist cosmology
- circumambulation on each terrace; six concentric square terraces topped by three circular tiers w/ great stupa at summit
- pyramidal in form, aligned w/ the four cardinal points
- lower stories represent world of desire and negative impulses; middle areas represent world of forms, people have to control these negative impulses; top story world of formulas, where physical world and worldly desire are expunged
- pilgrimage
- five terraces of identical stepped square plan
- 72 openwork Buddhas, each w/ preaching mudra
- on top enclosed stupa
- rubble faced w/ carved volcanic stone

Borobudur Temple

- densely packed scene: horror vacui
- queen majestic and at rest before giving birth
- brought up to city in great ceremonial procession
- ready to give birth to her son

Queen Maya Riding a Horse Carriage Retreating to Lumbini to Give Birth to Prince Siddhartha Gautama (from Borobudur Temple)

Hindu; India (Tamil Nadu), Chola Dynasty. c. 11th century CE. Cast bronze.
- vigorously dancing w/ one foot on a dwarf, Demon of Ignorance; often depicted in flaming nimbus
- flying locks of hair terminate in rearing cobra heads
- one hand sounds drum that he dances to, another has flame
- four hads
- epicene quality
- periodically destroys universe so it can be reborn again
- unfolds universe out of drum held in one of right hands; preserves it by uplifting other right hand in gesture indicating "do not be afraid"
- shave has third vertical eye barely suggested between two other eyes; once burned god Kama w/ this eye

Shiva as Lord of Dance (Nataraja)

Khajuraho, India. Hindu, Chandella Dynasty. c. 930-950 CE. Sandstone.
- placed on high pedestal
- series of shapes that build to become large tower; complicated intertwining of similar forms
- center: "embryo" room w/ shrine, very small, only enough space for priest
- corbelled roofs w/ beehive quality
- grouped w/ series of other temples in Khajuraho
- ashlar masonry
- bands of horizontal boldings unite temple
- made of fine sandstone
- compact proportions
- sanhara: inner ambulatory
- east/west axis: receives direct rays from rising sun
- sculpture has harmonious integration w/ architecture
- figures sensuous w/ revealing clothes
- erotic poses symbolize regeneration

Lakshmana Temple

Hindu, Angkor Dynasty. c. 800-1400 CE. Stone masonry, sandstone.
- capital of medieval Cambodia built by Suryavarman II
- main pyramid surrounded by four corner towers; temple-mountain
- corbelled gallery roofs; influenced by Indian used of corbelled vaulting
- dedicated to Vishnu; most sculptures represent Vishnu's incarnations
- horror vacui of sculptural reliefs
- sculpture in rhythmic dance poses; repetition of shapes
- complex built by successive kings installing various deities in complex
- mixed Buddhist/Hindu character
- kings often identified themselves w/ gods they installed
- mountain-like towers symbolize five peaks of Mount Meru, sacred mountain said to be center of spiritual and physical universe in Buddhism and Hinduism

Angkor, the temple of Angkor Wat, and the city of Angkor Thom

- story from Hindu religion
- Churning of the Ocean of the Stars to obtain Amrita, nectar of immortal life
- both gods (devas) and devils (asuras) churn ocean to guarantee themselves immortality
- to churn ocean, used Serpent King, Vasuki
- bas-relief at Angkor War depicts devas and asuras churning Ocean of Milk
- Vishnu wraps serpent around Mount Mandara; mountain rotates around the sea and churns it

Churning of the Ocean of Milk (from Angkor Wat)

- most famous and powerful Khmer monarch
- heavily influenced by two wives, who were sisters; married one after the other's death
- patron of Angkor Thom
- devoted to Buddhism although monuments show mixture of Buddhism and Hindu iconography

Jayavarman VII (from Angkor Wat)

Nara, Japan. Various artists, including sculptors Unkei and Keikei, as well as the Kei School. 743 CE; rebuilt c. 1700 CE. Bronze and wood (sculpture); wood with ceramic-tile roofing (architecture).
- Great Eastern Temple, refers to its location on eastern edge of Nara, Japan
- noted for colossal sculpture of seated image of Vairocana Buddha
- temple and BUddha has been razed several times during military unrest
- seven external bays on facade
- influenced by monumental Chinese sculptures
- largest wooden building in world

Todai-ji

- one on either side of gate
- complex joined woodblock construction
- intricate swirling drapery
- fierce forbidding looks and gestures
- masculine, frightening figures, which protect the Buddha

Nio Guardian Figures (from Todai-Ji)

- monumental feat of casting
- emperor Shomu embraced BUddhism and erected sculpture as way of stabilizing Japanese population during time of economic crisis
- largest metal statue of Buddha in world
- mudra: right hand means "do not fear"; left hand means "welcome"

Great Buddha (from Todai-Ji)

- nandaimon: great south gate, w/ five bays --> three central bays for passing, two outer closed
- two stories same size; unusual in Japanese architecture (usually upper floor smaller)
- deep eaves supported by six-stepped bracket complex, which rise in tiers w/ no bracketed arms
- roof supported by huge pillars
- unusual in that has no ceiling; roof exposed from below
- overall effect of proportion and statlines

Great South Gate (from Todai-Ji)

Kyoto, Japan. Muromachi period, Japan. c. 1480 CE; current design most likely dates to the 18th century CE. Rock garden.
- garden as microcosm of nature
zen dry garden:
- garvel acts as water; gravel raked in wavy patterns
- rocks mountain ranges
- meant to be viewed from veranda in nearby building
- fifteen rocks arranged in three groups
- interpreted as islandins in floating sea; mountain peaks above clouds; constellations in sky
- from no viewpoint is entire garden viewable at once
- focus for meditation
- asymmetrical arrangement
- bounded by two sides by low, yellow wall
wet garden:
- contains tea house
- seemingly arbitrary in placement, plants actually placed in highly organized and structure environment symbolizing natural world
- water symbolizes purification; used in rituals

Ryoan-ji

Kamakura period, Japan. c. 1250-1300 CE. Handscroll (ink and color on paper).
- painted 100 years after civil war depicted in scene
- elevated viewpoint
- strong diagonals emphasizing movement and action
- swift active brushstrokes
- narratives read right to left as scroll is unrolled
- depersonalized figures, many w/ only one stroke for eyes, ears, mouth
- tangled mess of forms accentuated by Japanese armor
- lone archer leads escape from burning place w/ equestrian Japanese commander behind
- military rule in Japan from 1185 on had an interest in code of warrior; reflected in large quantity of war-related literature and paintings
- unrolls like film sequenced; as one unrolls, time advances
- burning at imperial palace of Sanjo in Kyoto as rebel forces try to seize power by capturing emperor
- coup staged in 1159 as Emperor Go-Shirakawa taken prisoner
- imperial palace in flames; rebels force emperor to board a can waiting to take him into captivity
- rebels kill those opposed and place their heads on sticks and parade them as trophies

Night Attack on the Sanjo Palace

Ogata Korin. c. 1710- 1716 CE. Ink, watercolor, and gold leaf on paper.
- Japanese rinpa style named for Ogata (Rin for "Ko-rin" and pa meaning "school")
- influenced by yamato-e style of painting
- stream cuts rhythmically through scene; swirls in paint surface indicate water currents
- white plum blossoms on left; red on right
- tarashikomi technique

White and Red Plum Blossoms

Katsushika Hokusai. 1830-1833 CE. Polychrome woodblock print; ink and color on paper.
- first time landscape major theme in Japanese prints
- last of a series of prints called Thirty-Six Views of Mount Fuji
- personification of nature, seems intent on drowning figures in boats
- Mount Fuji, sacred mountain to Japanese, seems to be one of the waves
- striking design contrasts water and sky w/ large areas of negative space

Under the Wave off Kanagawa (Kanagawai oki nami ura), also known as the Great Wave, from the series Thirty-six Views of Mount Fuji

. Beijing, China. Ming Dynasty. 15th century CE and later. Stone masonry, marble, brick, wood, and ceramic tile.
- largest and most complete Chinese architectural ensemble in existence
- 9000 rooms
- walls 30 feet high to keep people out and those inside in
- named b/c only royal court could enter
- each corner of rectangular plan w/ tower representing four corners of the world
- focus: Hall of Supreme Harmony, throne room and seat of power; wood structure made w/ elaborately painted beams; meant for grand ceremonies
- yellow tile roofs and red painted wooden beams placed on marble foundations unify structures in artistic whole
- Hall of Supreme Harmony ceremonies: new year, winter solstice, emperor's birthday
- surrounding wall characteristic of Chinese city: privacy w/in provides protection; containment part of Chinese culture

Forbidden City

Han Dynasty, China. c. 180 BCE. Painted silk.
- died 168 BCE in Hunan province; Han Dynasty
- tomb found w/ over 100 objects in 1972
- T-shaped silk banner covering inner coffin of intact body
- probably carried in procession to tom then placed over body to speed journey to afterlife
- yin symbols at left; yang symbols at right; center mixes the two philosophies
- painted in three distinct regions
- top: heaven w/ crescent moon at left, legend of ten suns at right; center: two seated officers guard centrance to heavenly world
- middle: earth w/ Lady Dai in center on white platform about to take journey to heaven w/ walking stick that was found in her tomb; mourners and assistants appear by side; dragons' bodies symbolically circled through bi in yin and yang exchange
- bottom: underworld; symbolic low creatures frame underworld scene: fish, turtles, dragon tails; tomb guardians protect the body

Funeral Banner of Lady Dai (Xin Zhui)

Fan Kuan. c. 1000 CE. Ink and colors on silk.
- artist isolated self away from civilization to be w/ nature and study it, for landscapes; Daoist philosophy
- 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
- mot pure landscape: donkeys laden w/ firewood driven by two men; small temple in forest; man seen as small and insignificant in vast natural world
- mists created by ink washes; silhouette roofs of temple
- might be only surviving work; signature hidden in bushes on lower right

Travelers among Mountains and Streams

Imperial Bureau of Painting. c. 15th century CE. Hanging scroll (ink and color on silk).
- Korean prime minister and soldier
- made when he was a second grade civil officer; insignia designed w/ clouds and wild goose
- Korean portraits emphasize how the subject made a great contribution to country and how spirit of loyalty to king and country valued by Confucian philosophy
- repainted over the years, especially in 1475
- great scholar

Portrait of Sin Sukju (1417-1475)

Artist unknown; based on an oil painting by Liu Chunhua. c. 1969 CE. Color lithograph.
- painted during Cultural Revolution of 1966-1976; high art dismissed as feudal or bourgeois
- poster-like; vivid colors, dramatic and obvious political message
- dominated by pictorial representation
- done anonymously; individual artistic fame seen as counter-cultural in collectivist society
- moment in 1920s; Mao on way to Anyuan to lead miners' strike
- Mao worked for reforms for miners; supported a local strike for better wages, working conditions, education
- for many people: this action formed permanent bond w/ Communist party
- iconic representation of Great Leader's career
- may be most reproduced image ever made: 900,000,000 copies generated

Chairman Mao En Route to Anyuan

Qin Dynasty. c. 221-209 BCE. Painted terra cotta.
- about 8000 terracotta warriors, 100 wooden chariots, 2 bronze chariots, 30,000 weapons buried as par of tomb of Emperor Shi Huangdi
- soldiers 6 feet tall, some fierce, some proud, som confident; taller than average person of the time
- representation of a CHinese army marching into next world
- Daoism in individualization of each solider despite their numbers
- originally colorfully painted
- discovered in 1974
- warriors mass produced, then personalized

Terra cotta warriors from mausoleum of the first Qin emperor of China

Luoyang, China. Tang Dynasty. 493-1127 CE. Limestone.
- caves along banks of Yi River
- sculptures and reliefs carved from existing rock; some colossal, some small
- documents attests that 800,000 people worked on the site; 110,000 Buddhist stone statues, more than 60 stupas, 2800 inscriptions on steles
- Buddha arranged as if on altar of a temple, deeply set into rock face
- inscription states that Empress Wu Zetian was principal patroness of site and used private funds to finance
- Vairocana Buddha having monk attendants, bodhisattvas, and guardians flanking
- elongated legs and exaggerated poses

Longmen Caves

Three Kingdoms period, Silla Kingdom, Korea. Fifth to sixth century CE. Metalwork
- uncovered in Gyeongju, Korean from a royal tomb
- symbolizes geometric trees
- antler forms influenced by Shamanistic practices in Siberia
- very light weight; gold extremely thin and fragile; had limited use; maybe for ceremonial occasions, perhaps only for burial

Gold and jade crown

Yuan Dynasty, China. 1351 CE. White porcelain with cobalt-blue underglaze.
- one of most important examples of blue and white porcelain in existence
- made for altar of Daoist temple, along w/ incense burner, which as not been found; typical altar set
- dedication on side of neck of vessels; believed to be earliest known blue and white porcelain dedication
- inscription on one of vase: "Zhang Venjin, from Jingtang community, Dejiao village, Shuncheng township, Yushan county, Xinzhou circuit, a disciple of the Holy Gods, is pleased to offer a set comprising one incense burner and a pair of color waves to General Hu Jingyi at the Original Palace in Xingyuan, as a prayer for the protection and blessing of the whole family and for the peace of his sons and daughters. Carefully offered on an auspicious day in the Fourth Month, ELeventh year of the Zhizheng reign."
- blue color imported from Iran; Chinese expansion into western Asia makes cobalt blue available
- vases modeled after bronzes
- elephant-head-shaped handles
- neck and foot of vases: leave and flowers
- central section: Chinese dragons w/ traditional long bodies and beards; dragons have scales and claws set in a sea of clouds
- named after Sir Percival David, collector of Chinese art

The David Vases

Bichitr. c. 1620 CE. Watercolor, gold, and ink on paper.
- Jahangir had many artists to follow him wherever he went; wanted everything recorded
- sought to bring together things from distant lands
- seated on hourglass throne; sands to time run out; Jahangir near the end
- surrounded by halo of sun and moon; Jahangir source of all light
- sits on Renaissance carpet; figures of small cherubs copied from European paintings
- artist in lower left corner; symbolically signs name on footstool beneath Jahangir; holds miniature w/ two horses and en elephant ---> gifts from patron?
- James I of England in lower left corner
- Ottoman sultan (not a real portrait)
- Holy Man handed book by Jahangir (or other way around?); placed above and ranks higher than all others
- quotation: "though outwardly shahs stand before him, he fixes his gazes on dervishes"

Jahangir Preferring a Sufi Shaikh to Kings