AP AH College Board Presentation

Medsker-Mehalic Content Area #8 South, East, and Southeast Asia 300 B.C.E. -1980 C.E. Chapters 6, 7, 8, 25, 26, and 27 • Prince Siddhartha Guatama- THE Buddha, 563 BCE • At 29- left palace • 6 years later achieved complete enlightenment while meditating under a Pipal tree • Preached first sermon at Sarnath- set in motion the Wheel (chakra) of the Law (dharma) • The Buddha’s path leads to Nirvana (the end of the painful life, death, rebirth cycle) *Introduction to Buddhism Link *Zen Buddhism Video Link Buddha in Art 1st century BCE- as robed monk Urna- curl of hair between eyebrows (dot) Ushnisha- ceremonial bump on head Palms of hands and soles of feet imprinted with a wheel Elongated earlobes Halo or sundisk behind head Chapter 6 Paths to Enlightenment The Art of South & Southeast Asia before 1200 The Poses of Buddha • Mudras, hand-gestures meaning specific things • Dhyana (meditation), with hands overlapping, palms upward • Bhumisparsha (earth touching), right hand down reaching to ground, calling to the earth to witness the Buddha’s enlightenment • Dharmachakra (wheel of the law, or teaching), two handed gesture, right thumb and index finger forming a circle • Abhaya (do not fear), right hand up, palm outward, a gesture of protection and blessing • Buddha Shakyamuni Summary Link Great Stupa at Sanchi. Madhya Pradesh, India, Buddhist; Maurya, late Sunga Dynasty, 300 B.C.E. -100 C.E. • Stone masonry, sandstone on dome • Buddhist monasteries: consist of viharas (monks live), stupas, chaitya halls, temples for sheltering images • Monument housing relics of the Buddha (ashes)- solid + filled with rubble • Sepulchral monument- place of burial or a receptacle for religious objects • Enter gates (at cardinal points of compass) walk clockwise- harmony with cosmos • 600 brief inscriptions- showing donations made • Represents the Buddha, path to Enlightenment, a mountain and the universe • Stupa is Sanskrit for heap • Important form of Buddhist architecture though it predates Buddhism • Built at the birthplace of King Ashoka’s wife, Devi, on an important trade route • Stupa Summary Link • Stupa Video Link Great Stupa at Sanchi- Detail. Madhya Pradesh, India, Buddhist; Maurya, late Sunga Dynasty, 300 B.C.E. -100 C.E. • Stone masonry, sandstone on dome • Circular ambulatories (walking paths) allow worshipers to circumambulate the stupa • Before Buddhism, great teachers were buried in mounds- some cremated, some buried in a seated, meditative position (like the Buddha when he achieved Enlightenment and knowledge of the Four Noble Truths) • Base of the stupa represents his crossed legs as he sat in a meditative pose (padmasana or the lotus position) • Middle portion is the Buddha’s body • Top of the mound, where a pole rises from the apex surrounded by a small fence, represents his head • Karma, a component in both Hinduism and Buddhism is the energy generated by a person’s actions and the ethical consequences of those actions • Circumabulation Video Link Great Stupa at Sanchi- North Gate. Madhya Pradesh, India, Buddhist; Maurya, late Sunga Dynasty, 300 B.C.E. -100 C.E. • Stone masonry, sandstone on dome • Yakshi- goddesses representing fertility and vegetation • Reaches up to hold onto mango tree branch- left foot pressed against tree trunk • Buddhists later adopted this pose for the Buddha’s mother • Early example of eroticism in Indian religious art Great Stupa at Sanchi-Plan & Elevation. Madhya Pradesh, India, Buddhist; Maurya, late Sunga Dynasty, 300 B.C.E. -100 C.E. • Ashes of the Buddha buried in stupas built at locations associated with important events in the Buddha’s life including Lumbini (where he was born), Bodh Gaya (where he achieved Enlightenment), Deer Park at Sarnath (where he preached his first sermon sharing the Four Noble Truths- dharma or the law), and Kushingara (where he died) • Built by King Ashoka about 250 years after the Buddha’s death • Buddhists visit stupas to perform rituals that help them to achieve one of the most important goals of Buddhism: to understand the Buddha’s teachings (the Four Noble Truths/dharma/the law) so when they die they cease to be caught up in samsara, the endless cycle of birth and death • World Heritage Site Sanchi Link Borobudur Temple. Central Java, Indonesia. Sailendra Dynasty. 750- 842 C.E. • Volcanic-stone and masonry • Buddhist monument unique in form and meaning • Colossal in size- 400 feet per side, 98 feet tall • 504 life size Buddha images, 1460 relief panels and 1500 stupas of various sizes • Built by the rulers of the Sailendra (Lord of the Mountain) Dynasty as a monument to the Buddha • Rediscovered in 1814 by Sir Thomas Raffles, the British Lieutenant Governor on Java upon hearing reports from islanders of an incredible sanctuary deep within the islands interior • Basic structure resembles that of a pyramid- also referred to as a caitya (shrine), a stupa (reliquary), and a sacred mountain • Overall plan is that of a 3D mandala- a diagram of the cosmos used for meditation • Summary Link Borobudur Temple-Detail. Central Java, Indonesia. Sailendra Dynasty. 750- 842 C.E. • Volcanic-stone masonry • Meticulously carved relief sculptures meditate a physical and spiritual journey that guides pilgrims progressively toward higher states of consciousness • Narrate the Buddha’s teachings (the Dharma), depict various events related to his past lives (Jataka tales) • Another 160 relief sculptures adorn the base of the monument, but are concealed behind stone buttresses that were added shortly after the building’s construction in order to further support the structure’s weight • UNESCO Link Borobudur Temple-Buddha. Central Java, Indonesia. Sailendra Dynasty. 750- 842 C.E. • Volcanic-stone masonry • Series of open-air passageways that radiate around a central axis mundi (cosmic axis) • Devotees circumambulate clockwise along walkways that gradually ascend to its uppermost level • Geometry, geomancy, and theology all instruct adherents towards the ultimate goal of enlightenment • 72 stupas each containing a three-dimensional sculpture of a seated Buddha within a stone latticework Hinduism

• Recognizes NO founder or great prophet • Means “Religion of the Indians” • Hindu practices and beliefs vary tremendously • Ritual sacrifices by Brahmin priests- central to Hinduism • Religion of many gods • Deities have various natures and take many forms • Hindu Art in South Asia Video Link Hindu Iconography The Three Major Hindu Gods Shiva- the Destroyer + a regenerative force. In human form has multiple limbs and heads, matted hair piled on top of his head, crowned by a crescent moon, serpent scarf, 3rd eye on forehead. Rides the bull, Nandi. Son= elephant-headed Ganesha. Vishnu- the Preserver of the Universe. Shown with 4 arms holding different attributes. Descends to earth to restore balance. Assumes different forms (boar, fish, turtle, Buddha) Devi- great goddess- creates and destroys. Takes many forms and has many names

Video Link for Shiva and Parvati Angkor Wat, the temple of Angkor Wat, and the city of Angkor Thom, Cambodia. Hindu, Angkor Dynasty. 800 -1400 C.E. • Stone masonry and sandstone • Engineering marvel- grand complex of temples and palaces • Each Khmer king built a temple mountain at Angkor and installed his personal god on top (Shiva, Vishnu, Buddha) • Largest religious monument in the world • Angkor Wat means “City Temple”- not its original name given when it was built (no existing texts or inscriptions that mention the temple by name) • Several references to the king who built the temple, King Suryavarman II (protector of the sun), and events that took place at the temple, but no mention of its name • Summary Link • Video Link South Gate Angkor Wat, Cambodia. Hindu, Angkor Dynasty. 800 -1400 C.E. • Stone masonry and sandstone • Dedicated to the Hindu god Vishnu (Protector) who is one of the three principal gods in the Hindu pantheon (Shiva and Brahma are the others) • Many believe that Angkor Wat was not only a temple dedicated to Vishnu but that it was also intended to serve as the king’s mausoleum in death • Hindu temples are not a place for religious congregation- they are homes of the god Churning of the Ocean Milk- Angkor Wat, the temple of Angkor Wat, Cambodia. Hindu, Angkor Dynasty. 800 -1400 C.E. • Stone masonry and sandstone (49 meters long) • 1200 square meters of carved bas reliefs, representing eight different Hindu stories • Churning of the Ocean of Milk depicts a story about the victory of good over evil • The devas (gods) are fighting the asuras (demons) to reclaim order and power for the gods who have lost it. In order to reclaim peace and order, the elixir of life (amrita) needs to be released from the earth. The only way for the elixir to be released is for the gods and demons to first work together • Relief depicts the moment when the two sides are churning the ocean of milk • Video Link Jayavarman VII as Buddha, Angkor Wat, the temple of Angkor Wat, Cambodia. Hindu, Angkor Dynasty. 800 -1400 C.E. 800 -1400 C.E. • Stone masonry and sandstone • Jayavarman VII- built more than all other Khmer kings combined • Towers carved with giant faces • Adopted Buddhism + Lokeshvara “Lord of the World” • Combined image with himself • Virtual Tour Link Angkor Wat Plan, the temple of Angkor Wat, Cambodia. Hindu, Angkor Dynasty. 800 -1400 C.E. 800 -1400 C.E. • Temple is made up of an expansive enclosure wall separating the sacred temple grounds from the protective moat that surrounds the entire complex • Temple proper is comprised of three galleries (a passageway running along the length of the temple) with a central sanctuary, marked by five stone towers • Five stone towers mimic the five mountain ranges of Mt. Meru (mythical home of the gods for both Hindus and Buddhists- also considered an axis-mundi connecting heaven and earth) • Since the 15th century, Buddhists have used the temple and visitors today will see Buddhists monks and nuns who worship at the site Angkor Wat Site Plan, the temple of Angkor Wat, Cambodia. Hindu, Angkor Dynasty. 800 -1400 C.E. 800 -1400 C.E. • Combines two basic plans of Khmer temple architecture: the temple-mountain and the later galleried temple • Unlike most Angkorian temples, it is oriented to the west • Admired for the grandeur and harmony of the architecture, its extensive bas-reliefs, and the numerous devatas adorning its walls Shiva as Lord of Dance (Nataraja). Hindu; India (Tamil Nadu), Chola Dynasty. 11th Century C.E. • Cast bronze (about 26 inches tall) • Portable, cast in solid bronze • Under Chola kings • Shiva dances as “Lord of the Dance” (Nataraga) Balancing on one leg atop a dwarf representing ignorance, which god stamps out as he dances • 4 arms extended- 2 touching the flaming nimbus (light of glory), mudra “fear not” gesture • Not just an image of the god- but the god itself • Sacred object taken out of its original context • Intended to be movable (moderate size and sizable circular base ideal for lifting and hoisting onto a shoulder) • Hindu devotees carried these statues in processional parades as priests followed chanting prayers and bestowing blessings on people • Summary Link Lakshmana Temple. Khajuraho, India. Hindu, Chandella Dynasty. c. 930- 950 C.E. • Sandstone (98 feet long and high) • Built by King Yashovarman of the Chandella Kingdom for Vaikuntha Vishnu • Sandhara Temple of the Panchayatana Variety • Temple complex stands on a high platform • Wall portion is studded with balconied windows with ornate balustrades • Two rows of sculptures including divine figures, couples, and erotic scenes • Main idol image is of tri-headed and four-armed Vaikuntha Vishnu • One of twenty surviving Hindu and Jain temples in the state of Madhya Pradesh in India • Temples spread over an area of 2.3 square miles • Elephant statues around the base symbolically carrying the weight of the temple • Summary Link Lakshmana Temple-Detail. Khajuraho, India. Hindu, Chandella Dynasty. c. 930- 950 C.E. • Sandstone • Depicts god and mortals- especially pairs of men and women embracing or engaged in sexual intercourse • Erotic reliefs suggest fertility and life and serve as protectors of the sacred precinct • Covered almost completely with image of over 600 gods in the Hindu Pantheon • Famous for the explicit sexual carvings on the southern side of the temple, though they only make up a small fraction of the total relief program

• Virtual Tour Link Lakshmana Temple-Detail. Khajuraho, India. Hindu, Chandella Dynasty. c. 930- 950 C.E. • Sandstone • Built in commemoration of military victory and temporal power of the Chandela dynasty • Every part of the temple is heavily decorated with a variety of sculptures that allude to the pleasures, pastimes, lifestyle, desires, and conquests of the Chandela dynasty • Video link Lakshmana Temple-Plan. Khajuraho, India. Hindu, Chandella Dynasty. c. 930- 950 C.E. • Sandstone • Main shrine of the temple faces east (towards the sunrise) and is flanked by four freestanding subsidiary shrines at the corners of the temple platform • Typical Vastu-purusha-mandala design of all Hindu temples: ardh-mandapa (entrance porch), a Maha- Mandapa (larger space in which devotees can sit), the Antarala (narrow passage leading to the inner sanctum), and the Garbhagriha (inner sanctum) • Built entirely of red sandstone without mortar Chapter 7 The Silk Road and Beyond The Art of Early China and Korea • Buddhism, born in India, transmitted to China intermittently and haphazardly starting as early as the 1st century C.E. • Buddhism brought to China new images, texts, ideas about life and death, and new opportunities to assert authority • Summary Link Longmen Caves, Luoyang, China. Tang Dynasty. 493- 1127 B.C.E. • Limestone cliffs (almost a mile long) • 2300 caves and niches filled with Buddhist art- 110,000 Buddhist stone statues, 60 stupas, and 2800 inscriptions carved on steles (vertical stone markers) • Located on both sides of the Yi River (south of the ancient capital of Luoyang) • Example of rulers wielding foreign religion (Buddhism) to affirm assimilation and superiority • Most of the carvings date between the periods of the Northern Wei through the early Tang dynasties • Carvings painted in brilliant blue, red, ochre, and gold • Summary Link • Asian Education Summary & Video Link Longmen Caves- Detail, Luoyang, China. Tang Dynasty. 493- 1127 B.C.E. • Limestone • Heavenly guardians and the vajrapani engaging and animated • Realistic musculature and forceful poses • Foreign rulers of the Northern Wei, yearning for assimilation and power made use of Buddhist images for authority and power • Tang dynasty leaders thrived during China’s golden age, asserting their sovereignty with the assistance of Buddhist iconography • Some of the limestone remains are now on display in New York City and Kansas City • Video Link Longmen Caves- Detail, Luoyang, China. Tang Dynasty. 493- 1127 B.C.E. • Limestone (more that 55 feet high including its pedestal) • Flanked on either side by a bodhisattva, a heavenly king, and a thunderbolt holder (vajrapani) • Vairocana represents he primordial Buddha who generates and presides over all the Buddhas of the infinite universes that form Buddhist cosmology • Monumental sculptures intentionally mirrored the political situation • The Buddha, monks, and bodhisattvas display new softer and rounder modeling and serene facial expressions Funeral Banner of Lady Dai (Xin Zhui). Han Dynasty, China. 180 B.C.E. • Painted silk banner over six feet long draped over the innermost of four nesting coffins • Han Dynasty (China’s second imperial dynasty)- started the Silk Road • Three elite tombs, discovered in1972: Marquis of Dai (high- ranking official civil servant), Lady Dai, and their son • Maruis’ tomb was not in good condition when discovered, however, the son’s and wife’s tombs were of extraordinary quality and very well preserved • May be name banners used to identify the dead during the mourning ceremonies, or burial shrouds intended to aid the soul in its passage to the afterlife • Early example of pictorial art in China • Banner features the earliest known portrait in Chinese painting • Summary Link • Excavation Link • Han Dynasty Link Terra Cotta Warriors from Mausoleum of the First Qin Emperor of China. Qin Dynasty. C. 221-209 B.C.E. • Painted terracotta • Immense burial mound • Discovered by farmers in 1974 (one of the 20th centuries greatest finds) • Balance of uniformity and individuality (distinct features) • Qin Shihuang (259-210 B.C.E.) conquered much in his life- also wanted to conquer death • In order to achieve immortality, he built himself a tomb- a vast underground city guarded by a life-size terracotta army including warriors, infantrymen, horses, chariots, and all their attendant armor and weaponry • After burial and sealing up of the treasures, the middle gate was shut and the outer gate closed to imprison all the artisans and laborers, so that no one came out • Strangely high levels of mercury • Summary Link • Video Link Terra Cotta Warriors from Mausoleum of the First Qin Emperor of China. Qin Dynasty. C. 221-209 B.C.E. • Painted terracotta • One of the most remarkable and mysterious discoveries from the ancient world • Sprawling citadel complete with gardens, stables, bronze ritual vessels, jade jewelry, and a wealth of gold and silver ornaments • The First Emperor (took throne at age of 13-ordered tomb construction almost immediately) introduced the standardization of currency, writing, and measurements. Connected cities and states with advanced systems of roads and canals. Credited with continuing the construction of the Great Wall • Mausoleum attended by an army including over 7,000 life- size horses, chariots, and weaponry for protection in the afterlife • Official Website Link Gold and Jade Crown. Three Kingdoms Period, Silla Kingdom, Korea. 5th-6th Century C.E. • Indicated wealth of Silla rulers • Gold cut from sheet gold and embossed, jade • Stylized tree and antler forms- symbolize life and supernatural power • From the late 4th through the early 6th century, Silla royalty and elites were interred in aboveground wooden chambers covered with impenetrable mounds made of layers of stone and earth • Shaped our understanding of Silla culture of this period • Illustrate Silla’s complicated ties to the nomadic- pastoralist traditions of Eurasia • Great Tomb of Hwangnam contained a double burial of a king and his queen together with all the essentials and luxuries needed for their immortal life • Summary Link Fan Kuan, Travelers Among Mountains and Streams. Northern Song Period. 1000 C.E. • Ink and colors on a silk scroll (7 feet long) • Song dynasty- most technologically advanced society • Influential landscape painting • After the long period of political disunity (the Five Dynasties period) Artist Fan Kuan lived as a Daoist recluse (believed nature was the best teacher) • Vertical landscape- overwhelming natural forms dwarf human and animal figures • Very little known about Fan Kuan- this may be the only surviving work from Kuan • China’s natural landscape has played an important role in the shaping of the Chinese mind and character • Mountains viewed as sacred and as the adobe of immortals • Summary Link • Google Earth Project • Song Dynasty Link • Chinese Landscape Painting Link Chapter 8 Shrines, Statues, and Scrolls The Art of Early Japan • Buddhism arrived in Japan in the 6th century via the Silk Route through Central Asia, China, and Korea • Buddhism quickly became associated with the Imperial court who members became the patrons of early Buddhist art and architecture • Connection between sacred and secular power defined Japan’s ruling elite for centuries to come • In 741, Empress Komyo encouraged Emperor Shomu to order temples, monasteries, and convents to be built throughout Japan’s 66 provinces Todai- Ji. Nara, Japan. Various artists, including sculptors Unkei and Keikei, as well as the Kei School. 743 C.E. Rebuilt c. 1700 • Wood with ceramic roofing • Housed a 53 foot bronze image of the Cosmic Buddha • Original building destroyed- rebuilt (smaller) in 1700 • Imperial court sponsored the construction- unify and strengthen country by encouraging common religion • National system of monasteries, known as the Kokubun-ji, under the jurisdiction of the new imperial Todai-ji (“Great Eastern Temple”) built in the capital of Nara • Largest wooden building in the world • When it was rebuilt in the 12th century it brought in a new era of Shoguns and helped to found Japan’s most celebrated school of sculpture • Video Link • Summary Link Todai- Ji- Great Buddha. Nara, Japan. Various artists, including sculptors Unkei and Keikei, as well as the Kei School. 743 C.E. Rebuilt c. 1700 • Bronze and wood • Main hall called the Daibutsuden (Great Buddha Hall), measured 50 meters by 86 meters and supported by 84 massive cypress pillars • Huge bronze Buddha figure (the Daibutsu) was created between 743 and 752 • Two nine-story pagodas, a lecture hall, and quarters for the monks were added to the complex • Statue commissioned by Emperor Shomu in 743 • Required all the available copper in Japan and workers used an estimated 163,000 cubit feet of charcoal to produce the metal alloy and form the bronze figure • Completed in 749- snail-curl hair (one of the 32 signs of the Buddha’s divinity) took additional two years • Video Link Todai- Ji. Nio Guardian Statue. Nara, Japan. Various artists, including sculptors Unkei and Keikei, as well as the Kei School. 743 C.E. Rebuilt c. 1700 • Cypress wood- 8 meters tall • Genpei Civil War (1180-85) saw countless temples destroyed as Buddhist clergy took sides in clan warfare • Japan’s principal temple Todai-ji sided with the eventually victorious Minamoto clan but was burned by the soon-to-be defeated Taira clan in 1180 • Destruction of Todai-ji shocked Japan- reconstruction was one of the first projects undertaken by Minamoto Yoritomor • Aristocracy and the warrior elite contributed funds and the Buddhist priest Shunjobo Chogen placed in charge of reconstruction Todai- Ji- Nio Guardian Statue. Nara, Japan. Various artists, including sculptors Unkei and Keikei, as well as the Kei School. 743 C.E. Rebuilt c. 1700 • Cypress wood- 8 meters tall • Unkei is considered the leading figure of the Kei school • After Todai-ji’s destruction in 1180, the monk Chogen supervised and solicited aid from all over Western Japan • Builders had to travel hundreds of kilometers to find suitable wood- whole forests were cleared to find tall cypresses for pillars • Reconstructed main hall was only half the size of the original and its pagodas several stories shorter • The scarcity of quality local wood was a major factor in the design and evolution of architecture in Japan- led to innovations that allowed carpenters to work with less straight-grained woods like red pine and zelkova Todai- Ji- Great South Gate. Nara, Japan. Various artists, including sculptors Unkei and Keikei, as well as the Kei School. 743 C.E. Rebuilt c. 1700 • Wood with ceramic roofing • Chogen’s experience of Song Dynasty Buddhist architecture inspired the rebuilding of the temples of Nara in what became known as the “Great Buddha” or the “Indian” style • Great South Gate, Nandaimon, dates to 1199 • Elaborate bracketing system supports the two-tiered roof • Holds the two massive wooden sculptures of Guardian Kings by masters of the Kei School of Sculpture (noted for its austere realism and the dynamic, muscularity of its figures, reflects the Buddhism and warrior-centered culture of the Kamakura era) Night Attack on the Sanjo Palace, Kamakura Period, Japan. c. 1250-1300 C.E. • Handscroll (ink and color on paper) • Turbulent narrative handscroll painting (emaki) • Illustrates some of the battles of the Japanese civil wars • Illustrated Scrolls of the Events of the Heiji Era • 13th century portrayal of a notorious incident from a century earlier • Swift brushstrokes, vivid flashes of color • Play with movement and composition • Unrolled to read story right to left • Example of the action-packed otoko-e “men’s paintings” created in the Kamakura period • Attention to detail is so exact that historians consider it a uniquely valuable reference for this period- individualized by gesture and facial expression from horror to morbid humor, robes, armor, and weaponry easily identifiable according to rank, design, and type • Summary Link Night Attack on the Sanjo Palace- Detail, Kamakura Period, Japan. c. 1250-1300 C.E. • Handscroll (ink and color on paper) • Appalling incident at Sanjo Palace depicted on the scroll was but one chapter in the vicious Heiji Insurrection of 1159-60 • Short war, with two other famous conflicts before and after, punctuated a brutal epoch that came to a close in 1192 with the establishment of the Kamakura shogunate Chapter 25 Sultans, Kings, Emperors, & Colonists

• Islamic rulers gradually transformed Indian society, religion, and art Bichitr, Jahangin Preferring a Sufi Shaikh to Kings, 1620 C.E. • Watercolor, gold, and ink on paper • Was employed in the imperial workshop- Bichitr’s self-portrait in the lower left corner • Establishment of the East Indian Company in 1600- British ambassadors and merchants • “Light of the Faith” • Spatial/social hierarchy (Bichitr, King James I of England, Turkish sultan, Muslim Sufi) • Miniature painting- flames of gold radiate from the Emperor’s head against a background of a larger, darker, gold disc • Slim crescent moon hugs most of the disc’s border, creating a harmonious fusion between the sun and the moon and symbolizing the ruler’s emperorship and divine truth • Jahangir favored the spiritual over the worldly- hands a book to a Sufi shaykh (religious scholar) • Summary Link Supervised by Ustad Ahmad Lahori, Taj Mahal. Agra,Uttar Pradesh, India. 1632- 1653 C.E. • Masons, marble workers, mosaicists, and decorators • Stone masonry and marble with inlay of precious and semiprecious stones, gardens • Rectangular complex run roughly 1860 feet on the north-south axis, and 1000 feet on the east-west axis • Shan Jahan was the fifth ruler of the Mughal dynasty. During his third regnal year, his favorite wife, known as Mumtaz Mahal, died due to complications arising from the birth of their fourteenth child. Deeply saddened, the emperor start planning construction of a suitable, permanent resting place for his beloved wife almost immediately- resulted in the Luminous Tomb (now called the Taj Mahal) • Dome on cube shape (dome shaped like a crown= taj) • Exceptional for its monumental scale, stunning gardens, lavish ornamentation, and use of white marble • Flanked on either side by identical buildings in red sandstone (one is a mosque, function of the other unknown) • Summary Link Supervised by Ustad Ahmad Lahori, Taj Mahal. Agra, Uttar Pradesh, India. 1632- 1653 C.E. • Interior floor plan of the Taj exhibits the hasht bishisht (eight levels) principle, alluding to the eight levels of paradise • Eight halls and side rooms connected to the main space in a cross-axial plan • Center of the main chamber holds Mumtaz Mahal’s intricately decorated marble cenotaph (empty tomb/memorial) on a raised platform • The emperor’s cenotaph was laid down beside hers after he died three decades later • The coffins bearing their remains lie in the spaces directly beneath the cenotaphs • Taj Mahal Website Link Chapter 26 From the Mongols to the Modern The Art of Later China & Korea Forbidden City. Beijing, China. Ming Dynasty. 15th Century C.E. and later • Stone masonry, marble, brick, wood, and ceramic tile • Three nestled walled cities • Very restricted (micro-city in its own right) • Large precinct of red walls and yellow glazed roof tiles located in the heart of China’s capital, Beijing • Measures 961 meters in length and 75 meters in width- more than 90 palace compounds including 98 buildings and surrounded by a moat as wide as 52 meters • Was the political and ritual center of China for over 500 years • Completed in 1420, home to 24 emperors, their families and servants during the Ming (1368-1644) and the Qing (1644- 1911) dynasties • The last occupant, last emperor of imperial China, Puyi (1906- 67), was expelled in 1925 when the precint was transformed into the Palace Museum • Summary Link • Video Link • Palace Museum Link Forbidden City- Front Gate (Meridian Gate). Beijing, China. Ming Dynasty. 15th Century C.E. and later • No longer an imperial precinct, remains one of the most important cultural heritage sites and the most visited museum in the People’s Republic of China, with an average of eighty thousand visitors every day • Zhu Di, the fourth son of Ming dynasty’s founder Zhu Yuanzhang, became Chengzu emperor after a scandalous coup- moved the capital city in order to solidify his power and began building a newheart of the empire, the Forbidden City • Qing dynasty established in 1644 and the Manch imperial family continued to live and rule at the Forbidden city • Upon passing the Meridian Gate, one immediately enters an immense courtyard paved with white marble stones in front of the Hall of Supreme Harmony (Taihedian). Since the Ming dynasty, officials gathered in front of the Meridian Gate before 3 a.m., waiting for the emperor’s reception to start at 5 a.m. Forbidden City- Hall of Supreme Harmony. Beijing, China. Ming Dynasty. 15th Century C.E. and later • Largest hall within the Forbidden City • Located at the central axis, behind the Gate of Supreme Harmony • One of the largest structures within China • Location where the emperors of the Ming and Qing dynasties hosted their enthronement and wedding ceremonies • Together with the Hall of Central Harmony and Hall of Preserving Harmony, the three halls constitute the heart of the Outer Court of the Forbidden City Forbidden City- The Palace of Tranquility and Longevity. Beijing, China. Ming Dynasty. 15th Century C.E. and later. • Emperor’s residence known as the Palace of Heavenly Purity is located to the south while the empress’s residence, the Palace of Earthly Tranquility, is to the north • Palace compounds reserved for the retired emperor and empress dowager • Structures for the imperial family’s religious activities in the east and west sides of the inner court, such as Buddhist and Daoist temples built during the Ming dynasty • The Manchus added spaces for their own shamanic beliefs Forbidden City- Plan. Beijing, China. Ming Dynasty. 15th Century C.E. and later. • Ceremonial, ritual, and living space- architects designing the layout followed the ideal cosmic order in Confucian ideology • Layout ensured that all activities within this micro-city were conducted in the manner appropriate to the participants’ social and familial roles • The court determined the occupants of the Forbidden City strictly according to their positions in the imperial family • Architectural style also reflects a sense of hierarchy • Each structure designed in accordance with the Treatise on Architectural Methods or State Building Standards (Yingzao fashi), an eleventh-century manual that specified particular designs for buildings of different ranks in Chinese social structure • Public and domestic spheres are clearly divided in the Forbidden City The David Vases, Yuan Dynasty, China. 1351 C.E. • White porcelain with cobalt-blue underglaze • Dragon/pheonix= emperor and empress (Yang/yin) • These vases are among the most important examples of blue- and-white porcelain in existence, and are probably the best- known porcelain vases in the world • Were made for the altar of a Daoist temple and their importance lies in the dated inscriptions on one side of their necks, above the bands of dragons • The long dedication is the earliest known on Chinese blue-and- white wares • Inscription states that a man named Zhang Wenjin dedicated these vases to a Daoist temple in Xingyuan in 1351 • Were owned by Sir Percival David (1892-1964) who built the most important private collection of Chinese ceramics in the world • Summary Link • Video Link • BBC Link Portrait of Sin Sukju (1417- 1475), Imperial Bureau of Painting, 15th Century C.E. • Hanging scroll (ink and color on silk) • Joseon dynasty (1392-1910) Korea • Depicts Sin Sukju (1417-75) as an official honored for his distinguished service at court and loyaltyto the king during a tumultuous time • Artists employed by the Royal Bureau of Painting (a government agency staffed with artists) created portraits of official awarded this honorary title “meritorious subject” while still adhering to pictorial conventions • Images of birds on rank badges precisely identify rank of the wearer • Stylized conventions with individualized faces (Korean belief that the face could reveal important clues about the subject) • Summary Link • Korean Renaissance (1400-1600) Link Chairman Mao en Route to Anyuan, Artist Unknown. Based on an oil painting by Liu Chunhua. 1969 C.E. • Color Lithograph (original is an oil on canvas) • Shows a young Mao Zedong (Chinese Communist revolutionary, founding father of the People’s Republic of China, leader of China from 1949-76) • Uses socialist realism to portray Chairman Mao as a revolutionary leader committed to championing the common people (Mao was in his seventies when Liu Chunhua painted this) • During the Cultural Revolution (1966-76), artists focused on creating portraits of Mao representing his efforts to regain his hold after political struggles within the party • Modeled after works in the Soviet Union- notably departed from Chinese hanging scrolls in ink and paper • Mao was instrumental in organizing a nonviolent strike of thirteen thousand mines and railway workers in Anyuan- defining moment for the Chinese Communist Party • Example of Chinese Communist Party propaganda- reproduced over nine hundred million times and distributed widely in print, sculpture, and other media • Summary Link • British Library Propaganda Video Link Chapter 27 From the Shoguns to the Present The Art of Later Japan • Developed a rich variety and unique identity in their art • Beginning in 1640, Japan was largely closed off to the world and only limited interaction with China and Holland was allowed • This changed in the 1850s when trade was forced open by American naval commodore, Matthew C. Perry- after this, there was a flood of Japanese visual culture into the West • At the 1867 International Exposition in Paris, Hokusai’s work was on view at the Japanese pavilion- was the first introduction of Japanese culture to mass audiences in the West- craze for collecting art called Japonisme ensued (flattening of space, interest in atmospheric conditions) Ryoan- Ji- Wet Garden. Kyoto, Japan. Muromachi Period. 1480 C.E. • Rock garden • Ryoanji (Peaceful Dragon Temple) • Located in north Kyoto, Japan and affiliated with a branch of Zen Buddhism (self-introspection and personal experience in daily life) • Ryoanji thrived as a great Zen center for the cultural activities of the elite from the late 16th through the first half of the 17th century under the patronage of the Hosokawa family • Regarded as an expression of Zen art and a symbol of Zen Buddhism and Japanese culture • After passing through the main gate, visitors encounter the Mirror Pond on the left • Walking along the pilgrim’s path and entering the second gate, visitors arrive at the main building of the monastery, the hojo (abbot’s residence) • Summary Link Ryoan- Ji- Dry Garden. Kyoto, Japan. Muromachi Period. 1480 C.E • Rock garden • Located at the front of the hojo and is viewed either from the wooden veranda embracing the building or from inside the room • One of the most famous examples of a rock garden- a form which developed during the Moromachi period (1392-1573) • Rocks gardens created on the grounds of temples for encouraging contemplation • Raked white gravel with a minimal use of plant • 15 rocks of different sizes carefully arranged in groups amidst the raked pebbles covering a 250 square-meter rectangle of ground Ryoan- Ji- Plan. Kyoto, Japan. Muromachi Period. 1480 C.E • May have been inspired by aspects of both Japanese and Chinese culture including Shinto (worship of deities in nature), Zen Buddhism (emphasizing meditation as a path toward enlightenment) • Aesthetic values of rustic simplicity, spontaneity, and truth to materials that came to characterize Zen art • Official Ryoanji Website Link Katsushika Hokusai, Under the Waves off Kanagawa (Kanagawa oki nami ura- also known as the Great Wave), from the 36 Views of Mount Fuji, 1830-1833 C.E. • Polychrome woodblock print; ink and color on paper (10” x 15”) • Wave’s threatening aspect • Flat and graphic forms • Series of 36 views of Mount Fuji (highest mountain in Japan) • Most iconic work of Japanese art • Initially thousands of copies of this print were quickyl produced and sold cheaply despite the fact that it was created at a time when Japanese trade was heavily restricted • Influence of Dutch art/trade (interest of linear perspective, low horizon line, and distinctive European color, Prussian blue), proved to be inspirational for many artists working in Europe later in the nineteenth century • All of the images feature a glimpse of Mount Fuji • Ukiyo-e (floating world) is the name for Japanese woodblock prints made during the Edo Period • Summary Link • Ukiyo-e Woodblock Print Link Ogata Korin, White and Red Plum Blossoms, c. 1710- 1716 C.E. • Ink, watercolor, and gold leaf on paper (67” high) • 18th century- pair of two-fold screens • National Treasure in Japan • Two sections would have been positioned separately yet near enough to each other to define an enclosed space in the traditional Japanese interior • Combination of pure design and intimate naturalism • Impacted modernism in the West, most famously in the work of Gustav Klimt • Korin squandered his family’s enormous wealth • His numerous works include many media, formats, and subjects • Initially inspired by Japanese classic literature, the Rinpa movement’s attention soon extended to themes from nature, including Chinese motifs that may have influenced the choice of plum trees for this painting • Summary Link • Rinpa Painting Style Link • Essay Link