Schmucker Art Catalogs Schmucker Art Gallery Winter 2018 Flora and Fauna in East Asian Art Samantha B. Frisoli Gettysburg College Daniella M. Snyder Gettysburg College Gabriella A. Bucci Gettysburg College Melissa R. Casale Gettysburg College Keira B. Koch Gettysburg College See next page for additional authors Follow this and additional works at: https://cupola.gettysburg.edu/artcatalogs Part of the Asian Art and Architecture Commons, Ceramic Arts Commons, Glass Arts Commons, Painting Commons, and the Printmaking Commons Share feedback about the accessibility of this item. Recommended Citation Frisoli, Samantha B.; Snyder, Daniella M.; Bucci, Gabriella A.; Casale, Melissa R.; Koch, Keira B.; and Deschapelles, Paige L., "Flora and Fauna in East Asian Art" (2018). Schmucker Art Catalogs. 26. https://cupola.gettysburg.edu/artcatalogs/26 This open access art catalog is brought to you by The Cupola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The Cupola. For more information, please contact [email protected]. Flora and Fauna in East Asian Art Description Flora and Fauna in East Asian Art is the fourth annual exhibition curated by students enrolled in the Art History Methods course. This exhibition highlights the academic achievements of six student curators: Samantha Frisoli ’18, Daniella Snyder ’18, Gabriella Bucci ’19, Melissa Casale ’19, Keira Koch ’19, and Paige Deschapelles ’20. The selection of artworks in this exhibition considers how East Asian artists portrayed similar subjects of flora and fauna in different media including painting, prints, embroidery, jade, and porcelain. This exhibition intends to reveal the hidden meanings behind various representations of flora and fauna in East Asian art by examining the iconography, cultural context, aesthetic and function of each object. Keywords flora, fauna, Asia, painting, prints, embroidery, jade, porcelain, literature, China Disciplines Art and Design | Asian Art and Architecture | Ceramic Arts | Glass Arts | Painting | Printmaking Publisher Schmucker Art Gallery, Gettysburg College Comments Flora and Fauna in East Asian Art was on exhibition at the Schmucker Art Gallery at Gettysburg College January 26th - March 9th, 2018. Authors Samantha B. Frisoli, Daniella M. Snyder, Gabriella A. Bucci, Melissa R. Casale, Keira B. Koch, and Paige L. Deschapelles This art catalog is available at The Cupola: Scholarship at Gettysburg College: https://cupola.gettysburg.edu/ artcatalogs/26 FLORA AND FAUNA IN EAST ASIAN ART FLORA AND FAUNA IN EAST ASIAN ART CURATED BY SAMANTHA FRISOLI ’18 DANIELLA SNYDER ’18 GABRIELLA BUCCI ’19 MELISSA CASALE ’19 KEIRA KOCH ’19 AND PAIGE DESCHAPELLES ’20 UNDER THE DIRECTION OF PROFESSOR YAN SUN, PH.D. 2 3 The main motifs on the Pheasant Vase are two to the increasing demand for East Asian art among pheasants, symbols of a civil officer of the second Western consumers. The lotus flower and vines on INTRODUCTION rank during the Qing dynasty China. This vase was the Imperial Yellow Export Cloisonne and the myriad most likely a gift to a civil officer who achieved flora motifs of four seasons on theFamille Rose such rank, and the other decoration on the vase Export Bowl, for example, were intended to appeal represents the qualities that are valued of and to Western viewers and aesthetics. The original sym- associated with this rank. For instance, the peonies bolic meaning of these plants, however, is completely are tokens of wealth and rank, the rock represents lost in translation. reliability, the bats convey happiness, the crab apples The symbolism of flora and fauna in East Asian suggest wealth being bestowed on a family, and the art depends on the status and taste of the intended clouds evoke high status. viewer and evolves over historical periods. The mean- The extension of the symbolic meaning of the ings of the paintings Heron and Chrysanthemum flora and fauna to a desirable human quality is also must be understood in relation to Japanese culture manifested in the woodblock reproduction of a during the Muromachi and Edo periods, respectively. painting depicting a heron in a natural habitat. The In the early twentieth century, however, the repro- original painting of Heron was created by Japanese duction of these paintings as wood block prints ex- lora and Fauna in East Asian Art is the fourth an- seventh-century Chinese poetry. All three motifs artist Kano Gyokuraku who was active in the late emplify yamato-e or Japanese art; brief introductions nual exhibition curated by students enrolled in allude to the way in which literature inspired the sixteenth-century Muromachi period in Japan. Depic- in English about the artist and the work accompany Fthe Art History Methods course. This exhibition symbolic meaning behind flora and fauna imagery. tions of birds and flowers in the Chinese Song style each print for the presentation to Western audienc- highlights the academic achievements of six student The Orchid Pavilion Gathering Embroidery, cre- were embraced by military elites from the Hōjō clan, es. Flora and fauna in these prints are intentionally curators: Samantha Frisoli ’18, Daniella Snyder ’18, ated in the late Qing dynasty at the turn of twentieth the primary patron of Gyokuraku. Because heron and carefully selected as a cultural export. Gabriella Bucci ’19, Melissa Casale ’19, Keira Koch ’19, century, is a visual tribute to one of the most famous symbolize strength and longevity, martial patrons uti- In researching the artworks for this exhibition, and Paige Deschapelles ’20. The selection of art- literary works in Chinese history, Preface to the lized this motif to display the power and endurance we studied and applied a wide range of art his- works in this exhibition considers how East Asian Gathering at the Orchid Pavilion, written by Wang of their rule. torical methods, including visual analysis, material artists portrayed similar subjects of flora and fauna in Xizhi in 353 CE. The manuscript celebrates a tranquil Plants have long been used to convey human and technical study, connoisseurship, iconography different media including painting, prints, embroi- scene of scholars composing poetry along the banks emotions in Japanese art as exemplified by theTale and contextual studies. The essays are the fruits of dery, jade, and porcelain. This exhibition intends to of a river surrounded by bamboo grooves and forest. of Genji scroll created in the twelfth century. This mentorship harvested from the immense support and reveal the hidden meanings behind various represen- In the embroidery, scholars are enshrouded by tradition carried on into the late nineteenth and early generosity of faculty and staff members at Gettys- tations of flora and fauna in East Asian art by exam- bamboo, pine, and plum trees, which are considered twentieth centuries when the lacquer inro case was burg College. We owe sincere thanks to Shannon ining the iconography, cultural context, aesthetic and as “the three friends of winter” and represent the made. On the dark black surface of the inro, morning Egan, the Director of Schmucker Art Gallery, Carolyn function of each object. haven of scholars and ideal qualities of strength and glory flowers are rendered in gold and mother- Sautter, Catherine Perry, and Sydney Gush ’17 at Literature is a quintessential inspiration for perseverance. of-pearl inlay. The short life of the flower’s bloom the Special Collections and College Archives of the representations of flora and fauna in traditional In the embroidery Birds Paying Homage to the traditionally conveys poetic and melancholy feeling, Musselman Library for their generous assistance and Chinese art. The concept of unifying literature Phoenix of the late nineteenth and early twentieth a symbol of the transience of life. Yet, despite their insightful suggestions during the preparation of the and art in China privileges scholarship over crafts- centuries, poetry plays an integral part of the compo- pending withering, the morning glory on the inro is in exhibition and catalogue. We thank Meggan Smith manship. Butterflies among Wildflowers, painted sition and enriches the symbolic meaning of flora and full bloom, a display of exuberant but momentary life. for her informative class on navigating the library in the style of the eleventh-century northern Song fauna. The silk embroidery depicts five types of birds In East Asian art flora and fauna signify both search engine, and Robin Wagner, Dean of the Mus- academy, exemplifies the perfect marriage of art and as they live harmoniously amongst each other in a knowledge and the glorious past of civilization. selman Library, for her encouragement and tireless literature. The painting illustrates a scene of butter- scenic presentation filled with plants indigenous to Ancestral Altar Hu in spinach colored jade of 1500 promotion for art on campus. Their patience, enthusi- flies hovering over a bed of wildflowers and captures China and natural elements symbolizing well wishes CE in China reflects an appreciation for history asm, and support demonstrate the valuable academic not only the reality of nature, but also the intangible for a newly married couple. The birds, presented in through the reinterpretation of antique dragon and experience we have enjoyed at Gettysburg College. spirit of the poetic lines written by emperor Hui Zong pairs, serve as a metaphor for Confucian doctrines animal face taotie motifs of the Shang dynasty (c. Last but not the least, we owe special thanks to the (1082-1135), the founder of the painting academy. and a harmonious society. 1500-1046 BCE). These cultural icons are enshrined following individuals who generously provided their When viewers gaze upon the peaceful scene, they Flora and fauna are often linked to inherent and by Chinese descendants in the Ming dynasty (1368- expertise on the artwork, Yirui Jia, Nami Omoto, Lu are infused with poetic and emotional ideas that tran- covetable human qualities in East Asian art. For ex- 1644 CE) as the embodiment of ancestral spirits Sun and Dr.