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La Pintura En Asia: Apuntes Para Una Historia La pintura en Asia: Apuntes para una Historia Dr. Fernando E. Rodríguez-Miaja “Divulguemos la Historia para mejorar la sociedad” La pintura en Asia: Apuntes para una historia Coordinación editorial: José Luis Chong © 2007, Palabra de Clío, A. C. Insurgentes Sur # 1814-101. Colonia Florida. C.P. 01030 Mexico, D.F. Diseño de portada y maquetación: Patricia Pérez Ramírez Foto de portada: Ch´en Jung o Chen Rong (Dinastía Song del Sur), Rollo de los nueve dragones (detalle), firmado y fechado, 1244, tinta y color rojo sobre papel (rollo completo: 46.3 X 1,096.4 cm), Museo de Bellas Artes de Boston, Estados Unidos. Imagen del dominio público en todo el mundo, debido a que el autor tiene más de 100 años de haber fallecido. Fuente: https://commons.wikimedia.org/wiki/File:Chen_Rong_-_Nine_Dragons.jpg Cuidado de la edición: Víctor Cuchí Espada Primera edición: mayo de 2019 ISBN: 978-607-98296-6-7 Impreso en Impresora litográfica Heva, S. A. Todos los derechos reservados. Esta publicación no puede ser reproducida, ni en todo ni en parte, ni registrada en o transmitida por un sistema de recuperaciónde informa ción en ninguna forma ni por ningún medio, sea mecánico, fotomecánico, electrónico, magnético, electroóptico, por fotocopia o cualquier otro, sin el permiso por escri to de la editorial. www.palabradeclio.com.mx Impreso en México - Printed in Mexico ÍNDICE Agradecimientos ........................................... 7 Presentación .............................................. 9 Introducción .............................................. 17 CAPÍTULO I LA PINTURA EN CHINA, COREA Y JAPÓN (960-1392 EC) ............................................ 23 Apuntes para una historia de la pintura en Asia: China, Corea y Japón (960-1392 EC) ........................ 25 Apéndice 1: Selección de imágenes ........................ 75 Apéndice 2: Fuentes de imágenes ......................... 84 Apéndice 3: Nómina de artistas principales . 88 Apéndice 4: Relación de obras relevantes ................... 92 Apéndice 5: Museos y colecciones privadas con obras de Arte Oriental .................... 100 Apéndice 6: Consideraciones tomadas de tratados sobre estética oriental . 105 Apéndice 7: Consideraciones sobre pronunciación fonética y transcripciones ..................... 111 Apéndice 8: Breve selección de poesía ..................... 113 Apéndice 9: Referencias bibliográficas ..................... 120 CAPÍTULO II LA PINTURA EN EL SURESTE ASIÁTICO ................... 137 Apuntes para una historia de la pintura en el Sureste Asiático ............................. 139 Apéndice 1: Selección de imágenes ........................ 148 Apéndice 2: Fuentes de imágenes ......................... 153 Apéndice 3: Referencias bibliográficas ..................... 155 CAPÍTULO III INDIA Y EL SUBCONTINENTE COMO CUNA, PUENTE Y ENTRAMADO EN EL ARTE PICTÓRICO .......... 165 India y el subcontinente como cuna, puente y entramado en el arte pictórico ....................... 167 Apéndice 1: Selección de imágenes ........................ 179 Apéndice 2: Fuentes de imágenes ......................... 194 Apéndice 3: Referencias bibliográficas ..................... 202 CAPÍTULO IV LA ICONOGRAFÍA FIGURATIVA EN EL MEDIO ORIENTE ................................. 233 Apuntes para una historia de la pintura: la iconografía figurativa en el Medio Oriente . 235 Apéndice 1: Selección de imágenes ........................ 243 Apéndice 2: Fuentes de imágenes ......................... 255 Apéndice 3: Referencias bibliográficas ..................... 265 Para Yoloxochitl. Este libro está dedicado a todos aquellos que de cualquier forma condujeron al autor por el camino de la Historia del Arte. AGRADECIMIENTOS En primer lugar, el autor desea expresar su profundo agradecimiento al doctor José Luis Chong, por su admirable visión en fomentar la divulgación de la cultura en México, de manera altruista. Su apoyo resultó decisivo e invaluable para la publicación de este libro. Además, son dignas de agradecer las enseñanzas de todos los coordi- nadores, conferencistas, maestros y organizadores del “Seminario de Estu- dios sobre Asia”, en la versión que el entonces Seminario de Estudios sobre Asia de la Universidad Nacional Autónoma de México ofreció en 2017, que permitieron al autor adentrarse en el fascinante tema de los estudios asiá- ticos, ofreciéndole la posibilidad de reflexionar e investigar sobre el arte en el mundo oriental. Asimismo, el autor agradece a los especialistas que revisaron el texto y que generosamente ofrecieron sus opiniones para lograr que este libro fuera digno de la atención del público. Es preciso reconocer públicamente el apoyo del doctor Yogendra Shar- ma, quien condujo al autor por diversos caminos para un mejor conocimien- to de temas relativos a la indología. Es digno de recordar a quienes abrieron esta senda (incluyendo el estudio de la lengua sánscrita), como el doctor Juan Miguel de Mora (Q.E.P.D.), la doctora Wendy Phillips Rodríguez, el doctor Sergio Armando Rentería Alejandre y tantos otros más. También es necesaria una mención de gratitud para el licenciado Enrique Vera Morales, encargado de publicaciones en la Facultad de Cien- cias Políticas y Sociales de la citada Universidad, por sus enseñanzas en el mundo editorial. Esta lista no puede ser exhaustiva, pues hay un sinnúmero de compa- ñe ros y amigos —que por quedar aquí en el anonimato no son menos 7 LA PINTURA EN ASIA: APUNTES PARA UNA HISTORIA dignos de gratitud—, con los que el autor recorrió muchas sendas, algunas pertenecientes a la Historia del Arte, otras a la lingüística y traducción o simple mente para el mero disfrute turístico y cultural. Gracias a todos ellos, en general, por su invaluable contribución y apoyo. 8 PRESENTACIÓN Na hi jñānena sadṛiśhaṁ pavitramiha vidyate… (No hay nada tan sagrado como el conocimiento…) Bhagvad Gitā, capítulo 4, verso 38 Me es sumamente grato presentar el libro La pintura en Asia: Apuntes para una Historia, escrito por Fernando E. Rodríguez-Miaja, con quien he com- partido varios proyectos académicos-culturales-artísticos en último par de años. Quisiera empezar con mis felicitaciones a Fernando por este ambicioso y audaz proyecto, acompañado por una profunda y exhaustiva inves tigación que requiere una hazaña de este tamaño. Aunque lo reitera el autor varias veces en el libro que éste es un ofrecimiento preliminar y básico a los lec- tores quienes se interesan por el arte del continente asiático, sin embargo, me es menester ofrecerle mis agradecimiento personales también, porque a lo largo de estancia en México de casi dos décadas he perci bi do necesidad y mucho interés de parte de los hispanoparlantes —que incluye a la gente en general y en particular a los alumnos y el ámbito de las instituciones académicas y culturales— donde he impartido clases, cursos, conferencias y ponencias —como la Universidad Nacional Autónoma de México, El Colegio de México, Universidad Iberoamericana, El Instituto Tecnológico de Monterrey, Gurudev Tagore Indian Cultural Center, etcétera—, hacia este mundo geográfica y lingüisticamente lejano y uno de los aspectos más desesperantes y decepcionantes es que no exista un acercamiento directo sino, en mayoría de las veces, a través de otros idiomas o en mejor de los 9 LA PINTURA EN ASIA: APUNTES PARA UNA HISTORIA casos mediante las traducciones con excepción de labor valiosa de algunos académicos y autores de ya mencionadas instituciones, cuya aportación al ambiente de conocimiento es evidentemente grandiosa. Puesto que el título del libro contiene dos palabras claves —Asia y pin tura— me gustaría aclarar y elaborar algunos puntos imprescindible- mente ligados a éstas. En estas páginas, para ampliar mi opinión voy a acudir más a los ejem- plos de Sur de Asia que a todo el continente asiático, más especificamen te todavía a la zona que es llamada India actualmente. La palabra que se usa para Arte en sánscrito es kalā cuyo primer uso tal vez se encuentra en el libro (o mejor dicho, “tratado sobre el conocimien- to”) Nātyasāstra de Bharata muni y después en Kāmasutra de Vātsyāyana. Al ver la lista de las actividades a las que se podría denominar como “arte” presentes en estos libros, se podría decir que la definición se acerca mucho más a la del mundo occidental grecorromano antiguo, donde el arte podía ser una habilidad del ser humano en cualquier terreno productivo. En este contexto, el arte es la ejecución de la habilidad para expresar estéticamente una idea o una emoción con propósitos u objetivos variables. La mencio na- da lista contiene más de sesenta “formas de arte” o habilidades, por ejemplo, desde danza, canto, etcétera, hasta el “arte” de jugar en el agua, juegos men- tales y magía. Y, los objetivos de los artistas pueden variar indivi dualmente, pero, hablando en términos muy generales, el arte ha funcionado como un retrato a veces fiel y otras veces imaginario de los aspectos culturales de di- ferentes sociedades y civilizaciones a lo largo de su historia. Por lo tanto, pode- mos decir que indagar en el arte de una cultura es aprender sobre su historia también. Por ejemplo, solo mencionar la estatua de la Bailarina de Mohenjo- Daro (ca. 2,500 AEC), las murales en las cuevas de Ajanta (entre el siglo II AEC y el siglo VII EC), la obra del Ramayana escrita por Balmiki conside- rado como el primer poeta, la arquitectura hinduista del templo Padmana- bhaswamy en Kerala e islámica del Taj Mahal, Abhijñamsakuntalam (teatro) y Kumarasambhava (poesía) escritos por Kalidasa y otros, hacen que nues- tra imaginación recorra a estos lugares,
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