Chapter 3.3 Gateways to Art: Understanding the Visual Arts By
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Transcript Chapter 3.3 Gateways to Art: Understanding the Visual Arts By
PART 3
HISTORY AND CONTEXT
Chapter 3.3
Art of India, China, and Japan
Copyright © 2011 Thames & Hudson
3.56 Map of Asia: India, China, and Japan
Chapter 3.3 Art of India, China, and Japan
PART 3
HISTORY AND CONTEXT
Introduction
India, China, and Japan are part of Asia
Philosophy and religious traditions
Religious pluralism and syncretic (blending two or more belief
systems)
Characteristics often in common:
• Meditation
• Respect for ancestors
• Harmony with nature
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 3.3 Art of India, China, and Japan
PART 3
HISTORY AND CONTEXT
Philosophical and Religious Traditions in Asia
Buddhism
Teachings of Buddha
Acceptance of difficulties
Desire to attain Enlightenment
Confucianism
Based on philosophy of Confucius
Self-discipline
Ancestral worship
Daoism (The Way)
Based on teachings of Lao Zi
Balance of opposites
Harmony with the universe
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Copyright © 2011 Thames & Hudson
Chapter 3.3 Art of India, China, and Japan
PART 3
HISTORY AND CONTEXT
Philosophical and Religious Traditions in Asia cont.
Hinduism
Reincarnation
Karma
Polytheistic
Islam
Belief in a single God (Allah)
Follow the teachings of the Koran
Shinto (Way of the Gods)
Belief in Kami (spirits in nature)
Ancestral worship
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Copyright © 2011 Thames & Hudson
Chapter 3.3 Art of India, China, and Japan
PART 3
HISTORY AND CONTEXT
India
Peninsula in southern Asia bordered on north by
Himalayas
One-third the size of the United States
Stylistic characteristics of art:
Very detailed and elaborate decoration
Emphasis on human body
• Often sensual
• Suggestive of fertility
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 3.3 Art of India, China, and Japan
PART 3
HISTORY AND CONTEXT
Buddhism in Indian Art
Buddha (The Enlightened One)
Born a prince in Nepal, India
At age 29 became an ascetic
His teachings were spread throughout India after his death
Buddha’s remains buried in eight stupas (burial mounds) marking
important locations in his life
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
3.57 Great Stupa, third century BCE, enlarged under the Sunga and Andhra Dynasties, c. 150–50 BCE, Sanchi, India
3.58 East gate of Great Stupa, Sanchi, India
3.59 Bodhisattva Padmapani, Cave 1,
Ajanta, India. Cave painting, second
half of 5th century
Chapter 3.3 Art of India, China, and Japan
PART 3
HISTORY AND CONTEXT
Hinduism in Indian Art
Hinduism is the third largest religion in the world, and the
majority of its followers are in India
Thousands of temples in India, built by centuries of rulers
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
3.60 Kandariya Mahadeva
temple, c. 1000, Khajuraho,
Madhya Pradesh, India
3.61 Detail of exterior sculpture,
Kandariya Mahadeva temple
Chapter 3.3 Art of India, China, and Japan
PART 3
HISTORY AND CONTEXT
Islam in Indian Art
Mughals took over India in mid-16th century, and ruled for
centuries
Commissioned new artworks
Persian artists
Indian artists
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
3.62 Bichitr, Jahangir Preferring a Sufi
Shaykh to Kings, from the St.
Petersburg album, Mughal Dynasty,
c. 1615–18. Opaque watercolor, gold,
and ink on paper, 18⅞ × 13”. Freer
Gallery of Art, Smithsonian Institution,
Washington, D.C.
3.63 Taj Mahal, 1631–48, Agra, India
Chapter 3.3 Art of India, China, and Japan
PART 3
HISTORY AND CONTEXT
To appreciate the astonishing achievement of the Taj Mahal
in more detail, watch:
“The Abode of Paradise”: The Taj Mahal
Click the image above to launch the video
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 3.3 Art of India, China, and Japan
PART 3
HISTORY AND CONTEXT
China
Yellow and Yangtze rivers
Same size as the United States
Stylistic characteristics of art:
Reveals respect for heritage and ancestral worship
Encourages an inspired meditative state
Generally uniform, symmetrical, and precise
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 3.3 Art of India, China, and Japan
PART 3
HISTORY AND CONTEXT
Chinese Scroll Painting
The Three Perfections:
Calligraphy
Painting
Poetry
Hanging or hand scrolls
Read from right to left
Should be experienced like a personal journey, not all at
once
Are often marked with signs of ownership or appreciation
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
3.64 Wang Meng, Ge Zhichuan Moving
His Dwelling, c.1360. Hanging scroll, ink
and color on paper, 54¾ × 22⅞”. Palace
Museum, Beijing, China
3.65 Zhang Zeduan, Along the River during the Qingming Festival, Northern Song Dynasty, 11th century. Handscroll, ink and color on
silk, 10” × 17’ 3”. Palace Museum, Beijing, China
3.66 Detail of Zhang Zeduan, Along
the River during the Qingming Festival
Chapter 3.3 Art of India, China, and Japan
PART 3
HISTORY AND CONTEXT
Death and the Afterlife
Ancestral worship
Fine objects buried with the dead
Chinese believed dead become supernatural beings
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
3.67 Ritual wine vessel (guang), late Shang dynasty, c. 1700–1050 BCE. Bronze, 6½ × 3¼ × 8½”. Brooklyn Museum, New York
3.68 Detail from painted banner from
tomb of Lady Dai Hou Fu-ren, Han
Dynasty, c. 168 BCE. Silk. Hunan
Museum, Changsha, China
Chapter 3.3 Art of India, China, and Japan
PART 3
HISTORY AND CONTEXT
Japan
Country made up of many small islands
About the same square-footage as California
Stylistic characteristics of art:
Reveals great reverence for nature
• Japan is vulnerable to tsunamis and earthquakes
• Kami – spirits present everywhere, including in nature
Often asymmetrical and organic
Contemplative to promote meditation
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
3.69 Sonoko Sasaki, Sea in
the Sky, 2007.Tsumugi-ito
silk thread and vegetable
dyes, 70⅞ × 51¼”.
Collection of the artist
3.70 Sonoko Sasaki at work
at her loom
Chapter 3.3 Art of India, China, and Japan
PART 3
HISTORY AND CONTEXT
The Japanese Tea Ceremony
Chanoyu (Way of the Tea)
Ritual can take several hours
To find peace, quiet conversation
Rooted in Zen Buddhism – working toward Enlightenment
Tea masters highly trained
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
3.71 Sen no Rikyu, Taian
teahouse, interior, c. 1582.
Myoki-an Temple, Kyoto, Japan
3.72 Hon’ami Koetsu, Teabowl (called Mount Fuji), Edo period, early 17 th century. Raku ware, 3⅜” high. Sakai Collection, Tokyo,
Japan
3.73 Hungry Tigress, panel from the
Tamamushi Shrine, Horyu-ji Temple,
Nara, Asuka period, c. 650. Lacquer on
wood, shrine 7’7¾” high. Horyu-Ji
Treasure House, Japan
3.74 Scene from the Tale of Genji. Heian period, first half of 12th century. Hand scroll, ink and color on paper, 8⅝ × 18⅞”. Tokugawa
Art Museum, Nagoya, Japan
Chapter 3.3 Art of India, China, and Japan
PART 3
HISTORY AND CONTEXT
Ukiyo-e
Japanese woodblock prints
Easily reproducible for the masses
Inexpensive
“Pictures of the floating world”
Capture moments in daily life
From Buddhist belief that life is fleeting
Scenes include geishas, actors, brothels, landscapes, and
different classes of women
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
3.75 Kitagawa Utamaro,
Two Courtesans, second
half of 18th century.
Woodblock print, 12⅝ ×
7½”. Victoria and Albert
Museum, London, England
3.76 Mary Cassatt, The Child’s Bath,
1893. Oil on canvas, 39½ × 26”. Art
Institute of Chicago
3.77 Katsushika Hokusai, “The Great Wave off Shore at Kanagawa”, from Thirty-Six Views of Mount Fuji, 1826–33 (printed later).
Print, color woodcut. Library of Congress, Washington, D.C.
3.78 Yin and yang symbol
Chapter 3.3 Art of India, China, and Japan
PART 3
HISTORY AND CONTEXT
Discussion question
1. In what ways are religion and philosophy reflected in
artworks from Asia? Cite examples from India, China,
and Japan.
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Copyright © 2011 Thames & Hudson
Chapter 3.3 Art of India, China, and Japan
PART 3
HISTORY AND CONTEXT
Discussion question
2. Humankind’s relationship with nature is a strong element
in many artworks from Asia. Consider the artist’s
interpretation of nature in three artworks introduced in
this chapter.
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Copyright © 2011 Thames & Hudson
Chapter 3.3 Art of India, China, and Japan
PART 3
HISTORY AND CONTEXT
Discussion question
3. Chinese scroll paintings are a unique kind of artwork.
Discuss the format of a scroll, how it is viewed, and the
skills needed by the artist. How do these characteristics of
scroll paintings differ from other kinds of painting you
have studied?
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Copyright © 2011 Thames & Hudson
Chapter 3.3 Art of India, China, and Japan
PART 3
HISTORY AND CONTEXT
Discussion question
4. Religious and political leaders often influence the kinds
and quantities of artworks made in a certain time or
culture. Cite two examples in which a ruler or leader
impacted the art of Asia. What role did he or she play?
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Copyright © 2011 Thames & Hudson
Chapter 3.3 Art of India, China, and Japan
PART 3
HISTORY AND CONTEXT
This concludes the PowerPoint slide set for Chapter 3.3
Gateways to Art: Understanding the Visual Arts
By Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Copyright © 2011 Thames & Hudson
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Chapter 3.3 Art of India, China, and Japan
PART 3
HISTORY AND CONTEXT
Picture Credits for Chapter 3.3
3.56
Drazen Tomic
3.57
iStockphoto.com
3.58
© Tom Hanley/Alamy
3.59
© Susanna Bennett/Alamy
3.60
© Frédéric Soltan/Sygma/Corbis
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© Pep Roig/Alamy
3.62
Freer Gallery of Art, Smithsonian Institution, Washington, D.C., Purchase F1942.15a
3.63
iStockphoto.com
3.64, 3.65, 3.66 Palace Museum, Beijing
3.67
Brooklyn Museum, Gift of Mr. & Mrs. Alastair B. Martin, the Guennol Collection, 72.163a–b
3.68
Hunan Museum, Changsha
3.69
Courtesy the artist
3.70
Photo Shunji Ohkura
3.71
TRIP photographic library, photographer F. Good/Art Directors
3.72
Sakai Collection, Tokyo
3.73
Horyu-ji Treasure House, Ikaruga, Nara Prefecture, Japan
3.74
The Tokugawa Art Museum, Nagoya
3.75
V&A Images/Alamy
3.76
The Art Institute of Chicago, Robert A. Waller Fund, 1910.2
3.77
Library of Congress, Washington, D.C. Prints & Photographs Division, H. Irving Olds collection, LC-DIG-jpd-02018
3.78
iStockphoto.com
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