Transcript SOUTHERN AND SOUTHEASTERN ASIAN ART

SOUTHERN AND SOUTHEASTERN
ASIAN ART – PART I (TO 1200)
EUGENIA LANGAN
MATER ACADEMY CHARTER HIGH SCHOOL
HIALEAH GARDENS, FLORIDA
WITH APOLOGIES TO FRED KLEINER
THEME
THE CROSSROAD OF WORLD RELIGION IN THE
LIVELY MATERIAL WORLD OF MAYA AND SORROW
TO RECALL THAT: HINDU, BUDDHIST AND MUSLIM
TRADITIONS FUSE IN SOUTH AND SOUTHEAST
ASIA
AND THAT WHILE BUDDHISM AND HINDUISM
VIEW THE MATERIAL WORLD AS ILLUSORY
AND/OR MISERABLE, THEIR RELIGIOUS ART IS
USUALLY LIVELY!
GENERAL OBJECTIVE FOR ALL NON-WESTERN
ART:
 KNOW ENOUGH ABOUT IT IN GENERAL TO
ANSWER A FEW MULTIPLE-CHOICES
QUESTIONS ON THE AP EXAM
 KNOW SEVERAL EXAMPLES OF EACH APAH
THEME TO BE ABLE TO COME UP WITH "NONWESTERN" OR "BEYOND THE EUROPEAN
TRADITION" EXAMPLES ON ESSAYS ON THE AP
EXAM
 IDENTIFY CROSS-CULTURAL INFLUENCE,
EAST-WEST AND WEST-EAST
THE APAH THEMES (REMINDER)
power and authority
RELIGION (SACRED SPACES, PLACES,
OBJECTS, SCENES)
PIETY
RITUAL
PROPAGANDA
POLITICAL ART
HUMAN BODY
LEADERS IN ART
GENDER ROLES AND RELATIONS
FAMILY AND CHILDREN IN ART
VIOLENCE
JOY
wealth
IDENTITY
NATURE
MORTALITY
LOVE
GRIEF
INVISIBLE
UNREAL PLACE
PATRONAGE
PUBLIC ART
TECHNOLOGY
NARRATIVE
PRIDE
GENERAL ART HISTORY OBJECTIVES
 UNDERSTAND THE LATE NEOLITHIC ORIGINS
OF INDIAN AND SOUTHEAST ASIAN ART AND
CULTURE.
 UNDERSTAND HOW THE INDIGENOUS BELIEFS
AND THE BEGINNINGS OF BUDDHISM AND
HINDUISM INFLUENCED THE ART AND
ARCHITECTURE.
IDENTIFY HALLMARKS OF ARCHITECTURE
FROM HINDU AND BUDDHIST MONUMENTS.
 COMPARE ANCIENT INDIAN ART WITH ART OF
OTHER ANCIENT CIVILIZATIONS
 UNDERSTAND THE ARTISTIC INFLUENCE OF
BUDDHISM AND HINDUISM IN SOUTHEAST ASIA
AND THE VARYING APPEARANCES OF THE HUMAN
FIGURE IN ART.
IDENTIFY HALLMARKS OF TEMPLE AND
MONASTIC ARCHITECTURE IN SOUTHEAST ASIA
 UNDERSTAND THE ROLE OF THE MONARCHS
IN SOUTHEAST ASIA IN THE MIDDLE AGES.
 ASSESS THE EFFECT OF ISLAM ON SOUTHERN
AND SOUTHEAST ASIAN ART
 UNDERSTAND THE EARLY SULTANATE, DYNASTY
AND PERSIAN INFLUENCES IN THE ART OF THE
MUGHAL EMPIRE.
 UNDERSTAND THE ART AND ARCHITECTURE OF
THE INDIGENOUS RAJPUT KINGDOMS IN
CONTRAST WITH THE MUGHAL INFLUENCED ART.
 EXAMINE WESTERN ARTISTIC INFLUENCE AND
SOUTHEAST ASIAN ADAPTATION OF WESTERN
ARTISTIC MEDIA AND CONCEPTS.
 UNDERSTAND THE ARTISTIC DIFFERENCES OF
THAILAND, BURMA, AND VIETNAM.
VERY GENERAL TIMELINE
 © 3300 B.C.E.: NEOLITHIC AGRICULTURAL
REVOLUTION IN INDUS VALLEY
 © 2600 – 1900 B.C.E. : BRONZE-AGE INDUS
VALLEY CIVILIZATION (HARAPPA, MOJENO-DARA)
 © 1500: ARYAN INVASION  INTRODUCTION OF
INDO-EUROPEAN LANGUAGE AND VEDIC
HINDUISM
INDUS VALLEY CIVILIZATION (NOW MOSTLY
PAKISTAN
 SOMETIME BETWEEN © 570 AND 400 B.C.E. – LIFE
OF SIDDHARTHA GAUTAMA, THE BUDDHA
 © 400 B.C.E – 100 C.E.: SPREAD OF BUDDHISM
THROUGHOUT CONTINENTAL ASIA
 323 – 185 B.C.E: MAURYA DYNASTY
 © 260 B.C.E.: MAURYAN EMPEROR ASHOKA THE
GREAT CONVERTS TO BUDDHISM, MAKES IT
OFFICIAL STATE RELIGION
RECALL: MAURYA INDIA TRADED WITH
AFRICA, MIDDLE EAST VIA INDIAN OCEAN
ROUTE, WITH EUROPE VIA SILK ROADS
 © 180 C.E.: FALL OF MAURYA EMPIRE (KUSHAN
[HEPHLALITE] CONQUEST OF EASTERN PARTS
(PAKISTAN, AFGHANISTAN)
 320 – 550 C.E.: GUPTA INDIA (CLASSICAL. GOLDEN
AGE ) (FELL DUE TO WHITE HUN INVASION)
 6TH – 12TH CENTURIES: NO EMPIRE; SOUTHERN
AND SOUTHEAST ASIA BROKEN UP INTO MANY
KINGDOMS
 7TH CENTURY: SUFI MUSLIM MISSIONARIES
ARRIVE IN INDIA
 13TH – MID-16TH CENTURIES: MUSLIM DELHI
SULTANATE IN NORTH (TIMURID, TURKIC) HINDU
VIJAYANAR EMPIRE IN SOUTH INDIA
KUSHAN EMPIRE, 30 – 375 C.E.
GUPTA TRADE ROUTES
YELLOW = DELHI SULTANATE, SALMON = VIJAYANAR EMPIRE
INDIA IN THE 17TH CENTURY
 1526 – 1857: MUGHAL EMPIRE (PERSIANIZED
MONGOLS/ TIMURIDS) – FIGUREHEAD EMPEROR
UNDER BRITISH AFTER 1804)
 1757: BRITISH EAST INDIA COMPANY
EFFECTIVELY RULES INDIA
 1858: BRITISH CROWN TOOK OVER INDIA – RAJ
RULE
 1947: INDEPENDENCE & PARTITION OF INDIA
AND PAKISTAN  WAR, WAR, WAR
(MEANWHILE VIETNAM, CAMBODIA AND LAOS
WERE UNDER FRENCH RULE 1859 – 1954)
INDIA AND PAKISTAN T0 1200
PREHISTORIC INDUS VALLEY ART
GREAT BATH, MOHENJO-DARO, PAKISTAN, © 2600–1900
B.C.E. BASICALLY TO REMIND YOU THEY HAD PLUMBING
SEAL WITH SEATED
FIGURE IN YOGIC
POSTURE, FROM
MOHENJO-DARO,
PAKISTAN, © 2600–1900
B.C.E. STEATITE
COATED WITH ALKALI
AND BAKED, APPROX.
1 3/8" X 1 3/8".
NATIONAL MUSEUM,
NEW DELHI
COMPARE TO SUMERIAN CYLINDER SEALS AND
BE AWARE THAT THIS IS AN EARLY FORM OF
PRINTING
ROBED MALE FIGURE,
FROM MOHENJO-DARO,
PAKISTAN, © 2600–1900
BCE. STEATITE, 6 7/8"
HIGH. NATIONAL
MUSEUM OF PAKISTAN,
KARACHI.
TREFOILS ON ROBE,
HEAD ORNAMENT MAY
INDICATE KINGSHIP
THEME?
POWER AND AUTHORITY?
NUDE MALE TORSO, FROM
HARAPPA, PAKISTAN, ©
2000 – 1900 BCE. RED
SANDSTONE, 3 ¾ " HIGH.
NATIONAL MUSEUM, NEW
DELHI
COMPARED TO
CONTEMPORANEOUS
EGYPTIAN AND EVEN
LATER ARCHAIC GREEK
STATUARY?
THEME: HUMAN
BODY
THE HARAPPAN SCULPTOR IS MORE INTERESTED IN
MOTION – FIGURE IS MORE "LIVELY"
MENKAURE AND
KHAMERERNEBTY(?), "NEW YORK" KOUROS,
FROM GIZEH, FOURTH © 600 B.C.E.
DYNASTY, © 2490–2472
B.C.E.
LION CAPITAL OF COLUMN
ERECTED BY ASHOKA AT SARNATH,
INDIA, © 250 B.C.E.
ARCHAEOLOGICAL MUSEUM,
SARNATH
FUNCTION?
HELD LAW CODE
LIVELY!
COMPARE TO?
PEREPOLIS (5TH C.
B.C.E.) BULL-HEADED
CAPITALS
THEME:
POWER AND AUTHORITY
EARLY INDIAN BUDDHIST ART
AND ARCHITECTURE
MAURYAN ART AND
ARCHITECTURE
GREAT STUPA, SANCHI, INDIA, 3RD CENTURY B.C.E TO 1ST
CENTURY C.E. 120' ACROSS, 54' HIGH. PATRON: ASHOKA.
NOTE THAT FENCES MIMIC WOOD.
THEME: SACRED SPACE. STUPAS = RELIQUARIES FOR
BUDDHA’S ASHES, MANDALA AND MOUNTAIN OF WORLD
1
3
4
5
2
6
7
8
9
10
1: CHATRAS = BUDDHA’S PAST, PRESENT AND FUTURE.
2: YASTI= AXIS OF UNIVERSE. 3: HARMIKA = ENCLOSURE
OF SACRED DOMAIN. 4: SOUTH TORANA = GATEWAY (ONE
FOR EVERY CARDINAL POINT). 5: UPPER AMBULATORY.
6: DOME. 7: WEST TORANA. 8: EAST TORANA. 9: DOUBLE
STAIRWAY. 10: STONE FENCE
PLAN AND ELEVATION, GREAT STUPA
PILGRIMS DO NOT ENTER STUPAS. THEY
CIRCUMAMBULATE IT (AND BUDDHA'S RELICS)
COUNTERCLOCKWISE.
YAKSHI, DETAIL OF THE
EAST TORANA, GREAT
STUPA, SANCHI, INDIA,
MID- 1ST CENTURY B.C.E.
TO TO EARLY – 1ST
CENTURY C.E.
SANDSTONE, 5' HIGH.
YAKSHI = MINOR HINDU
AND BUDDHIST DEITIES.
FEMALE YAKSHIS =
FERTILITY (PEOPLE,
CROPS).
NOTE LIVELINESS
THEME: RELIGION,
SACRED SPACE/ OBJECT
ANOTHER
VIEW OF
THE SAME
YAKSHI
TORANA RELIEFS,
GREAT STUPA OF
SANCHI.
NOTE DEPICTION OF
MOTION –
LIVELINESS
MEDITATING BUDDHA, FROM
GANDHARA, PAKISTAN,
SECOND CENTURY CE. GRAY
SCHIST, 3' 7 1/2" HIGH.
NATIONAL MUSEUMS OF
SCOTLAND, EDINBURGH.
IMAGES OF BUDDHA BEGIN IN
1ST C. B.C.E. – COINCIDE WITH
"DEIFICATION" OF BUDDHA
HE WAS RENOWNED ASCETIC,
SO HE IS USUALLY IN LOTUS
POSE: BUT NOTE MOVING,
LIVELY LIONS AND PEOPLE AT
BASE
THEME: RELIGION/OBJECT
NOTE ROMAN INFLUENCE!
THE LIFE AND DEATH OF THE BUDDHA, FRIEZE FROM
GANDHARA, PAKISTAN, SECOND CENTURY CE. SCHIST, 2' 2 3/8"
X 9' 6 1/8". FREER GALLERY OF ART, WASHINGTON, D.C.
BIRTH OF BUDDHA, FROM GANHHARA FRIEZE.
NOTE MOTHER (QUEEN MAYA) BASED ON YAKSHI,
AND ROMAN INFLUENCES (MORE NOTICEABLE ON
FOLLOWING PANELS). THEMES: SACRED SPACE,
SCENE, FAMILY, NARRATIVE
ENLIGHTENMENT AT BODH GAYA FROM
GANDHARA
FIRST SERMON AT SARNATH FROM GANDHARA
FRIEZE
DEATH OF THE BUDDHA AT KUSHINAGARA FROM
GANDHARA FRIEZE
BUDDHA SEATED ON LION
THRONE, FROM MATHURA,
INDIA, SECOND CENTURY
C.E. RED SANDSTONE, 2' 3
½" HIGH. ARCHAEOLOGICAL
MUSEUM, MUTTRA.
KUSHAN BUDDHA: WEARS
MONK'S ROBE, MORE BODY
REVEALED, MAKES ABHAYA
GESTURE, DHARMACHAKRA
ON PALMS OF HANDS AND
SOLES OF FEET
HALO OF ENLIGHTENMENT
USHNISHA
urna
ELONGATED EARS
MUDRA
CHAKRA
PRANA
SEATED BUDDHA, MATHURA
INTERIOR, PLAN AND ELEVATION, ROCK-CUT CHAITYA
HALL, KARLE, INDIA. CHAITYA HALL CONTAINS STUPA
COMPARE WITH ROCK-CUT TEMPLE OF RAMSES II,
ABU SIMEL, EGYPT © 1290-1224 B.C.E.
ELEPHANT CAPITALS, KARLE
GUPTA AND POST-GUPTA
ART AND ARCHITECTURE
GUPTA BUDDHIST
ART AND
ARCHITECTURE
SEATED BUDDHA
PREACHING FIRST
SERMON, FROM SARNATH,
INDIA, SECOND HALF OF
FIFTH CENTURY. TAN
SANDSTONE, 5' 3" HIGH.
ARCHAEOLOGICAL
MUSEUM, SARNATH.
EARLY MONUMENTAL
BUDDHA.
SMOOTH BODY, CLINGING
CLOTHES = GUPTA STYLE
SACRED OBJECT, HUMAN
BODY, POWER AND
AUTHORITY (?)
LEFT: INTERIOR OF CAVE 19, AJANTA, AND RIGHT,
ANOTHER AJANTA CAVE WITH BETTER PHOTO, 2ND HALF
OF 5TH CENTURY. NOTE THAT IN THE GUPTA ROCK-CUT
CHAITYAS, LARGE RELIEF (OR STATUE) OF THE BUDDHA IS
ON FRONT OF THE STUPA.
THEMES = SACRED SPACE, OBJECT, RITUAL, PATRONAGE
BODHISATTVA PADMAPANI,
WALL PAINTING IN CAVE 1,
AJANTA, INDIA, SECOND
HALF OF FIFTH CENTURY.
A FORM OF FRESCO SECCO,
BUT WITH WATER COLORS
THEME: SACRED SPACE
(GUPTA CAVE CHAITYAS ARE
PAINTED), PATRONAGE
GUPTA AND (MOSTLY) POSTGUPTA
HINDU ART
ROCK-CUT
HINDU
TEMPLES:
ABOVE,
INTERIOR OF
AN ELEPHANTA
CAVE; RIGHT
EXTERIOR OF
AN UDIYAGIRA
CAVE
THEME: SACRED SPACE
NOTICE – NO STUPA.
THERE MIGHT HAVE BEEN
SHRINES OF HINDU GODS –
RELIEFS AND
INSCRIPTIONS REMAIN
BOAR AVATAR OF VISHNU RESCUING THE EARTH, CAVE 5, UDAYAGIRI,
INDIA, EARLY 5TH CENTURY. RELIEF 13' X 22'; VISHNU 12' 8" HIGH.
SACRED SPACE, POWER AND AUTHORITY, POLITICAL, HUMAN BODY
DETAILS OF BOAR
AVATAR VISHNU: TOP
LEFT, VISHNU’S FOOT
ON SNAKE GOD (WITH
ASP’S HOOD); TOP
RIGHT, TINY RESCUED
EARTH CLINGS TO
VISHNU’S TUSK; RIGHT,
SOME OF CAST OF
THOUSANDS WATCHING
DANCING SHIVA,
ROCK-CUT RELIEF IN
CAVE TEMPLE,
BADAMI, INDIA, LATE
6TH CENTURY.
THAT’S A LIVELY
DESTROYER!
NOTE THE DANCING
GANESHA (SON OF
DURGA INCARNATION
OF DEVI)
SACRED SPACE,
“HUMAN” BODY
SHIVA LINGA (OR
LINGAM) – SHIVA ALSO
REGENERATES
AND LINGA ARE ONE OF
THE MOST PREVALENT
HINDU ICONS
A HOLE IN A TRIANGLE
= YONI
LINGAM AND YONI
WORSHIP MAY BE
INDIGENOUS INDIAN
RELIGION
THEME: SACRED
OBJECT
MITHUNA
SEXUAL THEMES
AND MOTIFS ARE
FREQUENT IN
HINDU ART
(A WHOLE OTHER
KIND OF
“LIVELINESS”)
SHIVA AS MAHADEVA (GOD OF THE WORLD, WITH 3 FACES) ,
CAVE 1, ELEPHANTA, INDIA, © 550–575. BASALT, SHIVA 17' 10"
HIGH.
SHIVA AS
MAHADEVA, CAVE
1, ELEPHANTA
VISHNU TEMPLE (LOOKING NORTH), DEOGARH,
INDIA, EARLY 6TH CENTURY. MASONRY TEMPLES
BEGIN © 6TH C. TOWER ORIGINALLY 40’ TALL.
VISHNU ASLEEP ON THE
SERPENT ANANTA,
RELIEF PANEL ON THE
SOUTH FAÇADE OF THE
VISHNU TEMPLE,
DEOGARH.
NOT SHOWN:
MITHUNAS GUARD
THE GATE TO WARD
OFF EVIL SPIRITS –
COMPARE GOTHIC
GARGOYLES
THEMES: SACRED
SPACE, NARRATIVE,
HUMAN BODY
ROCK-CUT RATHAS
(CHARIOTS OF THE
GODS),
MAMALLAPURAM,
INDIA, LATE 7TH
CENTURY.
2) BHIMA (VISHNU)
3) DRAUPADI (DURGA) – SMALL
SOUTHERN TEMPLE
(1) DHARMARAJA –
TEMPLE TO SHIVA
(FRONT) – TYPIFIES
SOUTHERN TEMPLE
ARCHITECTURE
(STEPPED VIMANA
TOPS MANDAPA
(HYPOSTYLE HALL
CONTAINING
GARBHA GRIHA
(CELLA)
NNORTHERN AND SOUTHERN HINDU TEMPLE
ARCHITECTURE
NORTHERN: VISHVANATHA
TEMPLE (LOOKING NORTH),
KHAJURAHO © 1000. SINGLE
SHIKHARA (TOWER) TOPPED
BY AMALAKA
SOUTHERN:
RAJARAJESVARA TEMPLE,
THANAJAVUR, © 1000.
STEPPED VIMANAS AND
ONE SHIKHARA
PLAN OF VISHVANATHA TEMPLE. SACRED SPACE AND
RITUAL: ONLY PRIESTS COULD ENTER THE GARBHA
GRIHA WHERE STATUE OF GOD WAS(COMPARE GREEK
TEMPLES, CHOIRS OF EUROPEAN CATHEDRALS, AND
NAVES OF BYZANTINE CATHEDRALS (ONLY CLERGY
AND EMPEROR)
MITHUNA RELIEFS, NORTH SIDE OF VISHVANATHA
TEMPLE
MITHUNA RELIEFS,
NORTH SIDE OF
VISHVANATHA TEMPLE
DON’T LOOK TOO
CLOSE, KIDDIES!
MORE THAN MERE
PROPAGATION IS BEING
CELEBRATED!
VERY, VERY LIVELY
SACRED SPACE, HUMAN
BODY
SHIVA AS NATARAJA,
© 1000. BRONZE.
NALTUNAI ISHVARAM
TEMPLE, PUNJAI.
SHIVA DANCES AND
SIMULTANEOUSLY
DESTROYS AND CREATES
THE WORLD
SACRED OBJECT AND
RITUAL, NARRATIVE
AFGHANISTIAN
BAMAYAN BUDDHAS (DESTROYED), BAMAYAN,
AFGHANISTAN, 3RD CENTURY C.E. 150' TALL.
SOUTHEAST ASIAN ART AND
ARCHITECTURE - T0 1200
DEATH OF THE BUDDHA (PARINIRVANA), GAL VIHARA,
NEAR POLONNARUWA, SRI LANKA, 11TH – 12TH CENTURIES.
GRANULITE, BUDDHA 46' LONG X 10' HIGH.
MASSIVE MONUMENTAL BUDDHA (UNLIKE INDIA) BUT
STILL VESTIGES OF GUPTA STYLE
Aerial view of Borobudur, Java, Indonesia, ©
800
AERIAL VIEW OF BOROBUDUR, JAVA, INDONESIA, © 800.
1500 STUPA, 1500 BUDDHA STATUES, MEANING OF PLAN
DEBATED. ALMOST NOTHING INDIAN ABOUT THIS!
HARIHARA, FROM PRASAT
ANDET, CAMBODIA, EARLY
7TH CENTURY. STONE, 6' 3"
HIGH. NATIONAL MUSEUM,
PHNOM PENH.
SHIVA/VISHNU HALF-ANDHALF
"CULT" STATUE FOR GARBA
GRIHA
INFLUENCED BY GUPTA,
BUT DIFFERENT: FULLY IN
THE ROUND!
THEMES: SACRED OBJECT,
HUMAN BODY
VISHNU LYING ON THE COSMIC OCEAN, FROM MEBAN
ISLAND TEMPLE, ANGKOR, CAMBODIA, 11TH C. BRONZE, 8'
LONG. NATIONAL MUSEUM OF CAMBODIA, PHNOM PENH.
THEME: SACRED SPACE AND OBJECT, PATRONAGE, POWER
AND AUTHORITY
AERIAL VIEW OF ANGKOR WAT, ANGKOR, CAMBODIA,
FIRST HALF OF 12TH CENTURY. COMPLEX 5000' X 4000'.
PATRON: SURYAVARMAN II. SACRED SPACE, POWER AND
AUTHORITY. ULTRA-SOUTHERN!
KING SURYAVARMAN II HOLDING COURT, DETAIL OF A
STONE RELIEF, LOWEST GALLERY, SOUTH SIDE, ANGKOR
WAT, ANGKOR, CAMBODIA, FIRST HALF OF 12TH
CENTURY. THEME: POWER AND AUTHORITY
TOWERS OF THE
BAYON, ANGKOR
THOM, CAMBODIA,
© 1200.
THEMES: POWER
AND AUTHORITY,
PROPAGANDA
(BUDDHA HAS THE
KING'S FACE),
SACRED SPACE