AP Art History Unit 8 South, East, and Southeast Asia

AP Art History Course Study Guide Unit 8: South, East, and Southeast Asia: 192. Great Stupa at Sanchi. (Madhya Pradesh, India. Buddhist; Maurya, late Sunga Dynasty. c. 300 B.C.E.–100 C.E. Stone masonry, sandstone on dome) a. Context: i. Located on a hill in the countryside; largest of several stupas in the area; surrounded by remains of other monastic buildings ii. Emperor Ashoka (famous for converting Buddhism) recompense for slaughtering of thousands in battle iii. Ashoka divided up those remains into many different locations throughout India including Sanchi iv. 4 gateways added around 75-100 B.C.E b. Content: i. Exterior parts: Chatra-triple umbrella structure symbolizing the 3 jewels of Buddhism: the Buddha, Dharma (doctrine) and Sangha (community) ii. Central pillar symbolizes the cosmic axis; supports the chatra iii. Dome symbolizes dome of heaven enclosing the earth iv. Upper level walkway: aka medhi; elevated terrace; 16 ft above ground c. Form: i. Stone and sandstone (stupas)=domed structured; evolved from earthen mounds containing relics ii. The Stupa evolved into a pagoda form d. Function: i. Site for worship and meditation ii. Devotees walk around in clockwise fashion iii. Venerated as a symbol of the Budda’s final movements 193. Terracotta warriors from the mausoleum of the first Qin emperor of China. (Qin Dynasty. c. 221–209 B.C.E. Painted terra cotta) a. Context: AP Art History Course Study Guide i. During Emperor Qin reign, he introduced standardization of currency, writing measurements and more ii. He connected cities and states with advanced systems of road and canals iii. He was also credited with continuing the construction of the Great Wall b. Content: i. ii. iii. Army includes warriors, infantry men, horses, chariots, and all their attendant armour and weaponry There are unusually high amount of mercury around this place Historians may have believe that the emperor may have set up a system of mercury rivers: some evidence points to the fact that he believed in the life-giving power of mercury c. Form: i. Emperor Win lined his burial complex with a treasury of riches and piles of precious gemstones said to represent the star, moon and sun ii. All had unique faces d. Function: i. The First Emperor ascended to the throne of Qin state at the age of 13; he began to plan his burial and underground palace and army to carry/conquer with him into the afterlife ii. Made to guard the tomb 194. Funeral banner of Lady Dai (Xin Zhui). (Han Dynasty, China. c. 180 B.C.E. Painted silk) a. Context: i. She was an elite member of the Han Dynasty 1. It was expansive and powerful stretched to as far as the Roman Empire; Elite lived in an enclosed village around the emperor b. Content: i. It is comprised of 4 horizontal registers 1. Heavenly Realm: a. Wider and longer than the other registers; two men stand guarding the gate to the heavenly realm; deity with dragon AP Art History Course Study Guide body and human head; pink sun and crescent moon which were used to portray the supernatural aspect of the heavenly world 2. Lady and her attendants: a. Portrait of Lady Dai in an expensive embroidered silk robe; leaning on a staff; standing on a platform; Two servants in front of her and three being; She is focal point of this register; she is standing on a bi or a disk with a whole, thought to represent the sky 3. Body of Lady Dai with Mourners: a. Sacrificial funerary rituals; there are large containers and vase-shaped vessels; two rows of mourners are present 4. Underworld: a. Two huge black fish; red snake; two blue goat; being in the underworld symbolize water and death 195. c. Form: i. Painted silk ii. Made from wood and has lacquered exterior and interiors iii. The dimension of coffin is 256x118x114 cm d. Function: i. Display wealth ii. A burial shrouds that assisted the soul on it's journey to the afterworld Longmen caves. (Luoyang, China. Tang Dynasty. 493–1127 C.E. Limestone) a. Context: i. 800,000 people worked on site ii. Inscription states that Empress Wu Zetian was the patroness; used her private funds to finance the project iii. Buddhism transmitted to China by chance and intermittently b. Content: i. Includes 110,000 Buddhist stone, statues, and more than 60 stupas and 2800 inscriptions on steles ii. Central Binyang cave-508 C.E.; previously painted iii. Fengxian Temple: Vaircana Buddha has monk attendants (bodhisattvas) and guardians c. Form: i. Bodhisattvas- enlightened ppl who delayed entrance to paradise to help others reach enlightenment ii. Smiling Buddha/rectangular face=common iii. high relief: sculpture are carved into existing limestone d. Function: AP Art History Course Study Guide i. Record the lineage of the patriarchs who passed on Buddhism ii. Asserted sovereignty and power iii. Used for assimilation 196. Gold and jade crown. (Three Kingdoms Period, Silla Kingdom, Korea. Fifth to sixth century C.E. Metalwork) a. Context: i. Korea was split into 3 kingdoms and this crown was found in the Silla Kingdom which took up most of the southeast territory ii. This piece shows the connection that korea had with the Eutrasian steppe; they used the same burial techniques as the Chinese iii. Connection to the outside world and influence of other cultures b. Content: i. Have 3 branches coming from headband which represents sacred tree that once stood in the ritual precinct of Gyeongju: connected heaven and earth ii. The two antlers coming off the piece represent the reindeer that were native to the eurasian steppe iii. Gold disk and jade pieces were called gogok: these are supposed to be ripe fruits that represents the land fertility and abundance c. Form: i. Made from gold and jade; granulated meal suggest idea of trade d. Function: i. Placed in burial mounds when royal family members died; worn by high ranking people 197. Todai-ji. (Nara, Japan. Various artists, including sculptors Unkei and Kaikei, as well as the Kei School. 743 C.E.; rebuilt c. 1700. Bronze and wood (sculpture); wood with ceramic- tile roofing (architecture)) a. Context: i. Has been destroyed during military unrest ii. Reflects combination of Buddhist and politics iii. Great Buddha took 6 years to complete: annual ritual cleaning ceremony of statue b. Content: i. Massive hall (hondo) is located at its center or the daibutsuden=great buddha hall ii. Supported by 84 cypress pillars iii. 2 nine story pagodas (multi-tiered towers; an evolution of stupa) a lecture hall and quarters were added later by the monks iv. The guardian kings: no guardian figures: one on either side of the gate; 2 massive wooden sculptures; intricate swirling drapery, fierce forbidding looks and gestures; powerful/dynamic bodies; dramatic contrappostos AP Art History Course Study Guide v. vi. The Great Budda: massive bronze statue; sits atop of a lotus petals which contains historical content; reflective of the elegant naturalistic style of the Nara era South Gate: 2 stones are the same size; roof supported by huge pillars; nandai men c. Form: i. Great Eastern temple: referred to its location: on eastern edge of city of Nara (Japan’s capital) d. Function: i. Commissioned by emperor Shomu; promote spiritual unity among Japanese provinces to unite them under his rule 198. Borobudur Temple. (Central Java, Indonesia. Sailendra Dynasty. c. 750–842 C.E. Volcanic-stone masonry) a. Context: i. at one point in the year, the sun comes up and perfectly aligns with top dome- not on equinox b. Content: i. stupas on top have buddhas inside, buddhas face outward, base = kamadhatu- 160 reliefs of sin, middle = radhitutransition from life to heavens, top = arupadhatu- abode of gods c. Form: i. three levels, square base, round top, sculptures, reliefs, bottom is most ornate, top is least ornate, d. Function: i. made to represent the path of life, enlightenment, and ascension after death 199. Angkor, the temple of Angkor Wat, and the city of Angkor Thom, Cambodia. (Hindu, Angkor Dynasty. c. 800–1400 C.E. Stone masonry, sandstone.) a. Context: i. Became Cambodian Flag ii. Built by King Suryavarman II aka protector of the sun b. Content: i. Ancient Sanskirt and khmer texts say that temples should be in harmony with nature ii. they planned it accordingly to sun and moon; the central axis should be aligned with planets; plan of the universe or mandala iii. Structure: expansive enclosure wall separates the temple grounds from the moat; temple is comprised of 3 passageways running around temple AP Art History Course Study Guide iv. v. vi. galleries and central sanctuary marked by 5 stone towers Decoration: 1200 square meters of carved bas-relief Churning of the Ocean of Milk: 1. Shows the beginning of the time and creation of universe 2. Devas (Gods fighting asura (demons)) to save the earth amirta (elixir of life) 3. Playing tug a war with Naga (shake) to churn oceans 4. Once elixir is released Indra (king of Gods) is seen descending to collect it c. Form: i. Largest religious monuments (400 kilometer large) ii. Contains various capitals of Khemer empire d. Function: i. Dedicated to Vishnu= protector or preserver 200. Lakshmana Temple. (Khajuraho, India. Hindu, Chandella Dynasty. c. 930–950 C.E. Sandstone) a. Context: i. Built by the Chandella kings in their newly-created capital of Khajuraho b. Content: i. Central deity is Vishnu in his 3 headed form known as Vaikuntha who sits inside the temple inner womb chamber ii. Sculpture has a harmonious integration with the architecture iii. Figures=sensuous with revealing clothing iv. Depicts idealized female beauty; sculptures of loving couples=mithuna (state of being a couple); erotic poses symbol his regeneration c. Form: i. Made of five store and ashlar masonry ii. Nagara style Hindu Temple iii. Consist of a shrine known as vimana and a flat roofed entry porch known as mandapa iv. Shrine of Nagara temples includes a base platform and large superstructure known as sikhara which viewers can see from a distance d. Function: i. Residence of a God ii. Devotees approach the temple from the east and walk around (Circumambulation) 201. Travelers among Mountains and Streams. (Fan Kuan. c. 1000 C.E. Ink and colors on silk) AP Art History Course Study Guide a. Context: i. Only surviving work by Fan Kuan; painted during Song Dynasty ii. Neo-Confucianism: thinkers rebuilt Confucian ethics using Buddhist and Daoist metaphysics b. Content: i. Boulders in foreground; rocky outcroppings covered in trees; 2 men driving donkeys with firewood ii. Temple partially hidden in forest; Gritty rick takes up ⅔ of picture; in the background central peak flanked by smaller peaks iii. Contains immense details iv. Long waterfall on right balanced by mountain on left v. Man seen as small and insignificant in vast natural world c. Form: i. 7 feet long hanging scroll ii. Take advantage of seale to increase grandeur and monumentality of mtns by decreasing the size of ppl. d. Function: i. Expresses cosmic vision on man’s harmonious existence in vast/orderly existence ii. Shows the Neo-Confucian search for absolute truth in nature 202. Shiva as Lord of Dance (Nataraja). (Hindu; India (Tamil Nadu), Chola Dynasty. c. 11th century C.E. Cast bronze) a. Context: i. Nataraja is a depiction of the god Shiva as the cosmic dancer who performs his divine dance to destroy a weary universe and make preparations for the god Brahma to start the process of creation b. Content: i. IT combines shiva;s roles as creator, preserver, and destroyer of the universe and conveys the Indian conception of the neverending cycle of time. His upper right hand holds the damaru. His upper left hand holds the agni. ii. The symbol implies that, through belief in Shiva, his devotees can achieve salvation c. Form: i. It's decorative and representational d. Function: i. It’s used to praise Shiva AP Art History Course Study Guide 203. Night Attack on the Sanjô Palace. (Kamakura Period, Japan. c. 1250–1300 C.E. Handscroll (ink and color on paper)) a. Context: i. Commemorates a 12th century incident ii. Made surin the Kamakura period iii. Sanjo palace incident just part of the Heiji insurrection 1159-60 iv. The scroll was part of another set b. Content: i. Vibrant color and outline ii. Characters appear multiple times iii. Narrative scene iv. Tangled mass of bodes; lone archer leads escape from burning palace with commander on horseback c. Form: i. Emaki-Japanese handscroll ii. Example of Otoko-e “men painting” iii. The action moves from right to left: strong diagonal lines emphasizes movement iv. Written introduction v. 25 feet long: get progressively chaotic d. Function: i. Designed to be unrolled and viewed up close ii. Informative about the Heiji Rebellion iii. Important reference painting to study bc it's very detailed 204. The David Vases.(Yuan Dynasty, China. 1351 C.E. White porcelain with cobaltblue underglaze) a. Context: i. Blue porcelain was imported from Iran ii. Vases were purchased by David b. Content: i. Tall white vessels decorated with blue stylized dragons, birds, clouds, and floral designs ii. Elephant = head shaped handles iii. Neck and food of vase= leaves and flowers iv. Inscription: commissioned for a general at a Daoist Temple c. Form: i. Glazed: cobalt blue paint ii. Porcelain= white ceramic iii. Very fine white clay 1300 degrees shimmery finish AP Art History Course Study Guide iv. Firing technique oxidizes it d. Function: i. Were made as an altarpiece along with a incense burner to honor a general who had recently been made into a god due to his supernatural wisdom, power, and ability to tell the future 205. Portrait of Sin Sukju (1417–1475). (Imperial Bureau of Painting. c. 15th century C.E. Hanging scroll (ink and color on silk)) a. Context: i. Sin Sukju is a scholar and politician that rose to status of Prime Minister in 1445 ii. Rank badges are typically made of embroidered silk and it indicated rank of anyone from local official to the emperor b. Content: i. Depicts Sin as an official honored for his service to the court and loyalty to the king during a chaotic period ii. Dressed in official robes with rank badge on chest iii. Rank badge has a pair of peacocks surrounded by plants and clouds iv. He is seated in a full-length view, head turned slightly, only one ear showing common during that time period v. Wrinkles and solemn expression exudes wisdom and signity vi. Detail on face contrasts with simplicity of attire c. Form: i. The portrait is facing slightly to the right ii. This is a hanging scroll made from ink and color on silk d. Function: i. Meant to honor the accomplishments of the distinguished court member and eventual prime minister 206. Forbidden City. (Beijing, China. Ming Dynasty. 15th century C.E. and later. Stone masonry, marble, brick, wood, and ceramic tile) a. Context: i. Palace operated for over 500 years; was originally built to solidify power ii. The 4th son of the Ming Emperor usurped power from his older brother and seized control iii. In order to solidify his power he moved the capital from Nanjing to Beijing iv. The Qing dynasty which ruled after Ming Dynasty continued after Ming Dynasty continued this as HQ of the royal court b. Content: AP Art History Course Study Guide i. ii. iii. iv. v. c. Form: i. ii. iii. iv. Palace is divided into an inner and outer court Outer: used for state affairs and only men were allied inside Inner: contained living spaces and was focused on domestic life for imperial family Main building in the outer court is the hall of supreme harmony where the important decisions of state are made Main buildings from the inner court are the emperor’s residence known as the Palace of heavenly purity and the empress;s residence is known as the palace of Earthly Tranquility Red walls and yellow glazed rood tiles located in the heart of beijing City=960 meters ling and 750 meters wide 98 buildings and a moat that is 50 meters wide The design of the Forbidden city follows the ideal cosmic order in confucian ideology v. Living quarters were determined by social status d. Function: i. Palace served as hime to the Chinese emperor and his court 207. Ryoan-ji. Kyoto, Japan. (Muromachi Period, Japan. c. 1480 C.E.; current design most likely dates to the 18th century. Rock garden) a. Context: i. Inspired by the aspects of Japanese and Chinese cultures ii. Shinto: worship of deities in nature iii. Zen Buddhism: emphasize meditation as a part toward enlightenment b. Content: i. Zen Dry Garden: 1. Japanese rock gardens characterized by minimalistic perspectives and abstracted forms 2. Enclosed courtyard small stones white sand with series of moss islands from which rocks protrude 3. Asymmetrical arrangement 4. The white sand racked in wavy patterns: acts as water/reflective of the waves ii. Wet Garden: 1. Contains a tea house 2. Water symbolizes purification: used in rituals 3. Hojo=main building of the monastery, the abbot’s residence c. Form: i. Zen Buddhism Temple with 23 sub temples AP Art History Course Study Guide d. Function: i. Built under the patronage of the Kosokana family ii. Zen dry garden served as centers for meditation; encourages contemplation 208. Jahangir Preferring a Sufi Shaikh to Kings. (Bichitr. c. 1620 C.E. Watercolor, gold, and ink on paper) a. Context: i. Jahangir wanted to bring together distant lands ii. Used many different aspects of European art iii. Artists wants to sign his name so he put himself in the painting iv. Very strong belief in religion so that they made the two holy men bigger and more important than everyone else b. Content: i. Shows the 4th emperor of the Mughal Dynasty Jahangir: gold flames come out of his head which lead into a gold circle ii. Moon and sun= represents the ruler's power and his divine knowledge iii. Seated on a stone inlaid platform and is connected to a hourglass iv. Embroidered blue carpet with intricate designs v. Has the Shaikh or the holy man, who has been put on almost the same level as Jahangir himself c. Form: i. Mixture of gold, ink, watercolor on traditional asian paper d. Function: i. Was in an album that had alternating patterns and calligraphy scriptures 209. Taj Mahal. (Agra, Uttar Pradesh, India. Masons, marble workers, mosaicists, and decorators working under the supervision of Ustad Ahmad Lahori, architect of the emperor. 1632–1653 C.E. Stone masonry and marble with inlay of precious and semiprecious stones; gardens) a. Context: i. Built by Shah Jahan (5th Mughal ruler) ii. Tomb for his favorite wife=mumta 2 who died in childbirth b. Content: i. Enter via forecourt; pass through the gateways inlaid red sandstone ii. Long water channel (with fountain jets leads to Taj; surrounded by gardens iii. Taj set on raised panel at north end of gardens AP Art History Course Study Guide iv. v. Exterior: topped by bulbous dome and 4 minarets of equal height: minarets are usually for mosques, here they are ornamental instead of functional Interior: hasht bihisht (8 levels) floorplan references eight levels of muslim paradise; eight halls and side rooms connect to a central space in a cross axial form c. Form: i. Decoration: walls are inscribed with quranic verses; white marble is carved and inlaid with semi-precious stones: pietra dura technique using italian methods ii. Mughal architecture tended to use red stone for exterior and white marble for decorations or interiors of tombs or holy places d. Function: i. Mausoleum and gardens for mumta Jahan 210. White and Red Plum Blossoms. (Ogata Korin. c. 1710–1716 C.E. Ink, watercolor, and gold leaf on paper) a. Context: i. Epitomizes Japanese Art ii. Part of what is known as the Rimpa movement or school of korin iii. Movement is known for the combination of naturalistic monumental presence, dynamism and sensuality iv. Initially inspired by chinese literature but shifted to nature nad naturalistic chinese motifs v. Invented by Honami and Koetsu: painted on screen and fans b. Content: i. Painting is abstract and naturalistic ii. The gold leafs background denies viewers of any sense of the time or geographic location iii. The stream has an un-naturalistic metallic color but has swirls that show that water is moving iv. Sharp tapered contour lines gives the work and non-naturalistic upward tilt c. Form: i. Pair of 2 folds screens ii. Colors and gold leaf on paper 156x172.2 cm iii. Techniques=ink and watercolor iv. Tarashikomi-diluting/blending color d. Function: i. Establish Korin’s reputation AP Art History Course Study Guide ii. To preserve and perpetrate the values and characteristics of the Rimpa movement iii. Traditional Japanese folding door 211. Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as the Great Wave, from the series Thirty-six Views of Mount Fuji. (Katsushika Hokusai. 1830–1833 C.E. Polychrome woodblock print; ink and color on paper) a. Context: i. Part of series of prints done by Hokusai: called 36 views of Mount Fuji ii. Kasuchika Hokusai: went by many names; discovered western prints from Dutch trade; created Japanese variant of linear perspective iii. Dutch influence in low horizon and prussian blue iv. Mount Fuji: highest mountain in Japan; considered sacred b. Content: i. Composition arranged to frame Mount Fuji ii. White top of great wave creates diagonal line leading viewers eye directly to peak of mountain top iii. Juxtaposition of large wave in foreground dwarfing small mountain in distance; inclusion of men and boats amist powerful waves iv. Personification of nature, seems intent on drowning the figures on the boats c. Form: i. Polychrome woodblock print made of ink and color on paper ii. Ukiyo-e print style d. Function: i. Hokusai responding to boom in domestic travel and corresponding markey for images of Mount Fuji 212. Chairman Mao en Route to Anyuan. (Artist unknown; based on an oil painting by Liu Chunhua. c. 1969 C.E. Color lithograph) a. Context: i. This painting was used as a way for the communist party in China to thank Chairman Mao for his support throughout the years ii. At this time there was a large amount of conflict over power so Mao had these paintings done to help regain control iii. SHows Mao on his way to lead the miners strike of 1922 1. This created the bond of Mao with the communist party AP Art History Course Study Guide b. Content: i. Shows young Mao Zedony (at the time of the painting he was in his seventies): youth makes him more revolutionary ii. Has a determined face; makes him a strong leader; standing on top of a mountain which shows he is ready to conquer anything in his way c. Form: i. This is based on an oil painting that was done on canvas ii. Color lithograph: method of printing using a smooth stone or metal d. Function: i. The communists party in China wanted to portray Mao as a new revolutionary leader; wanted to gain more followers