Museum Didactic Panel Assignment: Analysis of Art Pieces of Ming and Joseon Dynasties

Question I. Art of South and Southeast Asia Vishnu, 15th century, Bronze, India

This bronze statue of Vishnu which was made in India during the 15th century. Hindu deity Vishnu is the preserver of the Universe and is the opposite of Shiva, who is destroyer of the universe. “Vishnu embodies the qualities of goodness and mercy because he is the preserver of life, righteousness, and truth.”1 The bronze statue depicts Vishnu in his human form where he has four arms. On the back-left arm, he is holding a conch which symbolizes power or illusion of which the universe arises. “The conch is also the fountain that creates the five rest of the elements.”2 In the statue it symbolizes the beginning of combat.3 On Vishnu’s left arm, he wields a mace, otherwise known as Gada. “The mace is named Kaumodaki and it represents the elemental force from which all mental and physical powers are derived. Kaumodaki also represents knowledge because the name it means captivating the mind.”4 On the back of the right arm of Vishnu, he has the discus which is also the chakra. The discus represents the mind and creativity. It is also a weapon that cuts the heads of demons.5 Both the mace and the discus are Vishnu's choice of weapons in war. “Also, the Abhaya mudra is present on the statue’s right front arm. This mudra indicates reassurance, blessing, and protection.”6 Vishnu was known as the deity of protection which made him popular among Hindu rulers and kings who claimed to be incarnations of him on earth.7

Question II: Buddhist Art Shakyamuni Buddha, 13/14 C. Bronze, 9.125’ H x 6’ W x 2.75’ D, Thailand

This is a statue of Shakyamuni Buddha, otherwise known as Siddhartha Gautama, who lived and taught in India in the sixth century. There are many iconographies that could be found on the statue. “There are thirty-two Lakshana, idealized characteristics, that are meant to symbolize the Buddha's spiritual character and inner beauty. The most visible Lakshana on the statue would be the Ushnisha which is the bump on top of the head which symbolizes the Buddha’s wisdom and the attainment of enlightenment.”8 “The ushnisha could also be called a protuberance which is located on top of the Buddha’s hair which consists of his mass of compact curls.”9 The Buddha is also seen sitting in a lotus position of meditation.10 He wears a simple robe which covers his left shoulder and arm and exposes the right. Another common physical characterization of the Buddha are his elongated stretched ears which represented the time where he was born into royalty and wealth. The right hand on the statue seems to depict the bhumisparsha mudra.11 This mudra is associated with the moment the Buddha touched the earth to let the world know that he reached enlightenment. “The supreme god of the world, Samara, tried to distract the Buddha from his meditation. In response to the Buddha’s enlightenment, the world shook in acknowledgment.”12 The left hand just sits on his lap in meditation. This statue may have served religious functions. The sacred statue of the Buddha was placed in altars in monasteries and homes. They were a focal point for meditation and ritual.13

Question III: Monochromatic Ink Painting Bamboo, 1634, Shi Yanjie Ink on paper, 88' H x 26.375; Image: 48' H x 19' W, China, Ming dynasty

This art piece is called “Bamboo.” The monochromatic ink on paper painting is created by Shi Yanjie. He paints a bamboo which is a plant that can bend without breaking. The bamboo has been a symbol of integrity and strength.14 This art piece was created during 1634, Ming Dynasty in China. The Ming dynasty was a period after the Yuan dynasty. It was the period of cultural restoration and expansion.15 Painters recruited by the Ming court were instructed to follow the style of styles of earlier Southern Song dynasty. The Three Friends of Winter was popular among the Song Dynasty. From Yanjie’s monochromatic art piece, the bamboo is considered to be one of the Three Friends of Winter. The Three Friends of Winter consists of three plants that don’t lose their leaves or hibernate in the winter.16 These plants include the pine, bamboo, and plum. Since they appear to withstand the winter, these plants symbolize steadfastness, resilience, and perseverance. They are also highly regarded in Confucianism and are the ideal character traits for scholar gentlemen.17 The bamboo has also been a common subject among the Ming and Quin scholar-painters.18 Scholar painters often painted quickly with ink on paper and chose subjects like bamboos for instance that would be drawn using the same brush skills that required being skilled in calligraphy.19 The Ming scholars had a unique way style of calligraphy. Their brushstrokes were more of a personal performance and more expressive. They valued the presence of personality in a work over a technical more structural skill. The Ming scholar painters aimed for mastery of performance rather than laborious craftsman shift.20

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Question IV. Secular Art in Japan and Korea Scholar’s Items, Chaekkori, 19th century Ink and color on paper, Framed 36.75” H x 18.5” W; Image 28.125” H x 13.5” W, Korea, Joseon dynasty

This art piece is called the Scholar’s items, Chaekkori which was created in Korea during the Joseon Dynasty around the 19th century. “Chaek” means book and “Kori” means material.21 The Scholar’s items, Chaekkori was made with paper and ink, and color which was made out of mineral pigments. The Chaekkori is a common subject which consists of piles of books and scholar’s equipment. These subjects were common in both court paintings and in folk paintings.22 “This genre reflects the highest values of Yangban, which is the pursuit of knowledge and education guided by Confucian ideology.”23 One of the kings of Joseon, king Chongjo was interested in these Chaekkori paintings because of the Western perspective style that were used. “This technique could have possibly been used under the influence of Jesuit painters in Beijing such as Giuseppe Castiglione.”24 The three-dimensional effects were commonly used in Chaekkori along with reversed perspective. In reversed perspective, the objects are seen larger than those nearby. This causes the art pieces to look flatter.25 “The Chaekkori were seen as conveyors of cultural values and was often displayed within homes, studios, and at school. They reflected a reverence for scholarship and learning.”26 This subject has gained the middle-class interest and soon they became patrons of Chaekkori. The middle class would instill the value of education in their children with this idea. The Chaekkori also expressed the parents’ wishes for their sons to pass the national civil exam and encourage them to continue their studies.27

Question V. Follow the Box Following the Box, Date of Artwork, Amrita Sen Hand constructed book using hand-made paper, ink and watercolor drawings, tea stains elven double-sided accordion pages, 12x9 in. extended to 103 in. custom constructed box, 11 x 14 in, Country of Origin: India

The “Following the Box” exhibition consists of visual dialogues between photographers and artists from the U.S. to India. Alan Teller and Jerri Zbiral brought a box of unidentified photographs.28 These unidentified photographs were taken by an unknown U.S. soldier stationed in West Bengal during World War II.29 Amritah Sen is one of the artists who express her interpretation of these photographs through her hand-constructed book. This art piece was made with handmade paper, ink, watercolor drawings, and tea stains. The photographs that the unknown U.S. soldier took reminded Sen of her family album which seemed happy and carefree.

She also says that there is a sharp contrast in the flow of life captured by the American soldier in 1940s Bengal and how a middle-class urban family is portrayed.30 With that said, she decided to make an album showing the contrast. First Sen chose ten portraits and group photographs that Alan Teller and Jerri Zbiral brought along with ten similar pictures from her family album of early 1940s.31 To Sen’s surprise she saw that there was kind of a similarity among the photographs. Yet there were a clear and distinct differences between the photographs. Sen decided to focus on four important political history of Bengal. These included the Bengal Famine, the Japanese bombing over Calcutta, the Indian National Army activity and the death of Subhas Chandra Bose in South-East Asia, and the communal riots of 1946.32 Sen’s artwork depicts the malnourished people and emphasizes the cruel reality. Amrita Sen brings to light on what she calls the “official history.”33 Her art piece shows how people can live their lives in different formats simultaneously, oblivious to what is happening all around. When the audience looks at the art piece, there is no start or end. They could see the story flow through different pictures, and it will all come back in a circle.34

Proof of Visit

I went on the day it was free so they didn’t give me an admission ticket. I took some pictures of the artworks I wrote about. Here is the Bamboo by Shi Yanjie.

Bibliography / Works Cited Page

1. Enholm Molly, Class Lecture: “Iconography of Hindu Art & Architecture,” (13)
2. Enholm Molly, Class Lecture: “Iconography of Hindu Art & Architecture,” (15)
3. “Didactic Panel,” Vishnu, on view at the USC Pacific Asia Museum, Pasadena CA. (November 10, 2019)
4. Enholm Molly, Class Lecture: “Iconography of Hindu Art & Architecture,” (15)
5. Enholm Molly, Class Lecture: “Iconography of Hindu Art & Architecture,” (15)
6. Neave, Dorinda, Lara C. W. Blanchard, Marika Sardar, and Miranda Bruce-Mitford. Asian Art. Boston: Pearson, 2015. (16)
7. “Didactic Panel,” Vishnu, on view at the USC Pacific Asia Museum, Pasadena CA. November 10, 2019.
8. Enholm Molly, Class Lecture: “Ch1 Buddhism,” (25)
9. “The Buddha Shakyamuni.” Khan Academy. Khan Academy. Accessed November 25, 2019.
10. “The Buddha Shakyamuni.” Khan Academy. Khan Academy. Accessed November 25, 2019.
11. Neave, Dorinda, Lara C. W. Blanchard, Marika Sardar, and Miranda Bruce-Mitford. Asian Art. Boston: Pearson, 2015. (16)
12. “The Buddha Shakyamuni.” Khan Academy. Khan Academy. Accessed November 25, 2019.
13. “The Buddha Shakyamuni.” Khan Academy. Khan Academy. Accessed November 25, 2019
14. “Didactic Panel,” Bamboo, on view at the USC Pacific Asia Museum, Pasadena CA. (November 10, 2019)
15. Department of Asian Art. “Ming Dynasty (1368-1644).” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000-.
16. Enholm Molly, Class Lecture: “Ch8 Song & Yuan Painting,” (56)
17. Enholm Molly, Class Lecture: “Ch8 Song & Yuan Painting,” (56)
18. “Didactic Panel,” Bamboo, on view at the USC Pacific Asia Museum, Pasadena CA. (November 10, 2019)
19. “Didactic Panel,” Bamboo, on view at the USC Pacific Asia Museum, Pasadena CA. (November 10, 2019)
20. Department of Asian Art. “Ming Dynasty (1368-1644).” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000-. Pacific Asia Museum. “Auspicious Beauty
21. Auspicious Beauty. (2011). [Pdf] 46 North Los Robles Avenue, Pasadena, CA 91101: Pacific Asia Museum.
22. “Screen / Painting.” British Museum. Accessed November 26, 2019.
23. Auspicious Beauty. (2011). [Pdf] 46 North Los Robles Avenue, Pasadena, CA 91101: Pacific Asia Museum.
24. “Screen / Painting.” British Museum. Accessed November 26, 2019.
25. “Chaekgeori.” The Art Institute of Chicago. Asian Art. Accessed November 26, 2019.
26. “Chaekgeori.” The Art Institute of Chicago. Asian Art. Accessed November 26, 2019.
27. Auspicious Beauty. (2011). [Pdf] 46 North Los Robles Avenue, Pasadena, CA 91101: Pacific Asia Museum.
28. “Didactic Panel,” Following the Box, on view at the USC Pacific Asia Museum, Pasadena CA. (November 10, 2019)
29. “Didactic Panel,” Following the Box, on view at the USC Pacific Asia Museum, Pasadena CA. (November 10, 2019)
30. “Didactic Panel,” Following the Box, on view at the USC Pacific Asia Museum, Pasadena CA. (November 10, 2019)
31. “Didactic Panel,” Following the Box, on view at the USC Pacific Asia Museum, Pasadena CA. (November 10, 2019)
32. “Didactic Panel,” Following the Box, on view at the USC Pacific Asia Museum, Pasadena CA. (November 10, 2019)
33. “Didactic Panel,” Following the Box, on view at the USC Pacific Asia Museum, Pasadena CA. (November 10, 2019)
34. “Didactic Panel,” Following the Box, on view at the USC Pacific Asia Museum, Pasadena CA. (November 10, 2019)
35. Auspicious Beauty. (2011). [Pdf] 46 North Los Robles Avenue, Pasadena, CA 91101: Pacific Asia Museum. Available at: https://pacificasiamuseum.usc.edu/files/2016/06/PAM_AuspiciousBeauty.pdf
36. “Chaekgeori.” The Art Institute of Chicago. Asian Art. Accessed November 26, 2019. https://www.artic.edu/artworks/185180/chaekgeori
37. “Didactic Panel,” Bamboo, on view at the USC Pacific Asia Museum, Pasadena CA. (November 10, 2019)
38. “Didactic Panel,” Following the Box, on view at the USC Pacific Asia Museum, Pasadena CA. (November 10, 2019)
39. “Didactic Panel,” Vishnu, on view at the USC Pacific Asia Museum, Pasadena CA. (November 10, 2019)
40. Department of Asian Art. “Ming Dynasty (1368-1644).” In Heilbrunn Timeline of Art History.
41. New York: The Metropolitan Museum of Art, 2000-. https://www.metmuseum.org/toah/hd/ming/hd_ming.htm
42. Enholm Molly, Class Lecture: “Ch1 Buddhism,” Enholm Molly, Class Lecture: “Ch8 Song & Yuan Painting,” Enholm Molly, Class Lecture: “Iconography of Hindu Art & Architecture.”
43. Neave, Dorinda, Lara C. W. Blanchard, Marika Sardar, and Miranda Bruce-Mitford. Asian Art. Boston: Pearson, 2015.
44. “Screen / Painting.” British Museum. Accessed November 26, 2019. https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1347554&partId=1
45. “The Buddha Shakyamuni.” Khan Academy. Khan Academy. Accessed November 25, 2019 https://www.khanacademy.org/humanities/art-asia/beginners-guide-asian-culture/buddhist-art-culture/a/the-buddha-shakyamuni