Archer

Earthenware

From the burial army of the First August Emperor of Qin.

Qin Dynasty

3rd. Cen BCE

Calvaryman and Saddle Horse

Earthenware, Burial Army of the Tomb of the First Emperor of Qin (Qinshi Huangdi)

Lishan, Lintong, Shaanxi

Qin Dynasty, 210 BCE

High degree of technique - interest in realism

Fei-yi Banner

ink on silk, color: mineral and vegetable elements

Top is celestial, heavenly realm

Daoist symbols & cosmology, Belief in the afterlife

Frog Moon, Crow Sun, Female (center) encircled by red serpent

Western Han Dynasty, 2nd centure BCE

Admonitions the Instructress of the Palace

Ink and color on silk
Gu Kaishi (344-406 AD)

Handscroll (emaki)

Tang Dynasty; Confucian theme

Ladies with Flowers in Their Hair

Tang Dynasty

Emaki, Ink and color on Silk

Court Painting

Amitabha Buddha

Cave Painting: Dunhuang Caves

Tang Dynasty, 8th cen CE

-influence of Gupta: snail curls

Tang: drapery hanging down

PURELAND BUDDHISM

Emperor Ming Huang's Journey to Shu

Ink and color wash on Silk

Tang Dynasty-8th cen CE

Humans tiny compared to nature-cannot control nature

BLUE GREEN SCHOOL

Traveling Among Streams and Mountains

Ink and Light Color on silk

Fan Kuan, ca. 1000

Northern Song Dynasty

Hanging Scroll

combined Buddhist, Daoist, and Confucian Ideals to create Neo-Confucianism

Early Spring

Hanging Scroll, Ink and Light color on Silk (dry ink)

1072 CE

Northern Song Dynasty

Located as The National Palace Museum at Taipei

Stark style-trees look like crab claws

Emphasis harshness of Spring landscape, illusion of water, sky, fog

Five-Colored Parakeet

undated, Emaki, Ink and color on Silk

Northern Song Dynasty

Detail in shading and highlighting

On a Mountain Path in Spring

Ma Yuan, undated, Ink and slight color on Silk

"One Corner Ma"

Southern Song Dynasty

Antiquity of trees, asymmetrical

Pure and Remote View of Hills and Streams

undated, emaki, Ink on PAPER

Southern Song Dynasty

emphasis of landscape, seen in sections, Axe-cut texture strokes-distinct sharp brush strokes

The Tang Poet Li Bo Chanting a Poem

Undated, Hanging Scroll, Ink on PAPER

Southern Song Dynasty

Chan Buddhist Painting

minimalist style, mindfulness of Chan Buddhism

Painting as meditative exercise in Chan Buddhism

The 6th Chan Patriarch Chopping Bamboo

Undated, Hanging Scroll, Ink on Paper

Southern Song Dynasty

Chan Buddhist Painting

more ordinary task, harder to control focus, caligraphic

Located: Tokyo National Museum

Six Persimmons

Undated, INK ON PAPER

Southern Song Dynasty

Chan Buddhist Tradition

Simplicity

Sheep and Goat

Zhao Mengfu

Undated, emaki, Ink on Paper

Yuan Dynasty (1260-1368)

Autumn Colors on the Qiao and Hua Mountains

Zhao Mengfu, 1296, emaki, Ink and color on paper

Yuan Dynasty

Movement toward starkness, figures no longer in work, focus solely on landscape

Simple mountains, clumping of trees

The Rongxi Studio

Ni Zan, 1372, Ink on Paper, Hanging Scroll

Yuan Dynasty

Artist known for sparseness of brush

(frugal in life and work)

Vessel

Earthenware, 2500-1500 BCE, no paint

Late Jomon Period (10,500-300 BCE)

corded markings elaborated and large

Entire surface created with sculpture technique

Jomon Figurine (Dogu)

Earthenware, 3000-2000 BCE

Late Jomon Period (1000-300 BCE)

figures ritually broken-link to afterlife

Protected the dead, animals-medium

Haniwa Figure

clay, 3-4 feet, 6th cen BCE

Late Kofun Period

(Era of the Ancient Tombs)

guarded tombs, stood on ground, acurate garmets and action

Stylization of body, not natural face

Figures to entertain Emperor

HOLLOW- slit eyes, open mouth

Ise Shrine

Dedicated to the Sun Goddess Amaterasu: most important Kami

Only uses natural material (no nails)

All Wood, built every 20 years

represents that everything has a beginning and you renew it

Start from profane (gates) to sacred (main shrine)

Ise Shrine: Main Hall

Hosts Kami; aesthetics critical to Japanese minimalism

simplicity of form, large cyprus trees, elevated from ground

No images, Bronze mirror represents sun goddess and sword represents emperor

Emperor considered Kami spirit: job to protect nation; plants first rice every year

Horyuji

Temple of the Exalted Dharma, 7-8th century BCE

Asuka Period (552-645)

oldest wooden building,original wood from 7th cen.

influence of Chinese architecture

Ground Plan: aspect of an enclosure with rooms around it, gateways - differene between sacred space

Stupa (wisdom) & Kondo (compassion)

Kondo: Golden Hall

contains Shaka Triad

inside Horyuji

Shaka Triad

Tori Busshi, gilt bronze, 623 CE

Asuka Period

shakimuni, waterfall garmet flowing over seat- Chinese style via Korea

No Tang style, disconnect in time

Korean style figures, high crown, elongated faces, interest in narrow body - fully clothed bodhisattvas

No fear & giving gesture > Specific to East Japan

Kongokai Mandala: Mandala of the Diamond World

Hanging Scrolls, color on silk, 9th cen CE

Heian Period (789-1185 CE)

Symbolizes WISDOM

9 mandalas-each with 5 buddhas

influence of Chinese art, no Korean influence

Style: No distinction in color, different gestures, center is Virochana

Byodoin: Amitabha

Jocho, 1053CE, gilt wood

Located in Phoenix Hall: Pureland Temple

Increasing Japanese elements in face, less sweet, no snail curls, stern looking buddhas

wooden back reflects caligraphic tradition

Amida Raigo Triptych

color on silk, 11th cen CE

Heian Period

Raigo, welcoming to paradise

Central Amida with bodhisattvas, Kannon (Padmapani)

Style: Idea of abrubt edging, gives a sense of movement

Amitabha Welcoming The Dead

Raigo Paintings

Blending of Chinese landscape painting with Japanese movement

Gate Guardians

Unkei, Wood, 13th cen CE

Todai-ji

Kamakura Period (1185-1333)

emphasis on realism art

Great South Gate

Ryoanji, Kyoto

15th cen CE, Dry Landscape Garden

minimalist, entire garden gravel, rocks covered by moss to indicate islands, changes for seasons

Shibui aspect: crack in rock

Tai-an Tea House

16th cen CE

Tea Ceremony-premeditative-appreciative art

Principles: Harmony, reverence (embodies Zen aesthetics), purity, tranquility

Tea comes from India: Green Tea: MACHA

Amida Triad

710 CE, mural painting from the Kondo, Horyuji

Nara Period (710-794)

Kare-e style: wire-line technique, brushwork, subject: Pureland Buddhism

Tale of Genji: Onna-e

emaki, ink and color on paper, 12th cen CE

Yamato-e Style: Japanese

"Dash for eyes, hook for nose"

subject to be highly emotional through interaction of subjects, dynamic juxtaposition, heavy use of color, use of diagonals to charge scene, pancake make-up

Often done in workshop by multiple artists, blown-off roof

The Flying Storehouse

from Mt. Shigi Scroll

Otoko-e, Yamato-e style

figures cartoonlike, idea of fast, energetic, creative style

Subject Enji

Done by single artist

Catching a Catfish with a Gourd

Josetsu, hanging scroll, ink and slight color on Paper

ca. 1413

Ashikaga (Muromachi) Period (1392-1573)

based on Zen Koan-absurd saying

Caligraphy by monks commenting on painting and koan

Art interacts with viewer, natural landscape, formal style

Splashed-Ink (Hatsuboku) Landscape

Sesshu, hanging scroll, ink on paper, 1495

Ashikaga Period

minimalist, swift brushwork, humans miniscule

Caligraphic notes

Daruma

Hakuin, Ink on Paper, 17th cen CE

Ashikaga Period

What is the sound of one hand clapping?

Irises

Ogata Korin, folding screen, color and gold leaf on paper

Edo Period

asymmetrical, broad flat surface, simplicity and opulance, juxtaposition of blues to create shade

Mount Fuji Seen Below a Wave from: 36 Views of Mt. Fuji

Hokusai, full-color woodblock print, 1829-1833

Edo Period

waves stylized, highly refined, yamato-e composition, asymmetrical, symbol is less than design