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Title/Subject: Mirror
Date/Period: Eastern Zhou Period
Material/Site: Bronze inlaid with Gold and Silver
Discussion:
Proof conclusive of the continuation of late Zhou technology and inventiveness into early han period first surviving appearance of pictorial; pictorial artform used to solve problems. Focuses on rendering object in space; abstract lines and human figures and not meant to be realistic, as you can see geometric patterns. design of the back show new creativity; mirror too is a cosmic symbol, but itsdeisgnmay derive from scroll or wall painting -inlaid orientated details .first surviving appearance of ‘pictorial’ art->abstract lines and human figures, but as pictorial art form we see eastern zhou artist try to solve the problem rendering object in space; but its not meant to be realistic, you can see its still very geometric patterns; function of object used in everyday life; patterning of material, its quite small; would be handheld and personal use...
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Title/Subject: Cavalryman and Saddle Horse
Date/Period: Qin Dynasty
Material/Site: Burial Army of the Tomb of the First Emperor Qin
Discussion:
During the Qin Empire, emperor qin was suppose to be assassinated 3 times; so he told his people to build an army for his afterlife;the terrcatoa’s bodies army were all interchangeable,lots of personalization with all these figures. they once had bronze weapons, but seemed stolen by other people. Part of emperor of qin’s terracota army; served as funeral art to help protect the emperor in his afterlife. Various provincial headdress of warriors are depicted in specific detail, and small, horses are ready to be mounted.-thigns were done realistically; indvidualized to a certain extent, specific facila features -recreating an army.. |
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*Title/Subject: Flying banner [feyi] detail of lady dai with attendants
Date/Period: ink and color on silk
Material/Site: tomb of the marquis of Dai
Discussion:
iconography; contrast to see basic form and layout of silk banners accomplished in technique and xomplex in design; its formal and balanced composition depicts three world levels: the sky above with its myhttical inhabitants – sun crow, moon, toad and celestrial dragons; the earth in the middle with the marquie I and her women attendents; and the nether regions with a burial grouping of ritual vessels and male figures, supported on serpentine beast and earth spirit ' paintings give us inkling of the appearance of the large palace murals mentioned in han literature. Painted banner is one of the very few to have survived han dynasty. For the most part stylistic development in painting must be inferred from relief carving and lacque painting of late han;dragon shapes; serpintine, horses, all these different animals that are very used in a decoarative way, doesnt reall ytell a scene, you see an interesting apttern, the moon on the top left, the sun on the top right. each animal has a symbolic meaning ; one of the first example of color on silk! still pretty flat in space; although midddle picture has 3 men, its pretty flat |
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Title/Subject:Flying Banner
Date/Period: Western Han Dynasty
Material/Site:Tomb of Marquis of Dai
Discussion:
iconography; contrast to see basic form and layout of silk banners accomplished in technique and xomplex in design;
its formal and balanced composition depicts three world levels: the sky above with its myhttical inhabitants – sun crow, moon, toad and celestrial dragons; the earth in the middle with the marquie I and her women attendents; and the nether regions with a burial grouping of ritual vessels and male figures, supported on serpentine beast and earth spirit ' paintings give us inkling of the appearance of the large palace murals mentioned in han literature.
Painted banner is one of the very few to have survived han dynasty.
For the most part stylistic development in painting must be inferred from relief carving and lacque painting of late han;dragon shapes; serpintine, horses, all these different animals that are very used in a decoarative way, doesnt reall ytell a scene, you see an interesting apttern, the moon on the top left, the sun on the top right. each animal has a symbolic meaning ;
one of the first example of color on silk! still pretty flat in space; although midddle picture has 3 men, its pretty flat |
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Title/Subject:Gentlemen in Conversation
Date/Period:Eastern Han Dynasty
Material/Site:Earthenware Tomb Tile
Discussion:
mastery of painted brush work; the speed and flexibility of the brush are expressed in the line, and the brush stroke has become a means of defining character. paining suggest a narrative going on; this particular one was plundered in the luo yang; relationship to each other creates a 3d space between the two figures; lipped man seems to portray some sorts of persuasion ; the other guy is listening,he's some what paying attention due to eyebrow. Shows The three quarter view is skillfully used; the whole attitude and pose each figure conveys something of the psychology of the person portrayed; At the same time theplacmentof the figures in space is primiative; they all appear to be on the same ground, and no setting is indicated. Great progress can be seen her toward the use of the brush.
-attempt to show space; each man is a different size, there’s this attempt to show some kind of interaction, existence in space that we have’t seen before. attempt to show faicla features and clothes |
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Definition
Title/Subject:Flying Banner
Date/Period: Western Han Dynasty
Material/Site:Tomb of Marquis of Dai
Discussion:
iconography; contrast to see basic form and layout of silk banners accomplished in technique and xomplex in design; its formal and balanced composition depicts three world levels: the sky above with its myhttical inhabitants – sun crow, moon, toad and celestrial dragons; the earth in the middle with the marquie I and her women attendents; and the nether regions with a burial grouping of ritual vessels and male figures, supported on serpentine beast and earth spirit ' paintings give us inkling of the appearance of the large palace murals mentioned in han literature. Painted banner is one of the very few to have survived han dynasty. For the most part stylistic development in painting must be inferred from relief carving and lacque painting of late han;dragon shapes; serpintine, horses, all these different animals that are very used in a decoarative way, doesnt reall ytell a scene, you see an interesting apttern, the moon on the top left, the sun on the top right. each animal has a symbolic meaning ; one of the first example of color on silk! still pretty flat in space; although midddle picture has 3 men, its pretty flat |
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Definition
Title/Subject:The Archer Yi, The Fushan Tree, and reception in a mansion, rubbing of stone relief
Date/Period:Eastern Han Dynasty
Material/Site:The Wu family Shrines
Discussion:
Fillial piety*** respect for your elder, and family; fP is virtue of respect of one’s father, elder, ancestors -his partiuclars picture representsnumber of Confucius themes along with daoism too. demonstration of philopiety through offerings to ancestor, but also as the shrine stood there to come to see they tell stories about history, about Confucius behavior. Fillial piety is respect for your elders, an family; and virtue of one’s father, elder and ancestor [men] rubbing technique used; from the time paper was invented which occurred in this period;-invention paper led to great stimulus to develop brushwork, which lead to the mastery of the chinese brush. rubbing: made by laying a thinl ayer of damp mulberry paper on the stone and pressing it into crevices and carved areas. it is then lightly tapped with an inked pledget. the resulting rubbing can be resrved through a photographyic process to achieve a black on white inpression not unlike the original panitng protoypes; formal style
-attempt to show some kind of space, three grouping of men behind each other; this angle of grass; not very realistic; stickmen figures in a way; trees are stick, very stylized |
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Title/Subject: Scenes of Hunting and Harvesting
Date/Period: Eastern Han Dynasty
Material/Site: Rubbing of Earthenware Tile
Discussion:
-landscape elements incorporated the first time to make 3d landscape; like the stream, zigzagpatterhn, pond filled with many fishes. may reasonably assume that some han painters shared this organized an intuitive feeling for space for the unnaturalistic handling of the human and animal figurines. formal style epiotmized by the famous relief of the wu liang ci. rubbing technique used; from the time paper was invented which occurred in this period;invention paper led to great stimulus to develop brushwork, which lead to the mastery of the chinese brush.rubbing: made by laying a thinl ayer of damp mulberry paper on the stone and pressing it into crevices and carved areas. it is then lightly tapped with an inked pledget. the resulting rubbing can be resrved through a photographyic process to achieve a black on white inpression not unlike the original panitng protoypes. above , a stream full of ducks, fish, and lotuses winds into the distance, while two hunters on the bank shoot at flying ducks; below five men harvest grainwihilea sixth brings lunch. The depicition is lively and naturallistic, not unlike the scenes on the painted shells in contrast to the static style of the stone reliefs at wuliang ci and yinan. Recession in space is confidently indicatedbtthe diminishing size of animals and plants, by the spit of land diagonally behind the hunters, and by harvesting inechlon.
-rubbing of a stone relief; function: comic strip, the bottom left section and the middle top section… its suppose to be read from the bottom right, and continued. like japanese manga. it tells a story; no different than a comic strip. similarity to greek/roman relief; use of geometric wheels and patterning of the horse, it reads almost like film strip, comic strip moving in space. one of the first examples of showing hiarchy; two men bowing down, mix between and folklore and confucianism.
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Definition
Title/Subject: Colossal Buddha
Date/Period: Nortehern Wei dynasty
Material/Site: Yungang Caves
Discussion:
During sixth dynasties period buddhism likewise became the patron of great arts. in chinese buddhist art we can witness over a period of a consistent development from an electric mixture of central asian and chinese style to a fully realized chinese style. archaic style, imagery and iconography being predominantly indian. radition of carving into living rock was probably imported from india; little if anything like this had been known before in china; with the drapery derived from the bamiyan string givse the impression of a hybrid and stiff conformation. there is a northern way into China in 386 CE. They converted to Buddhism then, and started to commission a lot of Buddhist art and monuments in an effort to create good karma. Also historians believe that in firming up the Buddhist power throughout the empire via these elaborate displays, by dedicating these statues into the past via their ancestors legitimized some of their rules. Placed in by Sherman Lee in the Archaic Style, replicating some of the Kushan period sculptures. In the sense of having wide shoulders and blocky appearance. Smallish head and archaic smile with wide, downcast eyes.
-not a full smile, archaic smile…. it’s like a stoic style. not quite but it’s not there. arcaic style in roman/greek scultures; gupta style. you can see the elongated ears, the hair is in gupta style. the eyes are downcasted, eyebrows are not quite raised; draperies only over one shoulder, a little bit over the other one but not fully. background is more detailed then its body, carved directly into the face of the rock; chipping away in the compound with a bunch of different cave temples |
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Definition
Title/Subject: Colossal Buddha
Date/Period: Nortehern Wei dynasty
Material/Site: Yungang Caves
Discussion:
Dduring sixth dynasties period buddhism likewise became the patron of great arts. in chinese buddhist art we can witness over a period of a consistent development from an electric mixture of central asian and chinese style to a fully realized chinese style. archaic style, imagery and iconography being predominantly indian. radition of carving into living rock was probably imported from india; little if anything like this had been known before in china; with the drapery derived from the bamiyan string givse the impression of a hybrid and stiff conformation. there is a northern way into China in 386 CE. They converted to Buddhism then, and started to commission a lot of Buddhist art and monuments in an effort to create good karma. Also historians believe that in firming up the Buddhist power throughout the empire via these elaborate displays, by dedicating these statues into the past via their ancestors legitimized some of their rules. Placed in by Sherman Lee in the Archaic Style, replicating some of the Kushan period sculptures. In the sense of having wide shoulders and blocky appearance. Smallish head and archaic smile with wide, downcast eyes.
-not a full smile, archaic smile…. it’s like a stoic style. not quite but it’s not there. arcaic style in roman/greek scultures; gupta style. you can see the elongated ears, the hair is in gupta style. the eyes are downcasted, eyebrows are not quite raised; draperies only over one shoulder, a little bit over the other one but not fully. background is more detailed then its body, carved directly into the face of the rock; chipping away in the compound with a bunch of different cave temples |
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Definition
Title/Subject: Colossal Buddha
Date/Period: Nortehern Wei dynasty
Material/Site: Yungang Caves
Discussion:
Dduring sixth dynasties period buddhism likewise became the patron of great arts. in chinese buddhist art we can witness over a period of a consistent development from an electric mixture of central asian and chinese style to a fully realized chinese style. archaic style, imagery and iconography being predominantly indian. radition of carving into living rock was probably imported from india; little if anything like this had been known before in china; with the drapery derived from the bamiyan string givse the impression of a hybrid and stiff conformation. there is a northern way into China in 386 CE. They converted to Buddhism then, and started to commission a lot of Buddhist art and monuments in an effort to create good karma. Also historians believe that in firming up the Buddhist power throughout the empire via these elaborate displays, by dedicating these statues into the past via their ancestors legitimized some of their rules. Placed in by Sherman Lee in the Archaic Style, replicating some of the Kushan period sculptures. In the sense of having wide shoulders and blocky appearance. Smallish head and archaic smile with wide, downcast eyes.
-not a full smile, archaic smile…. it’s like a stoic style. not quite but it’s not there. arcaic style in roman/greek scultures; gupta style. you can see the elongated ears, the hair is in gupta style. the eyes are downcasted, eyebrows are not quite raised; draperies only over one shoulder, a little bit over the other one but not fully. background is more detailed then its body, carved directly into the face of the rock; chipping away in the compound with a bunch of different cave temples |
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Definition
***Title/Subject: Admonitions of the Instructress to the Court Ladies
Date/Period: 4th C
Material/Site: Handscroll, Ink and colors on silk
Discussion:
one of the earliest representation of landscape painting; shows a complete and remarkably developed world of its own; didactically i, in its moral exposition, representaionally in depicting figures in motino from the various angles; aesthetically in its organization of line and color. the oandscape is present, however, for moral and didatic purpose. painting shows impressive linear mastery, particulary in the handling of the drapery where the effect is one of swirling and fluttering movement;iconographically the picture is thoughly confucian adominition implies confucian rectitude;close examination of faces show headgear appropriate to the fourtht century and slightly pointed chins and noses, and sloping shoulders. silk is a brownish color, the painting is done by a fine brushwork; you can see the real color of the silk is darker then;painting is important because style is fine brushwork, fine lines; chinese style painting relies on lines, called linear style! add pigments to certain parts; linear style starts late zhou dynasty, but is prevalent here. in tang tdynasty it reached the peak of linear style;paid attention to sense of space; indian influence in the painting. here’s no actual setting; floating in space. there’s sort of no context where the figures are portrayed, not focused on the realist; not a conscious reaction against realism. creating real 2d figures in real space; it’s known to be 12 scenes; there re 3 missing scenes, not focused on the realist; not a conscious reaction against realism. creating real 2d figures in real space; it’s known to be 12 scenes; there re 3 missing scenes, emperor talks with one of his ladies of the court; women should not be with social responsibility; only should stay home and serve husband. adomination of the instructs to the court ladies; one of court ladies, banh, emperor wanted to stay with this lady all day, didn’t want to go to state fair
6 cannons of painting that were fundamental to the studying of paintings in china; in this textbook, it talks about to understand chinese painting. Very diffuclt for wetsern viewer to discuss chinese painting, to understand subtlies in it; 1cannon talks about spirtiatlity of life spirit to a painitng; quality differentiates a good/bad artist. 2nd, importance of brush stroke; caligraphy more important then painting; idealized, should be idaeal. 6thcanonn talks about how artist, painter important them to reference the past read 288
-creating sense of depth; basically trying to show angle
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Title/Subject: Emperor wendi and feidi from Southern Chen Dynasty
Date/Period: Tang Dynasty
Material/Site: Handscroll; ink and color on silk
Discussion:
yan was an official and administrator of the highrest rank as well as an extremely important court artist, providing designs for architecture, scultpure, and wall paintings- in short, fulfilling al the chinese requirement of an artist-hero -represents thirteen emperors with their attendants; first part of the scroll, was severely damaged by frequent unrolling; but the later remains great condition abstract setting, with figures shown in relationship only to their immediate enviorment, the dais on which the emperor sits; in the firm use of lines, separated grouping of unified subjects and alertness of secondary figures the work displayers a relationship to what has gone beforem aprticullary to gu kaizhi and zhang sengyou; modeling of draperies, done more sysematically using shaded red, figures are larger, ample, and serene and though the delineation of the faces still relies principally on line, it creates a suggestino of mass and ovlume quite different from the more linear style of the sixth dynasty period emperor is chen wen di [right] shown at ease, quitely sitting instead of standing in a dominating pose; his summer garments of soft materials contriubute to the image of an effete rather than a dymatic person. this characterization is part of th trend toward individual realistic proratiure in the tang dynasty |
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Title/Subject: emperor wendi from the northern zhou dynasty
Date/Period: tang dynasty
Material/Site: handscroll, ink and color on silk
Discussion:
the scroll of the emperors follow the same color scheme used by gu kaizhi, which seem appropriate for tits exalted and diactic subject matter: characters of emperors of the psat provides moral confucian lessons;simple sobriety of the colors, mainly red, white, black, traces of blue/pale green, produces an austerere effect ;strong eperors are protrayed standing, their figure occupy the full height of their silk;large scale, sober color, and poewrful but sipmle linear drawing combine to create a coherent, harmonious, momunmental effect |
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Title/Subject: Buddha Variocana with Attendants
Date/Period: Tang Dynasty
Material/Site: Limestone
Discussion:
main image of the supreme buddha, flanked by disciples, bodhisattvas, and guardians, is about fourty=four feet high overall, and the imposing, full-bodied figures are skillfully and sensitively carved despirte their colossal size elongated style;
showing more the chinese 6th dynasty elongated style; in the tang dynasty image of buddha changed, gupta style had a round face, the hair style also has changed. here it shows the tang painting style shows round,chubby face with a fresh body, gupta had 3 wrinkle on the neck, which is now brought to the tang dynasty.
Gupta style robe covering both soldier, is also part of this too bodhistattva with monk image; showing realisitic details depicted by artist; buddhist iconography follows indian tradition; wrinkled neck, round face = gupta characteristics; details up there, you can see much warrior style; warrior garment, you can see realisticness t stays with the sort of centralized Buddha composition that we’ve seen already through most of those Shakyamuni triads in India- but this time, the attendants are expanded. It’s a new hybridized style of art; not quite completely Indian, yet not quite fully Chinese yet.
The central seated Buddha figure is 44 feet high, and are incredibly detailed carvings despite being so large. It was a commission by the emperor Gao Zong, started in 672 and finished three years later. The important thing to remember is that the visual composition of the figures is almost reminiscent of an altar top; the stone overhang used to be much larger, and was supplemented by some woodwork.
This effect was meant so that the outcropping that was carved was made to look much darker and more mysterious by the shade of the overhanging rock and wood. Again, much like earlier Indian buddhist architecture, the wood temples and structures of Buddhist china do not survive due to the ephemeral nature of the material.
-raised more detailed, eyebrow raised, draper draped over all hair; lines letting us know its drapery not much detail there. lines ecchoed behind him |
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Definition
Title/Subject: Buddha Variocana with Attendants
Date/Period: Tang Dynasty
Material/Site: fengxian temple
Discussion:
main image of the supreme buddha, flanked by disciples, bodhisattvas, and guardians, is about fourty=four feet high overall, and the imposing, full-bodied figures are skillfully and sensitively carved despirte their colossal size elongated style;
showing more the chinese 6th dynasty elongated style; in the tang dynasty image of buddha changed, gupta style had a round face, the hair style also has changed. here it shows the tang painting style shows round,chubby face with a fresh body, gupta had 3 wrinkle on the neck, which is now brought to the tang dynasty.
Gupta style robe covering both soldier, is also part of this too bodhistattva with monk image; showing realisitic details depicted by artist; buddhist iconography follows indian tradition; wrinkled neck, round face = gupta characteristics; details up there, you can see much warrior style; warrior garment, you can see realisticness t stays with the sort of centralized Buddha composition that we’ve seen already through most of those Shakyamuni triads in India- but this time, the attendants are expanded. It’s a new hybridized style of art; not quite completely Indian, yet not quite fully Chinese yet.
The central seated Buddha figure is 44 feet high, and are incredibly detailed carvings despite being so large. It was a commission by the emperor Gao Zong, started in 672 and finished three years later. The important thing to remember is that the visual composition of the figures is almost reminiscent of an altar top; the stone overhang used to be much larger, and was supplemented by some woodwork.
This effect was meant so that the outcropping that was carved was made to look much darker and more mysterious by the shade of the overhanging rock and wood. Again, much like earlier Indian buddhist architecture, the wood temples and structures of Buddhist china do not survive due to the ephemeral nature of the material.
-raised more detailed, eyebrow raised, draper draped over all hair; lines letting us know its drapery not much detail there. lines ecchoed behind him |
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Definition
Title/Subject: The Night Revels of Han Xizai
Date/Period: Five Dynasties Period
Material/Site: Handscroll, ink and color on silk
Discussion:
-one of the earliest chinese painting painted on the silk
-dedicated to gu kaizhi; hints
-painting content see from title; admonitions of the instructors the the court ladies, illustration of tax, written by confucious scholar, zhang hua, teach how ladies to be lady like, to serve imperial family members; very much follow confucian standards for women, the tax itself reflect the confucian concept
-silk is a brownish color, the painting is done by a fine brushwork; you can see the real color of the silk is darker then
-painting is important because style is fine brushwork, fine lines; chinese style painting relies on lines, called linear style! add pigments to certain parts; linear style starts late zhou dynasty, but is prevalent here. in tang tdynasty it reached the peak of linear style
-read text first, then story on the eft; painting shows sense of ancient chinese painting, in terms of
-women should not be with social responsibility; only should stay home and serve husband.
-perspective is totally different from what other painting are. this perspective, chinese perspective or reverse perspective shows here; quite interesting, follows for a longtime
-paid attention to sense of space;
-indian influence in the painting
-adomination of the instructs to the court ladies; one of court ladies, banh, emperor wanted to stay with this lady all day, didn’t want to go to state fair
*everyone individualized; art acting as a document of society over time; see food, pottery giving us a sense of the life style at the time of the wealthy |
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Definition
Title/Subject: The Night Revels of Han Xizai
Date/Period: Five Dynasties Period
Material/Site: Handscroll, ink and color on silk
Discussion:
-one of the earliest chinese painting painted on the silk
-dedicated to gu kaizhi; hints
-painting content see from title; admonitions of the instructors the the court ladies, illustration of tax, written by confucious scholar, zhang hua, teach how ladies to be lady like, to serve imperial family members; very much follow confucian standards for women, the tax itself reflect the confucian concept
-silk is a brownish color, the painting is done by a fine brushwork; you can see the real color of the silk is darker then
-painting is important because style is fine brushwork, fine lines; chinese style painting relies on lines, called linear style! add pigments to certain parts; linear style starts late zhou dynasty, but is prevalent here. in tang tdynasty it reached the peak of linear style
-read text first, then story on the eft; painting shows sense of ancient chinese painting, in terms of
-women should not be with social responsibility; only should stay home and serve husband.
-perspective is totally different from what other painting are. this perspective, chinese perspective or reverse perspective shows here; quite interesting, follows for a longtime
-paid attention to sense of space;
-indian influence in the painting
-adomination of the instructs to the court ladies; one of court ladies, banh, emperor wanted to stay with this lady all day, didn’t want to go to state fair
*everyone individualized; art acting as a document of society over time; see food, pottery giving us a sense of the life style at the time of the wealthy |
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Definition
Title/Subject: Traveling Amid mountain and gorges
Date/Period: northern song dynasty
Material/Site: Hanging scroll, ink and light color on silk
Discussion:
-landscape painting devleoped even more in the song dynasty'
-had monumental landscae, in song dynasty they used a different kind of format, all the pertaining before ou see horizontal, hand scroll painting. but in this landscape, depicting high mouotanin, now it is vertical!
-verticle format used a different format, via hanging scroll meaning you can hang on the wall
-4 scene landscape; see the foregrounds, the bottom part, the middle ground and the background 4 scene land scape has 3 grounds!
-use raindrop texture/stroke to make the uneven rocky, mountain
-they make landscape accessibly for the people; they believe its a real scene, people can go in there, so they have guide image in foreground to not make imaginary, where ppl can go in
-so, painters called illusionist;
-foreground have travelers ride on the donkeys, assistant holding lunges and restraints
foreground,middle ground, background; mist helps establish these |
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Definition
Title/Subject: Early Spring
Date/Period: Ink and Color on silk; hanging scroll
Material/Site: Northern Song Dynasty
Discussion:
-Another northern Song artist, towards the end, is Guo Xi. Famous painting called Early Spring, is located in Taipei. Based on a theory in his writing, he is also a great philosopher, doing a very version of art theory. Early spring is still in the monumental landscape style of painting, and there is a middle ground that is much less distinct in its demarcation than the previous examples of landscape painting that we’ve looked at: We also then see some differences, which is the textural focus than the previous examples. There is much more use of ink wash and negative (empty) space in between the middle ground and background. Another distinction is the use of a variety of inks to create tonal variance: you get really dark areas, but also very light patches of the painting, creating shadows and lighter areas push the background further from the viewer’s perceived viewing perspective and plays with depth perception. Realistic representation is their goal: the tone of ink is important in the Song artists’ pursuit of realism, by creating contrast in tone in their paintings, they create a depth of field, or what is perceived as such.
-balance between negative/psotive; negative is the blank background. |
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Definition
Title/Subject: Viewing plum blossoms by moonlight
Date/Period: southern song dynsaty
Material/Site: ink and sight color on silk
Discussion:
-Landscape becomes the most important type of art: but in the southern song dynasty, which is the second half of the Song dynasty, the painting shifts into a different direction. These two artists start to develop a different focus in terms of composition and brushwork.
-Three grounds gets pared down to the two grounds: Fore and background. The middle ground disappears in the southern song landscape painting. It becomes simplified in the fact that the textural brushstrokes become discarded in favor of a ink wash in the background. Axe cut brushstrokes become the dominant way of painting the composition: thin cutting lines that become accents in the foreground of the painting. Another difference is the foreground contains much closer images of figural forms: humans are more dominant. The background also becomes slightly abstracted: the artists leave the background to fill the background space. It’s the Alfred Hitchcock of backgrounds: let the viewers fill the background with whatever they will, instead of leaving nothing to the imagination like the earlier Northern Song landscape paintings.
-One Corner Ma uses angular lines for the depiction of the folds of drapery in the figural representations of humans A more poetic feeling than the earlier song dynasty landscape paintings. |
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Definition
Title/Subject: pure and remote view over rivers and mountains
Date/Period: southern song dynasty
Material/Site: handscroll, ink on paper
Discussion:
-Xia Gui uses more ink wash than anything else: only using axe cut technique and using large empty background space. Xia Gui’s nick name is half side Xia.
-foreground'background
-people in large background; overwhelm by nature’s great
—cross hatching; thin cutting line |
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Definition
Title/Subject: Flame-style storage vessel
Date/Period: middle jomon period
*Material/Site: Japan
Discussion:
- Medium: Clay
- Function: Everyday use, storage
- Style: Use clay rope over earthenware for 3D patterns/motifs, wave/spiral patterns, realistic depiction of animals and plants, flat bottom,
- Subject Matter: Upward motion, flame patter, symbolism unknown,
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Definition
Title/Subject: Doku
Date/Period: Jomon period
Material/Site: kamikurokama, misaka-cho
Discussion:
-possible figure of women, gesture of left arm and tattoo on face; tatto associated to ritual
-soldier notches puzzling, not sure why, have no real explanation
-jomon phase, named for the low-fired, hand-built earthenware essels with decorative patterns made by rolling a cord over the soft clay;
-mouth of the vessels began to be manipulated for decorative effect
-pots appear to be growing before our eyes, their bizarre ornaments expanding into space
-some are female figures, perhamps, mediums, whose depicition emphasizes fertility and this correpsonds with the implication of the numerous phallic object in stone and clay in the middle jomon period
-A possible figure of a woman we know from the gesture of its left arm, but the tattoos present on the face are reminiscent of the early tribal hunter days where tattoos were sources of ritualistic power and skill Missing shoulder notches and other things about this sculptural bust are still puzzling to art historians, due to the lack of primary source writing and that the statue itself is just so old that the way of reading it is now lost to modern humanity |
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Term
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Definition
Title/Subject: Dotaku
Date/Period: yayoi period
Material/Site: kagawa prefecture
Discussion:
-part of yayoi culture; integrates bronze casting from korean influence
-bronze bell; although the shape and idea from china, function itself is different. china used it for the music; japan possible used it for ritual purposes. on the surface the otaku animals/human activity are shown; see difference between china/japan
-adoption of production of bronze, metal work key in this era
-bronze introduced to japan for war; and practical application
-cared images in the blank canvas; used for education and decoration too
-compare and contrast japanese bell to the chinese one
-The shape of the bell is unique: its more oval shaped like Chinese bells, and the many images give information regarding the Dotaku, like animal motifs and architectural sites that the Yayoi were living in Also some Dotaku had technical instruction to pass on the practice of cultivating and cooking rice; used for decorations and or tiuals
-these are imposing in shape, and some have low relief decoration of houses, bots,andimals, or scenes of everyday life-hitnging,fishin, and cultivating – In an amusing,primtive, stick figurestule. They have been found mostly inkyoto-nara-osakaregion
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Term
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Definition
Title/Subject: haniwa, from lizuka-cho
Date/Period: kofun period
Material/Site: ota-shi, gunma
Discussion:
-pre-buddhist japan, age of ancient burial moudns and bronze tomb furnishing, w made for the yamato clan; who theseburial mounds weremade for. Haniwa were completely native in style and radically different from mainland burial figures;
**notes
Haniwa meaning circle of clay were sometimes simply clay cyinders placed around a grave mound or tumulus to strengethen the sides of the mound and prevent earth washouts. Never used as furnishing within the gtomb, they were placed tihgtly together, one agasint the other, like apicketfacncearoudn the mound. Some with a head at top may represetn the surival of a primitive type. But thesearehighyledveloped, the one we study, the base reminas cylindrical but set on the base are many lvielt lively subjectsl human figures singing in chrous , warriors in armor, coy ladies, animals, birrds and even houses; gave us ideas of early life in japan; th technique of the haniwa maker was designedd to emphasize the material, to use clay so that the object seems derived from it; the material dominates the conept… you can contrast the differences between chinese clay and japanese clay; haniwa is with their bold, geometerical, simplified hshapes and their respectful use of clay, are ntersting
-red colors combed surfaces and realtively large size distinghiueshaniwa from han burial figures |
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Term
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Definition
Title/Subject: Haniwa, from kokai
Date/Period: kofun
Material/Site: oizumi-machi, gunma
Discussion:
-pre-buddhist japan, age of ancient burial moudns and bronze tomb furnishing, w made for the yamato clan; who theseburial mounds weremade for. Haniwa were completely native in style and radically different from mainland burial figures;
**notes
Haniwa meaning circle of clay were sometimes simply clay cyinders placed around a grave mound or tumulus to strengethen the sides of the mound and prevent earth washouts. Never used as furnishing within the gtomb, they were placed tihgtly together, one agasint the other, like apicketfacncearoudn the mound. Some with a head at top may represetn the surival of a primitive type. But thesearehighyledveloped, the one we study, the base reminas cylindrical but set on the base are many lvielt lively subjectsl human figures singing in chrous , warriors in armor, coy ladies, animals, birrds and even houses; gave us ideas of early life in japan; th technique of the haniwa maker was designedd to emphasize the material, to use clay so that the object seems derived from it; the material dominates the conept… you can contrast the differences between chinese clay and japanese clay; haniwa is with their bold, geometerical, simplified hshapes and their respectful use of clay, are ntersting
-red colors combed surfaces and realtively large size distinghiueshaniwa from han burial figures |
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Term
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Definition
Title/Subject: Ise Shrine
Date/Period: Kofun
Material/Site: Wood Foundation
Discussion:
- Medium: Wood
- Function: Imperial family shrine, not open to public, used to worship Shinto deities like Amaterasu (Shinto sun-goddess),
- Style: naturalistic, granary structure, gold decoration at top, no painting on wood, building raised from the ground, covered by thick thatched roof with bark and reeds, supported by posts,
- Subject matter: Rectangular shaped, entrance facing south, surrounded by torii gate, small building outside torii indicates shrine, small building, 2x3 bei,
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Term
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Definition
*Title/Subject: Horyuji [temple of the exalted dharma]
Date/Period: Asuka period
Material/Site: SW of Nara
Discussion:'
- Asuka Period, Nara
- Medium: Wood
- Function: Religious
- Style: Guardians on the side of doors, 6th Dynasty Chinese building style,
- Subject Matter: Buddhist Temple,
-Buddhism succeeded in japan largy through the efforts of prince shotoku; he skillfully mobilized political support for his own pure faith; he succeeded in estblishing buddhism as the state religion, over shinto,
-japanese ruling class embraced chinese culture all the orderly, logical, and rational elements that we associate with chinese were brought in with buddhism. temples were builtin great numbers
-rebuilt in early style after a fire
-the temple unified the larger parts of japan, he set the capital in nara
-typical kind of buddhist temple complex; 6th dynasty period only found in japan now because it preserved stylle
-this temple features a 6 dynasty style and reflect wooden structure from china yo u find at the that time
-pagoda +kondo
-format different than buddhist temple because location of pagoda and kongdong
-middle gat is the entrance basically or the front tall building;
-individual buildings are typically chinese, standing on raised stone bases and using the bay system, post-and-lintel construction, tile roofs, eleaborate bracketing design to transmit the trhrust and weight of the heavy tile roof down through the wooden members into the principal columns that support the structure
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Term
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Definition
Title/Subject: Golden Hall
Date/Period: Asuka peroid
Material/Site: Horyu-ji temple
Discussion:
-part of the horyu-ji
-later in the tang dynasty, a more rigidly balanced plan became typical, with the golden hall on a central axis and two pagods symmetrically placed in subordinate location either inside or outside the cloister
-shows bracketing system with its complicated use of jutting members, carved in a linear, cloudlike pattern
-adds to the sprining and light effect characetristic of six dynastyies style;
-oriented to the four direction, with a stairway on each side leading to a double door; interior is similary oriented, with the three main images on a central dais and three carved and painted wooden canopies over them
-on the four interior walls frescoes wer epainted in about 710 CE
->shoes the paradises of the four buddhas of north south east and west with smaller wall panals of attendant bodhisattvas.
-kondo have small wooden stair way that lead to the top; but building is old, however structure is still same; building is like a square shape it has 4 doors and you can go to any of the direction and you have the stone stairways that lead up to it
-two story building, have two layers of tile roof; you can siee it protects the building well
-the bottom part third layer [bottomist one] is newly added,n to part of original to protect the original building
-inside you have the shakamnyi buddha; shaka tribe
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Term
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Definition
Title/Subject: Five-storied pagoda
Date/Period: Auska
Material/Site: Horyu-ji temple
Discussion:
t-he plan of the monastery is relatively asymmetrical, giving much prominence to the pagoda. from the gate the principal axis runs between the pagoda and the golden hall to a lost refectory behind. the east-west axis transect the golden hall and the pagoda. the pagoda and the golden hall are symmettrically placed on either side of the northern an southern axis, but the two buildings are not, identical
-developed from indian stuppa; simillar cross up top
-same function to hold remains of major buddhist monks; you can see the structure of the building is completely different though, pagoda follows wooden sttructure watch two; have multiple roofs, one thing same about the stupa is though there is small railing top umbrella you can see the chaityra, function to protect buddhist universe; on the 5 pagoda, the top has the chaityra too, small railing too… same function as the harmonica of the stupa;
-has mulitple relics inside; |
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Term
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Definition
Title/Subject: Buddha and Attandents
Date/Period: Longman Cave
Material/Site: Stone
Discussion: |
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Term
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Definition
Title/Subject: shaka triad
Date/Period: asuka period
Material/Site: gilt bronze
Discussion:
the largest remaining chinese bronze image of the six dynasties is perhaps four feet in height; this one is six feet high though. represents the buddha shakyamuni seated on a throne flanked by bodhisattvas, with a great mandorla behind.
-the image was made two years after the death of shotoku taishi and as the inscriptions notes, was dedicated to the memory of the prince. it is in perfect condition, with considerable gliding remaining, and its a fine example of the elongated style.
-the waterfall drapery, the serrated edges of the side draperies on the bodhisattvas, the rather tall proportions, the type of face, and the mandorala with its curling linear motifs are pure liang in style.
-slight tendency toward squatness in the proportion of the faces in the relationship of the body to the feet; characteristics of korean and Japanese work
-above the image is one of the three balachinds, canopies, that were placed over the main image on the raised dais of this golden hall. |
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Term
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Definition
Title/Subject: Kondo [golden Hall]
Date/Period: Toshodai-ji
Material/Site: Nara
Discussion:
- buddhism was embraced in nara japan not merely as a personal faith, but also as instrument to strengthen the dynsaty against competeting aristocratic clans; generally patronizing buddhism, japans rule invoked the protection of the inumerable and all powerful mahayana pantheon upon themselves
-we see this development of the tang temple plan for the protection of the nation by the golden effulegent four diven kings; perfectly expresses the twin aspiration of its royal patrons.
-sacle is huge - some five to six times the size of the small temple was of such a size as to a house ta bronze buddha image some sixty feet in height—almost twenty acres were enclosed by the ambulatory
-pairs of pagadas, now destroyed, were originally flanking the entrance but outside the enclosure, thus enlarging the plan still further,
-uncommon compared in chinese temples layouts; a lsingle large pagoda, was more common
COMPARE/CONTRAST
-HJ tightly organized and rather small dimensions, vertical development, its feeling of lightness
-HJ completly enclosed, TJ thre is an expansion into space in the form of a proch; dicated by the interactino of relgious and social requirements: the sacred images were not for the eyes of secular anywhere, but at TJ the noble or wealthy layman was considered entitled to shelter while he listened to the ritual within
-HJ the alter was meant to be walked aroudn in the tradtional indian rite of cicumbulation; at TJ the alter proper is backed by a screen, which the circumambulation but focuses one’s attention on a framed, frontal view of the images and the alter. shows a more unified visually lgoical concept
-both temple employ a color scheme: white-dressed clay on the walls, the large members treated with red oxide, windows lattices painted a rich green, the roof tiles gray
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Term
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Definition
Title/Subject: Portrait of the priest ganjin
Date/Period: Nara
Material/Site: dry lacque with paint
Discussion:
-a new style to this era; its called portrait, executed in dry lacquer
-priest ganjin was the blind chines founder of the great temple toshodaiji, a leading figure in the early history of todaiji, recognized authority on chinese secular cutlure as well
-his iamge, like images of monks renowend for their holiness and acomplishments, was considered an aid to worhsip an right living
-skin of the figure has a slightly yellowish tinge, eye brwos are painted in as are moustache hairs and the stubble of the beardm but without the particularity which is socharactersitic of japanese realism
-figure strikes us as both an idinvidula nad generlaized type like most of tang portraits |
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Term
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Definition
Title/Subject: todaiii
Date/Period: Nara
Material/Site: ?
Discussion:
-is a Buddhist temple complex, that was once one of the powerful Seven Great Temples
-Its Great Buddha Hall, houses the world's largest bronze statue of the Buddha Vairocana, |
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Term
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Definition
Title/Subject: great buddha @todaiji
Date/Period:Nara
Material/Site:
Discussion:
-hall built around this buddhist statue
-huge! |
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Term
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Definition
Title/Subject: standing medicine buddha
Date/Period: 799
Material/Site: wood
Discussion: |
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Term
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Definition
Title/Subject: standing medicine buddha
Date/Period: 799
Material/Site: wood
Discussion: |
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Term
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Definition
Title/Subject: Mandala of the Diamond World [Kongokai]
Date/Period:
Material/Site:
Discussion: |
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Term
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Definition
Title/Subject: Mandala of the womb world [taizokai]
Date/Period:
Material/Site:
Discussion: |
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Term
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Definition
**Title/Subject: The tale of genji
Date/Period: heian period
Material/Site: handscroll, ink and color on paper
Discussion:
One of 4 emaki painting that survived in heian period;emaki belong to japanese style, yamato!
-significance: represents many trans develop in japan; one trance, genji develop into most character style of japense painting; it’s called the yamato-e; yamato-e name of the place close to kyoto, term used as very broad and vague, generalylrepresetn anything to subject to japaense style of culture/painting
-term develop used to distinguish art from under the influence of chinese culture/ art
-painting with chinese impact called kara-e;
-two terms represent different style; kara-e Is under chinese influence, yamato under japanese style
-tale of genji based on subject of a novel; novel written by a women of a royal family member, basically reflect personal, intemate , love story in the court. Called the ona-e means female, women painting.
-very colorful effect of painint
-perspective used unique! Used bird eyes perspective, purpose to depict scenes from the top,
-all represent in painting; so its important reflective of new japesne characteristic painting
-figures without facial expressions, 2 dash for eyes, ook for nose, no different between male/female facial features so thus very simple.
-depiction of gestures, are hidden under the clock so u cant see body language here
-action of people represent why its not by body language; but approach by PLACEMENT; NOT BODY LANGGUAGE, BUT PLACEMENT
-use diagonals in composition to create a sense of depth
-see Japanese life style; on the decorative screen to divide space; curtains to divide space
Bottom image: facial feature similar to male…
Heian period: kana hand writing Japanese character developed! |
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Term
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Definition
**Title/Subject: The tale of genji
Date/Period: heian period
Material/Site: handscroll, ink and color on paper
Discussion:
One of 4 emaki painting that survived in heian period;emaki belong to japanese style, yamato!
3
-significance: represents many trans develop in japan; one trance, genji develop into most character style of japense painting; it’s called the yamato-e; yamato-e name of the place close to kyoto, term used as very broad and vague, generalylrepresetn anything to subject to japaense style of culture/painting
-term develop used to distinguish art from under the influence of chinese culture/ art
-painting with chinese impact called kara-e;
-two terms represent different style; kara-e Is under chinese influence, yamato under japanese style
-tale of genji based on subject of a novel; novel written by a women of a royal family member, basically reflect personal, intemate , love story in the court. Called the ona-e means female, women painting.
-very colorful effect of painint
-perspective used unique! Used bird eyes perspective, purpose to depict scenes from the top,
-all represent in painting; so its important reflective of new japesne characteristic painting
-figures without facial expressions, 2 dash for eyes, ook for nose, no different between male/female facial features so thus very simple.
-depiction of gestures, are hidden under the clock so u cant see body language here
-action of people represent why its not by body language; but approach by PLACEMENT; NOT BODY LANGGUAGE, BUT PLACEMENT
-use diagonals in composition to create a sense of depth
-see Japanese life style; on the decorative screen to divide space; curtains to divide space
Bottom image: facial feature similar to male…
Heian period: kana hand writing Japanese character developed! |
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Term
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Definition
Title/Subject: Shigisan engi emaki
Date/Period: 12th c
Material/Site: handscroll, ink and light color on paper
Discussion:
-differece between this and tale of genji;
->1. this one use few colors; relies more on outlines! Use incline to outline images, w/o colorful pigment
2. focus on details facial features and facial expression; in this one you can see body language and body expression; tale of genji rely on placement of figure not body language; here it is the opposite; relies on facial expression to create body langauge
Similarties?
-diagnol lines! Still use diagnol lines, stilemaki format
-space here that’s important
-landlord on a horse; by oceam, theyre surprised with dramatic body language and ficial expression, they witness a miracle happen at a moment; one part of the scroll very vidid, a miracle in the legendary story
-very kind of different techinque, figure image
-multiple layers of light colors;
-this kind of style, create another major style in yamatopaiting; very local style, not shown in chinese style painting
-painting itself is a long scroll. |
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Term
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Definition
Title/Subject:Otoko-e
Date/Period:
Material/Site:
Discussion:
Shigisan engi emaki;Otaok-e means man, male;
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Term
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Definition
Title/Subject: onna-e
Date/Period:
Material/Site:
Discussion:
The Tale of Genji ; onna-e means female |
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Term
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Definition
Title/Subject: Amida
Date/Period: 1053
Material/Site: Wood
Discussion:
Part of the hoodo building;
-building important to buddhism and its contributions
-amidabuddha covered with gold; believed western paradise is beautiful, happy and people live a luxary life based on the buddhist text ‘
-thus u can see on the wall, mucsians, dancers made of wood in the bacground; all playing different kinds of music with dancing
-in the top of the building, there is a pheonix, is a symbol foraged out of bronze
-amidabuddha in heian period, used much more complicated technique, used multiple blocks of mood to make this; used 53 pieces, very complicated drawings to make this
-yosegi technique; multiblock wood structure! One of the most successful exmample
-single block wood term ichiboku! Single block wood technqiue
-3 wrinkle on neck, hair style follows tang/indian style gupta style of buddha image… typical tang, chubby face, naturalistic body. Very coplicated halo behind him follows indiangupta style
-iconography didn’t change; facial feature with downcast eye, same as gupta/tang style
0the dancers represetn a realistic style that dominate the tang art; very realsiticdepction |
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Term
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Definition
**Title/Subject: Amida
Date/Period: 1053
Material/Site: Wood
Discussion:
Part of the hoodo building;
-building important to buddhism and its contributions
-amidabuddha covered with gold; believed western paradise is beautiful, happy and people live a luxary life based on the buddhist text ‘
-thus u can see on the wall, mucsians, dancers made of wood in the bacground; all playing different kinds of music with dancing
-in the top of the building, there is a pheonix, is a symbol foraged out of bronze
-amidabuddha in heian period, used much more complicated technique, used multiple blocks of mood to make this; used 53 pieces, very complicated drawings to make this
-yosegi technique; multiblock wood structure! One of the most successful exmample
-single block wood term ichiboku! Single block wood technqiue
-3 wrinkle on neck, hair style follows tang/indian style gupta style of buddha image… typical tang, chubby face, naturalistic body. Very coplicated halo behind him follows indiangupta style
-iconography didn’t change; facial feature with downcast eye, same as gupta/tang style
0the dancers represetn a realistic style that dominate the tang art; very realsiticdepction |
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Term
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Definition
Title/Subject: Descent of Amida with Divine Attendants
Date/Period: Early 12th C
Material/Site: Mount Koya
Discussion:
-amidabuddha center accompanied by major bodhisattva and minor bodhisattva and monk and musician
-depicts amida Buddha, after people die, descent from heaven will welcome dead people to western paradize.
-buddhist heaven to earth, this paitning termed raigo! Raigo painting means welcome;
Bodhisattva on left is compassion, the one on the right is wisdo of buddha; these two accompany buddha to come to welcome earth people
--compassion is holding lotus thrown in his hand, which represent amidabuddha to go home and welcome diseased to western paradise
-hold of lotus thrown, quite easy to identify, on headress you have buddha image on head; shows iron wired lines… has chubby face like chinese tang style
-native landscape is on the corner of the painting; plays important role reflects Japanese own style, the sceneries, esp the multiple colors of the leaves of the trees, typical scene in kansai japan |
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Term
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Definition
**Title/Subject: kinkaku-ji
Date/Period: muromachi period
Material/Site: Rokuon-ji, Kyoto
Discussion:
-located in very large complex in rokoun-ji for a retreat place for general; in k
-stone platform; building itself is supported by wooden post on top of stone platform, so u can see combination of japanese and chinese styles; the bell shaped windows/railing still followed the chinese style
-bell shape window, influenced form the tang style from buddhsist temple
Has 3 floors; unique to japan not many buddhist building with 3 stories
-painted with real gold,
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Term
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Definition
Title/Subject: Red and White plum blossoms
Date/Period: 1210-16c
Material/Site: color and golf and silver leaf on paper
Discussion:
-one of his most famous, and repesenive of his work
-center of composition is a stream, the water shows an abstract pattern where the water is. Its completely flat gold background on the two sides. Against the major elements of the plum tree, you can see on the right/left side the tree use as aclose up perspective.
-this tree is missing in the designs… part of branch is showing; arrangment of branch is very dramatic and abstract
-detail and depiction of flower on trees is very naturalistic depiction;
-flower shows kin obvesrvation of details in life |
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Term
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Definition
Title/Subject: Red and White plum blossoms
Date/Period: 1210-16c
Material/Site: color and golf and silver leaf on paper
Discussion:
-one of his most famous, and repesenive of his work
-center of composition is a stream, the water shows an abstract pattern where the water is. Its completely flat gold background on the two sides. Against the major elements of the plum tree, you can see on the right/left side the tree use as aclose up perspective.
-this tree is missing in the designs… part of branch is showing; arrangment of branch is very dramatic and abstract
-detail and depiction of flower on trees is very naturalistic depiction;
-flower shows kin obvesrvation of details in life |
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Term
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Definition
Title/Subject: pine wood
Date/Period: late 16th c; muromachi or momoyama
Material/Site: ink on paper
Discussion:
-12 panels; this picture is only half of it.
-only use few ink stroke, pine tree shown
-contrast of ink to create sense of space in composition; empty space create sense of mist and fog to give quick poetic feelings |
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Term
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Definition
Title/Subject: Cypress Trees
Date/Period: momoyama
Material/Site: 8fold screen, color, gold leaf, ink on paper
Discussion:
-spring painting!
-relies on the ink, the background applied either the gold/silver powders on the surface on the background so it creates a very shiny surface reflects light illuminating space.
-trees show real observation of nature; beautiful color shows fine brushwork
-shows naturalistic appraoch to deal with foreground; in contrast to the background, the pattern and shape of the cloud we can see here makes it completely flat golden background; the foreground in detail is quite a contrast
-realstic rep of foreground vs abstract plain of background is shown in this picture
-the color, uses flat golden color… strong color of the blue and green make a strong contrast. Background simple and flat, foreground is 3d, and intresting |
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Term
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Definition
Title/Subject: Himeji Castle
Date/Period: 1609
Material/Site: Hyogo
Discussion:
--built large castles; himeji castle
-the tower have multiple stories; the castle has 5 stories; large complex to fit his family and army
-has a military purpose, the top part of the castle served as a watch tower
-castle surronded by walls to protect themselve; exterior wall of castle is painted white. Gerneral and is family live here
-only one pssage to go through for saftey
-inside is quite dark; large interior space |
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Term
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Definition
??Title/Subject: sesshu toyo
Date/Period: 1495
Material/Site: hanging scroll, ink on paper
Discussion:
-he was third generation buddhist monk; he continued this trend of the shijiko format; he developed a technique, called the broke ink technqiue; it means they don’t rely on ink lines, b/c zenbuddhism emphasize on spontanity; here he applied concept to painting; he appled broke ink by brushing, then adding a few lines. The broke ink technique, the chinese/jap use rice paper
-haboku means broke ink; |
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Term
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Definition
Title/Subject: Hermitage by the Mountain Brook
Date/Period: ?
Material/Site: hanging sroll ink on paper
Discussion:
Represents the shigajiku; becomes more and more standard with the inscription of bottom and top of landscape. These landscape reflect souther song lsandscape. In souther song, all used axecut strokes, relies more on ink wash; verticle hand scrolls become longer and llonger. The size becomes narrow and longer.
-the painting parts become smaller, the more inscription on the top [words]
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Term
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Definition
Title/Subject: Catching catfish with a Gourd
Date/Period: muromachi
Material/Site: hanging scroll, ink and light color on silk
Discussion:
-meditation is one of the main practices in zenbuddhism; another important practice is called the Ko’an
-the master asked the students “what is the buddha”
-> they say shakamynibuddha is enlight being. The best answer they chose from the students, regards to 3 qing of persimmson, which is the best answer;
-painting represent the one of the koan practice; can see with zenbuddhism,
-This style of painting is called the shigajiku
-Written in japanese kana, major difference here
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-Monk use small gourd to catch large catish; its impossible to do so. In koan, it deals with impossible situations, reflective of the koan.
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-Southern song landscape painting = 2 grounds
-0->we see here two grounds and major subjects are in the forgrounds
-Create certain kind of poetic feelings here; very important southern song landscape characteristic; zenbuddhist painting
-Almost all major southern song characteristics can be seen in here; styalically follows souther song landscape. The brush work, arrangement of space, we can see. Represents important themes, shows the |
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Term
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Definition
**Title/Subject: Catching catfish with a Gourd
Date/Period: muromachi
Material/Site: hanging scroll, ink and light color on silk
Discussion:
-meditation is one of the main practices in zenbuddhism; another important practice is called the Ko’an
-the master asked the students “what is the buddha”
-> they say shakamynibuddha is enlight being. The best answer they chose from the students, regards to 3 qing of persimmson, which is the best answer;
-painting represent the one of the koan practice; can see with zenbuddhism,
-This style of painting is called the shigajiku
-Written in japanese kana, major difference here
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-Monk use small gourd to catch large catish; its impossible to do so. In koan, it deals with impossible situations, reflective of the koan.
-
-Southern song landscape painting = 2 grounds
-0->we see here two grounds and major subjects are in the forgrounds
-Create certain kind of poetic feelings here; very important southern song landscape characteristic; zenbuddhist painting
-Almost all major southern song characteristics can be seen in here; styalically follows souther song landscape. The brush work, arrangement of space, we can see. Represents important themes, shows the |
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Definition
Title/Subject: Garden of Daisenin
Date/Period: Early 16th C
Material/Site: Daitokuji, Kyoto
Discussion:
-in zenbuddhism, meditation is very important.
-dry landscape is important in zenbuddhism; allows them to concentrate their minds because they believe only when your mind is concenertaed, it can only then reach a stage to get rid of irrational thinking
-artificla landscape, called dry landscape, built in side in temples of courtyardsoften small in size, elegant native landscape
-zenbuddhism influences everyday life, come important in japanese culture; become part of japanese culture now, can see in later in daily life of japan
-when rearange, only allowed to step on sand; |
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Term
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Definition
Title/Subject: Catching catfish with a Gourd
Date/Period: muromachi
Material/Site: hanging scroll, ink and light color on silk
Discussion:
-meditation is one of the main practices in zenbuddhism; another important practice is called the Ko’an
-the master asked the students “what is the buddha”
-> they say shakamynibuddha is enlight being. The best answer they chose from the students, regards to 3 qing of persimmson, which is the best answer;
-painting represent the one of the koan practice; can see with zenbuddhism,
-This style of painting is called the shigajiku
-Written in japanese kana, major difference here
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-Monk use small gourd to catch large catish; its impossible to do so. In koan, it deals with impossible situations, reflective of the koan.
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-Southern song landscape painting = 2 grounds
-0->we see here two grounds and major subjects are in the forgrounds
-Create certain kind of poetic feelings here; very important southern song landscape characteristic; zenbuddhist painting
-Almost all major southern song characteristics can be seen in here; styalically follows souther song landscape. The brush work, arrangement of space, we can see. Represents important themes, shows the
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Term
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Definition
Title/Subject: night pilgrimage
Date/Period: edo
Material/Site: polychrome woodblock
Discussion:
-Very very important person, changed woodblock prints to multicolor woodblock prints
--he developed multipblock wood block print
--created multiple block to create different colors for the single composition; complicated techinque, cahnged the scene of woodblock print industry
-Harnubouconstbution to the techiqnue itself is veryimporant, but the expansion of the subject matter in here
--to make woodblock print popular in japanese |
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Term
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Definition
Title/Subject: night pilgrimage
Date/Period: edo
Material/Site: polychrome woodblock
Discussion:
-Very very important person, changed woodblock prints to multicolor woodblock prints
--he developed multipblock wood block print
--created multiple block to create different colors for the single composition; complicated techinque, cahnged the scene of woodblock print industry
-Harnubouconstbution to the techiqnue itself is veryimporant, but the expansion of the subject matter in here
--to make woodblock print popular in japanese |
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Term
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Definition
Title/Subject: mount fuji seen below a wave at kanaawa
Date/Period: edo
Material/Site: polychrome woodblock
Discussion: |
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