ARTS 150 1st Edition Exam 3 Study Guide Lectures 18 25 Do not need to learn dates Know artist piece period media and country as well as the political religious and social context o o o o o Slides to know Periods Some key terms Answers to in class review questions Extra Credit questions Lecture 18 Islamic and Hindu Art of India Slide 11 12 Quwwat al Islam mosque pre Mughal period i Post and lintel architecture ii First point arch in India iii Serves as the mihrab Slide 14 15 Qutub Minar at Quwwat al Islam Mosque pre Mughal period Delhi i 238 feet tall tallest stone tower in the world ii Intricately sculpted Slide 17 Akbar nama Tales of Akbar Mughal Pd i Akbar was first to set up and imperial painting workshop ii Has human figures justified by paintings not of religious figures is very small scale is flat so it doesn t cast a shadow no sculptures iii Depicts a tale in which an elephant in the marketplace goes wild he jumps on his imperial elephant and uses it to push the wild elephant out of the area iv Very dramatic Slide 18 Jahangir Enthroned Mughal pd i ii iii iv v vi vii viii Allegorical King James depicted shows how worldwide they are Hourglass shaded for 3 dimensions carpet that has been displayed vertically Inconsistent perspective Little putti the little angels First man religious man religion is most important Second is important leader must listen to your people Third King James international contact ix Fourth is artist depicted as smaller shows that artists were held higher in society because he s in the painting at all Slide 19 Jahangir and Shah Abbas Mughal period i Lion is over India lamb is over middle east ii Globe is very accurate they were great sailors and traders Slide 20 24 Taj Mahal Mughal pd i Built as a tomb for the passing of his wife Mumtaz Mahal who died in childbirth of 16th child ii Tear drop on the face of time iii Feeling of lightness about the building iv One of the first giant domes enormous arch v Completely balanced vi White marble was incredibly expensive vii Inspired the Lincoln Memorial viii Inlay of precious stones in intricate designs and floral patterns Lecture 19 Chinese Landscape Painting of the Song Yuan and Ming Dynasties Slide 7 9 Fan Kuan Travelers Amid Mountains and Streams Song Dynasty ink on silk professional i 6ft high monumental in china at the time ii Nature was considered the ideal in Europe it was the human form iii Tiny ants sized people small temple structure all bottom right iv Very realistic relative to Chinese art v Attention to detail of texture Slide 11 Fan Kuan Travelers Amid Mountains and Streams Song dynasty professional Su Dungpo Rock and Old Tree Song Dynasty ink on paper literati i Lighter quick strokes ii Less deliberate strokes a Less substantial looking through the subject ghost of the subject Slide 14 Ni Zan The Rongxi Studio Yuan Dynasty ink on paper literati i Inscription on top very common calligraphy is often considered a higher art ii Stamps are from all its owners considered part of the art iii Uses in sparingly as if it was gold Slide 17 Shen Zhou Joe Poet on a Mountaintop Ming Dynasty ink and color on paper literati i ii iii iv Thick heavy stokes Shows a man on a cliff seemingly contemplating the poem written in front of him Poem brings the idea of conmmuning with nature As a proper gentleman scholar you would be versed in all the arts Slide 19 Shen Zhou Landscape in the Style of Ni Zan Ming Dynasty literati Ni Zan The Rongxi Studio Yuan Dynasty literati i Bolder more detailed more substance ii Has a sense of depth and perspective Lecture 20 Chinese Art of the Ming and Qing Dynasties Slide 4 Yin Hong Hundreds of Birds Admiring the Peacock Ming Dynasty ink and color on silk professional i Shows a study of the details of birds and flowers ii Imperial symbolism peacock symbolizes emperor other birds are the governors etc iii Still keeps trees water etc done in monochrome kept simple Slide 5 Forbidden City Ming Dynasty i Home of the emperor his wives and consorts his children staffed by eunuchs castrated males so that his wives would not chase after them ii Oriented from North to South feng shui iii Emperor should be facing the south iv World s largest surviving royal compound Slide 8 Forbidden City Hall of Supreme Harmony Ming Dynasty i Buildings remain shorter because Chinese do not fully develop the arch post and lintel system ii Red is lucky mourning color is white Slide 15 Ru Ware Celadon Stoneware Song Dynasty i Made for the imperial family only ii Made to resemble jade believed to have life benefiting properties iii Very simple subtle shape iv Crackle hot glaze reacts with cool air and cracks Slide 17 Porcelain Vase Ming Dynasty i China was the only country in the world who knew how to make porcelain for about a millennium Slide 18 Blue and White Porcelain Vase Ming Dynasty i ii Blue is from cobalt one of the only colors that can withstand the high temperatures needed for porcelain Three toed dragon Slide 20 Overglaze enamel porcelains Qing Dynasty Piece is fired then painted with enamel glaze and fired again at a lower temperature Slide 21 Shitao Landscape Qing Dynasty literati i ii Black and peach ink to show texture and depth Shitao was part of the Ming imperial family Slide 22 Lang Shining Guiseppe Castiglione One Hundred Horses in a Landscape Qing dynasty i ii iii Jesuits would learn about Chinese culture before trying to convert Introduced a fused style of painting Patronized by the emperor Slide 24 Ren Xiong Self Portrait Qing Dynasty Shanghai school i Sought to revive Chinese painting by incorporating western elements Lecture 21 Japanese Zen Painting and Garden Design of the Muromachi Period Slide 4 Anonymous Winter Landscape Muromachi Period yamato e Japan i ii iii iv v The thin sinuous lines are water The waves are crashing against a small spit of land The twisting figures are pine trees Multiple colors Flattened out lack of depth Slide 5 Mincho Cottage by a Mountain Stream Muromachi Period Zen monk i ii Has a great sense of depth orthogonal lines in the tiles inside the hut Monochromatic Slide 9 Josetsu Catching a Catfish with a Gourd Muromachi Period Zen monk i ii iii Considered a koan Some idea of a foreground and background Uses very little ink little texture Slide 10 Sesshu Winter Landscape Muromachi Period Zen monk i ii Known for changing Chinese into his own stylistic language Fore middle and background Slide 11 Sesshu Splashed Ink Haboku Landscape Muromachi Period Zen monk a Small