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UT Knoxville ARTH 183 - Nara Period Buddhist Art and Heian Period Court Painting
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ARTH183 1st Edition Lecture 22Outline of Last LectureI. Kofun Period Japan: Asuka Period (552-710 CE)A. Asuka Period distinctionB. “Horyu-ji (Temple of the Exalted Law).”a. Significance; Buddhism in Japanb. Form/components-New architectural style elementsc. “Five Story Pagoda”; form-Relation to Indian stupad. “Kondo”; purposeC. “Shaka Triad”a. Subject-Votive image; Inscription re: purpose of imageb. Style-Elements comparable to Chinese late Northern Wei style-Bodhisattvas (garments, serrated outline, lotus thrones)II. Nara Period Japan (685/710-794 CE)A. Nara Perioda. Historical developments-“International Style”-Growth of BuddhismB. “Yakushi-ji (Yakushi Temple): Yakushi Triad.”a. Subject; his attributes-Significance to dedicationb. Style-Comparable elements to Chinese Tang style-Bodhisattvas (appearance, likely identities)C. “Shukongojin.”; what temple, building, and position it was located at a. “Hibutsu”-Religious connectionb. Subject-Meaning of “Vajrapani”-Cosmographic orientation significanceOutline of Current LectureI. Nara Period Japan: Buddhist Art ContinuedThese notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.A. “Shukongojin”; historical connectiona. Figure style-Chinese influenceb. Form/Technique (clay, armature)-Original paintc. International Style influence-Realism vs. exaggerationB. “Priest Ganjin”; historical significance of work and subjecta. Figure styleb. Form/Technique (dry lacquer); characteristics-Sculpture functionC. “Kichijoten”a. Subject; mixing of religions-Empress Kokenb. Style-Similarities to Tang woman (convergence of religious and secular)c. Function/significance of garmentsD. End of Nara Period; role of Buddhism and Empress KokenII. Heian Period Japan (794-1189 CE)A. emakimono; what it is, why it became populara. Vernacular novel; the Tale of Genji-Historical significance-Author-SubjectB. “Tale of Genji/Genji Monogatari”; characteristics of illustrationsa. fukinuki yataib. Death scene-Homogeneity of figures-Overall focus of narrative; how it is shownc. Role of botanical and structural/architectural elements-Problem these strategies solveCurrent LectureNara Period Japan: Buddhist Art Continued“Shukongonjin:” Before the Todai-ji temple existed, a Buddhist ascetic lived at this site ata hermitage, which was made a part of the temple when it was built; he was made the temple’s first abbot. This vajrapani is his personal deity. It is hidden behind the altar and protects it from bad things coming from the North. The spear-like implement in his right hand is a vajra-Figure is based on a Chinese model and wears Chinese-style armor; he is in a more typical active, off-balance guardian figure pose with face suffused with emotion. The scarf swirling around him animates and enframes the figure-Made out of clay over a wood armature, sometimes with a core of straw, twine, or wire; outer surface has more finely ground clays to make it smooth so it can take paint, gilding*Painting must have been very bright and intimidating in its original state with loud colors and patterning-Modeling shows International Style’s striving for semblance of realism as well as use of exaggeration to try and convey power (bulging veins, tense, flexed muscles)-Eyes are made of inlaid stone to make them seem more alive“Priest Ganjin.” Nara Period, 8th c.: Earliest known extant portrait sculpture in Japan. In 742, two Japanese monks went to China and invited a Chinese monk to come to Japan and perform Buddhist ordinations-he set up at Todai-ji, ordained many, brought Japanese Buddhist practice more into line with China.-An elderly, blind man, shown seated in meditative lotus posture with eyes closed. Smooth, curvilinear silhouette, passive, resting face suggests quietude of meditation-Made using dry lacquer technique, creating a hollow, light, very thin sculpture. After sculpture is completed, a mix of lacquer and other material like sawdust was used on the surface to create features*This hollow sculpture was a reliquary-it contained Ganjin’s cremated remains, may represent his moment of death“Kichijoten.” Nara Period, 8th c.: Actually depicts Chinese version of Hindu consort of Vishnu and goddess of wealth and good fortune Lakshmi; she gets incorporated into the Buddhist pantheon. Worship of Kichijoten was promoted by Empress Koken during the Nara Period in hope that it would bring benefits to the Japanese people. A small work painted on hemp (rough fabric)-Looks a lot like a Tang Dynasty woman in her dress and make-up: Hair ornaments, elaborate puffy hairdo, long, draping gown, tiny rosebud lips, plumpness, full face and cheeks*Shows convergence of religious and secular painting-Fluttery drapery and scarves creates sense of movement-Variety of colors and patterns in garment used shows interest of painters in detail and techniques for rendering different fabrics (especially translucency); creates a very luxurious appearanceBuddhism in the Nara Period comes to be like another branch of the government and temples become very important. Empress Koken raised a Buddhist monk to the highest role in the government before Emperor and was toying with the idea of naming him Emperor before threatened-feeling artistocratic families usurp power, move capital to Heian away from all the Buddhist temples’ influence and try to quash the church’s powerHeian Period Japan (794-1185 CE)Religious and secular art flourish, with handscroll painting format (emakimono=scroll pictures) becoming very popular due to interest in novels, folktales, collecting literature. Vernacular (in common language of the people) novels reach height of development in the 11th century; The Tale of Genji is believed to be the oldest extant novel, written at court by a woman under pseudonym Murasaki Shibuku. It circles and becomes popular and well known even during her lifetime. Hero Genji, prince and favorite son of the Emperor, is followed in his aristocratic romantic adventures. Earliest illustrations date from the early 12th century.-“Tale of Genji/Genji Monogatari,” att. Fujiwara no Takayoshi. Late Heian Period,12th c.: Illustrations are discrete, monoscenic, interspersed with the text; there were probably multiple artists who worked on the paintings. Almost all of the scenes are interiors of aristocratic houses; fukinuki yatai (“blown-off


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UT Knoxville ARTH 183 - Nara Period Buddhist Art and Heian Period Court Painting

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