ARTH183 1st Edition Lecture 13Outline of Last LectureI. Early/Western Han Tomb at MawangduiA. Daoism; 2 different types, focus of eachB. Tomb of the Marquise of Dai at Mawangduia. Who she wasb. Grave goods (evidence of wealth, symbolic substitution)C. “Coffin with Cloud Patterns”a. Design, worldview it reflectsD. “Painted Banner”a. Significanceb. Upper area-Clues for heavenly/celestial scenec. Lower area-Possible significance of shape formed by dragons-2 figural scenes (attempts at complex, layered space, accurate portraiture)d. Use of bannersII. Later/Eastern Han Wu Family Shrines in Northern Shandong ProvinceA. Confucianism; identity of Confucius, main focus, significance to Han DynastyB. Shrine to Wu Liang; form, decoration, Confucian themesa. Auspicious signs from Heaven on ceiling-Concept of capital-“H” heaven-Relevance to Wu Liangb. “Jing Ke’s Assassination Attempt”-Story, symbolism, stylec. “Scene of Celebration in a Pavillion” Outline of Current Lecture I. Later/Eastern Han Wu Family Shrines in Northern Shandong Province: “Scene of Celebration ina Pavillion”A. SubjectB. Style; symbolism of compass and T-squarea. Relation to Confucian idealsII. Six Dynasties Period Art in ChinaA. End of Han Dynasty and beginning of Six Dynasties Perioda. Spread of Buddhism into China; how and why now?These 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.B. Northern Wei Dynastya. “Buddhas of the Three Kalpas” at Yungang; significance of cave temple form, relationship of Northern Wei patrons to Buddhism-Subject-Style (signs of imitation of Kushan period Mathura)b. “Buddhas of the Three Kalpas” at Binyang Chapel; symbolic intent of patron-Subject (how different from at Yungang)-Style (changes showing sinification)c. “Emperor Xiaowen as Donor” at Binyang Chapel; historical significance-Subject (transfer of karma)-StyleCurrent LectureI. Later/Eastern Han Wu Family Shrines in Northern Shandong Province: “Scene of Celebration ina Pavillion”The subject of this is unclear-it might be some kind of reception scene, possibly for the deceased and maybe relating to the theme of kingship or loyalty-Style: Unique to the region and also related to the Confucian imagery; shows emphasis on silhouette, repeated shapes (perfectly circular chariot wheels, strong curving forms, horizontals and verticals) made using a compass and T-square, instruments symbolic of regulation and order*This ordered style with everything in its place and regulated conveys the same Confucian message as the subject matterVisible signs of filial piety in the forms of funerary rites or family tombs like this shrine could help establish one’s reputation in societySix Dynasties Period Art in ChinaThe late Han Dynasty sees images of Buddha appearing in tombs/funerary contexts in China alongside Daoist immortals (another god among many); Buddhism spreads through Central Asia along the Silk Road, and in the post-Han era it really establishes itself and expands, possibly because of disillusionment with Confucian ideals after the Han collapse“Six Dynasties Period”=refers to the time after the end of the Han Dynasty where the country is fragmented and divided between a number of non-native, foreign rulers in the north and native Chinese rulers in the south. Multiple rulers all claim to be the rightful one, undermining the Confucian idea of the divine right to rule-Buddhism, with its ideas of reincarnation and karma, introduces hope for a better life in the future if you lead a moral life now and punishment if you don’t-Northern rulers tend to patronize Buddhism more, while the South harbors prejudice against it as a foreign religionThe Northern Wei Dynasty (386-535 CE) is founded by the Turkic Tuoba people. 2 cave temple sites created under Northern Wei patronage show early attempts to copy South Asian style and later development of a native Chinese approach (“sinification”=to become Chinese)-“Buddhas of the Three Kalpas.” Northern Wei Dynasty, ca. 460-465 CE. YungangGrottoes: Located near the Wei capital; Wei rulers did patronize Buddhism, but not consistently-in the 440s there was a period of Buddhist persecution, but 450 saw a new emperor come to power who was patron for this temple. Form of a cave temple is taken from South Asian practices.*Subject: One large seated Buddha flanked by 2 standing ones, probably representing the Buddhas of the Three Kalpas; “Kalpa”=”era”, so this is a depiction of a Buddha of the past, Sakyamuni/The Historical Buddha, and the Buddha of the Future. Sakyamuni shows traditional Buddha iconography, makes the meditation mudra and sits in a meditative posture; he has a large body halo with flames and images of multiple small Buddhas (both references to miracles he performed). This flame motif will become popular. The group of figures would have been painted originally*Style: Emulates Kushan period Mathura style, probably copied from a drawing (the Gandhara style was brought into China and copied too); see round head, full cheeks, broad chest, wide eyes, slight smile, clinging clothing (unusual because the Chinese don’t depict the body very much); see abstraction is geometricized, simplified body parts, flat patterning of drapery (fits into historical Chinese mode of two-dimensional, decorative treatment of clothing) *A slightly crude rendering, possibly because of the difficulty of material and scale or from copying a new, foreign style-“Buddhas of the Three Kalpas.” Northern Wei Dynasty, completed 523 CE. Binyang Chapel at the Longmen Grottoes: A site much farther south (the Northern Wei kingdomshifts southward in the late 400s). This smaller temple featuring the same subject as at Yungang was created with imperial patronage in honor of the emperor’s parents*Subject: Again, another set of 3 Buddhas with 1 seated and 2 standing, but now a group of additional attending figures is included-the attendant monks with Sakyamuni are probably Ananda and Kasyapa, his youngest and oldest disciples. Sakyamuni has a halo with a lotus pattern as well as a full body halo, makes the reassurance and giving mudras from a meditative posture*Style: Now Buddhist deities are depicted in Chinese court robes; garments obscure more of the figures and drapery starts to create linear and flowing patterns-the seated Buddhas robe has a “waterfall pattern”