ARTH183 1st Edition Lecture 14Outline of Last LectureI. 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?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)-StyleOutline of Current Lecture I. Six Dynasties Period: The Eastern Jin (265-420 CE)A.The Eastern Jin Dynasty: capital, significant material culturea. Artist attributionb. Handscrolls-Why well-suited to this time period-How they were used and viewedB. “Admonitions of the Court Instructress to the Palace Ladies”a. Gu Kaiszhib. Form (paint on silk)-Seal impressions: what they mean, who made themc. Subject-Connection to Confucianismd. Typical Chinese depictions of the human form; characteristicse. Typical Chinese pictorial arts; characteristicsThese 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.II. Tang Dynasty (618-907 CE) Chinese ArtA. The Tang Dynasty: capital, effects on countrya. The Silk Roadb. Religious openness-Expansion of Buddhism’s role in societyB. “Vairochana and Attendants”a. Patron; their historical significanceb. Subject-VairochanaCurrent LectureI. Six Dynasties Period: The Eastern Jin (265-420 CE)Chinese aristocrats fleeing south when foreign rulers moved into northern China led to multiple Chinese-ruled kingdoms in the South-the Eastern Jin have their capital at modern-day Nanjing. We have some remains of material culture from this period but not as much representing Buddhism. This is the first period of extant works attributed to a specific artist (generally not of the actual period/hand of the artist but a later copy). Handscrolls, hanging scrolls, murals, fan painting, and screen painting are all different painting formats that will develop; the handscroll is the most popular at this time because it is well-suited to a period of figural, narrative, illustrative art. Handscrolls can be rolled up and carried around. You would only view one section at a time reading right to left-an intimate, controlled viewing experience-“Admonitions of the Court Instructress to the Palace Ladies.” Attributed to Gu Kaiszhi. Six Dynasties Period, ca. 500-600 CE: This is probably a later copy of a work by Gu Kaiszhi; the work is associated with Confucianism but he also did other types of imagery (Daoist), held a low court position. The style of this is thought to be representative of both the individual and the period.*A painting on silk with separated illustrations of scenes with text identifying them (text may have been added later), based on a prose poem from the 3rd c. abouta court lady instructing others on how to behave; a subtle critique of an empress at the time. Instructive subject matter on how to act properly fits Confucian thought.*Red marks on the scroll are seal impressions; seals are made of various materials, with a name or pseudonym carved on the end; used kind of like a signature on officialdocuments. We usually don’t have artists’ signatures at this time-these seals are left by people who owned the painting, creating a history/provenance. Usually any very large seals up near thetop are imperial*Lady Ban=the concubine (woman in a contractual relationship with a man but below the legal status of wife, possibly purchased or could come from a good family) ofa Han emperor who refuses to ride in the palanquin of the emperor to try and protect his reputation; presented as a role model for women. On the left of her scene is a complex grouping of overlapping figures whose posture conveys the weight they carry. Lady Ban shows the use of hierarchic scale*Figure type throughout scroll shows common Chinese ways of showing the human form: tall and thin; body completely covered; long, rectangular face; has number oftrailing scarves and ribbon (drapery is very animated and tries to create a sense of movement) *Also typical of Chinese pictorial art is no sense of larger spatial setting, no use of 1-point perspective (space opens out rather than closes in with distance), not much emotion/expressiveness to faces, relationships suggested by placement of figures, very literal visual interpretations of text (i.e. bedroom scene to illustrate “even your bedfellow will distrust you” line of poem)*The last scene of the scroll shows the instructress and 2 court ladies as she writes down her rules; see bowed bodies indicating direction of movement, fluttering ribbons, bodies obscured by thick, pooling draperyTang Dynasty (618-907 CE) Chinese ArtThe country gets reunited under the Sui Dynasty (518-618 CE) and they start some rebuilding projects but get overthrown pretty quickly and the long-lasting Tang Dynasty comes into power with their capital at Chang’an; were very militarily strong and extend China’s bordersto their farthest extend yet. This is a busy period of activity on the Silk Road with traveling merchants, monks…allows for foreign influence on art. Also a period of great religious openness(Muslims, Christians, Hindus, Persian religions all practice here) and Buddhism’s role in society expanding-monasteries act as hotels, banks, bathhouses, and sometimes Buddhism acts as a branch of the government.“Vairochana and Attendants.” Longmen Grottoes, Luoyang. Tang Dynasty, 672-675 CE: This is the main Tang Dynasty cave at the Longmen Grottoes; like others there, it originally would have had a wooden enclosure and not been exposed to the elements. Limestone is well-suited to carving-Created with imperial patronage from the Empress Wu, the 1st and only woman in Chinese history to hold the title of emperor. A Buddhist, she claimed to be an incarnation of Maitreya, the Buddha of the Future (not her invention-other Buddhist rulers also associated themselves with deities)-Subject: Shows a seated