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ARTH 183: Exam 1
He. Shang, Erligang period (1600-1400 BCE).
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FUN: wine vessel, tripod (popular shape) pitcher. ritual sacrifice to ancestors. Alcohol often heated, ready for fire/coals. Stable.
FORM:Register: abstr thread relief, thin/even width (usu single band in Shang). Forms = more recognizable over time – into mask. Various curls, often hooking spirals. Bulbous organic legs – prob. from sewn animal bladders. 2 bosses opposite spout, like face, plays with form.
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Ding. Shang dynasty, Anyang phase, 1300-1030 BCE.
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FUN: meats.
FORM:Entire surface decorated, square spirals of intaglio: thunder pattern (background elem bring out other elems).
taotie – monster mask. Cicadas on legs, often carved in jade. Above = band of animals, two heading towards one rib, two to another. Symmet duplicated. Mask with 4 animals repeated three times. |
Guang. Shang dynasty, Anyang phase, 1300-1030 BCE.
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FUN: Wine.
FORM: Metamorphosis: owl, bird, & tiger in 1 sculptural form. Catlike face, teeth exposed. Scales like snake? Leg at bottom, then back (handle) is another creature with bottle beak, pattern like bird. Top is owl mask. |
Gui. Shang, Transitional period, 1400-1200 BCE. Bronze. H; 20 1/2".
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FUN: Grain vessel.
FORM:Single band, taller. Even design density. In Transitional period: elaboration of design. Bosses like eyes surrounded by spirals. Could be some figural areas. Handles = animal forms. Sometimes cast separately, multiple casting stages. |
Kneeling Figure. Shang, ca. 1200 BCE.
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FUN: luxury good.
FORM: Jade, hard, retains some shape of orig. Little undercutting. Androgynous. How people sat - mats. Heavily designed robe, some look like bronzes, sharp hooks. Snake form comes from side. Functional? For tie?
Hair in roll on top, plate element, 3 holes, 2 connect, prob. ornamentation. Pierced through: arm pits and hair roll. Face: strong facets, angular. |
Standing Figure. Bronze. Shang pd., 1200 – 1050 BCE.
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FORM: Found from Shang period, but outside area. Piece-mold, learned from Shang. Elephant tusks found in pits, were native southern China.
ICON: King, god, shaman? Male, barefoot, layers of clothing. Crown. Abstr face. Body facets. Face lines, large ears, thin/wide mouth, large triangular nose, big eyes. Wearing mask? Hands, unusual position. Orig. holding something?Pedestal looks like monster mask. |
Pit with earthenware army. Qin dynasty, early 3rd cen. BCE.
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FORM: Large rect. pit, 225+ yards. 6,000+ clay fig.s with wooden chariots and weapons. 11 parallel trenches, wood, mounded earth, tiled floor. ~15' deep.
Thought no Chinese large sculpture until Buddhism. Realistic.
FORM: Assembly lines, signatures. Few head molds, individualize. Most stiff, standing frontal. |
Kneeling Archer. Qin dynasty, early 3rd cen. BCE.
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Inter posture. Orig. real quiver/bow. Leather squares tunic. Tied or riveted. Ties around neck, sides for loosening.
FORM: Attention to face: modeled, defined cheek/chin bones. Bottom of shoe, Back of head. Braided top knot. Heads/hands detachable. Mustache. Legs, arms, and bodies covered. Tend to look tubular. |
Cavalryman and horse. Qin dynasty, Earthenware. Tomb of First Emperor of Qin, ca. 210 BCE.
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CONT: Transit foot soldiers --> calvary/chariots+foot soldiers. Learned nomadic fighting on horseback. Same # of chariots as soldiers.
FORM: in front, stiff frontal. Naturalistic + stylization. Horse's jaw = planar but modeled legs. (Solid legs, hollow body. Tail separate.) Saddle seems same as horse. Orig. metal and leather.
FUN: symbolic subs for sacrifices, Jho frowned upon unlike Shang |
Painted banner. Western Han dynasty, 2nd cen. BCE.
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FORM: Lim palette, mult. pigments. Face down on coffins. Hung Top: heavens.
ICON: Red disk, crescent, toad. Central androg. person, maybe torch god. Dragons. Vertical: figural. Island of immortals.
FUN: Hung from house.
Portrait of Marquise? |
Dancers Tomb. Koguryo, 2nd half 5th century.
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FORM: Painting of deceased/respected. Contemp Korean dress. Tiered dome. Hunting scene, simple mountains, animals in movement.
CONT: China: tomb=home. From Scythian art: turns back, from Central Asia/Chinese murals.
ICON: Ceiling drawing: constellation, like Emperor of QIn's tomb. Circle with bird: sun disk. Symbols of four directions. |
Crown. Three Kingdoms period, Silla, 5th-6th cen. Ce.
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FORM: Band around head, thin gold. Front vertical with inverted heart (antlers, from Nomadic cultures). Attached: circlets of gold attached with wire, suggest foliage, sometimes birds on crossbars. Would've moved. Usually hanging parts, sometimes two or more.
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Ewer in the shape of a Warrior on Horseback. Three Kingdoms period, 5th-7th century.
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FUN: Maybe dual. Made for tomb/funerary good? Subs for sacrifice? No evid. in Korea of human. Meant vessel, but not functional.
FORM: Advanced sculptural: Detailed rider. Attention to horse trappings, mudguard. Clothing, hat. Cup/funnel on back of horse, liquid poured in, spout out of chest. However, interior not hollow. |
Haniwa soldier. Kofun period, 3rd-6th cen. CE.
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“Circle of clay.” Many found. Cylindrical legs buried, around tomb site. Pants, tunic, guards on arms. Abstractly rendered, but detailed. Faces: simplified/abstracted, planar.
FORM: Haniwa eyes/mouth tend to be negative space, don't model. Completely native in style. |
Haniwa horse. Kofun period, 3rd-6th cen. CE.
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CONT: Pre-Buddhist Japan. Japanese tend to let material take charge and Chinese dominate it.
FORM: Very diff from Chinese horse. No bone structure of head. Little inter in structure of eyes, nose, or in general. Nondescript lines. |
Lion capital. Maurya, 3rd cen. BCE. Polished sandstone. From Sarnath.
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FORM: Highly polished “Maurya polish.”
ICON: Standing on wheel: dharma. Achaemenian lion-headed rhyton, Lion = royalty.
FUN: Some of earliest Buddhist monuments. To commemorate conversion of Emp Ashoka, at important points in Buddha's life.
CONT: Sim to Persian style: stylization of faces and deep indentations of claws, careful rhythm of mane, sinewy forelegs. Horse on relief is very naturalistic as opposed to stylized lion. |
Yaksi (or yaksini – a local female deity). Sunga dynasty, 1st cen. B.C.E. Sandstone. Bharhut.
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yaksa = male form of the local deity
Flattened. Face with large almond shapes.
On small elephant. Profile of feet to avoid foreshortening.
Sculptural style at Bharhut is influenced by wood. |
Conception of the Buddha. Sunga dynasty, 1st cen. B.C.E. Sandstone. Bharhut. Visisa, Besnagar
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FORM: Roundels. Some floral elements. Maya, white elephant (auspicious) into womb. Woman at bottom holding fly whisk. Lamp at bottom, nighttime scene. Aniconic period. Basic, single scene. Lots of uncarved ground. Awkward space – Maya from above, bed legs straight on.
Inscription above roundel identifies subject. |
Stupa 1 (Great Stupa). Sanchi. Stone. 1st century C.E. Sandstone.
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Monastic site. More than one stupa, most complete. Created by Kinashoka? Reliquary mound, not architectural structure. (Solid mound of earth/rubble) 4 directions.
ICON: Dog leg entrance, swastika, ancient sun symbol. Chatras – umbrellas at top: high status/sacred. World axis pole, keeps earth + heaven separate. Cosmologically oriented.
FUN: Circumambulation: main form of worship at stupas. |
1. North Gate. Stupa 1 (Great Stupa). Sanchi. Stone. 1st century C.E. Sandstone.
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Elaborately carved. Two columns and 3 architraves. Carved with jatakas
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Tree goddess. East Gate, Stupa 1. 1st century C.E. Stone
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ICON: pre-buddhist deity, tree goddess, sim to yaks of Bharhut but more naturalistic. sole against trunk, Folded skin where bending/underarm +knee caps = realistic. Looks naked, but diaphanous skirt. Jeweled belt, necklace between breasts
FORM: Orig. in wood, structural? Into space, ~ 100% in round. Damaged face, eyes open, live. No iris/pupil. Somewhat smile. Dhoti, skirt. ~5'. |
Monkey Jataka. West Gate, Stupa 1. 1st century C.E. Stone.
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FORM: Human king to mango tree, archer, monkey king stretches body between tree, across river. Last monkey stomps. Lectures on kingly virtues.
FUN: Jatakas communicate Buddhist virtue. Simultaneous narration. Hieratic scale.
FORM: Entire surface carved. Deeper undercuts than conception, figs more in round. Viewpoints combined. Profiles, but straight down on river. Extraneous deer. More advanced/elaborate composition. No inscription. Wouldn't need or monks. |
Standing Buddha. Kushan period, 2nd. cen. Red sandstone. (Bodhisattva of Friar Bala, 3rd year of Kanishka era) H: 8' 1 1/2" Ca. 200 BCE. Mathura
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ICON: Geometric. Bodhisattva as Buddhist monk, no jewelry, monk robe, long piece over shoulder, chest partly bare. Unlike Bodhisattva: princely. Earliest Buddha, ded to Monk Bala. Based on yaksa? More rendering of flesh/inflation.
FORM: Stiff frontal. Shorn hair. Thick thighs, large chest. Right prob. gesture. Round face, wide almond eyes, straight out. ~ smile. Unfinished back. Lion between legs, sym. of Shakyamuni: is lion among men
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Seated Buddha. Kushan period, 2nd cen. Red sandstone. H: 36 5/8"
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FORM: High relief, stele from Mathura area, red sandstone common. ~ smile, usu small round head, inflation/soft body/no bone struct. Diaphanous.
ICON: Lotus posture: meditation position. Reassurance.Attended by 2 bodhisattvas. Wheel on pedestal at bottom.
Inscription on bottom, dedicatory. |
Buddhist triad. Kushan period, 2nd cen. Schist. H: 24 3/8".
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FORM: stele, so high relief, hard gray stone.
ICON: Inscrip as Amitabha, turning wheel. On lotus throne under mango tree. With 2 bodhisattvas.
CONT: Gangharan style, Greek flavor. But no iconographic differences from Kushan period.
FORM: Sharper bone structure. Garments cling but higher relief of folds. More introspective figures, not as expansive chest, arms in closer. Eyes downcast. No smile. |
Standing bodhisattva. Kushan period, 2nd cen. Schist. H: 43".
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CONT: Gandharan style. Classical art = figural, all Gandharan = iconic. Based on Apollo figs (like Belvedere, Roman copy of Greek 350-320 BC). Sim treatment of face/cloth. Below if relief of life of Buddha (unlike Roman)
FORM: Contrapposto. Garment wrapped, but more independent. Not 100% naturalistic, but less diaphanous. Necklace with two fig.s face to face. Long hair, never cut. No cranial protuberances, but has halo. |
Standing Buddha. Gupta, 5th century. Red sandstone. Mathura. H: 63".
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CONT: Mathuran: Roundish head but body slender, elongated legs/arms. Narrower chest. More elegant proportions. Monk's robe on both shoulders. Clings to body unnaturally.
Like Gandara: rendering of robe. New: snail shell, each indiv. Distinctive of Guptan: Halo. Botanical designs, lotus petals, scrolling flowers.
FORM: Drapery low relief, not 3D. Btwn/around legs, see undergarment. Neck like conch shell. Conical shape. |
First Sermon. Gupta, 5th century. Buff sandstone. Sarnath. H: 63".
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CONT: Less Mathura style, more Guptan: full lips, carving in halo, botanical elems.
ICON: Shakyamuni's first sermon. Turning wheel. Two deer at bottom. Dharmacakra mudra.
Compare w/ Kushan Mathura Standing Buddha: rounder face, similar snail shells and lowered gaze. Here, clinging robe. Prob. orig. painted. Brows and nose come together. |
The Ajanta Caves, Ajanta, Western Deccan. Vakataka dynasty, King Harisena (r. 460-478) Facade of Chaitya Hall (Cave 19). Ajanta. 5th century.
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CONT: Cave temple site. Monsoon season. Elaborate (unlike). Cave 19: Chaitya: stupa (“mound”).
FORM:Replicate wooden architecture. Supported by columns. Arch comes to point. Apsidial plan,
ICON: Buddha at back, circumabulation. Square railing at top, 3 umbrella forms. 100% carved except floor. Replicate vaulted ceiling. Viharas. |
Jataka story (Visvantara jataka). Cave 17. Ajanta. 5th century. Wall painting.
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FORM: Elaborate (unlike).
ICON: Jataka story of Prince Visvantara, later Buddha after born as human, white elephant brings rain. Him + wife in portico. Also shows leaving.
Site notable: painting preserved, complex compositions, attempts at depth/animated postures. Narrative works. Mineral pigments/earthy palette. Juxtapose different skin tones. |
Bodhisattvas. Cave 1. Ajanta. 5th century. Wall painting. Padmapani, the Lotus bearer; and Vajrapani (?) - the vajra bearer
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ICON: icon, not narrative. Turning wheel. Attendant to Buddha in cave, tell by postures. Lotus bearer – identifies him as Padmapani. (Padma = lotus, pani = holder). Usu. paired with Vajrapani. Vajra = tool cuts through ignorance.
FORM: Exagg. contrapposto: three bends pose. One dark skin, one light. Shallow ground. Regal, pearls, jeweled crowns, sensual, lowered lids. Brows. Introsp. Smooth, planar chests. Use of shading |
Colossal Buddha. Yungang. Northern Wei, 5th century.
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Sandstone. Not easily carved, esp. detail, maybe why so abstract.
ICON: Seated Buddha w/ 2 standing Buddha: subject matter prob. Buddhas of the 3 Kalpas. [Age of world. Siddhartha in center (Shakyamuni) + Buddha of past (lost)+Meitraya. Central in lotus. Carved halo with fig.s. Meditation
CONT: Mathuran style. Round head, expansive chest, open eyes, large features, smiling. Indian monk's robe, clings. Two standing = different type, robe both shoulders.
Based on drawing? |
nterior of Cave 7. Yungang. Northern Wei, 5th century.
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Cave, stupa pillar in center. Plan like stupa at Sanchi. 100% carved, circumambulation. Painted.
ICON: Large icons for worship, jatakas, auspicious figures, etc. Stupa ~ like axis pole. Shows lots of patronage.
Changes in Northern Wei style, becomes Sinified – Chinese-ified. Buddha not wearing Indian style robe, but Chinese. More covered with drapery, more elongated , thinner.
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Seated Buddha in wall niche. Longmen. Northern Wei, 527.
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Limestone harder. Holds. Small niche.
FORM: Seated Buddha, Long torso, sloping shoulders. Not broad expansive chest.
ICON: Chin dress. When Tuoba move in area, try maintain own traditions/dress. Move to Luoyang, emperor dictate wear Chinese dress. Tied undergarment, overgarment. Typical of drapery style: waterfall drapery (over throne, create rhythms thru curving hem lines). Guardian fig on left, indication of Chinese roof. |
Sakyamuni and Prabhutaratna. Northern Wei, 518. The Sutra of the Lotus Flower of the Wonderful Law (Lotus sutra, for short) Sermon on Vulture Peak.
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Buddhas ~ mirror images, except mudras (Reassurance + Offering). Sakyamuni delivers sermon, stupa in sky, he rises, inside was Prabhutaratna, vowed to reappear when sutra preached. Peak of synified northern style.
FORM: Elongated bodies, sharp facial features. Almost emaciated. Aureole, body halos, tend to point, almond shaped, concentric rings around head.
FUN: Personal devotional image. |
Maitreya. Three Kingdoms period, c. 600.
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Pensive Bodhisattva, future life in kingdom when a buddha. Pop at time bc period of decline of law - focus on Maitreya for rebirth
FORM: Sharply etched features. Nostrils: incised lines. Stylized face, modeled cheek bones. Semi-boneless hands, typical of Bodhisattva fig.s
CONT: Relate to Northern Wei: arm/shoulder pieces of garment. Necklace. Interest in rhythm of lines, fabric draping over throne, flattened, decorative fold patterns. |
Horyuji. Asuka period, 7th cen.
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Temple built by Korean craftsmen according to Chinese and Korean prin.s. Foreign ARCH style, not native Japanese. To 4 directions. Main gate south. Single gravel courtyard. Main gate, then colonnade. Native style aspect: built close to ground.
Pagoda: wooden structure with ceramic tile (Chinese). Brackets, arms extend, built on several levels so roof can extend/curve up. Orig. brightly painted.
Equivalent to stupa: is reliquary building, has world axis |
Kondo, Horyuji. Asuka period, 7th cen.
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Images within were gilded. Walkways added, not orig. silhouette.
Interior: walls not load bearing. Weight carried by columns and brackets. Central altar. Circumambulation. |
Tori. Shaka triad. Asuka period, 623.
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Main from Kondo, predates. Inscrip – date/artist. Not ID as Shakyamuni but viewed.
FUN: Prince Shotoku, transfer.
ICON: Reassurance/offerings. 7 little Buddhas of past. Wish granting jewels.
STY: Like Northern Wei but prob. Immed. on Korean. N.Wei: robes (inner & heavy outer), waterfall pattern. Guptan: Snail shell hair. Lotus pattern around head. Flames in mandorla.
FORM: stocky Bohi.s., crossing scarves, fins flair at bottom, bumps for hair, elab crown. |
Yumedono Kannon. Asuka period, 7th cen.
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Hall of dreams.” Octagonal.
ICON: In kannon, Avalokitesvara, bodhi attendant of Amitabha (west). |
Yumedono Kannon. Asuka period, 7th cen.
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ICON: In kannon, Avalokitesvara, bodhi attendant of Amitabha (west). Wish granting jewels on lotus pedestal with metal flame. Wrapped in silk, secret image. 1884, scholars inventory buddhist temples, unwrap. BUT: no Aval. Specif. iconography, no small buddha in crown.
FORM: mostly single block camphor wood. Some jutting/crown (metal) separate. Lacquered, partly painted. Tall/slender. Oriented to front. Full face. Slight smile. Urna. Elaborate halo. |
Giant Buddha and Attendants. Longmen. Tang dynasty, 672-75.
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I: Vairocana (univ), 4 fig.s [monk, Bodhi ~ contra, 2 kings of 4 dir.s]
-G. of North holds reliq. Origin.s in India, military garb, active posture, stands on creature rep. evil could harm dharma. Bent knee, hand on waist, frowning?
Outer: Vajrapani. More active, clothes sway, exagg muscles. Defensive left hand.
Away from Buddha, less E. More jewelry.
PATR: Imperial, Empress Wu. Only woman emperor. Inscrip: cosmetics. |
Buddha and Attendants. Dunhuang. Tang dynasty, 8th-9th centuries.
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ICON: Seated Buddha, 2 monks, 2 large seated Bodhis, 2 smaller outside niche? Monk: Kasyapa, Usu. older & younger, rep. Shakyamuni's disciples. Younger: awk contrapposto. Reassurance.
FORM: Clay, stone soft. volume/realism. Main buddha fleshier than Giant. Heavy face. Rings around neck. Must/goatee. Snail shell. Garments show body. Deeply sculpted, substantial folds.
Bodhi Tang body, androg, mustache, sensuous. |
Buddha and attendants. Sokkuram. Unified Silla, 8th cen.
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Constructed cave temple, blocks of stone. Patronage: minister at court, Kim Taesong. Ded karma to parents from prev lives.
Antechamber, hall, circular room. Ante: ICON: guardian figs based on Chin. Corridor: 4 heavenly kings. Main rotunda, large buddha, Bodhisattva + Buddha's disciples (arhats) low relief in profile toward him.
Touching earth. Buddha: Pudgy/broad chest, clings to body. Lowered gaze, no smile. Snail shell. Behind head is lotus halo. |
Lady Tachibana's shrine. Nara period, 7th/8th century.
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FUN: Her personal shrine. Aristocrat.
ICON: Buddha on lotus flanked by 2 Bodhisattva standing on lotuses. Amitabha in western paradise. Texture on bottom = lotus pond, water pattern, where souls reborn come from. Larger spiraling curls. Behind is screen and open filigree pattern. Other souls being reborn in relief.
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Paradise of Amitabha. Horyuji. Nara period, 8th cen.
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Orig. painted on walls of Horyuki Kondo.
ICON: Amitabha flanked by 2 Bodhi on lotus. Sugg paradise in limited way. Sim to Gandhara Amitabha. Canopy above. Turning wheel. Right Bodhisattva =Avalokiteshvara, small Buddha in headdress, head tilt toward buddha, lowered eyes, ~ sensuality in Tang. Compare with Vajrapani. Buddha: full mouth, solemn. Arching forms.
FORM: shading, not in earlier, from buddhist art/South Asia. Faces volume + in drapery bands of color. |