Download pdf - Art of Asia, - West Jefferson Local Schools Home4 Art of Asia, the Americas, and Africa n your journey through art history, you will learn that some works of art may seem unfamiliar

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4Art of Asia,the Americas,and Africa

n your journey through art history, you willlearn that some works of art may seem

unfamiliar because they reflect ideas, values,and feelings that differ from your own. Tounderstand works such as the scene picturedhere, you must consider the ideas and valuesthat characterize the unique cultures in whichthese artists lived and worked.

Web Museum Tour The extensive collection atFlorida’s Lowe Art Museum includes objects fromChina, Korea, Japan, and South Asia. Browse by regionor explore artworks from a particular period or dynasty.Start your exploration in Web Museum Tours atart.glencoe.com.

Activity Enter the museum site and click on the Art ofAsia link. Take the tour and discover the myths andlegends behind the artworks.

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Landscape in the style of Li T’ang. Copy after Qiu Ying.c. 1494–1552. Chinese, Ming dynasty. Handscroll: Ink and coloron paper. 25.4 � 306.7 cm (10 � 1203⁄4�). Freer Gallery of Art,Smithsonian Institution, Washington, D.C. Purchase, F1939.4.

http://www.art.glencoe.com

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o you know where the Taj Mahal is located? Do you know what a Mingvase looks like? Have you ever seen a Japanese screen painting? Paint-

ing, sculpture, and architecture evolved in different ways in the East than inthe West. Religious, intellectual, and artistic achievements in India, China,and Japan formed the basis for contemporary Eastern culture. The ten cen-turies beginning in the fifth century B.C. and ending in the fifth century A.D.were an important period in both Western and Eastern civilizations.

10The art of india, china,and Japan

Read to Find Out Learn about the architecture and sculpture ofancient India and the scroll painting and sculpture of China and Japan.

Focus Activity Imagine you are an art critic evaluating the painting inFigure 10.1. Divide a piece of paper into four columns and write theanswers to these art criticism questions. Description: What actions aretaking place in the painting? What story does the picture tell? Analysis:What visual effect does the high viewpoint create? How are the ele-ments and principles of art used to create this effect? Interpretation:What feelings, moods, or ideas do you associate with this painting?Judgment: Do you think this is a successful work of art? Give reasons tosupport your judgment.

Using the Time Line Compare images on the Time Line created in theEast. What aesthetic qualities do they share with the work in Figure 10.1?

D

3000 B.C.Harappan artists decorate their works with images of nature

c. 1500 B.C.Harappan civilizationvanishes

c. 477Standing Buddha is created during the Northern Wei dynasty

c. 400Hinduism experiencesa revival

1776 B.C.Shang Dynasty China

2500 B.C.–1500 B.C.Harappan Civilization, India

206 B.C.–A.D. 220Han Dynasty, China

500 B.C.Buddhism, China

320–600Gupta Era, India

618–900Tang Dynasty China

784–1185Heian Period, Japan

3000 B.C. 100 B.C. B.C. A.D. A.D 500

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1426–35Cobalt blueglaze used inChina

1252The Great Buddha at Kamakura, Japan Refer to the Time Line

on page H11 in yourArt Handbook for moreabout this period.

1706Torii Kiyonobu, A Woman Dancer

c. 1500–1860Mughal Period, India

1185–1333Kamakura Period, Japan

1570–1600Momoyama Period, Japan

960–1279 Sung Dynasty, China

1368–1644Ming Dynasty, China

■ FIGURE 10.1 Zanbur the Spy Brings Mahiya to Tawariq, Where They Meet Ustad Khatun.

Mughal, Indian. c. 1561–76. Tempera on cotton cloth, mounted on paper. 74 � 57.2 cm

(291⁄8 � 221⁄2�). The Metropolitan Museum of Art, New York, New York. Rogers Fund. 1923.

A.D. 1000 A.D. 1500 A.D. 1800

Vocabulary■ meditation■ stupa

DiscoverAfter completing this lesson,

you will be able to:■ Describe the development of

the Hindu and Buddhistreligions in India.

■ Explain how the Hindu andBuddhist religions influencedthe architecture and sculptureof India.

he long history of India is also the history of two great and endur-ing religions. For centuries Hinduism and Buddhism have influ-

enced all aspects of Indian life. Nowhere is this more evident than in theart of India, the birthplace of both.

At times these two religions vied with one another, each producing itsown unique art style in architecture and sculpture. At other times the twohave existed side by side, resulting in artworks that are both Hindu andBuddhist in character.

When and how did these religions originate? How did they influence theart of India? A search for answers to these questions involves a journey back4,500 years, to the same period when Egypt’s Old Kingdom flourished.

The Indus Valley CivilizationThe modern nations of India, Pakistan, and Bangladesh

trace their cultural beginnings to the early Indian civiliza-tions. Historians now recognize that an ancient civilizationonce flourished on the banks of the Indus River in what isnow northwest India. (See map, Figure 10.2.)

The HarappansThe Harappans, or people of the Indus Valley, gradually

developed a way of life as far advanced as that of Egypt. Theyused bronze and copper technology and erected multistoriedbuildings made of fired bricks along streets as wide as 40 feet.The Harappans also built an efficient drainage system anddeveloped a written language based on pictograms, orpicture symbols.

While most Harappans raised grain and vegetables in thefields surrounding their cities and towns, others made andtraded small clay pottery, bronze and stone figures, and cot-ton cloth. The production of these items made the IndusValley an important trading center.

Harappa and Mohenjo-DaroIn modern times, two important sites have been discov-

ered: Harappa in 1856, and Mohenjo-Daro (Figure 10.3) in1922. Excavations reveal that about 4,500 years ago a civiliza-tion rose along the 400-mile route separating these two cities.More than 70 cities, towns, and villages have been discovered;they are believed to have been part of an organized kingdomwith a central government.

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LESSON ONE

The Art of India

T

HIMALAYA S

HINDU KUSH

INDIA

CHINA

GANGES

PLAIN

DECCAN

PLATEAU

VINDHYA RANGE

WESTERN

GH

ATS

EAST

ERN

GH

ATS

THARDESERT

Cities

ArabianSea

Bayof

Bengal

Ganges River

Indus Riv

er

Godavari River

India

Mohenjo-Daro

Sanchi

Harappa

MAP SKILLS■ FIGURE 10.2 Two major Eastern religions,Hinduism and Buddhism, began in India. Buddhism spread to China and Japan. How do you think the spread of religious ideas affected the artworkscreated in these areas?

Harappan ArtMany Harappan clay works (Figure 10.4)

have been found, most of which were appar-ently made for trading purposes. Only a fewsmall stone and bronze sculptures fromMohenjo-Daro have survived to the presentday. These hint at a fully developed artisticstyle and provide insights into the religiousbeliefs of the mysterious Harappan people.Like their clay works, these sculptures indi-cate that the Harappans worshiped a greatmany spirits who, they believed, were foundin water, trees, animals, and humans.

Decline of the Harappan CivilizationBy about 2000 B.C. the Harappan civiliza-

tion began to decline, and by 1500 B.C. it van-ished completely. Most historians believe thatinvaders from the northwest, known asAryans, were largely responsible for bringingan end to the Indus Valley civilization.

Chapter 10 The Art of India, China, and Japan 215

■ FIGURE 10.3 This site reveals the ruins of a carefully planned city that thrived about 4,500 years ago.What do these ruins tell you about the people who lived here?

Mohenjo-Daro, India. c. 2500 B.C.

■ FIGURE 10.4 Notice the images of nature,birds, and flowers decorating this work byHarappan artists. What elements and principles ofart would you discuss when analyzing this work?

Large Painted Jar with Birds. Pakistan, Chanhu-daro. 3000 B.C.Terra cotta. 25 � 49.5 cm (93⁄4 � 191⁄2�). Charihu-daro. Chanhu-daro Expedition. Courtesy of the Museum of Fine Arts, Boston,Massachusetts.

The Ganges Civilizationand the Rise of the Hindu Religion

The Aryans controlled India during thethousand-year period now commonly knownas the Ganges civilization. They were warrior-shepherds who relied on their cattle and sheepfor livelihood. There is no evidence to suggestthat the Aryans were as well organized as theHarappans were. They had no central govern-ment and were loosely organized into tribes.Each tribe was ruled by a raja, or chief, whowas assisted by a council of warriors.

Over time the Aryan religion, which recog-nized many gods and goddesses, blendedwith the beliefs of the Harappans to formwhat eventually became the national religionof India: Hinduism.

HinduismHinduism was not founded on the teach-

ings of a single person. Instead, it developedover a long period of time from a blend of sev-eral different beliefs and practices.

The Hindu believe there are three primaryprocesses in life and in the universe: creation,preservation, and destruction. The three mainHindu gods reflect this belief. They areBrahma, the Creator; Vishnu, the Preserver;and Shiva, the Destroyer. In addition to thesegreat gods, Hindus recognize and worship amultitude of other gods that include good andevil spirits, heavenly bodies such as the sun,and birds and other animals. To a devoutHindu, there is no distinction betweenhumans and animals. Both have souls, orspirits, that pass from one to the otherthrough reincarnation, or rebirth.

Reincarnation is a purification process inwhich the soul lives in many bodies overmany lifetimes. To move to a higher, purerstate, a person must follow a set of rules gov-erning moral conduct. The ultimate hope ofthe Hindu is to escape the cycle of reincarna-tion. When that happens, the soul becomesone with Brahma, the great soul or Force ofthe World.

The Birth of BuddhismBy 500 B.C. northern India was little more

than an on-again, off-again battlefield for anumber of feuding kingdoms. During thistroubled period, another important religion—Buddhism—emerged. The founder of this newreligion was a prince, Siddhartha Gautama,whose holiness and love for all creaturesearned him widespread fame throughoutIndia. In time he came to be called theBuddha, which means “the Enlightened One.”

The Beliefs of BuddhismBuddha did not claim to be of divine ori-

gin, nor did he claim to receive inspirationfrom gods. He practiced meditation, the act offocusing thoughts on a single object or idea,but did not pray to a higher being. After hisdeath in 483 B.C., temples were built in hishonor, and his beliefs eventually spreadthroughout Asia.

Fundamental to Buddhist beliefs is reincar-nation. Like Hinduism, Buddhism holds that,after death, a soul returns to life in anotherform. The two religions differ on the rules onemust follow to complete the cycle of reincarna-tion successfully. Buddhists believe that whencompletion is achieved, the spirit experiencesnirvana, a blissful state free of all desires.

Buddhist ArchitectureThe importance attached to meditation

moved many of Buddha’s followers to with-draw from society and live in monasteries,called viha–ras. At first these monasteries weresimple wooden structures or natural caves.Around the third century B.C., more elaboratechambers and meeting halls were carved outof the rock in hillsides and cliffs.

Lomas Rishi Cave■ FIGURE 10.5

One of these chambers was the Lomas RishiCave (Figure 10.5) in northeastern India. Theexterior of this cave is carved to look like thewooden constructions of that time. This practicecontinued in monasteries for a thousand years.

216 Unit Four Art of Asia, the Americas, and Africa

The StupaBy the end of the second century B.C.,

another important architectural formappeared: the stupa, a small round burialshrine erected over a grave site to hold relics ofthe Buddha. Shrines such as these offeredopportunities for the faithful to engage inprivate meditation, an important element inthe Buddhist religion.

The most impressive of these stupas waserected, enlarged, and finally completed inthe first century A.D. at Sanchi (Figure 10.6).Buddhists showed their devotion by walkingclockwise along a railed path at the base ofthe dome. This walkway symbolized the pathof life that circled the world. As they strolledslowly, contemplating the holy relic withinthe shrine, believers were transported fromthe real world and its distractions to the com-fort of the spiritual world. In this way theyapproached the enlightened state sought as ameans of moving ever closer to nirvana.

Symbolism in Buddhist Art

The complex carvings andsculptures that adorned theshrine were intended toremind worshipers of Buddha’steaching and aid them in medi-tation. The figure of Buddhanever appears in the shrine,however. His presence is impliedby such symbols as an emptythrone, a tree under which hesat when meditating, and hisfootprints. The use of symbolsto represent the Buddha reflectsa belief in a teacher who hadattained nirvana. There was, forthe Buddhist, nothing to whichsuch a person could be com-pared. Still, the religion requiredimages to aid in teaching and toinspire meditation. Symbolswere used to fulfill thesereligious functions.


■ FIGURE 10.5 This kind of monastery—a cave with a carved exterior—was constructed by Buddhists in India for a thousandyears. From this cave entrance, what can you learn about thewooden structures built in India?

Entrance, Lomas Rishi Cave. Maurya period. Barabar Hills, India. Third century B.C.

■ FIGURE 10.6 This impressive stupa was completed in the first century A.D. How didBuddhists conduct their devotions at shrines like this?

Great Stupa. Sanchi, Madhya Pradesh, India. c. 150–50 B.C.

Chaitya Hall at Karli■ FIGURE 10.7

The stupa at Sanchi is recognized asthe greatest of the early Buddhistshrines, whereas the cave at Karli isthought to be the finest of cave tem-ples. By the second and first centuriesB.C., cave structures had progressed farbeyond the earlier efforts at the LomasRishi Cave. At Karli an elaborate exte-rior was carefully carved to lookexactly like a wooden building. Inside,a hall nearly 45 feet high and 125 feetlong was carved out of a stone cliff(Figure 10.7). This hall is divided intothree aisles by rows of closely spacedcolumns crowned with male andfemale riders astride elephants. Thesecolumns lead up to and around astupa, forming the pathway Buddhistsfollow when meditating.

A large window above the mainentrance allows light to filter in, dra-matically illuminating the interior ofthe stupa. Walking along the maincentral aisle toward the sunlit stupa,worshipers experience the sensationthat they are moving away from theharsh realities of the world and, witheach step, closer and closer to spiri-tual enlightenment.

Buddhist SculptureEarly Buddhist relief sculptures

depicted various events in the life ofthe Buddha. An example from a stupaerected in the second century B.C.(Figure 10.8) shows the Buddhabeing visited by a king. As in allearly Buddhist art, the Buddha isrepresented only by a symbol—hereby a wheel placed on an otherwiseempty throne. To the faithful, thewheel had several meanings. One ofthese meanings is that the wheelsymbolizes the circle of life, matu-rity, and death associated with eachreincarnation, all leading to nirvana.


■ FIGURE 10.7 This central aisle in the Chaitya Hall leads directly to the stupa.How is the principle of harmony shown here?

Interior of the Chaitya Hall. Karli Cave, India. c. 2nd century A.D. The Ancient Art and Architecture Collection.

By the end of the first century A.D., a number ofreforms had taken place in the Buddhist religion.As a consequence of those reforms, artists beganto represent the Buddha in human form.

Sculpture in the Gupta EraBuddhist sculpture reached its peak during the

Gupta era, which lasted from A.D. 320 to 600.Sculptures and relief carvings produced duringthis time combine an appearance of great powerwith a feeling of inner peace. The standing Buddhaimage and the Buddha seated cross-legged in medi-tation were perfected at this time (Figure 10.9).These became the models that sculptors used toportray the Buddha throughout Asia.

The Revival of HinduismAlthough Buddhism was for many centuries

the leading religion in India, Hinduism wasnever completely forgotten. Beginning aroundthe fifth century A.D., Hinduism experienced arevival that ended with its return to prominencein the two centuries that followed. This revivalmay have been due to the fact that Hinduismoffered more varied avenues to spiritual perfec-tion. These included the simple performance ofone’s daily duties.


■ FIGURE 10.8 This relief has been carved toshow very specific details, so that the viewercan see, understand, and share in the homagebeing shown to the Buddha. How is space sug-gested in this relief?

King Prasenajit Visits the Buddha. Detail of a relief from theBharhut Stupa. Early second century B.C. Hard, reddish sand-stone. 48 � 52.7 � 9 cm (19 � 203⁄4 � 31⁄2�). Courtesy of FreerGallery of Art, Smithsonian Institution, Washington, D.C.

■ FIGURE 10.9 This Buddha is seated upon a lotus flowerthrone—a representation of nirvana, or enlightenment. Howdoes the figure’s facial expression reveal his emotional state?

Statuette of Buddha from Northern India. Brought to Sweden in the 5th century A.D.Statens Historiska Museet, Stockholm, Sweden.

Hindu ArchitectureNothing remains of monumental Hindu

architecture before the fourth century A.D. Atthat time some Hindu architects began to followthe example of Buddhist builders, carving theirtemples in caves. Meanwhile, others began erect-ing temples of stone. One of the earliest of theseis a sixth-century temple in north central Indiaconstructed during the Gupta era (Figure 10.10).Many of the features found in this building wereused in subsequent structures.

Vishnu Temple in Deogarh■ FIGURE 10.10

Like all Hindu temples, this building wasnever intended to accommodate large num-bers of worshipers. Its primary purpose wasto serve as a residence for the god Vishnu.

Inside the temple, a sanctuary lined withthick, solid walls and a heavy ceiling housedand protected a statue or relic. Like earlierGreek temples, the Hindu temple was meant tobe seen from the outside and appreciated inthe same way one would appreciate a finesculpture. In this early example, however, the“sculpture” is relatively simple. The overallform is little more than a cube once crownedwith a tower. Some exterior walls contain reliefpanels, but these only hint at the ornate carv-ing that characterized later Hindu temples.

Hindu SculptureIn addition to carving stone sculptures and

reliefs to decorate their temples, Hindu sculp-tors produced bronze works of high quality. A bronze figure of Shiva from the kingdom ofChola demonstrates these artists’ skill andsensitivity (Figure 10.11).

Shiva Nataraja■ FIGURE 10.11

Shiva is one of the most important of theHindu gods. He is shown in various forms in Hindu sculpture; among the most fascinat-ing is his portrayal as the Lord of the Dance.In Figure 10.11 he is seen performing a dancethat symbolizes the destruction of the uni-verse, which is then reborn.

The Spread of Indian ArtThe great achievements of Indian art were not

confined to India alone. Its ties to Indian religiousbeliefs, especially Buddhism, assured the spreadof Indian art as these religious beliefs sweptacross Asia. Buddhism experienced a decline inIndia with the introduction of Islam beginning inthe tenth century. This new religion, however,brought a rich artistic tradition of its own.Eventually unique Indian forms of Islamic Artwere created. (See Figure 10.1, page 212.)


■ FIGURE 10.10 This Hindu templeis similar to ancient Greek temples:Neither was intended to accommo-date large numbers of worshipers andwas meant to be viewed from theoutside. Why is this kind of templesometimes considered an example ofsculpture rather than architecture?

Vishnu Temple. Deogarh, India. Early sixth century A.D.

Chapter 10 221

Reviewing Art Facts1. Identify Name three technologies or

building and craft materials used bythe Harappans of the Indus Valley.

2. Explain How was the Lomas RishiCave used? How was its exteriordecorated?

3. Define What is a Buddhist stupa?4. Recall What is the primary purpose

of Hindu temples?

Using Symbolism The symbolism in Indian art reflects thereligious beliefs of that culture. Gaining an understandingof these beliefs allows us to fully appreciate the resultingworks. Both sculpture and architecture were created tocommunicate specific beliefs.

Activity Compare and contrast the symbolism used inIndian art (Figure 10.11) with that of Egyptian art(Figure 7.8). How are these two sculpture traditions alike?How are they different? Could these two cultures have hadany contact with each other? Record your conclusions inyour journal and present your findings to the class.

LESSON ONE REVIEW

Visit art.glencoe.com for study tools and review activities.

his work echoes the Hindu belief that the human spiritis born again after death, taking on a new form thatreflects the state of perfection achieved in previous lives.

T

Symbolism in IndianArt

The multiple arms serve adual purpose.They not onlyemphasize the god’s gracefulmovements but also permithim to hold several symbolicobjects.

1

In this hand he holds the flameof destruction.

3

He raises this hand to protectthe faithful.

4

This hand points gracefully to hisupraised left foot, which symbolizesescape from ignorance representedby the small figure he crushesbeneath his right foot.

5

In this hand he grasps a drumsymbolizing creation.

2

2

4

5

31

■ FIGURE 10.11

Shiva Nataraja, the Dancing Lord.Late Chola period. Thirteenth cen-tury A.D. Bronze. 87 � 70 � 33 cm(341⁄4 � 271⁄2 � 13�). The Nelson-Atkins Museum of Art, Kansas City,Missouri. Purchase: Nelson Trust.


Vocabulary■ Bodhisattva■ scroll■ porcelain■ vanishing point

Artists to Meet■ Han Gan■ Kuo Hsi■ Qian Xuan■ Zhao Meng-fu


you will be able to:■ Identify major Chinese dynasties

and discuss the important art-works produced during each.

■ Analyze the impact of medita-tion on Chinese art.

he history of India is marked by the rise and fall of dynasties andkingdoms. Recorded in the long history of China is a similar suc-

cession of dynasties, each with its own unique problems and its own spe-cial contributions to art.

The Beginnings of Chinese CivilizationChinese civilization, which began some 2,000 years before the birth of

Christ, is the oldest continuous culture in the world. As this civilizationgrew, its people gained skill and knowledge in many different fields.Among Chinese accomplishments are the inventions of the compass,paper, porcelain, and printing with carved wood blocks.

Early Bronze VesselsSkill in bronze casting was developed at an early date in Chinese his-

tory. Bronze vessels found in ancient graves reveal that Chinese artisanswere exercising this skill by the First Dynasty. This period, known as theShang dynasty, began in 1766 B.C. Many of the early bronze vessels show

extraordinary technical mastery that probably took centuries todevelop (Figure 10.12).

The art of painting is mentioned in Chinese literature severalcenturies before the birth of Christ and even names a womannamed Lei (lah-ee) as the first Chinese painter. Unfortunately, nopaintings have survived from these early periods of Chinese his-tory. Written reports, however, tell us that paintings of great skilland beauty were created and appreciated.

The Chow dynasty, which followed the Shang dynasty in1030 B.C., apparently produced few artistic changes. This dynastyeventually disintegrated into warring states and continued tobe fragmented until the powerful Han dynasty was foundedin 206 B.C.

The Arrival of Buddhism During the Han Dynasty

Near the end of the Han dynasty, the religion of Buddhism,which originated in India, came to China. This religion had agreat impact on the way artists approached their work. It alsohelped raise artists to a position of respect and admiration inChinese society. The Chinese people were the first to consider thepainting of pictures an important and honorable task; they placedartists on the same level as poets, who were very highly regarded.

222

LESSON TWO

The Art of China

T

■ FIGURE 10.12 This work was created from bronze and decorated with black pigment more than 3,000 years ago. What sculptural techniques were used to produce this vessel?

Ritual Lobed Tripod Cauldron. Chinese, Shang dynasty. Eleventh century B.C. Bronze inlaid with black pigment. 21.3 � 18 cm (83⁄8 � 71⁄16�). The Metropolitan Museum of Art, New York, New York. Gift of Ernest Erickson Foundation, Inc. 1985. (1985.214.3)

Buddhism offered comfort to the weary andhope for an eternity of peace in the next world.It recognized the existence of people who hadattained a state of enlightenment.

Standing Buddha Statue■ FIGURE 10.13

Buddhism also recognized those who hadeither postponed death or made the decision toreturn to the world for the purpose of bringingcomfort and offering guidance to the living. Sucha person was known as a Bodhisattva (boh-dee-saht-vah), or Buddha-to-be. Figure 10.13 shows atype of Bodhisattva, one of the largest of its kindto survive to the present day. With a serene smile,he extends his open hands in a sign of welcomeand a promise of peace that must have been reas-suring and calming to those who saw him.

Unlike ancient Greek sculptors, Chinesesculptors did not regard the body as a thing ofbeauty. This attitude, combined with the factthat they did not regard sculpture as one of theimportant arts, caused them to limit theirsculpture production to religious portraits suchas that of the Bodhisattva.

The Importance of MeditationBuddhism, like other Eastern religions, places

great emphasis on meditation. This emphasis hadan important impact on Chinese art.

Meditation is the process of focusing one’sthoughts on a single object or idea. It allows oneto experience completely the inherent beauty ormeaning of that object or idea. Buddhist monksmay remain motionless in meditation for hours,or even entire days. They may contemplate a leafsagging from the weight of raindrops, or the pos-sible meanings of a single word.

Influenced by these monks, Chinese artistsfound meditation enabled them to recognizethe beauty of a leaf, a tree, a rock, or a moun-tain. They were then better prepared to capturethat beauty in their painting.

Increased Concern for Landscape Painting

For more than a thousand years, beginningwith the Han dynasty in 206 B.C., the human

figure dominated in Chinese painting, just as itdid in the West. By the ninth century, though,Chinese artists were beginning to exhibit agreater appreciation for nature. By the eleventhcentury, this trend was complete. WhileWestern artists continued to focus their atten-tion on people, artists in China preferred toconcentrate on nature and landscape painting.


■ FIGURE 10.13 This unusually tall figure was decorated with a thin covering of gold. What aesthetic qualities are most appropriate when making a judgment about this work?

Standing Buddha. Northern Wei Dynasty. A.D. 477. Gilt bronze. 140.3 � 48.9 cm (551⁄4 � 191⁄2�). The Metropolitan Museum of Art, New York, New York. John Stewart Kennedy Fund, 1926. (26.123)

Artists, like poets, sought out places inwhich they could meditate and be inspired tocreate. They valued every opportunity to dothis, taking long, leisurely walks across thecountryside.

To gain the knowledge and skills needed tocontinue in the tradition of painting land-scapes, Chinese artists spent years copyingthe paintings of earlier artists. Although it wascommon to base a painting on the work of anearlier artist, the painter was expected to addsome original touches as well.

Scroll PaintingOther than a few murals on the walls of

burial chambers, the earliest Chinese paint-ings that have survived to the present are oftwo kinds: hanging scrolls and horizontalscrolls, or handscrolls.

A scroll is a long roll of illustrated parch-ment or silk. Scrolls were designed to berolled up and carefully stored away. Whentheir owners were in the mood for quietreflection, the scrolls were taken from theshelf, just as we might take down a bookto read. Unrolling the scrolls section bysection, the viewer gazed at nomore than 24 inches or so at atime. In this way it was possibleto journey slowly from sceneto scene through theentire painting.

The End of the Han DynastyThe culture of the Han dynasty rivaled that

of the Roman Empire, which was flourishingat this same time in history. The Han dynastyextended over a 400-year period, the secondlongest in Chinese history.

A series of weak emperors brought the HanEmpire to an end. There followed a period,beginning at the close of the third centuryA.D., in which China was divided into a num-ber of smaller states. None of these statesbecame strong enough to conquer the othersand restore a unified empire. After a period ofchaos, a new dynasty, the Tang dynasty,assumed control in A.D. 618 and ruled fornearly 300 years.

The Powerful Tang Dynasty

During the Tang dynasty, China reached apeak of power and influence. The peopleenjoyed prosperity, military campaigns extendedthe boundaries of the empire, foreign tradeincreased, and Buddhism grew in strength.


■ FIGURE 10.14 Many clay sculptureslike this were found in ancient Chinesetombs. Why do you think these sculp-tures were placed in tombs?

Saddle Horse. c. A.D. 700–755. Tang dynasty. A.D.618–907. Earthenware with three-color leadglaze. 76.2 cm (30�). The Nelson-Atkins Museum of Art, Kansas City, Missouri. Acquired through the Joyce C. Hall Estate and various Hall Family Funds.

Sculpture During the Tang DynastyMost of the sculptures produced during the

Tang period were religious. Believers inBuddhism, looking forward to a peaceful lifein the next world, commissioned thousands ofsculptures of Buddha.

Saddle Horse■ FIGURE 10.14

Tomb sculptures, chiefly in clay, were alsocreated to honor the dead. Many of thesetomb sculptures were of animals. An excellentexample is the earthenware and polychrome-glazed horse illustrated in Figure 10.14.

Tang Handscroll■ FIGURE 10.15

Horses were highly prized by the Chinese.The emperor Ming Huang was said to own

more than 40,000. The handscroll illustrated inFigure 10.15 shows one of his favorite horsesrearing against the tether that binds it to a post.

Use of LineOne of the chief measures of excellence in

Chinese painting throughout its long history isthe quality of the brush line, which is evident inFigure 10.15. A delicate use of line is combinedwith subtle value gradations to give the animala realistic appearance. The work demonstratesconvincingly that the artist, Han Gan (hahngahn), knew his subject well and could applythis knowledge effectively to his art.

The many inscriptions and seals on HanGan’s painting were placed by collectors whowished to express their approval of the work.These inscriptions and seals, which are foundon many Chinese paintings, add their ownornamentation and meaning.


■ FIGURE 10.15 Notice the delicate lines and the subtle value gradations in this handscroll. Does thiswork make good use of the literal qualities? What details help give this work a sense of movement?

Han Gan (attributed to). Night-Shining White. c. 742–56. Tang dynasty. Handscroll, Ink on paper. 30.8 � 34 cm (121⁄8 � 133⁄8�). TheMetropolitan Museum of Art, New York, New York. Purchase, the Dillon Fund Gift, 1977. (1977.78)

The Stable Sung DynastyFollowing the collapse of the Tang dynasty

in 906, China experienced a period of confu-sion. Finally, reunification was realized in 960 under the Sung dynasty. The rule of this dynasty proved to be a period of great stability that produced a series of artistswhose works were admired the world over for centuries.

The Production of PorcelainDuring the Sung period, the production of

porcelain ware was carried to new heights.Porcelain, a fine-grained, high-quality form ofchina, is made primarily from a white clayknown as kaolin. This clay is relatively rareand can be found in only a few locations inChina, Europe, England, and North America.

After a vessel is made from this clay, whichhas been mixed with other types of clay togive it a more workable quality, it is fired in akiln to a high temperature. The work is thencoated with a glaze containing feldspar, acrystalline mineral, and fired again. The resultis a vessel with a hard, translucent surface ofgreat beauty.


■ FIGURE 10.16 This bowl was created as a useful vessel. It is now part of a museum art collection. Is the bowl now an artwork? If so, when and how did it become art?

Bowl with mold stamped lotus design.Ting ware. Sung dynasty. A.D. 1127–1179. Porcelain with pale blue glaze. 6.1 cm (21⁄4�) high; 18.1 cm (7�) diam. Asian Art Museum of San Francisco, San Francisco, California. The Avery Brundage Collection.B80S3, B62P177.

■ FIGURE 10.17 Thisseated figure is shown ina pose similar to that inmany Buddha sculp-tures. What mooddoes this work con-vey to you?

Seated Lohan. Late TangDynasty. Ninth centuryA.D. Earthenware withthree-color glaze. 104.7 cm (411⁄4�). TheMetropolitan Museum of Art, New York, NewYork. Frederick C. HewittFund, 1921. (21.76)

An excellent example of Sung porcelainware is illustrated in Figure 10.16. Bowls likethis were the first of the classic pieces thatwere widely imitated but seldom equaled bylater artists. The bowl’s delicate shape andbeautiful, translucent surface are enhancedwith a subtle floral pattern.

Sculpture During the Sung DynastySung sculpture remained strongly tied to

Buddhism, although the figures were moreinformal and natural than those created earlier. A painted and glazed ceramic sculptureof a follower of Buddha (Figure 10.17) is anexample of this more relaxed and natural stylewhich began to appear in the Tang dynasty.

The Water and Moon GuanyinBodhisattva■ FIGURE 10.18

This same relaxed attitude is noted in a carvedwood Bodhisattva figure traditionally associatedwith mercy and compassion (Figure 10.18).Prayers to this Buddha-to-be were answered inthe form of protection against any possible mis-fortune. The figure is seen resting comfortably ona weathered, moss-covered ledge, which con-trasts with the splendid garments and jewels.Calm and gentle, the softly smiling figure repre-sents no threat to the devout who approach. Thegaze is direct and unwavering, encouragingviewers to feel that the Bodhisattva is concernedexclusively with them.


■ FIGURE 10.18 Thiswooden figure mayremind you of theceramic figure in Figure 10.17. What dothe two works have incommon? What are themost important differ-ences between them?

The Water and Moon GuanyinBodhisattva. Liao or NorthernSung dynasty. Eleventh to early twelfth century A.D. Woodwith paint. 241.3 � 165.1 cm (95 � 65�). The Nelson-AtkinsMuseum of Art, Kansas City,Missouri. Purchase: Nelson Trust.

Landscape PaintingThe Sung dynasty was noted for its great

landscape artists. Painters like Kuo Hsi (koo-oh see) claimed that the value of land-scape painting lay in its capacity to makeviewers feel as if they were really in the place pictured. In the handscroll ClearingAutumn Skies over Mountains and Valleys(Figure 10.19), the artist invites you to jour-ney beneath the trees of an enchanted moun-tain landscape. As you slowly unroll thescroll, you can walk through the forest oftowering pine trees, pause beside the gentlyflowing stream, and gaze up at the mountainsthat disappear into the fine mist.

Use of Multiple Vanishing PointsUnlike Western paintings, Chinese art

makes use of different vanishing points. Inperspective drawing, a vanishing point is thepoint at which receding parallel lines seem toconverge. Thus, as you unroll a handscroll,you may find that the perspective shifts. This

makes you feel that you are indeed travelingthrough the work—journeying over wornpaths, under stately trees, in front of distantmountains, and across quaint bridges.

Every opportunity is provided for you tostop and examine a flower heavy with dew or abutterfly perched on a blossom. There is noth-ing to distract you from your quiet contempla-tion. Even shadows are eliminated from thepicture because they might interfere with yourefforts to experience and enjoy the painting.

The End of the Sung DynastyIn 1224 Genghis Khan and his powerful

Mongol army swept into northwest China,bringing an end to the Sung dynasty. Followinga period of strife, the Mongols, under KublaiKhan, a grandson of Genghis Khan, took con-trol of the country and established the Yüandynasty. During this time, artists such as QianXuan (chee-en shoo-ahn) painted scenes thatrepeat a familiar Chinese theme: the quiet con-templation of nature (Figure 10.20).

Interviewing. If youtraveled in a time capsule to visit Chinaduring the time of Confucius or EmperorQin, what would you ask the people youmeet? Prepare five questions you mightask in an interview.

Activity

Ancient ChinaSee more Time & Place events on theTime Line, page H11 in your Art Handbook

c. 2000 B.C. A.D. 220


TOMB SOLDIERS. Life-size terra cotta figures of thearmy of emperor Ch’in Shih-Huang-ti (Qin) wereburied in the emperor’s tomb over 2,000 years ago.Their individual decoration and lifelike expressionspresent these soldiers as real people.

TEAPOT. This artifact is from theMing dynasty. It is both a functionalobject as well as a piece of fine art.

CONFUCIUS. A teacher,philosopher, and scholar,Confucius was bornaround 551 B.C. Histeachings were centeredaround the importanceof keeping order in soci-ety and how to liveaccording to principlesof ethics.


■ FIGURE 10.19 This handscroll is designed to take the viewer on a quiet, contemplative journeythrough the pictured landscape. Study this view of the mountains and valleys, and decide whether amood is conveyed. If so, how does the work make you feel?

Kuo Hsi. Clearing Autumn Skies over Mountains and Valleys. Date unknown. Lesson of handscroll, ink, and colors on silk. 26 cm (101⁄4�)high. Courtesy of the Freer Gallery of Art, Smithsonian Institution, Washington, D.C.

■ FIGURE 10.20 Handscrolls like this areintended to be examined slowly, quietly,and in private. What appears to be moreimportant in this work—the figures or the setting?

Qian Xuan. Wang Hsi-chih Watching Geese. c. 1295.Handscroll, ink, color, and gold on paper. 23.2 � 92.7 cm(91⁄8 � 361⁄2�). The Metropolitan Museum of Art, NewYork, New York. C.C. Wang Family, Gift of the DillonFund, 1973. (1973.120.6)

DETAIL:Notice the intricatedetails of this scene inthe handscroll.

▲

Zhao Meng-fu (1254–1322)The contemplation of nature is also the

theme of a painting by Zhao Meng-fu (chowmeeng-foo), a pupil of Qian Xuan (Figure10.21). This artist was greatly admired eventhough he chose to cooperate with theMongol ruler Kublai Khan.

Twin Pines, Level Distance■ FIGURE 10.21

Zhao Meng-fu’s painting of pine trees, rocks,and distant mountains was done only after theartist had meditated on the subject at greatlength. He practiced his skills at representingtrees, rocks, mountains, and clouds in a precisestyle for years before actually painting the pic-ture. Zhao Meng-fu did this in the traditionalway—by carefully studying the paintings ofearlier masters rather than by studying nature.Only when his skills were perfected did heattempt to create a painting based on his ownresponse to the natural world.

Works like this were not done to tell adramatic story, teach a profound lesson, ordecorate a wall of a house. They wereintended to inspire in the viewer the samedeep thoughts that passed through the mindof the artist while the work was created. Awork like this would be unrolled and savoredonly when the viewer was in the proper stateof mind and was certain not to be disturbed.

The Art of the Ming Dynasty

The Ming dynasty, which followed the col-lapse of the Yüan dynasty in 1368, signifiedthe end of foreign rule and the beginning ofanother Chinese dynasty. Thus, it was a timein which artists sought to restore the gloriesof the past.

In painting, nature scenes of great beautywere done on silk and paper. These worksmainly continued the traditions of the past.


USE OF THE ELEMENTS AND PRINCIPLES

What is not in this painting is as important as what you do see.Most of the painting is simply left blank.• Unity. The landscape has been reduced to its barest essentials.

• Space. The twin pines rise in the foreground to give a strongsense of space in the landscape.

• Line. A few lines depict the hills in the distance and draw yourattention to the expanse of the work.

• Emphasis. The artist shows concentration and confidence withthe emphasis placed on each brushstroke.

LOOKING Closely ➤

■ FIGURE 10.21

Zhao Meng-fu. TwinPines, Level Distance.c. 1310. Handscroll, ink on paper. 26.9 �107.4 cm (10 � 421⁄2�).The MetropolitanMuseum of Art, New York, New York.C.C. Wang Family,Gift of the Dillon Fund,1973. (1973.120.5)

In ceramics, a range of different stylesand techniques developed during theMing dynasty. The use of a stunningcobalt blue glaze was one of the majoraccomplishments in the development ofChinese porcelain. An early example of amatched pair of vases (Figure 10.22) isadmired for the intricate design thatcomplements the vases’ elegant form.

Decline of the Ming DynastyTribes from Manchuria conquered

China in 1644. This brought the Mingdynasty to an end and ushered in theChing dynasty, which continued until1912. Like other conquerors before them,Manchu rulers were determined to makethe Chinese culture part of their own.However, despite the work done by sev-eral well-known and talented artists andthe encouragement of Manchu emper-ors, Chinese painting experienced adecline during this period.

Porcelain production fared somewhatbetter than painting did. During this lastgreat age of Chinese porcelain, many fineworks were produced. Unfortunately,rebellion and subsequent warfare in themiddle of the nineteenth century resultedin the destruction of most kilns and theflight of talented craftspeople.

Chapter 10 231

■ FIGURE 10.22 These vases, nearly 600 years old, are decorated with thecobalt blue glaze that was first used during the Ming dynasty. How does thedesign complement the form of these vases?

Pair of Vases. 1426–35. Ming dynasty (1368–1644). Porcelain with underglaze blue decoration. 55.2 � 29.2 cm (213⁄4 � 111⁄2�). The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase: Nelson Trust.

Reviewing Art Facts1. Explain How did Chinese artists

make use of meditation?2. Recall What was considered the pri-

mary interest and major accomplish-ment of Chinese painting?

3. Describe What is a scroll paintingand how is it used?

4. Identify Which element of art wasconsidered a measure of excellence inChinese painting?

5. Define What is porcelain?

Creating a Handscroll The tradition of painting on hand-scrolls is important to understanding the art of China.Artists used multiple vanishing points to allow the viewerto take a calm, slow “walk” through the work. This pre-sents a unique blend of verbal and visual material.

Activity Conduct research on the Chinese handscroll. Usingavailable materials (rolled paper, small dowel rods), create ahandscroll that tells a story. Use multiple vanishing pointsand include verbal and visual narrative. Critique your com-pleted work by reviewing your use of the art elements andprinciples. Share your scroll and critique with the class.

LESSON TWO REVIEW



Vocabulary■ pagoda■ Yamato-e■ Ukiyo-e■ woodblock printing

Artists to Meet■ Kujaku Myo–-o■ So–ami Kangaku Shinso■ Torii Kiyonobu I■ Suzuki Harunobu■ Katsushika Hokusai■ Ando– Hiroshige


you will be able to:■ Trace the influences on

Japanese art.■ Identify specific Japanese art

styles.

apan owed a debt of gratitude to China for its initial artisticdevelopment. Eventually, however, Japan produced an abundance

of painting, sculpture, and architecture that was uniquely its own. Theaccomplishments of its artists added luster to this island empire’s ancientand proud history. The first traces of Japanese art date to a culture knownas Jomon (c. 12,000–300 B.C.).

Early Development of Japanese ArtDuring the Kofun period which lasted from A.D. 300–800, the earliest

artworks consist mainly of simple, undecorated vessels, figures, and ani-mals made of red clay (Figure 10.23). Curiously, many clay figures andanimals have been discovered in the areas surrounding burial mounds.Some experts suggest that they were placed there to ward off evil spiritsand protect the dead.

Until the end of the ninth century, the art of Japan was largely modeledon that of China and other Asian cultures. After that time, however, for-eign influences became less pronounced, and Japanese artists began todevelop their own styles. In the centuries that followed, various subjectsgrew in favor, faded, and were replaced by new ones. At certain times,scenes of life at court, witty caricatures, and portraits were popular. Otherfavorite subjects included battle scenes, genre scenes, and landscapes.

Introduction of BuddhismIn A.D. 552, the ruler of a kingdom in Korea sent a gilt bronze figure of

the Buddha to the emperor of Japan. Along with the sculpture came

232

LESSON THREE

The Art of Japan

J

■ FIGURE 10.23 Small clay fig-ures and animals of this kind havebeen uncovered in the areas sur-rounding Japanese burial mounds.What qualities contribute to theappeal of this small work?

Haniwa Falcon. Late Kofun period. Sixth century A.D. Earthenware. 11.1 � 17.8 cm(43⁄8 � 7�). Asian Art Museum of SanFrancisco, San Francisco, California. B80 S3B62 P177. The Avery Brundage Collection.Bequest of Mr. Joseph M. Branston.

Buddhist writings and missionaries. This ishow Buddhism was introduced to Japan.

At first there was resistance to the new reli-gion, particularly by those who remained faith-ful to Shinto, the indigenous religion of Japan.Eventually, though, Buddhism became firmlyestablished throughout the country and cameto affect every aspect of Japanese culture.

Temple ConstructionIn the year 594, the empress Shiko ordered

that Buddhist temples be built throughout herkingdom. Architects, wood-carvers, bronzeworkers, weavers, and other skilled artisanswere brought from Korea to build and decoratethe temples that soon filled the countryside.

In many respects these temples were simi-lar to those in China. They were, however,more richly decorated and more delicatelyassembled. Because the Japanese islandswere formed from volcanic rock, there was lit-tle hard stone suitable for building these tem-ples. Consequently, these and other structureswere made of wood.

Japanese builders raised the practice of con-structing wooden buildings to a sophisticatedart form. Their temples and palaces were built on a stone base, with wooden posts andrafters carefully fitted together in beautifullycrafted joints. These buildings had to be espe-cially well designed and constructed to survivethe frequent earthquakes and violent stormsthat plagued the island nation.

The Temple at Horyuji■ FIGURE 10.24

Among the greatest architectural achieve-ments in Japan was the temple complex atHoryuji, built near Nara about the year 616.The temple was constructed on a square plansurrounded by a double wall. Inside were anumber of buildings: the main hall containinga sculpture of the Buddha, a lecture hall, alibrary, and a bell tower.

In addition there were two pagodas. Apagoda is a tower several stories high withroofs slightly curved upward at the edges.These structures contained sacred relics.

Amazingly, one of these ancient woodenpagodas has survived countless earthquakesand outlasted thousands of stone edifices. Itstill stands today as the oldest wooden struc-ture in the world (Figure 10.24). Few buildingsin history have surpassed its simple majesty.

The Treasures at TodaijiPerhaps as beautiful, and only slightly

younger, is the temple of Todaiji in Nara,which was erected by the emperor Shomu in752. Four years after the temple was com-pleted, the emperor died. Not long after hisdeath, his widow, the empress Komoyo,


■ FIGURE 10.24 This pagoda, built nearly 1,400 years ago, is the oldest wooden structure in the world. What features does this structure have in common with all pagodas?

Pagoda from the Temple Complex at Horyuji, near Nara, Japan. c. A.D. 616.

presented the treasures of his court to theGreat Buddha enshrined at Todaiji. Other giftswere later added to these treasures and werehoused and protected in the temple. As aresult, no less than 10,000 works of eighth-century Japanese art were preserved.

Historical Buddha Preaching onVulture Peak■ FIGURE 10.25

Among the artworks preserved at Todaiji isa painting on hemp (Figure 10.25) regardedas one of the temple’s greatest treasures.It portrays the Buddha, surrounded byBodhisattvas, preaching in the mountains.Although retouched during the twelfth cen-tury, this painting still testifies to the highquality of eighth-century Buddhist painting.

The Heian PeriodIn 784, Heian (the modern city of Kyoto)

was made the capital of Japan. The Heianperiod is regarded as a golden age forJapanese art. During the next 400 years,numerous new temples and monasteries

were built. In addition, members of the royalcourt and the heads of great families commis-sioned painters to create works of art.

The Yamato-e StyleContacts with China continued until 898

when ties were broken as a consequence ofinternal strife in Japan. No longer able todraw inspiration from China, Japanese artistsdeveloped their own unique style of painting,which was known as Yamato-e, or painting inthe Japanese manner.

Paintings done in this style were the first trueexamples of pure Japanese art. Yamato is anisland near Kyoto and Nara, considered the cen-ter of Japanese culture. Artists using this stylecreated decorative wall paintings showing trav-elers on the road, nobles admiring cherry blos-soms or hunting, peasants working in the fields,and other scenes from everyday life. These spir-ited scenes included clear references to particu-lar seasons of the year. Unfortunately, only a fewworks dating to this period have survived.

The Kamakura PeriodA series of civil wars prompted by corrupt

provincial governments brought an end to theHeian period in 1185. Clan leaders waged warwith one another until one leader, MinamotoYoritomo, was able to establish a military gov-ernment at Kamakura.

A succession of military rulers assumedcontrol over various parts of the country forthe next 148 years. These rulers recognizedthe emperor as little more than a powerlessfigurehead.

Kujaku Myo–-o■ FIGURE 10.26

During this period, a military spirit dominatedthe arts as it did politics. Vigor replaced eleganceand boldness replaced restraint. This is shownin an expressive painting of a stern Buddhain more or less human form (Figure 10.26).Kujaku-Myo–-o, also known as the Peacock King,is seen eating poison grasses and insects repre-senting obstacles to salvation. He sits on thepowerful peacock—his identifying symbol.


■ FIGURE 10.25 The Buddha is the most important figure in thiscomposition. How did the artist emphasize this figure? What messageabout the Buddha do you think the painting communicates?

Historical Buddha Preaching on Vulture Peak (Hokkedo Kompon Mandata). Eighth century A.D. Artist unknown. Ink, color, and gold on hemp. 107 � 143.5 cm (42 � 561⁄2�). Courtesy of Museum of Fine Arts, Boston, Massachusetts. William Sturgis Bigelow Collection.

The Great Buddha at Kamakura■ FIGURE 10.27

A long tradition of creating colossal sculp-tures continued during this period with suchworks as the Great Buddha at Kamakura(Figure 10.27), which was cast in bronze in1252. Viewed from the front, the figure is anexample of exact symmetrical balance; thetwo sides mirror each other. Today the sculp-ture sits outdoors on a rise surrounded by apleasant grove of trees. This seems to be anespecially appropriate setting for the giganticBuddha seated in quiet contemplation.

The Burning of the Sanjo– Palace■ FIGURES 10.28 and 10.29

Painting is the most interesting visual artform from the Kamakura period. Advancesmade in the Yamato-e style reflected the artis-tic tastes of the new military leaders, who pre-ferred paintings that stressed realism andaction. Nowhere is this realism and actionmore apparent than in a handscroll, TheBurning of the Sanjo– Palace. (See Figures 10.28and 10.29, page 236.)

The Rise of ZenBuddhism and the Fall ofthe Kamakura Rulers

During the Kamakura period, new Buddhistsects were formed. One of these, the Zen sect,which was introduced from China, had animportant impact on later Japanese art.

The power of the Kamakura military rulersended in 1333. To their great shame, this lossof power did not occur on the battlefield. Liketheir predecessors, they too became corruptedby power. Civil war again broke out and con-tinued until 1573. Somehow the arts managedto flourish during this period of almost contin-uous unrest and conflict.


■ FIGURE 10.26This paintingwith its rich colorand fine drawingis characteristic ofthe high level ofpainting duringthe Kamakuraperiod. Howdoes this workdiffer from reli-gious paintingswith which youare familiar?

Kujaku Myo–-o.Kamakura Period(1185–1333). Hangingscroll, ink, color, andgold on silk. 117 �71 cm (46 � 28�). TheNelson-Atkins Museumof Art, Kansas City,Missouri. Purchase:Nelson Trust.

■ FIGURE 10.27 This gigantic bronze Buddha sits outdoors ratherthan in a temple. What does this religious figure appear to be doing?

Giant Buddha. Kamakura, Japan. c. A.D. 1252.


■ FIGURE 10.28 The Burning of the Sanjo– Palace. (Sanjo-den youchi no emaki). Kamakura

period. Second half of thirteenth century A.D. Handscroll, eighth view of twelve. Ink and colors on

paper. 41.3 � 699.7 cm (161⁄3 � 144�). Courtesy of Museum of Fine Arts, Boston, Massachusetts.

Fenollosa-Weld Collection.

his scroll illustrates with shocking realism a revolt thattook place on the night of December 9, 1159. On that tragicnight, the Sanjo– Palace was attacked and the emperor takenprisoner. Unrolling the scroll from right to left, the viewer isimmediately swept up in the frantic scene. As the scroll isunrolled further, the viewer is led at a less hectic pacethrough swarms of soldiers, horses, and carts. Finally, at thevery end of the scroll—nearly 23 feet long—the powerfulnarrative comes to a quiet end.

T

Storytelling in Art

Noblemen and their servantsarrive at the palace after hearing ofthe attack, but they are too late.

1

Within the palace itself, thehorrors of war are presented ingraphic and frightening detail:palace guards are beheaded,loyal attendants are hunteddown and killed, and ladies-in-waiting are trampled beneaththe hooves of horses.

4

In this section of the scroll,the viewer finds the finalwarrior taking control of his rearing horse.

5

A single archer is thefinal, quiet figure signal-ing an end to this story offrantic action.

6

The palace is engulfed in flame.

2

4

1

3

2

6

Warriors surround the palace.

3

■ FIGURE 10.29 The Burning of the Sanjo– Palace. Detail: Rider and Warriors. Handscroll, 12th view

of 12. Ink and colors on paper. 41.3 � 699.7 cm (161⁄3 � 144�). Courtesy of Museum of Fine Arts, Boston,

Massachusetts. Fenollosa-Weld Collection.

5

Landscape of the Four Seasons: Fall and Winter■ FIGURE 10.30

The growing appeal of Zen Buddhismresulted in the popularity of art forms associ-ated with that religion. Zen’s appeal may havebeen due to the fact that it offered people anescape from the chaos that marked daily life.A desire to escape reality may have motivatedartists as well. For example, when the painterSo–ami Kangaku Shinso (soo-ah-mee kahn-gah-koo sheen-soh) took up ink and paper tocreate a design for a screen, he chose as hissubject a peaceful landscape (Figure 10.30).

His finished paintings were mounted ontwo screens illustrating the four seasons.Reading from right to left in the same manneras a handscroll, the paintings were intendedto draw viewers gently into an imaginaryworld of beauty and peace in which theycould forget the real world of unrest and fear.

This same quest for beauty and peace wasundertaken by architects. The result can beseen in carefully proportioned pavilions set inthe midst of splendid gardens.

The Momoyama PeriodA period known as the Momoyama marked

a time in which a succession of three dictators,or shoguns, finally restored unity and broughtpeace to the troubled land. During this era, hugepalaces were built (Figure 10.31). These palacesserved two purposes: They were both protectivefortresses and symbols of power. Inside thesestructures, sliding doors and large screens weredecorated with gold leaf and delicate paintings.

A Rich Era of Japanese ArtIn 1615, Iyeyasu Tokugawa overwhelmed

the forces of rival military leaders in a battlethat left 40,000 dead. Victory enabled him tobuild a new capital at Edo (the modern city of Tokyo) and establish the Edo rule, whichcontinued until 1867.


■ FIGURE 10.30 Like handscrolls, thesescreen paintings are intended to be viewedslowly and thoughtfully, from right to left.What does this Japanese landscape have incommon with Chinese landscapes such asFigure 10.19, page 229?

So–ami Kangaku Shinso. Landscape of the Four Seasons: Falland Winter. Six-fold screen ink on paper. 173.4 � 371 cm(681⁄4 � 146�). The Metropolitan Museum of Art, New York,New York. Gift of John D. Rockefeller Jr., 1941. (41.59.2)

■ FIGURE 10.31 Japanese cas-tles such as this one were built asprotective fortresses and as sym-bols of power. Compare this cas-tle with a European castle, suchas the one in Figure 14.12, page318. What are the most impor-tant similarities and differences?

Hiroshima Castle. Lake Biwa, Japan.Rebuilt after World War II.

This period represents one of the longest peri-ods of peace and one of the richest eras for art inJapanese history.

Peace brought about a prosperous middleclass. This new middle class demanded art-works that showed the life of the people ren-dered in new techniques. Demands such asthese led to the development of the Ukiyo-estyle, which means pictures of the passing world.

Woodblock PrintingSince painting produced only one picture at

a time, artists searched for other ways to sat-isfy the increased demand for art. A solution,which had been introduced from China in theeighth century, was found in woodblockprinting. This process involves transferringand cutting pictures into wood blocks, inkingthe surface of these blocks, and printing. Usingthis technique, an artist could produce asmany inexpensive prints as needed.

Prints originally were made with black inkon white paper. If color was desired, it wasnecessary to add it by hand. In the eighteenthcentury, a process for producing multicoloredprints was developed. This process requiredthe talents of a painter, a wood-carver, anda printer.

The artist first prepared a design in ink,adding color notations to guide the printer.The lines of the design were then transferredto a wood block, and a specialist in woodcutting carved away the wood between thelines. A separate block was prepared for eachcolor. Finally, the printer inked each blockand pressed each one against paper, beingcareful to align the blocks exactly. Sincehundreds of copies could be made from

one set of blocks, the prints produced wererelatively inexpensive.

Around the middle of the seventeenth cen-tury, a designer of dress patterns namedHishikawa Moronobu (hee-shee-kah-wahmoh-roh-noh-boo) produced the first wood-block prints. At first these were used as illus-trations for books, but later they were soldseparately. Moronobu’s charming style madehis work especially appealing.

Torii Kiyonobu I (1664–1729)Moronobu paved the way for other artists

who soon began producing individual printswith a similar style and technique. One of thesewas Torii Kiyonobu I (toh-ree kyoh-noh-boo),an actor’s son who often selected as hissubjects actors from the Kabuki theater. Hispicture of a woman dancer (Figure 10.32)uses a characteristic bold line that flowsacross the paper to create a complex yetgraceful rhythm of curved lines and patterns.


■ FIGURE 10.32 This woodblock print was cre-ated with black ink on white paper. The colorswere added by hand. Which of the elements—value, line, or texture—seems especially impor-tant in this work?

Torii Kiyonobu I. A Woman Dancer. c. 1708. Woodblock print.55.2 � 29.2 cm (213⁄4 � 111⁄2�). The Metropolitan Museum of Art, New York, New York. Harris Brisbane Dick Fund and Rogers Fund, 1949. (JP 3098)

Suzuki Harunobu (1724–1770)The first multicolored prints were probably

done by Suzuki Harunobu (soo-zoo-kee hah-roo-noh-boo). His prints reveal that heendowed the female figure with an almostsupernatural grace. In Harunobu’s prints(Figure 10.33), female figures appear to haveweightless bodies with slender waists and tinyhands and feet. Rarely do their faces betrayany sign of emotion or stress.

Harunobu, along with Katsushika Hokusai(kah-tsoo-shee-kah hok-sigh) and Ando–

Hiroshige (ahn-doh hee-roh-shee-gay) producedmany of the works that inspired the FrenchImpressionists in the nineteenth century.

Katsushika Hokusai (1760–1849)Hokusai was fond of saying that he “was

born at the age of fifty.” By this he meant thatlong years of preparation were required beforehe was able to produce works of art that heconsidered worthy of admiration.

From about 1825 to 1831, Hokusai pub-lished his brilliant Mount Fuji series of prints.In spite of its title, “Thirty-six Views of MountFuji,” there are actually 46 scenes included inthe series. In this group of prints, he adopteda long angle of vision to increase the dramaticimpact. One of these prints, The Great Waveat Kanagawa (Figure 10.34), shows MountFuji in the distance, beyond a huge wavethreatening to destroy the fishing boats thatare almost lost in the violently churning sea.

Hokusai was a humble man destined to beranked among the great artists of history.Shortly before he died at the age of 89,Hokusai is quoted as having said, “If the godshad given me only ten more years I couldhave become a truly great painter.”


■ FIGURE 10.34 This print is one of 46 scenes in a single series. Inwhat way does the addition of the fishing boats help emphasize thewave’s awesome power? What is the only thing in the picture thatdoes not seem to be in motion?

Katsushika Hokusai. The Great Wave at Kanagawa. c. 1823–29. Polychrome woodblockprint. 25.7 � 38 cm (101⁄8 � 1415⁄16�). The Metropolitan Museum of Art, New York, New York. The H.O. Havemeyer Collection, Bequest of Mrs. H.O. Havemeyer, 1929. (JP1847).

■ FIGURE 10.33 This is a multicolored wood-block print; the colors were added as part of the printing process, not painted in later.What mood does this work convey?

Suzuki Harunobu. Girl Admiring Plum Blossoms at Night. c. 1768.Polychromed woodblock. 32.4 � 21 cm (123⁄4 � 81⁄4�). TheMetropolitan Museum of Art, New York, New York. FletcherFund, 1929. (JP 1506)

Ando– Hiroshige (1795–1858)Although he greatly admired Hokusai and

was strongly influenced by him, the youngerHiroshige did not adopt his predecessor’s spir-ited style. Instead, he used delicate lines and aharmonious color scheme to give nature amore subdued atmosphere.

Hiroshige often unified a work by giving it anoverall darkness of tone that captures the sad-ness of a rainy scene (Figure 10.35). Much of the beauty of his work comes from his sensi-tive response to variations in the weather andchanging seasons.

240 Unit Four

■ FIGURE 10.35The subdued colorsin this work con-tribute to the quiet atmosphere.What are the mostimportant differ-ences between thiswork by Hiroshigeand the print byHokusai (Figure10.34, page 239)?

Ando (Utagawa)Hiroshige. Evening Rainon the Karasaki Pinefrom the series “EightViews of Omi Province.”Nineteenth century.Woodblock print. 26 �38 cm (101⁄4 � 15�). TheMetropolitan Museum ofArt, New York, New York.Bequest of Mrs. H. O.Havemeyer, 1929. The H. O. HavemeyerCollection. (JP 1874)

Reviewing Art Facts1. Explain How did the Buddhist reli-

gion reach Japan?2. Describe What did a Japanese temple

look like? From what material wasit made?

3. Recall What period in Japanese artwas considered the golden age andwhy?

4. Identify What led to the develop-ment of the Ukiyo-e style of art?

5. Explain What prompted the develop-ment of woodblock printing in Japan?

Recognizing Influences In Chapter 10, we examinedseveral artistic traditions. These traditions grew from thereligious beliefs of each cultural group presented in thechapter. Without a basic understanding of the influencesof religion on each culture, it is not possible to fully under-stand the resulting artworks.

Activity Working in your journal, create a table with threecolumns. Label the columns Cultural Group, Religion, Descrip-tion, and Influence on Art. Review Chapter 10 and list asmany cultural groups, religions, descriptions, and influencesas you can. Present the results of your review to the class.

LESSON THREE REVIEW



Materials• A large branch with a few leaves intact• Pencil• White drawing paper, 9 � 12 inches or larger• Tempera or acrylic paint (two complementary

colors only)• Brushes, mixing tray, and paint cloth• Water container

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Examining Your Work

Carefully draw a large branch as accurately as possi-ble. The lines of this branch will run off the paper atthe top, bottom, and sides. This creates a variety ofnegative shapes. Paint with hues obtained by mixingtwo complementary colors to create a range of differ-ent intensities.

InspirationExamine the paintings by Qian Xuan (Figure 10.20,

page 229) and Zhao Meng-fu (Figure 10.21, page 230).

Process1. Bring to class a large branch and remove most, but

not all, of its leaves. Silently study this branch,noting the way it divides to form smaller branches.

2. On the drawing paper, slowly draw the outline ofthe branch with pencil. Make the drawing largeenough so that it runs off the paper on all sides,creating a variety of negative shapes.

3. Use tempera or acrylic to paint the negative shapesonly. Paint these shapes with a variety of intensitiesobtained by mixing two complementary hues. First,number each negative shape lightly in pencil.Then, paint shape Number 1 with the first of thecomplementary colors selected. Paint shapeNumber 2 with the same color to which you haveadded a small amount of its complement. Addincreasing amounts of the complement, and paintthe final shape with the second complementarycolor to complete a type of intensity scale.

Describe Does your drawing of a branch look accurate?Do the lines of this branch run off the paper on all sides?

Analyze How were the negative shapes in your picturecreated? How many different intensities did you obtain?

Interpret Does your finished work offer hints as to theintense contemplation you practiced before beginning

your painting? What effect do you think that contem-plation had on your work?

Judge How would you respond to someone who saysyour picture is “nothing more than a painting of an ordi-nary branch”? What aesthetic qualities would you wantsuch a person to consider when judging your work?

Negative Shape Painting

■ FIGURE 10.37 Student Work

For more studio lessons and student artwork see art.glencoe.com.


Hayao Miyazaki creates animation focused on nature.

Hayao Miyazaki has often beencalled the Walt Disney of Japan.

His animated movies, which includePrincess Mononoko and Spirited Away,have brought him international fame.

Miyazaki writes, animates, anddirects his films. His artistry does notcome out of a computer—his filmsare mostly drawn by hand. Althoughhe has a large staff of artists, Miyazakiis involved in every aspect of the ani-mation process. In Princess Mononoke, he looked at 80,000 of the 140,000frames that made up the movie, revising many of them.

Born in Tokyo, Japan, in 1941, Miyazaki started his career creating comic books (known as manga inJapan). Later he turned to creating anime, or animatedfeatures. Miyazaki creates fantasy worlds that seemastonishingly real. He accomplishes this by paying careful attention to detail. Few animators can match hisfilm’s vivid colors and convincing texture, dimension,and depth.

Creating an animated world takes hard work. To drawthe lush green landscapes of Princess Mononoke and MyNeighbor Totoro, Miyazaki and his artists visited forests inJapan, taking pictures and making sketches. Kiki’s Delivery Service is set in an imaginary city. To draw it,Miyazaki studied many cities, using bits and pieces from each to construct a detailed urban landscape. To create machinery, he may porethrough history books. On screen, the machinery looks like it wouldactually work.

However, technology is less impor-tant to Miyazaki than nature. Hisserene visual landscapes teach us that people should live in harmonywith nature rather than trying to dominate it.

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This scene from Hayao Miyazaki’s hit movie Princess Mononokedemonstrates how vividly he draws the world of nature.

242 Chapter 10 The Art of India, China, and Japan

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TIME to Connect

Creating animation for a Miyazaki film requires drawings to beplaced on pieces of celluloid called a cell. Read about the processonline or in a library.Then learn about computer-generated animation, such as the techniques used in Toy Story and Shrek.

• Describe the process for both computer animation and hand-drawn animation.

• Compare these two techniques. How do they differ? How are they similar? Explain your findings in a short summary.

Miyazaki’s films feature strong, independent femalecharacters. He also shows concern for the environment and for how people need to preserve the Earth’s delicate ecosystem.

Standardized Test PracticeStandardized Test Practice

Read the paragraphs below and then answer the questions.

10 REVIEW

Reviewing the FactsLesson One1. What two great, enduring religions originated

in India?2. Name the three main Hindu gods and tell what

primary process each represents.3. Explain what the wheel symbolized in Buddhist

art.Lesson Two4. Who was the first Chinese painter?5. During which dynasty did China reach its peak

of power and influence?6. Which Chinese dynasty was flourishing at the

same time as the Roman Empire?7. How does a Chinese landscape painting differ

from one of the same subject done in the West?Lesson Three8. Would Yamato-e painting, during the Kamakura

period, be considered a more symbolic or morerealistic style of painting?

9. How might The Great Wave at Kanagawa(Figure 10.34, page 239) have differed had itbeen a painting?

Thinking Critically1. COMPARE AND CONTRAST. Discuss similari-

ties and differences between Standing Buddha(Figure 10.13, page 223) and Nike Fastening HerSandal (Figure 8.19, page 183).

2. ANALYZE. Look closely at the artist’s line inFigure 10.15. Make a list of adjectives to describethe quality of this line. Find another work show-ing lines that are similar or different in quality.

Select one of the cultures from thischapter that interests you. Record informa-tion in your sketchbook about the art ofthat culture. Make notes and sketches foryour portfolio. Work with your class tocreate a computer resource file to whichyou and your classmates can contributepictures, sketches, and facts about the artof different countries and cultures.

Two Chinese landscape painters who werealso teachers shared their artistic views.

Without leaving crowded human habita-tions I can look quietly at a painting androam and wander the solitary wilds ofnature. —Tsung Ping (375–443)

While looking at a good landscape paint-ing in one’s own sitting room, one can imag-ine oneself sitting on rocks in a gully andhearing the cries of monkeys and birds.

—Kuo Hsi (c.1020–1090)

1. Which best summarizes both artists’ ideaof what makes an effective landscape?

Scenes with rocks, monkeys, and birds.

A scene painted in one’s home.

A nature scene that draws the viewer in.

A painting of the solitary wilds of nature.

2. A feature of Kuo Hsi’s handscroll inFigure 10.19 (page 229) is an emphasis on:

a balance of light and dark values.

the use of a rich palette of colors.

a strong sense of movement.

convincingly lifelike portraits ofpeople.

Chapter 10 Review 243