Review A: for examination one buddhist arts

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Part A (more to come)

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  • Title: Structure of a hanging scrollImage Source: dc: Hirayama, et al.: Illustrated Dictionary of Japanese-style Painting Terminology, page 131, bottom diagram with text to left
  • Title: Parts of a hanging scroll with Yamato-style mountingImage Source: dc: Hirayama, et al.: Illustrated Dictionary of Japanese-style Painting Terminology, page 124, left image and text
  • Title: Parts of a hand scrollImage Source: dc: Hirayama, et al.: Illustrated Dictionary of Japanese-style Painting Terminology, page 136, top 2 images
  • Title: Structure of a hand scrollImage Source: dc: Hirayama, et al.: Illustrated Dictionary of Japanese-style Painting Terminology, page 136, bottom diagram with text
  • Title: Handling a hand scrollDetail/View: steps 5 and 6Image Source: dc: Hirayama, et al.: Illustrated Dictionary of Japanese-style Painting Terminology, page 140, bottom 2
  • Title: Handling a hand scrollDetail/View: steps 7, 8, 9Related Terms: makimono, kansubonImage Source: dc: Hirayama, et al.: Illustrated Dictionary of Japanese-style Painting Terminology, page 141
  • Title: Structure of a folding screenImage Source: dc: Hirayama, et al.: Illustrated Dictionary of Japanese-style Painting Terminology, page 143, top diagram
  • Recall tortoise and snake of Takamatsu tomb, north
  • Recall bird of the Takamatsu tomb, south, red bird
  • Review A: for examination one buddhist arts

    1. 1. 0021_3_7892_200600048
    2. 2. 0024_3_7894_200304492
    3. 3. 0012_3_7891_200600047
    4. 4. 0007_3_7923_200600046
    5. 5. 0042_3_9143_198905948
    6. 6. 0034_3_7897_200304497
    7. 7. 0032_3_7907_200304512
    8. 8. 0013_3_9197_200304513
    9. 9. 0016_3_7906_200304511
    10. 10. 17
    11. 11. Dry_lacquer_Clay_Mason_p86Dry lacquer technique (armature, clay basis)
    12. 12. Birushana(Vairocana)BuddhaGilt and colors ondry lacquer withbasketry armature.Mason 118.2ndhalf of the 8th c.—probably late 760s.Height 120 inches /10 ft.
    13. 13. 0023_3_9112_198905863
    14. 14. Shûkongôjin. Before 750, Nara period. Clay with pigments. H. 68 1/2 in. Third Month Hall,Clay Tôdaiji, Nara. Mason 115.塑像
    15. 15. 230018
    16. 16. 0019
    17. 17. MudraSeat Shaka and basicsLotus pedestalMandorla (nimbus)Sacred marks (Lakshana)
    18. 18. 0054
    19. 19. Hip and Gable roof 01.ho_nara04Plaster and wood walls. Joinery. Tile roof Stone base
    20. 20. 0032
    21. 21. 0032
    22. 22. Ise
    23. 23. 01.ho_nara04
    24. 24. 0000
    25. 25. 0000
    26. 26. Horyuji_pagoda_elev_Mason _fig73
    27. 27. Stupa_diag_Mason_fig71
    28. 28. Wakakusa dera ca. 607Hôryû-ji ca. 700
    29. 29. 0009
    30. 30. Horyuji garan planYakushiji in Nara, early 8th c
    31. 31. Kofukuji (from Suzuki)730s and later
    32. 32. 0058
    33. 33. 01.ho_nara09
    34. 34. 0006
    35. 35. 01.ho_nara08
    36. 36. 01.ho_nara13
    37. 37. 01.ho_nara05
    38. 38. INTERIOR Hôryû-ji.Amida Paradise, west (6)
    39. 39. Horyuji wall Amida
    40. 40. 01.ho_nara27
    41. 41. Tachibana Lady Tachibana Shrine, early 8th c. bronze (originally with gilding)
    42. 42. Tachibana D Lady Tachibana Shrine, early 8th c. bronze (originally with gilding)
    43. 43. Tachibana Lotus floor
    44. 44. 0000
    45. 45. 0015Horyuji pagoda, ca. 700-711. North doorway
    46. 46. 0016
    47. 47. ^ Hôryûji pagoda east bosatsu •••• ^^Shinyakushiji 12 Generals
    48. 48. Yakushiji Triad. Late 7th or early 8th C.
    49. 49. 0011
    50. 50. 0012
    51. 51. 0014
    52. 52. Bodhisattva detail
    53. 53. 0014 Seattle Art Museum. Tang period Bodhisattva
    54. 54. 0016
    55. 55. 0017
    56. 56. 0019
    57. 57. KofukujiSakara and KendatsubaEight Classes
    58. 58. • Karuda Igaruda). Bird headed protectore. Eight Classes.KofukujiKarura (Garuda)Eight classes
    59. 59. Kofukuji_KasenenTen Great Disciples
    60. 60. Kofukuji_SubodaiTen GreatDisciples
    61. 61. Kofukuji. Ashura. Eight Classes
    62. 62. Heijio plan Mason?
    63. 63. NEXT SLIDE: Left personifying Empress Jinguu. Hachiman god ofwar as monk, Empress Nakatsu.These sculptures function as objects of devotion in certainShinto shrines. Originally the Shinto tradition had no customof making anthropomorphic images, but this was to a certainextent begun after the 8th century, in imitation of Buddhismand under the influence of the so-called honji suijaku theory ofShinto-Buddhist syncretism. Written records tell of Shintoimages being carved in the latter half of the 8th century, butthe earliest extant examples date from the 9th century (earlyHeian period). A feature distinguishing them from Buddhistimages is the existence of both male and femaleimages.There is also a notable absence of set iconographicprinciples of the type which governed the production ofBuddhist images. In many cases they are multicolored, andwere made to imitate the clothing and hair styles of specificmen and women of the court aristocracy of the time.
    64. 64. Three Yakushi-ji Shinto divinities
    65. 65. portrait sculpture of the Shinto deityHachiman in the guise of a Buddhist monk(a noted example of shugo bijutsu, a blendof Shinto and Buddhist iconography) atTodaiji Temple in Nara and the portrait ofTamayorihime-no-mikoto found at YoshinoMikumari Shrine in Nara Prefecture.

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