0134484592 ch24

Copyright © 2018, 2014, 2011 Pearson Education, Inc. All Rights Reserved
Art History
Sixth Edition
Chapter 24
Art of South and Southeast
Asia after 1200

Learning Objectives (1 of 2)
24.a Identify the visual hallmarks of South and Southeast Asian art after
1200 for formal, technical, and expressive qualities.
24.b Interpret the meaning of works of South and Southeast Asian art
after 1200 based on their themes, subjects, and symbols.
24.c Relate artists and art of South and Southeast Asia after 1200 to
their cultural, economic, and political contexts.

Learning Objectives (2 of 2)
24.d Apply the vocabulary and concepts relevant to the art, artists, and
art history of South and Southeast Asia after 1200.
24.e Interpret a work of South or Southeast Asian art after 1200 using the
art historical methods of observation, comparison, and inductive
reasoning.
24.f Select visual and textual evidence in various media to support an
argument or an interpretation of a work of South or Southeast Asian art
after 1200.

TAJ MAHAL
Agra, India.
Mughal period, reign of Shah Jahan, c. 1631–1648.
© Peter Adams/Corbis. [Fig. 24-01]

Foundations of Indian Culture (1 of 2)
• The Indus civilization declined during the mid second millennium BCE
as the Aryans formulated a new way of life.
– Contributions of Sanskrit language and the sacred Vedas shaped
civilization.
• Buddhism and Jainism developed in the wake of Upanishadic thought,
which was shaped by the Vedas.

Foundations of Indian Culture (2 of 2)
• The Maurya dynasty unified the subcontinent c. 322 BCE.
• Kushans created an empire from Afghanistan to India in the first
century.
• Gupta monarchs patronized both Buddhist and Hindu art.
• Numerous regional dynasties prevailed after the tenth century.

South Asia 1200–1800
• Surviving art from periods before 1200 was mostly sacred and inspired
by Buddhism, Hinduism, and Jainism.
• Although Islam began to rise in popularity, the aforementioned
religions continued to inspire generations of artists.

SOUTH AND SOUTHEAST ASIA
Throughout its history, the kingdoms comprising the Indian subcontinent engaged—
sometimes peacefully, sometimes militarily—with neighboring and more distant people,
contributing significantly to the development of its art. [Map 24-01]

Changes in Religion and Art (1 of 8)
• As patronage declined, Indian Buddhist monks sought support from
communities in Southeast Asia.
• Remaining Buddhist enclaves in South Asia were concentrated in the
northeast.
• Simultaneously, Hinduism rose to new prominence and Jainism
continued to prosper.

• The Boddhisattva Avalokiteshvara
– Tantric Buddhism encourages images to contain precise
iconographic details, as seen in this gilt-bronze sculpture.
– This piece represents the boddhisatva of greatest compassion,
distinguished by his princely garments in identification of his
foregoing buddhahood until all others became buddhas.

THE BODHISATTVA AVALOKITESHVARA
From Kurkihar, Bihar. Pala dynasty, 12th century.
Gilt-bronze, height 10" (25.5 cm). Patna Museum, Patna. Photo © Dirk
Bakker/Bridgeman Images. [Fig. 24-02]

• Luna Vasahi, Mount Abu
– Jainists seek purification and moral action, living a life of austerity
and avoiding killing any living creature.
– The Dilwara Temples feature modest exterior walls and a relatively
small size, yet the interior is carved with intricate and abundant
detail.
 An ornate dome tops the mandapa hall.

LUNA VASAHI, MANDAPA CEILING
Mount Abu, India. 1230.
© Eye Ubiquitous/Alamy Stock Photo. [Fig. 24-03]

• Qutb Minar
– The Delhi Sultanate was founded in 1206 under Qutb-ud-din
Aibak.
– A mosque complex was build over the citadel of Delhi's previous
rulers, containing the Qutb Minar.
 This minaret stands over 237 feet high and was one of the
tallest structures in South Asia at its construction.
 It serves as an expression of power.

QUTB MINAR
Quwwat ul-Islam Mosque, Mehrauli Archaeological Park, Delhi. 1211–1236.
Icon72/Fotolia. [Fig. 24-04]

• Vijayanagara
– This capital city flourished between the fourteenth and sixteenth
centuries.
– The Virupaksha Temple pre-dated the city, but expanded under
architects Bukka and Harihara with an eastward-facing gopura
(entrance gateway).

VIRUPAKSHA TEMPLE, VIJAYANAGARA
Hampi, India. Founded before the 9th century but expanded in the 14th–16th centuries.
© Eugil Chandran/Alamy Stock Photo. [Fig. 24-05]

• Vijayanagara
– Appropriation of diverse architectural techniques can be seen in
the royal elephant stables.
 Elephants were symbols of ceremony and military.
 A rooftop pavilion served as a viewpoint and could hold
musicians.

ELEPHANT STABLES, VIJAYANAGARA
Hampi, India. 15th century.
© age fotostock/Alamy Stock Photo. [Fig. 24-06]

• Temple at Madurai
– Emphasis on monumental Hindu temples sparked the building of
vast temple complexes.
– Examples of the largest temples include the Sun Temple at
Konarek and the Govind Deva Temple in Brindavan.
– The kingdom of Vijayanagar patronized some of the most
spectacular Hindu architecture.

• Temple at Madurai
– The temple at Madurai stands at the center of the city with
additions around the complex.
– Dramatic features include thousand-pillar halls, ritual bathing
pools, and entrance gateways (gopuras).
 These gateways became the taller over time as more
extravagant ones were donated.

OUTER GOPURA OF THE MINAKSHI-SUNDARESHVARA TEMPLE
Madurai, Tamil Nadu, India.
Nayak dynasty, mostly 13th to mid 17th century, with modern renovations.
Courtesy of Marilyn Stokstad. [Fig. 24-07]

Mughal Period (1 of 11)
• The Mughals of Central Asia unified northern India by 1658, and the
Mughal Empire lasted until 1858.
• Mughal architects inherited a 300-year-old tradition of Islamic building
and synthesized it with Indian, Persian, and Central Asian elements for
forts, palaces, mosques, and tombs.
• Akbar supported an imperial atelier.

• Fatehpur Sikri
– Two main components of this capital complex are a religious
section that includes the Jami Mosque, and an administrative and
residential section.
– The private audience hall, or Diwan-i-Khas, features a central
pillar that could be reached by four walkways.
– Paintings were commissioned to record the building of this
complex.

DIWAN-I-KHAS (PRIVATE AUDIENCE HALL)
Fatehpur Sikri, India. 1570.
MrPeak/Fotolia. [Fig. 24-08]

AKBAR INSPECTING THE CONSTRUCTION OF FATEHPUR SIKRI
From the Akbarnama. c. 1590.
Opaque watercolor on paper, 14-3/4" × 10" (37.5 × 25 cm).
Victoria & Albert Museum, London. (I.S.2-1896 91/117). V&A Images/Victoria and Albert
Museum. [Fig. 24-09]

• Painting in the Court of Jahangir
– Jahangir, successor to Akbar, established his own workshop for
painting.
– Portraiture became prolific.

– A painting of Jahangir and Shah Abbas was created during a
moment of tension between Shah Abbas and the Mughal throne.
– Jahangir is depicted as much larger than Shah Abbas, who bows
deferentially to the emperor.

Technique: Indian Painting on Paper
• Painters usually began their training as apprentices, who ground
pigments and made brushes.
• Following a sketch, the painter would seal the paper and fill outlines
with brilliant color.
– Burnishing the paper on a marble surface polished the pigments.
• Important details were left until last.

Nadir al-Zaman (Abu'l Hasan) JAHANGIR AND SHAH ABBAS
From the St. Petersburg Album. Mughal period, c. 1618. Opaque watercolor, gold and ink
on paper, 9-3/8" × 6" (23.8 × 15.4 cm). Freer Gallery of Art, Smithsonian Institution,
Washington, DC. Purchase, F1945.9. Bridgeman Images. [Fig. 24-10]

– Subtle details become reminders of Mughal power that
simultaneously warn against further expansion.
– Women were rarely depicted with the exception of Empress Nur
Jahan.
 The scene on the next slide shows a deceptively tranquil
tableau.

JAHANGIR AND PRINCE KHURRAM FEASTED BY NUR JAHAN
Mughal period, 1617. Paint and gold on paper, 9-15/16" × 5-5/8" (25.2 × 14.3 cm).
Freer Gallery of Art, Smithsonian Institution, Washington, DC. Gift of Charles Lang Freer
(F1907.258). Bridgeman Images. [Fig. 24-11]

• The Taj Mahal
– Shah Jahan built this mausoleum in honor of his wife, Mumtaz
Mahal.
 It was the first major architectural undertaking during his reign.
– The enclosure is divided into quadrants, which would have had
fruit trees and cypresses in Shah Jahan's time.
 The garden would have continued on the far bank of the
Jamuna River.

• The Taj Mahal
– The tomb was flanked by a mosque and a hall on either side.
– A chattri crowns each minaret.
– Although it is basically square, chamfered corners create a subtle
octagon.
– Surfaces are embellished with subtle relief and a blind arcade
motif.

TAJ MAHAL, DETAIL
Agra, India.
Mughal period, reign of Shah Jahan, c. 1631–1648.
© Peter Adams/Corbis. [Fig. 24-12]

• Rajput Painting
– Hindu Rajput princes supported abstract-style painters at their
courts.
– The devotional movement bhakti experienced popularity in
literature.
– The illustration here is a scene from a manuscript of the Gita
Govinda.
 Radha peers with jealousy into a space where Krishna
entertains cowherd women.

KRISHNA AND THE GOPIS
From the Gita Govinda, Rajasthan, India. Mughal period, c. 1525–1550.
Gouache on paper, 4-7/8" × 7-1/2" (12.3 × 19 cm).
Prince of Wales Museum, Mumbai. Courtesy of the Trustees of the Chhatrapati Shivaji
Maharaj Vastu Sangrahalaya formerly Prince of Wales Museum of Western India,
Mumbai. Not to be reproduced without prior permission of the Trustees. [Fig. 24-13]

• Rajput Painting
– Hour of Cowdust, painted about 250 years after the Gita Govinda
illustration, show the influence of Mughal naturalism.
 Krishna is again the subject, entering a village from the lower
right of the painting.
 Figures appear with proportion and gentle movement.

HOUR OF COWDUST
From Punjab Hills, India. Mughal period, Kangra School, c. 1790.
Gouache on paper, 14-15/16" × 12-9/16" (36 × 31.9 cm).
Museum of Fine Arts, Boston. Denman W. Ross Collection (22.683). Photograph © 2017
Museum of Fine Arts, Boston. [Fig. 24-14]

• Rajput Architecture
– The City Palace in Udaipur marked an example of a series of
linked palaces at a strategic hilltop location, noting the aspect of
fortification endemic to Rajput architectural style.
 Its structure of granite and marble is ornamented with paint,
inlaid stone, silverwork, mirror, and colored glass.

CITY PALACE, UDAIPUR
India, 1559 onward.
© Ozphotoguy/Getty Images. [Fig. 24-15]

• Rajput Architecture
– The Mor Chowk, "Peacock Courtyard," was lavishly decorated and
served as an extension of royal authority.
 Its surface is ornamented with inset foliage patterns of colored
tile and stained glass.

MOR CHOWK OF THE CITY PALACE, UDAIPUR
India. 17th century with 19th-century additions.
Donyanedomam/Fotolia. [Fig. 24-16]

Art and Its Contexts: Southeast Asian
Ceramics
• Both the Burmese and Thai kingdoms produced ceramics, but the
potters of Vietnam were most successful in making porcelains.
• So many ceramics were exported from Vietnam that only leftovers
remained.
– The excavation of a sunken ship off the coast of Hoi An brought
over 250,000 Vietnamese ceramics to light.

GROUP OF VIETNAMESE CERAMICS FROM THE HOI AN HOARD
Late 15th to early 16th century. Porcelain with underglaze blue decoration; barbed-rim
dishes: (left) diameter 14" (35.1 cm); (right) diameter 13-1/4" (34.7 cm).
Phoenix Art Museum, Arizona. (2000.105-109). Photo: Craig Smith. [Fig. 24-17]

Southeast Asia 1200–1800
• Buddhism was widely accepted by the populace in Southeast Asia.
• Islam, carried by Arab and Chinese traders, began to gain influence.
• Demand for Southeast Asian goods rose and colonial interest led to
consequences in regional history, culture, and society.

Buddhist Art and Kingship (1 of 4)
• As Buddhism thrived, rulers had to align themselves with Buddhist
ideas.
• Seated Buddha
– Jayavarman VII elected to associate himself with the Buddha and
constructed a massive temple-mountain complex at Angkor Thom.
– A simple, humble sandstone buddha represented the ruler in
sculpture.

SEATED BUDDHA
From Angkor Thom. Reign of Jayavarman VII, late 12th-early 13th century.
Sandstone, 4'6" (1.4 m).
National Museum of Cambodia, Phnom Penh. © Luca Tettonni/Getty Images.
[Fig. 24-18]

• Shwedagon Stupa, Myanmar
– The port city of Yangon is the site for this stupa, which enshrines
relics of the four past Buddhas.
– It underwent continual restoration and enhancement under
Burmese rulers.
– The bell-shaped spire is capped by an umbrellalike shape.

SHWEDAGON STUPA (PAGODA)
Yangon, Myanmar. 15th century; construction at the site dates from at least the 14th
century, with continuous replastering and redecoration to the present.
Thor Jorgen Udvang/Fotolia. [Fig. 24-19]

A CLOSER LOOK: The Sukhothai Buddha
From Wat Mahathat, now in Wat Benchamabophit, Bangkok, Thailand.
Bronze, 7'22" (2.2 m). Sukhothai period, 14th–15th century.
© Luca Tettoni/Corbis. [Fig. 24-20]

• Temple of the Emerald Buddha, Thailand
– The Thai gradually gained control of the Dvaravati culture.
– The Sukhothai period was praised for its artistic innovation and
creativity.
– When the capital was eventually moved south to Bangkok, a new
temple was created to house a sacred Buddha.

• Temple of the Emerald Buddha, Thailand
– The "Emerald" Buddha, so named for its color, carries legends that
it was linked to the world's foremost Buddhist kings.
– The enclosure for this Buddha covers over 200 acres and features
vibrant colors and high pointed roofs.

TEMPLE OF THE EMERALD BUDDHA (WAT PHRA KAEW)
Grand Palace Complex, Bangkok, Thailand.
1782, and greatly expanded in later centuries.
psstockfoto/Fotolia. [Fig. 24-21]

Islamic Art in Southeast Asia
• Muslim merchants brought Islam to the populations of Malasia and
Indonesia.
• Kudus Mosque, Indonesia
– This is one of the earliest examples of Islamic architecture in Java;
while the mosque itself was renovated, the minaret survives from
1549.
– Various indigenous and international influences shaped this tower.

The Colonial Period and the Modern Era
• Britain began to push into India via the British East India Company
followed by direct control.
– Political concerns of Britain extended into the Indian arts.
• Cities such as Calcutta, Madras, and Bombay took on a European
aspect.

British Imperialism in South Asia
(1 of 3)
• Victoria Terminus, Mumbai
– This train station was built in a Gothic Revival style, conceding to
South Asain traditions only through turtlelike domes.
– The pairing of cathedral architecture and train station celebrates
British technology and authority.
 Personifications of Progress, Commerce, Agriculture, and
Science adorn the exterior.

(2 of 3)
• Gateway of India, Mumbai
– Built to welcome King George V, the British constructed this
monument in the style of a European triumphal arch and
decorated it with South Asian embellishments.

(3 of 3)
• Mother India
– Abanindranath Tagore rejected the medium of oil painting and
strove to create a style reflecting his ethnic origins.
– Bharat Mata becomes a national icon, using Hindu symbols made
with the format and techniques of Mughal and Rajput painting.

Abanindranath Tagore BHARAT MATA (MOTHER INDIA)
1905. Watercolor on paper, 10-1/2" × 6" (26.7 × 15.3 cm).
Rabindra Bharati Society, Kolkata. Courtesy of Marilyn Stokstad. [Fig. 24-25]

The Modern Period (1 of 5)
• Modern times have been marked by both peaceful resistance and
bloody warfare.
• Many states have emerged as leaders in international commerce,
technology, and finance despite setbacks.
– They capitalize on the region's tradition of bringing together
cultures and adapting new ideas.

• Modern South Asia
– The attainment of self-rule was five years in the making for India,
Pakistan, and Bangladesh.
– After independence in 1947, young nations welcomed a modern,
internationalist approach to art and architecture.

• Modern South Asia
– Maqbool Fida Husain
 This prolific artist drew subjects from diverse sources such as
Hindu literature, historical events, nature, and his Muslim
upbringing.
 Vedic from the Theorama series addresses Hinduism and
features the figure of Krishna dancing on the serpent Kaliya.

Maqbool Fida Husain VEDIC
From the "Theorama" series, 1994.
Limited edition color print, 23-1/2" × 36" (60 × 92 cm).
Photo: Philip de Bay. [Fig. 24-26]

• Modern Southeast Asia
– Some nations had avoided imperial dominance while others fought
long wars to establish independence, indicating great variation
among the people of Southeast Asia.
– The region has gradually achieved stability and recognition for its
artwork and contemporary architecture.

• Modern Southeast Asia
– The Petronas Towers, Malaysia
 From 1998–2004, these paired skyscrapers were the tallest
structures in the world.
 They were designed by Argentine architect César Pelli and
Filipino-Malaysian engineer Deejay Cerico, who drew from
Malaysian Islamic forms.

Think About It (1 of 2)
• Consider the Qutb Minar (Fig. 24–4) and Fatehpur Sikri (Fig. 24–8).
Do these structures reveal differences in the way each kingdom
viewed itself in relation to wider Indian culture? If so, explain how. Can
similar differences be seen when comparing the Victoria Terminus and
the Gateway of India? Explain.
• Great wealth is often required to build grand structures, and typically
this wealth rests in the hands of rulers. Who were the patrons of the
Luna Vasahi (Fig. 24–3) and the gopuras at the temple in Madurai
(Fig. 24–7)? What does this tell us about the importance of trade and
increased access to public displays of piety?

Think About It (2 of 2)
• The Emerald Buddha and the Seated Buddha from the reign of
Jayavarman VII are both closely associated with royal power. Explain
how each Buddhist image lends authority to the king; emphasize both
similarities and differences between the two examples.
• Consider the paintings Jahangir and Shah Abbas (Fig. 24–10) and
Mother India (Fig. 24–25). What are their political messages and to
whom were these messages directed? Who would have seen these
works?

0134484592 ch24

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