Download to read offline
![Evolution of Buddhist Architecture.
“Stepped Tower”
Buddhist pagodas merged Indian stupa and Chinese watchtower- resulting stepped tower adopted and changed by
Japanese
• Early Indian stupa. 3rd century to early 1st century BCE. [Fig. 18-4a]
• Later Indian stupa. 2nd century CE. [Fig. 18-4b]
• Chinese pagoda. 5th to 7th centuries CE. [Fig. 18-4c]
• Japanese pagoda. 7th century CE. [Fig. 18-4d]](https://image.slidesharecdn.com/artforms18-200705194057/85/de-Beaufort-AA-ch18-7-320.jpg)
Uploaded byJacques de Beaufort
de Beaufort AA ch18
The document provides an overview of traditional arts in Asia, including India, Southeast Asia, China, and Japan. It discusses the evolution of Buddhist architecture from early Indian stupas to Chinese pagodas and Japanese pagodas. In India, it describes ancient Indus Valley art, Buddhist art at Sanchi featuring relief sculptures, and Hindu temples featuring erotic sculptures. In Southeast Asia, it examines the massive Borobudur temple in Java and the Angkor Wat temple in Cambodia. In China, it outlines ancient bronzes, terra cotta warriors, landscape painting traditions, and in Japan it examines Shinto shrines, the Katsura Palace, Zen ink paintings, and Ukiyo-e woodblock prints.
More Related Content
Similar to de Beaufort AA ch18
![Chinese And Korean Art Slides [1]](https://cdn.slidesharecdn.com/ss_thumbnails/chineseandkoreanartslides1-100303060905-phpapp01-thumbnail.jpg?width=640&height=640&fit=bounds)
More from Jacques de Beaufort
de Beaufort AA ch18
- 1.
- 2.
- 3. 1 India Ancient Indus Valley Between3,000 and 5,000 years ago Few works survive but beliefs written in Vedas and Upanishads endure Grow into Hindu concept of reincarnation Cycles of creation/destruction
- 4. 1 India Carved male torsocompared with classical Greek Spear Bearer Underlying bone structure difficult to see Male Torso. Harappa, Indus Valley. c.2400–2000 BCE. Limestone. Height 3-1⁄2”.
- 5. 1 Buddhist Art Buddhism: SiddharthaGautama Jainism: Mahavira Buddhist Art • Belief that to eliminate desire (cause of suffering), one must follow the moral code of Eightfold Path • Stupa Domelike structure evolved from earlier burial mounds axis mundi- “world Mountain” • Four gates aimed in cardinal directions • Devout walked around its ritual path • The Great Stupa. Sanchi, India. 10 BCE–15 CE. Exterior
- 6. 1 Great Stupa atSanchi • Built over a period of about 200 years • Gateways include registers of sculpture in relief • Tell story of Buddha’s life • Do not depict him directly • Sensuality evident The Great Stupa. Sanchi, India. 10 BCE– 15 CE. A view of the Buddhist sculpture in Sanchi temple.
- 7. Evolution of BuddhistArchitecture. “Stepped Tower” Buddhist pagodas merged Indian stupa and Chinese watchtower- resulting stepped tower adopted and changed by Japanese • Early Indian stupa. 3rd century to early 1st century BCE. [Fig. 18-4a] • Later Indian stupa. 2nd century CE. [Fig. 18-4b] • Chinese pagoda. 5th to 7th centuries CE. [Fig. 18-4c] • Japanese pagoda. 7th century CE. [Fig. 18-4d]
- 8. Buddhist Art Gandhara (nowAfghanistan/Pakistan) East meets West: • Distinctive style gained after Alexander the Great’s conquest Combination of East and West • Bodhisattva, a person who delays enlightenment to help others achieve it • Sculptor shows knowledge of Roman, Greek traditions –drapery technique slight contrapposto Bodhisattva. 2nd–3rd centuries. N.W. Pakistan, Gandhara region
- 9. 1 Buddhist Art Gupta Style Guptadynasty (c.320–540) Noted for developments in politics, law, math, and the arts Carved stone Standing Buddha • Simplified mass of the figure drapery clings to body Long earlobes refer to earlier aristocracy • Topknot (manbun) symbolizes enlightenment • No contrapposto Standing Buddha. 5th century. Red sandstone. Height 5’3”.
- 10. 1 Hindu Art Principal godsof Brahmna (creator), Vishnu (sustainer) , and Shiva (destroyer) Hindu temples Two parts: 1. Porch for purification of worshipper 2. Garba griha, Womb Chamber where an image of the god is kept Kandarya Mahadeva Temple • Garba griha marked by tall tower and smaller replicas Erotic scenes symbolize divine love in human form /procreative energy • Allegory of ultimate spiritual unity • Natural beauty and fullness of human figure Kandarya Mahadeva Temple. Khajuraho, India. 10th–11th centuries. Exterior
- 11. Union with Godanalogous to sensuous pleasure of erotic love Scene from Kandarya Mahadeva Temple, Khajuraho, Madhya Pradesh, India. Erotic reliefs. 1025–50, Chandella dynasty.
- 12. 1 Hindu Art Shiva Shiva asLord of the Dance • Cosmic Dance-performs within orb of the sun • Tramples monster of ignorance • Purifying fire of destruction and creation • Implication of movement • Multiple arms and gestures Impassive, composed face indicates nothing to fear Shiva as Lord of the Dance. India (Tamil Nadu) Late 12th–early 13th centuries. Copper alloy. Height 24-3/4
- 13. Southeast Asia Early SoutheastAsian Art primarily Buddhist (Indian influence) Borobudur Elaborate version of a stupa Pilgrims walk, contemplate landscape Borobudur. c.800. Java, Indonesia. Aerial view.
- 14. More than 10miles of relief sculpture along corridors – stories duplicate journey of enlightenment Lower levels- struggle of existence, death and re-birth. Higher levels images of Buddha Borobudur Buddhist temple. Stonework reliefs in lower galleries
- 15. Southeast Asia Influenced byBorobudur blend of Buddhism/Hinduism Khmer Empire Masters of irrigation Faces due west Buddhas, bodhisattvas, and Hindu gods appearing to be portraits of real rulers Originally surrounded by a moat Emphasis on fertility (towers as flower buds) Ruler thought himself descendant of Vishnu Angkor Wat. Cambodia. c.1120–50. West entrance.
- 16. China Interaction of traditionsof Confucianism, Daoism, and Buddhism(imported from India) prior to the modern period Art of Ancient China • Shang Dynasty-Bronze objects • Ritual vessel • Intricate composite animal forms • Taotie mask (composite monster) • Rituals Honor ancestors Beliefs evolving into Confucianism Ritual Vessel. China. 12th century BCE. Cast bronze. Height 7-1⁄8”.
- 17. 1 Art of AncientChina Concern for Afterlife: Emperor Qin Shihuangdi Unified China before death in 210 BCE Intent upon guarding his afterlife About 6,000 Terra Cotta Warriors to protect him Terra Cotta Warriors. Pit No. 1, Museum of the First Emperor of Qin. Shaanxi Province, China. Qin dynasty, c.210 BCE.
- 18. 1 The Chinese Painting Tradition Combinescalligraphy and landscape Painting and writing closely related (poems often included in paintings) Same brushes and ink used for both Fan Kuan, Travelers Among Mountains and Streams • Kuan regarded as greatest landscape painter of Song dynasty (960–1279) • Imaginative creation intended to capture the energy of nature, not a real place Massive cliffs in vertical composition (power of scale) • Textured details from specific brushwork “raveled rope”, “raindrops”, “ax cuts” Fan Kuan. Travelers Among Mountains and Streams. Song dynasty. Early 11th century. Hanging scroll. Ink on silk. Height 81-1⁄4”
- 19. The Chinese Painting Tradition Songdynasty displaced in 1125 by Mongol Invasion New painting style developed in Southern Hangzhou Emphasized smaller, intimate landscape (monumental vs personal) Ma Yuan, Watching the Deer by a Pine- Shaded Stream • Meticulous brushwork fades into mist • Off-balance composition • “One Corner Ma” Ma Yuan. Watching the Deer by a Pine- Shaded Stream. Southern Song dynasty. Album leaf. Ink on silk. 9-1⁄2” × 10”.
- 20. 1 The Chinese Painting Tradition Developmentof Chinese painting in Ming and later dynasties Academic(conservative) versus Literati (playful) styles Bada Shanren-recluse, faked being insane Cicada on a Banana Leaf Free execution with subtle political comments Cicada a symbol of rebirth (persecuted Ming dynasty by Qing dynasty) Bada Shanren. Cicada on a Banana Leaf. Qing dynasty. 1688–1689. Leaf “f “ from an album Flowers and Birds. Ink on paper.
- 21. 1 Japan Architecture Shinto Religion of natureand ancestor worship Gods dwell in forests, fields, waterfalls, huge stones Ise Shrine • Rebuilt every 20 years • Sacred site within a forest • No paint or nails • Combines simplicity with subtlety Main Shrine. Ise, Japan. c.685 Rebuilt every 20 years.
- 22. 1 Architecture Katsura Detached Palace Connectionto Nature Blend of human-made and natural elements Sliding screens allow indoor- outdoor flow No grand entrance Tea house • Constructed of common natural materials Embodies attitudes of simplicity, naturalness, and humility Katsura Detached Palace. Kyoto, Japan. 17th century. Gardens and tea house.
- 23. 1 Katsura Detached Palace.Kyoto, Japan. 17th century. Imperial villa and gardens
- 24. 1 Zen Buddhism Enlightenment throughmeditation Enlightenment can come suddenly Sesshu • Buddhist priest • Adapted Chinese style • Simplified explosive style called haboku • “flung ink” Haboku, Splashed Ink Landscape • Inspired by Southern Song masters • Suggestion of lines and forms Sesshu Toyo. Haboku, Splashed Ink Landscape. 1400s–early 1500s. Hanging scroll. Ink on paper. 28-1⁄4” × 10-1⁄2”.
- 25. 1 Sculpture, Painting, andPrints Ukiyo-e • Popular style of woodcut printing "Pictures of the floating world" • Scenes of daily life • Landscapes, entertainers, and actors Kitagawa Utamaro, Reflected Beauty • Ordinary subject into memorable image • Flat shapes with lack of shading • Cropped composition (incidental- like photograph) Kitagawa Utamaro. Reflected Beauty, Seven Beauties Applying Make-Up: Okita. c.1790. Woodblock print. 14-1⁄4” × 9-1⁄2”