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Unit 8: 300 BCE - 1980 CE
South, East, and Southeast Asia
Images 192-212
Main Ideas:
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Temples and other religious works were built on a grand scale to allow practitioners to more easily engage with them and engage with God
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Many smaller regions adopted the cultural framework of their larger neighbors (South Asia → Southeast Asia; China → Korea & Japan) but added their own cultural touches in their artwork
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Temple buildings are generally designed to physically represent its religion's "cosmos" or "paradise," and practitioners can experience this feeling of enlightenment & unity with the divine by ascending a designated pathway through the temple
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Other works of art use different religious imagery to showcase one's spiritual devotion or the influence of a certain religion or god
Image 192: Great Stupa at Sanchi
Name
Great Stupa at Sanchi
Location
Madhya Pradesh, India
Culture
Buddhist; Maurya, late Sunga Dynasty
Date
c. 300 BCE - 100 CE
Material
Stone masonry, sandstone on dome
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The stupa represents Buddha's burial mound and the axis mundi, and the whole complex allows Buddhist practitioners to visualize the path to Enlightenment
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The Stupa: Represents Buddha’s burial mound (where his relics would be deposited); The shape also represents Buddha’s meditative position
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Top and spire represents Buddha’s head
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Middle represents his body
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Bottom represents Buddha’s legs when sitting in a lotus position while meditating
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Believed that the stupa represented Mt. Meru (a personification of the Buddhist cosmos) and was at the center of the axis mundi (the Buddhist universe) and that the universe revolved around it
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The spire at the top symbolizes this axis, and the small umbrella-like objects around the spire give it royalty and protection
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It is believed that people have their own internal axis mundi within them (the spine), so that when people look at the stupa, they also climb their own axis mundi to reach and transform their own mind
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Believed that the world was like a wheel (symbolizing the cycle of life) and that the center of the stupa was the unmoving center of the wheel
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Thus, when people looked at the stupa from far away, they visualized the stupa as a personification of Enlightenment
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The Gateways located at each of the 4 cardinal directions mark specific moments in Buddha’s life → Allow people to visualize the path to nirvana & Enlightenment
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The East Gate shows Buddha’s birth, South shows his Enlightenment, West shows his First Sermon where he preached his Buddhist teachings, and the North gate shows Nirvana
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These gates help guide people to nirvana
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To worship the stupa, Buddhist practitioners must circumambulate the stupa (walk around it in a circle) → Allows them to view the stupa from all directions and more easily visualize the path to Enlightenment
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Image 200: Lakshmana Temple
Name
Lakshmana Temple
Location
Khajuraho, India
Culture
Hindu, Chandella Dynasty
Date
c. 930 - 950 CE
Material
Sandstone
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The sculptures and architecture all symbolize the idea of a divine connection between us and the God Vishnu
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Hindu practitioners must complete a circumambulation through the temple to honor Vishnu → Allows for a spiritual union with Vishnu
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They first approach the temple and walk along the base
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Here, they see many friezes that depict daily life, love, and war (all symbolize the idea of wealth and divine love)
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Then, they climb the stairs at the temple's entrance, where they see a statue of Ganesha → Symbolizes a start to prayer
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Ganesha is associated with a start to prayer, which is why he's always worshipped first
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Then, they pass through all the mandapas (the towers), and the mandapas' ceilings get higher each time → Practitioners are reaching closer to God
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Finally, the practitioners reach the sikhara (a higher tower), which has the womb chamber (described below), which they circumambulate → Allows them to connect with God
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From outside, we can see that the temple's towers (mandapas & sikharas) slowly rise until they reach the womb chamber → Represents how practitioners slowly gain a sense of spirituality until they reach complete unity with God in the womb chamber
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In addition to the friezes, there are many carvings of beautiful women that idealize female beauty → Gives auspiciousness and protection to the practitioners
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There are many other sculptures of loving couples (mithuna), which alludes to divine love
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The womb chamber is a low-lit chamber with a statue of Vishnu → The low light allows people to form an intimate relationship with Vishnu
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Image 202: Shiva as Lord of Dance (Nataraja)
Name
Shiva as a Lord of Dance (Nataraja)
Culture
Hindu; India (Tamil Nadu), Chola Dynasty
Date
c. 11th Century CE
Material
Cast bronze
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Represents the spiritual power of Shiva in setting forth time and causing the cycle of reincarnation
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Shiva was the destroyer God: Not a bad thing, but rather one who puts things to an end so it can start new in the cycle of reincarnation
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The ring of fire is a cosmic circle of fire that simulates the continuous creation and destruction of the universe
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The encapsulated cosmos of mass, time, and space → Keeps reincarnating
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Shiva’s hand symbols signify the benefits of following the path of righteousness (which leads to reincarnation)
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His upper right hand holds the damaru, a drum whose beats sync with the passage of time
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His lower right hand has its palm raised → Gesture of the abhaya mudra (if you follow the path of righteousness, you’ll have his blessing)
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His upper left hand holds the agni, the flame of destruction that destroys all the matter that the damaru drum has brought into existence
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His lower left hand is diagonal along his chest and his palm facing down → Symbolizes spiritual grace and fulfillment through meditation
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His right foot steps on the demon Apasmara, the embodiment of ignorance
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This would often be clothed and used in priest-led parades → Activates the spiritual power of Shiva to bring forth the world and the cycle of reincarnation
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Image 208: Jahangir Preferring a Sufi Shaikh to Kings
Name
Jahangir Preferring a Sufi Shaikh to Kings
Artist
Bichitr
Date
c. 1620 CE
Material
Watercolor, gold, and ink on paper
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Shows that although Jahangir has absolute power and authority over his entire realm, he needs to devote himself to spirituality to make his power last longer
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Next to Jahangir (center) there are 3 people of different ethnic backgrounds seated in addition to the Sufi Shaikh (priest) at the top → Because they all show honor to Jahangir, it shows that Jahangir has universal respect from everyone in his realm
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1. An Ottoman Sultan
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Wears a turban that distinguishes himself as a foreigner
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He presses his hands in a Mughal fashion to greet Jahangir →
Represents his respect and humility for adopting the Mughal way of respect
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2. King James I of England
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Seated gazing directly at the viewer → Shows that he feels a bit uneasy and left out
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Wears a European attire with a lace ruff and elaborate jewelry
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Most European kings’ portraits had them holding a sword in one hand, but here, the King’s hand is just next to his weapon → Shows that King James didn’t want to show that he was a threat to his empire
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3. Bichitr (artist) himself
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Wears a yellow jama (robe) that identifies him as a Hindu → Shows that even Hindus honored Mughals
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Puts his signature on the stool next to Jahangir’s pedestal to show is humility
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Yet Jahangir only talks to the Sufi Shaikh → Emphasizes his spiritual devotion
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Jahangir has more jewelry, and the Shaikh has bare hands → Contrast between material pursuits and spiritual pursuits
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Jahangir presents him a gift (a book), which the Shaikh accepts only in his shawl (not his hands, which was a cultural taboo)
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There are other mysterious figures that show devotion to Jahangir
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The crouching angels below him write on his pedestal: “O Shah, May the Span of Your Life be a Thousand Years” → Emphasizes his power
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Jahangir is seated on an hourglass, and its sand is slipping → Time is running out for Jahangir → He appeals to spirituality to grant him a longer life
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This is why the putto (naked child) on the top left has a broken bow-and-arrow and the putto on the top right is crying (because they are all sad that Jahangir's time is running out)
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Image 209: Taj Mahal
Name
Taj Mahal
Location
Agra, Uttar Pradesh, India
Artists
Masons, marble workers, mosaicists, and decorators working under the supervision of Ustad Ahmad Lahori, architect of the emperor
Date
1632 - 1653 CE
Material
Stone masonry and marble with inlay of precious and semiprecious stones; gardens
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Exterior: Represents a glorification of Mughal rule as well as aspects of Mughal and Islamic architecture; also represents Mughal belief in balance and harmony
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Combination of white marble and red sandstone: White symbolizes purity, and red symbolizes the power of the warriors
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There are 4 minarets around the Mausoleum
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Usually used by a priest for a call to prayer, but here they are likely for balance and harmony
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There are 2 red sandstone buildings next to the Taj Mahal
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Both buildings are built instead of one so that there is symmetry & balance in the complex, but only one is a mosque
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The large domes are elements of indigenous Mughal architecture and are used to glorify the Mughal emperor’s rule
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The gardens glorify Islamic rule over all the land
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Taj Mahal is elevated so that people anywhere in the gardens can see it → Represents how Mughal power can be seen anywhere in their realm
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Gardens have fountains and water channels, which are unique to the Mughals
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Interior: Alludes to the Islamic idea of paradise → Glorifies Mughal rule by proclaiming the Mughal Empire as the center of paradise
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There are 8 small rooms → Represent the 8 levels of paradise
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The walls are inlaid with Quranic verses and other designs representing floral motifs → Floral themes link to the idea of paradise
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The center room has two cenotaphs (with coffins inside): One for Shah Jahan’s wife (Mumtaz), and one for Shah Jahan himself → Represent how the Mughal royalty is at the center of this paradise
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Gained Hindu & Buddhist influence from India, but adapted Indian customs to their own indigenous cultures to create unique architectural styles on a regional basis
Image 198: Borobudur Temple
Name
Borobudur Temple
Location
Central Java, Indonesia
Culture
Sailendra Dynasty
Date
c. 750 - 842 CE
Material
Volcanic-stone masonry
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The central Buddha at the top represents the embodiment of Enlightenment → Practitioners must walk along the designated path in a clockwise direction until they reach the top → Allows people to feel closer to Enlightenment as they walk along this path
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Along the pathway, there are many smaller statues of Buddha (504 total) → Allows practitioners to feel closer to enlightenment through the presence of these smaller Buddhas along their path to the top
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Like a mini-temple: Keeps the practitioners “in check” on their way to Enlightenment
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There were many relief sculptures placed along the path that show Buddha's teachings and the dharma → Showcase the ideas of Buddhist righteousness that allow practitioners to reach Enlightenment
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The relief pictured above shows practitioners on a cart on two wheels → Symbolizes the idea of the "turning of the wheel," which is a symbol of the Buddhist rule of law
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This path also symbolizes a path from darkness to light
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We start on the ground and next to big sculptures → Very tight, narrow, and small space
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We end up on open terraces → Light and openness
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This effect of light allows our soul to open up and achieve Enlightenment
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Image 199: Angkor Wat
Name
Angkor, the Temple of Angkor Wat, and the City of Angkor Thom, Cambodia
Culture
Hindu, Angkor Dynasty
Date
c. 800 - 1400 CE
Material
Stone masonry, sandstone
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Represents the abode of Vishnu (the protector God) as well as the Hindu/Buddhist cosmos (axis mundi)
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Khmer king Suryavarman II commissioned this to legitimize his rule
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Wanted to show that he had the ability to command the resources for such a massive project
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Wanted to show that he had Vishnu’s protection and Vishnu’s authorization to rule
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Has 5 spires → Represent the 5 mountain ranges of Mt. Meru
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The moat and the space between the spires represents the oceans and land between the mountain ranges
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Known as axis mundi: Represents a major world axis and a place where Earth can connect with heaven
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As people enter the temple, they slowly reach Enlightenment as they pass by the many sculptures and reliefs along the walls and entrance and ultimately enter the temple
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There are many sculptures of the Buddha & Vishnu along the temple's entrance → Allow people to "check in" with God as they slowly reach Enlightenment
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Churning of the ocean of milk: In the creation of the world, the Gods (Devas) & Demons (Asuras) have to work together to release the elixir of life and give immortality to the Gods: Represents a victory of good over evil
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Gods and Demons both spin a rope with the Naga (serpent king) in the center
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Vishnu led the Gods in this endeavor
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Mr. Mandara is a mountain in the center of the work used as a turning point for this rope
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Ultimately, they succeed in releasing the elixir of life from the ocean of milk
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Once the elixir is released, Indra (the king of all gods) descends from heaven (at the top) and catches the elixir → Gives it to all the Gods so that they can achieve immortality
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There are many more reliefs depicting Hindu epics (such as the stories from the Ramayana)
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Main Ideas of the Topic
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Uses religious and spiritual imagery to not only show the power of China's rulers but also the protections they have in the afterlife
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Many non-elite works use natural elements to promote balance and harmony in life in alignment with Daoist and Confucian ideals
Image 193: Terra Cotta Warriors
Name
Terra Cotta Warriors from Mausoleum of the first Qin Emperor of China
Culture
Qin Dynasty
Date
c. 221 - 209 BCE
Material
Painted terra cotta
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Show Qin Shi Huangdi’s quest for immortality by protecting his grave with 7,000 soldiers and other grave goods
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He wanted to conquer death by living forever
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Ordered the construction of this site immediately after becoming emperor at age 13
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Has an army of 7,000 terracotta warriors, horses, chariots, and weaponry that would "protect" him in the afterlife
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Also has a treasury with lots of gemstones that represent the sun, stars, and moon → Represents the idea that the Cosmos (sun, stars, moon) was his guide for achieving immortality
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Lots of mercury → Believed it gave him life-giving powers
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Had a poisonous substance that coursed through an intricate system of underground channels → Simulates China's many canals and rivers to represent his continued control over them
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Image 194: Funeral Banner of Lady Dai (Xin Zhui)
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Name
Funeral Banner of Lady Dai (Xin Zhui)
Culture
Han Dynasty, China
Date
c. 180 BCE
Material
Painted silk
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Provides information about Lady Dai’s burial and the heavenly realm that protects her in her afterlife
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Middle register (below the top of the T): Shows Lady Dai with her attendants
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Lady Dai is leaning on a staff with her servants behind and in front of her
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Long dragons flank the scene (left and right)
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Middle Bottom register (below the middle register): Shows Lady Dai’s mourning hall
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There are vessels containing offerings of food and wine for the funeral
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There are two mourners
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The small mound (which is her corpse) is wrapped in the same dress that she wears above in the middle register
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The top and bottom registers show heaven and underworld
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Top register: Heaven
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First there are two men guarding the gate to heaven
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At the top is a god (human head, dragon body)
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Many dragons populated the supernatural realm
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Bottom register: Underworld
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A deity holds the floor to the mourning hall
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There are 2 giant black fish, a red snake, and 2 blue goats → Symbolize water and earth and set the foundation for the human world above
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Image 195: Longmen Caves
![longmen-grottoes-8[6].jpeg](https://static.wixstatic.com/media/765483_b3e9f7e464b747bf90cd56be2670e755~mv2.jpeg/v1/crop/x_34,y_48,w_722,h_484/fill/w_418,h_280,al_c,q_80,usm_0.66_1.00_0.01,enc_avif,quality_auto/longmen-grottoes-8%5B6%5D.jpeg)
Name
Longmen Caves
Location
Luoyang, China
Culture
Tang Dynasty
Date
493 - 1127 CE
Material
Limestone
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Shows the Supreme Buddha (Vairocana) supported by a Vajrapani (thunderbolt-holder) and other figures to glorify the power of the Tang Ruler
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After the original living Buddha's death (Gautama Buddha or Buddha Shakyamuni), the Buddha Vairocana became the Supreme Buddha that continues the legacy of the original Buddha and presides over the Buddhist cosmos
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This cave depicts the Buddha Vairocana in a grandiose way to emphasize the idea that there is one supreme ruler of the world (like the Buddha Vairocana), which is the Tang Emperor
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These statues have softer skin instead of more intricate imagery → Emphasizes their spiritual power and the supreme power of the Tang Emperor
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Vajrapani is the Buddhist bodhisattva (that holds a thunderbolt) that's known to protect the Buddha's power → The presence of his statue glorifies & protects the Tang Emperor's power
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Image 201: Travelers among Mountains and Streams
Name
Travelers among Mountains and Streams
Culture
Fan Kuan
Date
c. 1000 CE
Material
Ink and colors on silk
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Represents the Neo-Confucian view about finding harmony and meaning in nature
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China was engulfed in warfare with the 5 dynasties period → People were disillusioned with politics and looked to nature and God for guidance
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Kuan presents three distinct images all together → We have to mentally jump to the next image once we’re ready
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Firstly, at the bottom, we see large boulders
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Right behind, we see detailed brushwork depicting rocky outcroppings covered with trees
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There is a hidden temple there
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In the back, we see soaring peaks
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These soaring peaks represent our vision of God
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They are created almost frontally in perfect balance → Reflects the perfection of God
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Kuan balances li (ritual, conduct) with qi (energy, psychophysical force) to create a microcosmic image of our perception of God and of the universe
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The li is represented by the first 2 images (boulders & trees), while the qi is represented by the large soaring peaks
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Image 204: The David Vases
Name
The David Vases
Culture
Yuan Dynasty, China
Date
1351 CE
Material
White porcelain and cobalt-blue underglaze
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Reflects Chinese commercial power through imagery and materials
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Inscription (at the top) shows that this was made for a Daoist temple as an offering (along with an incense burner which is lost)
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The fact that this was used as an offerings suggests its high material value and significance
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The blue cobalt coloring is from Iran, even though the white porcelain was made in China and the vases are used as an offering for a temple in China → Reflects interconnectedness of the Silk Road during the Yuan Dynasty and the Mongol era
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Images of Chinese mythological figures → Emphasizes Chinese economic/political power
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Dragons
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Vines and floral motifs
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Neck has a phoenix
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Handles are elephants
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Image 206: Forbidden City
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Name
Forbidden City
Forbidden City
Location
Beijing, China
Culture
Ming Dynasty
Date
15th Century CE and later
Material
Stone masonry, marble, brick, wood, and ceramic tile
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The grandiose buildings and layout of the palace as well as the imagery of dragons and other animals glorify the power of the ruler and promote his vision of balance, harmony, and order
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The layout has many gates and has symmetry & balance → Shows that the emperor wanted protection and order in his empire
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A visitor would have to pass through many gates and then the Meridian gate to enter the palace → Shows the protection of the Emperor’s palace and kingdom
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Each building was designed in accordance with the social rank of the person who lived there → Represented a social hierarchy
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Only rulers and other bureaucratic officials could live and even enter the palace (hence the name Forbidden City)
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The Hall of Supreme Harmony is at the center of the complex and is the largest building in the complex → Its location and grandiose construction emphasize the emperor's power and his sense of order in the empire
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The inner court highlights the daily lives of the imperial family
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There were many animals and figures on the roofs that symbolically "guarded" the buildings from fires
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The palaces here are dedicated to the emperor’s life
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Palace of Heavenly Purity is the emperor’s residence
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Has the Dragon Throne: Uses dragon motifs to glorify the emperor's rule
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Palace of Earthly Tranquility is the empress’s residence
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Hall of Celestial and Terrestrial Union is a smaller space used for weddings and other ceremonies
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The interiors of many buildings have dragon motifs → Emphasize the power of the ruler
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The main entrance to Forbidden City (Meridien Gate)
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Officials gathered in front of this gate at 3am since the Ming Dynasty to wait for the emperor’s reception to start at 5am → Emphasizes the absolute power of the king
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Image 212: Chairman Mao en Route to Anyuan
Name
Chairman Mao en Route to Anyuan
Artist
Artist unknown, based on an oil painting by Liu Chunhua
Date
c. 1969 CE
Material
Color lithograph
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Uses socialist realism to portray Mao Zedong as a revolutionary leader who can champion all the commoners
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Painted during the Cultural Revolution, where propaganda sought to portray Mao Zedong as a great leader
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Often depicted peasants, soldiers, and workers as Mao cared a lot about their well-being
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Showed him in idealized fashion, but most other paintings (unlike this) showed him among the people
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Shows him en route to Anyuan to lead a nonviolent strike among the Anyuan miners
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This strike happened in 1922, and the miners represented the suffering of the workers which was at the heart of the revolutionary cause
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Used shades of blue (instead of the color red for communism) to show his determination to address the suffering of the workers
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Shows Mao in a somewhat supernatural depiction
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Shows Mao emerging from the clouds (like an immortal being) → Shows that he’s a strong, capable leader
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However, there is a telephone pole → A sign that he is a leader of the modern world, not a supernatural immortal leader that's distant from the people
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He appears as a superhuman, but he has an umbrella and a clenched fist, showing that he’s also practical
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Main Ideas of the Topic
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Uses Chinese traditions and general ideals (such as piety of elite officials, belief in spirituality and wealth, etc.) as a framework, but adds on aspects of Korean culture (such as shaminism)
Image 196: Gold and Jade Crown
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Name
Gold and Jade Crown
Culture
Three Kingdoms Period, Silla Kingdom, Korea
Date
5th - 6th Century CE
Material
Metalwork
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An amulet for shamanism: Emphasizes the power of the shamans and of the Silla dynasty
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Silla Dynasty of Korea still used shamanism, where priests (shamans) would alleviate problems facing local communities through spiritual means
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The shaman would wear this crown on his forehead
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The top part is a tree with 3 towers → Reflects the sacred tree or “world tree” that is the axis mundi connecting Earth and heaven
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The two antlers to each side reflect the reindeer in the Eurasian steppes to the north
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Underneath the tree are many gold disks and jade ornaments called gogok: Symbolize ripe fruit hanging from tree branches, representing fertility and wealth
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Not only used in shamanistic rituals but also buried in tombs of shamans and other high-ranking people → Conveyed their high social status
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Image 205: Portrait of Sin Sukju (1417 - 1475)
Name
Portrait of Sin Sukju (1417 - 1475)
Artist
Imperial Bureau of Painting
Date
c. 15th Century CE
Material
Hanging scroll (ink and color on silk)
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Shows the meritorious power of Sin Sukju (gov official)
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Royal Bureau of Painting made these for many gov officials
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Would be honored and worshipped by the official’s families for many generations
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His clothing shows his merit and his high respectable status
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Official robe, black silk hat
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Hands folded in a decorum position
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Has leather shoes; his feet are on a stool
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Has a rank badge on his chest
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Shows two peacocks among flowers and clouds → Show that he is a civic official
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Facial features were used to reveal qualities about the person
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Has small wrinkles around his eyes as well as a small mustache → Shows his modesty and wisdom
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Promotes the Confucian idea of piety: People should honor/worship their ancestors and elders (especially elder males)
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5 j
Main Ideas of the Topic
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Political & religious works combine the tranquility of zen meditation with the fierceness of samurai culture
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Many works inspired by zen meditation portray the idea of illusory and ideal beauty
Image 197: Todai-ji
Name
Todai-ji
Location
Nara, Japan
Culture
Various artists, including sculptures Unkei and Keikei (Kei School)
Date
743 CE; rebuilt in c. 1700 CE
Material
Bronze and wood (sculpture); Wood with ceramic tile roofing (architecture)
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Reflects the complex intermingling of Buddhism and politics in early Japan → Shows how the Japanese elite used Buddhism to legitimize and showcase their power
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Mahayana Buddhism came to Japan from China in around 552 CE
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The huge bronze Buddha statue represents this Chinese influence
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In fact, the temple building looks similar to Chinese temples
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The statues were modeled off of Buddhist bodhisattvas and displayed power, prestige, and piety of the imperial house of Japan
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The warrior-like sculptures reflect the Kei School of Sculpture
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Showcased the muscularity and fierceness of these figures → Meant to symbolize the power of Japanese samurais
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Shows Nara-era imagery on the Buddha as it has a sculpture of the Buddha with many lotuses
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The Japanese could only use wood to create such large buildings when the Koreans brought brackets and sturdy pillars to Japan → The Japanese Emperor could commission such large buildings to legitimize his power
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Image 203: Night Attack on the Sanjo Palace
Name
Night Attack on the Sanjo Palace
Culture
Kamakura Period
Location
Japan
Date
c. 1250 - 1300 CE
Material
Handscroll (ink and color on paper)
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Depicts the Attack on Sanjo Palace as part of the Heiji Insurrection of 1159-60 → Shows a transition from a country ruled by emperors to one ruled by samurai
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Description of the scenes, from right to left:
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Starts with a calm single ox carriage arriving at the palace front wall
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Then, there is hand-to-hand violence with decapitations and stabbing, etc.
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Then, the people rush through the palace like a bolt of lightning (and there is a bolt of lightning depicted in the palace) → There is a huge fire, and women are fleeing for their lives
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The victors and survivors exit the palace through the rear gate, and the scene ends with calmness as the victorious cavalry surrounds the ox carriage
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The fact that the scene starts with a single calm ox carriage and ends with a victorious cavalry signifies the idea that the transition from emperor rule to samurai rule was a transition from calmness to warfare
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The fire & lightning as well as the quick brushstrokes depicting the energy of the women fleeing the palace highlights this sense of warfare
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Image 207: Ryoan-ji
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Name
Ryoan-ji
Location
Kyoto, Japan
Culture
Muromachi Period
Date
c. 1480 CE, though the current design dates to most likely 18th century
Material
Rock garden
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Mirror Pond: Tranquility of the water allows for meditation and feeling of Enlightenment
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Has a scenic view of mountains covered in mist → Shows the spirituality of the heavenly bodies (represented by mountains)
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Dry garden: Encourages zen meditation through natural imagery
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Doesn’t have flowers; instead has many small gray stones with moss islands in between
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The rocks along the edges are unpainted → Shows the Japanese technique that the rocks function as mountains and atmospheric space
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So it’s like we are praying in the garden, and we are transcending up the mountains → Enlightenment
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The moss islands in between emphasize their horizontality of heaven & promote the analogy of the sea → We feel the tranquility of the sea as we meditate
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They have ovaloid shapes around them → Emphasize waves of water creating a sense of tranquility throughout the space
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Image 210: White and Red Plum Blossoms
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Name
White and Red Plum Blossoms
Culture
Ogata Korin
Date
c. 1710 - 1716 CE
Material
Ink, watercolor, and gold leaf on paper
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The swirls and flatness of the blossoms emphasize the idea of illusory and ideal beauty
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To the right is a tree with red and white blossoms that exits the screen, but the white branch comes back in the top left corner
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These blossoms symbolize illusory beauty
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It is an illusion because the 3-D nature of the folding screen makes these trees seem unnatural and illusory → Showcases ideal beauty
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This unnatural beauty is because the folding screen only shows the bottom part of the tree
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The swirls emphasize an illusion of beauty
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There is a huge stream in the middle with swirls
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The flatness allows us to imagine how the beauty would have been perceived → We internalize the blossoms' ideal beauty
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Image 211: Under the Wave off Kanagawa (Kanagawa oki nami ura aka Great Wave, from the series Thirty-six Views of Mount Fuji)
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Name
Under the Wave off Kanagawa (Kanagawa oki nami ura aka Great Wave, from the series Thirty-six Views of Mount Fuji)
Artist
Katsushika Hokusai
Date
1830 - 1833 CE
Material
Polychrome woodblock print; ink and color on paper
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Uses imagination and visual play to frame Mount Fuji in a lighthearted fun way
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The wave appears to be crashing down on 3 fishing boats below, but it could also crash down on the mountain
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The mountain appears very small compared to the wave
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The wave is perfectly aligned so that a diagonal line from it leads directly into Mount Fuji
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Meant to show the spiritual power of Mount Fuji in a fun way
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In fact, the top of the wave appears to look like snow falling down on Mount Fuji
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