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RUNNING ART HISTORY NOTES Late Islamic Art - 10th century on ● In 9th and 10th century the empire was very large and difficult to control around the parameters ● Regional variations from 10th century onward based on regional history Works of Art ● Mausoleum of the Samanids ○ Dynastic traditions conflict against principal stating burial sanctions should be plain and unornamented ○ Brick work, placement makes the mausoleum not flat ○ Cube with spherical dome on top ● Prayer Hall of the Great Mosque ○ Used to be a Visigoth church where this Mosque was. ■ The columns were made using some leftover material from the earlier church (Spolia - repurposed building stone for new construction, or decorative sculpture reused in new monuments, is the result of an ancient and widespread practice whereby stone that has been quarried, cut, and used in a built structure, is carried away to be used elsewhere) ○ Double horseshoe arch borrowed from Visigoths ○ Color used in stone, not tile ○ Hypostyle hall - interior space whose roof rests on pillars or columns ○ Qibla wall - facing Mecca and very ornamented ■ Vegatle and abstract ornamentation, no figure imagery, inlaid text surrounding doorway ○ Kufic script - oldest calligraphic form of the various Arabic scripts ■ Decorative and also instructive ○ Prohibition of figural imagery in religious text ■ Could have figural imagery in for example a book of poems ● Reconstruction of Sultan Hasan’s Madrasa-Mausoleum-Mosque ○ Mausoleum area had the dome under a cube building ○ This was attached to a Mosque ○ Had an open courtyard in the center ○ Joggled voussoir - interlocking alternating colors on archway ● Mihrab ○ Ceramic designs had to be fried, cut and placed

● Muqarnas Dome ○ Made of stone ○ 3D projections known as muquarnas ○ In spain ● Chapel Palermo (not islamic art) ○ Built in the 11th century by Normans ○ Byzantine style mosaics ○ Uses muqarnas with saints on them ● SINAN, Mosque of Selim II ○ Ottoman Empire, in Turkey ○ Territory of former byzantine empire ○ Clearly based on Hagia Sophia from Byzantine empire CHAPTER 15: South and Southeast Asia before 1200 C.E. ● ● ● ●

South Asia consists of India Southeast Asia consists of thailand, Loas, philippines, Malaysia, and indonesia Indus Valley Civilization Maurya Dynasty (322-187 B.C.E.) ○ Founded by Chandragupta Maurya

Works of Art ● Great Bath ○ Water basin made of fire bricks ○ Earliest hydraulic system ○ Apart of Mohenjo-Daro which was sort of like a little town ○ Use of brick for wells ○ Don’t know the exact use of the Great Bath because there aren’t a lot of artifacts that survived ○ From Indus Valley Civilization ● Robed male figure, from Mohenjo-daro ○ Unsure if this male is a deity or a person of importance ○ It can be assumed he was just because there was a sculpture made of him ● Seal showing bull and text ● Seated Buddha ○ Seen beginning in Maurya Dynasty ○ 4 noble truths lead individual to nirvana or enlightenment ■ Life is suffering and can be broken through things life meditation

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■ Samsara- circular concept of struggle of needing material things in life ○ Bodhisattva- a person who is able to reach nirvana but delays doing so out of compassion in order to save suffering beings Ashokan Pillar and Lion Capital 250 B.C.E. ○ Maurya Period ○ Series of pillars placed throughout India, especially on silk road (connected China to Rome) ○ Helped spread Buddhism through sanskrit inscription ■ Had text with laws ○ Lion capitals have imagery of Buddhism ■ Wheel of law Great Stupa ○ Buddhist temple ○ Shrine built at sights that were significant to siddhartha ○ Torana- sacred or honorific gateway in Buddhist and Hindu architecture ○ Axis Mundi- line or stem through the earth's center connecting its surface to the underworld and the heavens and around which the universe revolves ■ Spiritual line, center of the universe ○ Built of the earth and then brick ○ Mandala- on interior ○ Dome shape representative of cosmos ○ No representation of Buddha yet. Comes in to figural imagery in later art ■ Reliefs show presence of Buddha but don't show him directly ● Riderless horse- meant to be were Buddha would have been ● Footprints- footprints shown with wheel of law on underside of feet ■ Wheel of law seen in relief ○ Elephants and yakshi ■ Yakshi is a symbol of fertility and abundance ■ These figures were seen before this representation Interior of the chaitya hall ○ Columns with reliefs on top ○ Yakshi shown Standing Buddha ○ Kushan Period ○ Gandhara style- incorporates ideas from greek classicism as seen in drapery

○ Stone statue ○ Bit of contrapposto seen in bent knee ○ Standard visual conventions for Buddha ■ Urna- bump on top of head ■ Ushnisha- dot in the middle of the forehead ■ Mudras- hand positions symbolic gestures often practiced with the hands and fingers. They facilitate the flow of energy in the subtle body and enhance one's journey within. Kushan Dynasty 1-375 C.E. ● Bactria

● Interior of Cave I ○ In Vihara hall ○ Decorated columns ○ Bodhisattva ■ Detail of wall painting in cave ■ Naturalistic, organic form ● Bamiyan Buddha ○ Destroyed 2001 in Afghanistan ○ Sandstone covered in stucco ○ Wet drapery style ○ Large scale buddha ● Bharatesvara Temple ○ Hindu temple ○ Goal to represent cosmos ○ Stone reliefs ○ Floor plan based on cubic units ■ Meant to represent shape of cosmos ○ Extensive relief sculptures on exterior ● Shiva Temple ○ Not just a simple cube, but steps out a bit ● Nakti Mata Temple ○ Elaborated cube floor plan ● Shiva Nataraja (Lord of Dance) ○ Chola Dynasty 11th century C.E. ○ Made of bronze which was traditional in Chola dynasty ● Rajarajeshvara Temple of Shiva ○ Chola Period

○ Statement of longevity of Chola period ○ Has portico and atrium ■ Reflects hierarchy of society, social rank told where you were allowed to go in temple ■ Only priests permitted in main temple area ○ Theme of dance in reliefs, but dance was also performed CHAPTER 16: CHINA AND KOREA Themes ● Sophistication and technical skill used in the presentation of complex philosophical ideas in visual form ● A delicate balance between observation and ideal representation ● Art serves a greater purpose, either cultural or religious expression or propaganda Works of Art ● Yangshao culture vases ○ Earthenware- ceramic fired at a slightly lower temp than stoneware ○ Sophistication because potters wheel wasn’t around yet ● Neighing Horse ○ Tang dynasty ■ Known for using a lot of color ○ Glaze applied in a variety of colors and then colors dripped ○ Naturalistic figure ● Incense burner ○ Glazed earthenware from Tang Dynasty ○ Uneven application of glaze ● Guang ○ Shang dynasty ○ Sea creature ○ Bronze-casting- bronze was melted down then poured into a mold ○ Piece molds- molds made of clay with detailed ornamentation ● Standing figure ○ From sanxingdui, China ○ Schematic face ○ Massive bronze cast figure- 8.5 feet tall ○ Light relief design on garment ● Flying Horse ○ From Han Dynasty

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○ Balanced on one hoof which is very difficult to do ○ Bronze ○ Part of a funerary group so other small terracotta figures are also present Daedejing of Laozi ○ Sacred texts of daoism being written ■ Aniconic until Han Dynasty; 5th century B.C.E. text describes 5 heavenly islands with towers of gold, jade, and gems, fruits that conferred immortality ■ Don't see the Dao itself but rather the islands of the Dao ○ Daoism- a religion introduced in 3rd century B.C.E. ■ Dao- meaning “the way” or “the path” ○ LaoziIncense burner ○ Fingers coming up off the top seen as a representation for a quest ○ Organic curving line at the bottom creating the ocean Bi disk with dragons ○ Tradition of jade carving in Chinese art ■ Jade is not actually carved, but shaped ■ Tools used aren’t hard enough to shape jade so a slurry is used ■ Slurry - sand water and ground up stones used because it is harder than jade ■ Relief carving on dragons ○ 4th - 3rd century B.C.E. Army of the First Emperor of Qin ○ Painted terracotta warriors in pits next to his burial mound ○ Life size figures ○ Protective figures near the burial is not a new concept but this scale is much larger ○ Each figure is individualized ■ Different uniforms, and gestures ■ Some archers, horses ○ Made using piece mold technique ○ This burial scale was never seen again making it unique Funeral banner ○ First representation of humans seen ○ Would have been draped over the deceased ○ Imagery relating to imperial house as well as dragons ■ Dragons snaking their way up from the bottom to the heavenly realm

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○ Platform in the middle showing a figure with naturalism Gu Kaizhi ○ Colors on silk scroll ○ Very large scroll so it would usually be looked at piece by piece and not as a whole ○ Scroll showing ideal behavior for imperial women through stories ○ Lady and the Bear- fearless women stepping in between ruler and bear ○ Xie He ○ Six Canon Yan Liben ○ Civil service was a major portion of life in China ○ Based on principles from Confucius ■ Ideal behaviors meant to bring stability and peace Huizong ○ Auspicious cranes ○ Part of an imperial palace ○ Cranes resembling luck Fan Kuan ○ Travelers among mountain and streams ○ Themes of nature ○ Lack of color ○ Usually accompanied by poems Liang Kai ○ Sixth chan patriarchy chopping bamboo ○ Chan Buddhism- routine of mundane things lead to enlightenment ○ More closely related to calligraphy Shakyamuni Buddha ○ Representation of seated buddha Shakyamuni and Prabhutaratna ○ Lotus sutra○ 2 buddhas showing continuity of Buddhism over time ○ Nimbus behind figures ○ Bronze Paradise of Amitabha ○ Pure Land Buddhism - there is no perfect place for enlightenment so the pure land is where people would go to be enlightened ○ MA YUAN, On a Mountain Path in Spring, Southern Song § Ink and colors on silk § Silk is used to create an atmosphere [misty, foggy]

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o ZHOU JICHANG, Lohans Giving Alms to Beggars, Southern Song period § Part of the 6 laws · Line and color § Hanging scroll showing Buddhist scene giving alms to beggars o Paradise of Amitabha o Bodhisattva Guanyin as the Guide of Souls, hanging scroll from Cave 17, § color indicative of the vibrancy of the soul § Guanyin shown as a female in the sculpture · Bodhisattva Guanyin seated on Potalaka · Wood · Relaxing pose · Mercy and compassion o Chinese raised-beam construction Struts – vertically oriented Supports the rafters Model of a house, Han dynasty, o Ceramic o Domestic art Foguang Si Pagoda,Yingxian o Chinese version of a stupa o Contains colossal statues of the Buddha o Eaves – timber rafters o Brackets hold up the eaves, stabilizes Korea o Northern section of korea was annexed by the Han dynasty o Metalworking § Crown, from north mound of tomb · Three kindgoms period · Not meant to be worn; found at a burial site · Made of gold and jade · Related to shamanistic traditions [the worship of nature] § Meditating Bodhisattva Maitreya, Three Kingdoms period · Bronze · Energized lines at the bottom are from chinesese culture o Shakyamuni Buddha § Seating on Lotus stone, placed in an apse àchinese tradition

§ Relief sculpture of bodhisattvas § Colossal and granite o Ceramics § Maebyong vase, Goryeo dynasty · Celadon ware – approaching the quality of ceramics, give it luster, fired at the highest temperature; the green color [celadon] is coveted by the Chinese · Sgraffito - The design is incised into the vase before the glaze is painted on JAPAN ● ● ● ● ● ● ● ● ●

Covers up to the 14th century Neolithic culture dates to c. 10,500 BCE Close contact with Korea and China beginning in 6th century 552 – Buddhism introduced in Japan from Korea Social organization centered on imperial line and aristocratic class, replaced in 12th century with shogunate (military leaders) Most of the art of early Japan is characterized by a courtly, aristocratic elegance Influence of Buddhism (Zen Buddhism in 12th century) Combination of native traditions (Shinto) and imported ideas (Buddhism) Love of nature and natural materials (wood architecture, e.g.)

Works of Art from Japan Flame-style vessel ● From Nigata Prefecture ○ Middle Jomon Period ● Heavily ornamented but sculpted on the vessel itself, not painted on Dotaku ● Late Yayoi period ○ Yayoi period: 300 BCE - 300 CE ● Not functional, doesn’t have a bell inside ● Divided into 6 panels ○ Each panel has its own scene ● First figural representation ○ Turtle seen schematically rendered

○ Human figure seen possibly casting bronze, some sort of narrative Tomb of Emperor Nintoku ● ● ● ● ● ●

Kofun period 300-552 CE Keyhole shape, burial mound Surrounding hedges and moats Guardian figures as seen in chinese tradition Thousands of small figurines Largest Kofun, however others seen on a smaller scale ○ Increase in size as rank increases

Haniwa ● Low fired clay ● Burial guardian figure ● Same idea as the army of terracotta warriors, but on a much smaller scale Honden ● ● ● ● ●

Sanctuary building in a complex of buildings Rebuilt frequently Only the imperial family is allowed inside On a site chosen by the sun goddess Natural materials used ○ Thatched roof ● Interior is supposed to have a sacred mirror Shaka Triad ● ● ● ●

From Asula period Buddha with fear not mudra (abhaya mudra) Empress suiko 3 ft high

Yakushi triad ● ● ● ●

Collasal figures about 8 ft high Still same central buddha with one of each side Graceful poses Emphasis on bulk in figures

Horyuji temple ● Nara Period ● Series of commissioned buildings Kondo ● Central building for worship ● Similar to chinese building type ○ Roof line - bracket style with upturned eve ○ Double eve indicating higher status Pagoda ● Bracket structure seen again ● Most significant building because of the number of eves Diabutsuden ● Goal to make buddhism main religion ● Double eve ● Bracket structure projecting outwards ○ Holding up heavy roof ● Imperial family constructed this Phoenix Hall ● Rival to imperial family ○ Fujiwara family ● Phoenix was the mythical bird ○ If the pheonix felt the family was not worthy, a darkness would be left ● In front of lake/bond ○ Reflects building ● Wings of the building are meant to represent the wings of the phoenix ● Makes statement of family propaganda Genji Visits Murasaki ● ● ● ●

Paintings heavily influenced from works from China First novel in japanese history One of the details of a longer scroll (emakimono meaning handscroll) Genji was a fictional prince

● Ink and colors on paper in handscroll format - emakimono ● Style is yamato-e meaning native style painting with influence from china ○ Elevated point of view with flattened perspective ○ Architecture is distorted - roof is removed so reader can see into building ○ Cloud bank used to obscure scene Legends of Mount Shigi ● Yamato-e style ● When there are multiple figures it is seen on a smaller scale as compared to chinese tradition ● Smaller figures following floating bowl Portrait statue of the priest Shunjobo Chogen ● Kamakura period ● Painted wood statue ● Remarkably life-like ○ Shows every wrinkle to show age and wisdom ○ Liquid folds seen on drapery ● Naturalistic Agyo ● Establishment of military role ● Frightening and distorted facial features ○ Charges the figure with energy ● Painted wood ● Very muscular with armor and weaponry ● ·

Chapter 18: Art of the Americas Mesoamerica · Olmec – a member of a prehistoric people inhabiting the coast of Veracruz and western Tabasco on the Gulf of Mexico ( c. 1200–400 BC), who established what was probably the first Meso-American civilization tultexs ·

Great Pyramid and Plaza o Mounds

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Colossal Head o Carved out of rock o Serval survive but they are all distinct o Veristic

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Offering 4 o Cosmology o No certainty what the purpose of this was

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Celt

o Plaques with text on it o Unsure what the purpose was; possibly religious ·

Ceremonial Center of Teotihuacan o Pyramid of the Sun in foreground, Pyramid of the Moon in background o The calander is based on cycles of man [counted by suns] o Talud-tablero construction § Construction preferred for the aesthetic § Stepped 90 degree surface o Depicts feathered serpants § Patron deity of the area o The serpent is a symbol of cycle and regeneration

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Bloodletting Ritual o Gods require blood to create § Mayan and Aztec civilizations adopt this Idea o Fresco wall painting o Depicts ceremonial blade o Stream of blood is stylized o Religious ritual o Artist either were or worked with priests to create these works § Heavy iconography

Mayans ·

Guatemala, Temple I (right) and North Acropolis (left), Maya culture

o Roof comb – rounded projection at the top of the pyramid ·

Pakal the Great, Palenque, Maya, o stucco and red paint o death mask o lifelike

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Sarcophagus Lid of Pakal the Great, o Relief o Tells us a about the leadership of the mayans o Shows him falling into the underworld

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Ball Court o Mesoamerican ball game o Used for entertainment and metaphorical contest § Loser of the game would become sacrifices to the gods o The game is represented in art

Toltec ·

Colossal atlantids o atlantids – male figures in column forms used to hold up a roof § Post and lintel § Similar to in greece o Butterfly breastplate signifies royal lineage

Andean Region ·

Preferred to use relief carvings

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Chavin style o Flat o Raimondi Stele, Chavín

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Nazca Lines o Geoglyphs – removal of volcanic stone that revealed lighter stone underneath § Similar to early roadways [an indentation in the ground] o hummingbird, left; spider, right § geometric § theories on what they represent: ·

astronomical

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geometry [elaborate math understand]

· relate to channel of water underground [being able to find it underground was crucial to this area]

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just art

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could be pathways [1300 miles of geoglyphs]

Moche o famous for ceramics o Vessel in the shape of a portrait head § Veristic § Used for a purpose ● Little written language so function is unclear ● Head vessels found in tombs ● Ear ornament (or ear spool) seen on an item buried ○ Made of hammered gold ○ The figure is wearing the same garments that individual was buried in

○ Necklace of heads that may represent phases of the moon ○ Inlaid with turquoise ● Gold pendant with elaborate headdress and horizontal staft Adena Culture ● First great mound building culture ○ Burial mounds where small artifacts have been recovered ■ Portable items ■ Pipe found from a mound ● For tobacco smoking ● Elaborate pipe - suggestion of status as seen in the leager ears ■ Tablets found ● Small, about 5 inches long ● Carved in low relief ● Sandstone - local stone ● Designs ensized into tablet ● Use is unknown ○ Possibly a stamp to transfer design ○ Grooves on the back used to sharpen tool Mississippian Culture ● ● ● ● ● ●

Much larger mounds Large urban centers formed Similar to pyramid and plaza from La Venta, Olmec Plaza and residential spaces Elite dead buried in mounds Serpent Mound in Ohio ○ Similar to geoglyph but protrudes from the earth as opposed to carved in ○ Function is unknown

Mimbres ● Located in modern day new mexico ● Remarkable pottery does without potters wheel ○ Historically pottery was done by women so most likely don't by women ● Black and white patterns ○ Typically seen in groups of 2 ○ 2 cranes, also deer and scorpions seen ● Found with a hole punched through it ● Heavens shaped like a dome ● Ancestral Puebloan ○ Anasazi

○ Seed jar made of earthenware ■ Each dot...