1. Chinese & Korean ArtBefore 1279 By Mark Wesolowski, Sam Schnittman, & Rachael Garcia

2. History of China: Yellow, Yangzi, Songhua, and Pearl Rivers. Floods and Travel. Xia Dynasty (5000 -1700 BC) Farming Villages with Pottery.

3. Xia Dynasty: Painted Pottery Cultures Distinctive forms of Neolithic pottery identify different cultures Yangshao culture-near Yellow River Perfectly round bowls, highly polished surfaces All without pottery wheel  advanced technology Marks on rims-beginnings of Chinese writings potentially Carved scenes into bottom of bowl—important activities 5000-4000 BCE, near Xi'an

4. Xia Dynasty: Painted Pottery Cultures Liangzhu culture-800 miles from Yangshao Half-human and half-animal images Large round eyes, flat nose, rectangular mouth Carved into a cong-object resembling a cylindrical tube encased in a rectangular block Object of importance-found near head of a buried person in a large tomb—served as an altar Technical sophistication evident through intricacy Jade, Before 3000 BCE

5. History of China: Shang Dynasty (1700-1100 BC) First unified Chinese Empire. Bronze Age, military expansion.

6. Culture of China: Ancestralism: Shangdi = Great Ancestor. Tombs and Ritual Burial. Oracles read bones and made offerings. Pictographs and Chinese characters developed

7. Bronze Age China Piece-mold casting Model of the bronze-to-be made of clay and dried Clay pressed onto model and broken off at different times Mold eventually created  molten bronze poured in

8. Ritual Bronzes Shang tombs reveal a warrior culture Many humans and animals sacrificed to accompany the dead Bronze vessels are the most admired and studied Connected with ritual practices—served as containers for food or wine Decorated with complex array of animal-like images Seem to be related to hunting life Creatures appear strange and fearsome-sense of mystery Fang Ding, 12th Century BCE

9. History of China: Zhou Dynasty (1100-221 BC) Relative Peace under Feudal Government. King Ruled as Son of Tian (Heaven).

10. Bronze Bells Ritual bronzes continued to play important roles New forms also developed Some bells placed in tombs Bells precisely calibrated to sound two tones Arranged in scale patterns in variety of registers Music played part in rituals  supernatural Taotie-ancient mask motif-appears on front and back Set of 65 Bells, Tomb of Marquis Yi of Zeng, 433 BCE

11. History of China: Qin Dynasty (221-206 BC) Totalitarian Military Regime. Legalism = Harsh Laws, No Philosophy Allowed.

12. Qin Dynasty Single ruler  mausoleum Army of terracotta soldiers and horses Individualized faces, meticulously rendered uniforms Soldiers, Mausoleum of Emperor Shihuangdi, 210 BCE

13. Soldiers, Mausoleum of Emperor Shihuangdi, 210 BCE Funerary Temple of Hatsepshut, 1473-1458 BCE

14. History of China: Han Dynasty (206BC – 220AD) Peaceful and Prosperous

15. Painted Banner Highlights the mythocentric age People believed in a close relationship between the human and supernatural worlds T-shaped silk banner—summarizes this early view 3 scenes of universe: heaven, earth, and underworld Tomb of Marquess of Dai, 160 BCE

16. Heavenly realm shown at the top-in crossbar of the T Sun in upper-right corner, inhabited by a mythical crow Upper left-mythical toad stands on a crescent moon Between the two- primordial deity shown as a man with a long serpent’s tail Han image of the Great Ancestor Dragons and other celestial creatures swarm below Painted Banner

17. Painted Banner Gate guarded by two seated figures stands where the horizontal of heaven meets the banner’s long vertical Two intertwined dragons loop through a circular jade piece known as bi Usually a symbol of heaven-divides space into two areas Above the bi-earthly realm Deceased woman and her three attendants stand on a platform while two kneeling figures offer gifts

18. Painted Banner: Underworld Beneath the bi-represents the underworld Silk draperies and a stone chime hanging from the bi form a canopy for the platform below Stone chimes-ceremonial instruments Ritual bronze vessels with food and wine Fish and other strange creatures-inhabitants of the underworld

19. Culture of China: Daoism: Developed from Ancestralism. (Immortality) Harmony between humans and nature. Confucianism: Self Discipline and Duty. (Ethics)

20. Daoism: Sculpture Incense Burner- bronze-cast from prince’s tomb Legend-Isles of the Immortals in the Eastern Sea Gold inlay outlines stylized waves of the sea Birds, animals, and people who had discovered secret of immortality Tomb of Prince Liu Sheng, 113 BCE

21. Confucianism: Carved Reliefs Rubbing of a Stone Relief in the Wu Family Shrine Two-story building-women on upper, men on lower Homage to first emperor of Han dynasty-hieratic scale Birds on roof-represents immortals Lower register-procession brings dignitaries to reception 151 CE

22. 300 Year Difference In Creation

23. Compared with Han dynasty banner, this late Han relief shows the change that took place in their worldview in just 300 years Banner-equal emphasis on heaven, earth, and underworld; humans dwarfed by supernatural In this relief-focus clearly on the human realm Importance of emperor as holder of the mandate of Heaven Illustrates fundamental Confucian themes: social order and decorum Confucianism: Carved Reliefs

24. Figure Representation The Suicide of Ajax, 540 BCE (Greece)

25. Culture of China: Silk Road: First opened under Han Dynasty. Trade of Silk and Spices with world. Buddhism comes to China via Silk Road.

26. Architecture of China: Bracketing: Roof system with broad eaves and tiles Employed to show aesthetic order. (Alberti)

27. History of China: Six Dynasties (220 – 585 AD) Warring States with regional rivalries.

28. Six Dynasties: Painting Few paintings survive Literary sources  important period for painting Landscape first appears as a subject Daoists-wandering through countryside = spiritual refreshment Wandering in the mind through a painting could do the same First works on theory and aesthetics- Xie He

29. Xie He: 6 Principles 1-“Spirit consonance” imbues a painting with “life’s movement” Spirit- qi-breath that animates all creation, the energy that flows through all things Must cultivate own spirit so this universal energy flows through them and infuses their work 2-brushstrokes are the “bones” of a picture, its primary structural element Painting is judged by the quality of brushstroke Each stroke is a vehicle of expression; through these can the first principle be achieved

30. Admonitions of the Imperial Instructress to Court Ladies Ink and Colors on Silk, Six Dynasties Period

31. Admonitions of the Imperial Instructress to Court Ladies Artist-GuKaizhi (344-407 CE) Alternates illustrations and text to relate seven Confucian stories of wifely virtue from Chinese history Illustration-depicts courage of Lady Feng Escaped circus bear rushes toward her husband, a Han emperor, who is filled with fear Behind his throne, two female servants turn to run away Two male attendants try to fend off the bear with spears Only Lady Feng is calm-rushes forward to place self between beast and the emperor

32. Figures drawn with a brush in a thin, even-width line A few outlined areas are filled with color Facial features are well depicted Movements and emotions are shown through conventions such as bands flowing from Lady Feng’s dress, indicating she is rushing forward Upturned strings on sides of emperor’s head  fear No setting—artist relies on careful figure placement to create a sense of depth Admonitions of the Imperial Instructress to Court Ladies

33. Admonitions of the Imperial Instructress to Court Ladies Ink and Colors on Silk, Six Dynasties Period

34. Painting done on silk Early Chinese painters developed a format used called the handscroll- long, narrow horizontal composition, compact enough to be held in the hand when rolled up Intimate works, meant to be viewed by only two or three people at a time Not completely unrolled—viewers would open a scroll and savor it slowly from right to left, only displaying a foot or two at a time Admonitions of the Imperial Instructress to Court Ladies

35. Depth Body Representation

36. Emperor Justinian and His Attendants, 547 CE (Italy) Crucifixion, Late 11th Century CE (Greece)

37. The Raisin of the Cross, Rubens, 1610 CE

39. Calligraphy Emphasis on expressive quality and structural importance of brushstrokes finds its purest embodiment in calligraphy Same brushes used for both painting and calligraphy Regarded as one of the highest forms of expression in China Only the few literate and Confucian scholars could practice it

40. FengJu Album Most important-Wang Xizhi A letter mounted as part of an album Relaxed, easy going manner Strokes vary in width and length, creating vitality Characters are distinct, but within characters the strokes run together Mid 4th Century CE

41. Rock-Cut Caves of the Silk Road Most impressive works of Six Dynasties Buddhist sculpture-Seated Buddha Done during a period of avid patronage to Buddhism Buddhism made its greatest advances during this time 45-foot statue-elongated ears, monk’s robe, stylized hair—attributes of the Buddha Less human than other Buddhist traditions Purpose? 460 CE

42. Portraiture as Propaganda 45 feet tall Constantine the Great, 325-326 CE (Rome) 30 feet tall

43. History of China: Sui Dynasty (585 - 618 AD) Short lived, but unified empire. Tang Dynasty (618 - 907 AD) Buddhism is largest religion.

44. Architecture of China: Nanchan Temple, Shanxi Province (782 AD): Broad overhang with Han Bracketing. Bay/Module Construction = Cubic Building Unit.

45. Architecture of China: Pagodas: Came to China via Silk Road. Stupa model with Bracketing. Symbolic Structures = Order. Religious Sanctuary.

46. Architecture of China: Great Wild Goose Pagoda, Shanxi Province (8th Century AD): Built by Monk Xuanzang. Model of Indian Architecture. Simplicity, Proportion, Grace.

47. Culture of China: Silk Road: Expanded during Tang Dynasty. Open and international mood, naturalism in art.

48. Tang Dynasty: Figure Painting China’s great age of figure painting Very few exist Copies done by Song dynasty artists

49. Ladies Preparing Newly Woven Silk Attributed to Emperor Huizong (last of Northern Song) Long handscroll; depicts activities of court women as they weave and iron silk Refined lines, bright colors Share the grace and dignity of Tang sculpture and architecture Early 12th Century CE

50. History of China: Song Dynasty (960 - 1279 AD) Invasions from the North lead to a domestic mood. Expansion in Arts. Neo-Confucianism with metaphysical elements.

51. Song Dynasty: Sculpture Changing political fortunes, political unrest, and religious questioning Didn’t affect the creation of splendid works Many sculptures of Bodhisattvas Beings who are close to enlightenment but who voluntarily remain on earth to help others achieve enlightenment Represented as young princes wearing royal garments and jewelry The finery indicates their worldly but virtuous lives

52. Seated Guanyin Bodhisattva Guanyin-Bodhisattva of Infinite compassion Appears in many guises (Water and Moon Guanyin) Sits on rocks by the sea Position-royal ease Arm rests on his raised and bent right knee and his left arm and foot hang down, the foot touching a lotus blossom 10th-12th Century CE

53. Spear Bearer, Polykleitos, 450-440 CE

54. Landscape Painting with Neo- Confucianism: Realistic Landscape Scenes. Balance of Natural Forces. Not Actual Location, Artist’s emotion and symbolism. Monochrome with Ink on Silk. Western Landscapes = Scientific Mimicry.

55. Fan Kuan: 990 – 1030 AD. Travelers Among Mountains and Streams 9 Feet Long, 3 Planes, Climbing Mountains Texture & Contrast. Hierarchy and Harmony.

56. XuDaoning: 970 – 1052 AD. Fishing in a Mountain Stream. Mobile (Walking) Perspective = Acts of a Play.

57. Zhang Zeduan: Spring Festival on the River. Domestic Court Painting. Encyclopedic View of Everyday Life. Busy Commerce and Industry. Allegory of Good Government.

58. Xia Gui: 1195 -1235 AD, Southern Song = Refined Style. Intimate with Ink Washes = Simple. Chan Buddhism i.e. Zen focus.

59. Sculpture: Guan Ware: High Neck with Cracked Glaze Technique.

60. The Arts of Korea Located China and Japan Peninsula in Northeast Asia

61. History of Korea: The Three Kingdoms Period 57 BCE-668 BCE In Korea there were 3 independent states: Goguryeo Silla Baekje

62. Gold Headdress An enduring monument of this period: Found in Large tomb mounds Crowns were most spectacular items found Made specifically for burial Made from cut pieces of thin gold sheet and wire Comma-shaped ornaments of green and white jadeite Tall, branching forms resemble trees and antlers Appendages suggest wings or feathers Shows relationship with animals and natural world 6th Century CE

63. High-Fired Ceramics Important advancement at this time Most containers are for offerings of food placed in the tom to nourish the spirit of the deceased Similar to Chinese Generally unglazed stoneware-impervious to liquids Most imposing-tall stands that were used to support round-bottomed jars Long cylindrical shaft on a bulbous base Little surface ornamentation Some wave patterns or circles 5th-6th Century CE

64. Similar death-related purposes Greeks used them as grave markers Actual depictions of scenes, including funerary processions Greeks-geometric shapes Koreans-geometric patterns Dipylon Amphora, 760-735 BCE (Greece)

65. Bodhisattva Seated in Meditation Buddhism introduced around 372-384 CE Buddhist art began in Korea just as mere imitation By late 6th century, Koreans had style of own Pose linked to Chine sculpture (royal ease) Differences: slender body, elliptical face, elegant drapery folds, tri-lobed crown Early 7th Century CE

66. History of Korea:The Unified Silla Period 660 CE-Silla kingdom conquered Baekje 668 CE-defeats Goguryeo with help of Tang Dynasty Buddhism prospers under Unified Silla Many large, important temples erected Lasts until 935 CE

67. Seokguram Greatest monument of the period—artificial cave temple atop Mount Toham Modeled after Chinese cave temples Small, rectangular antechamber joined by vestibule to circular main hall with domed ceiling Huge Seated Buddha dominates main hall Similar to Chinese sculptures-full and taut forms, drapery

68. History of Korea: Goryeo Dynasty Dominates until 1392 CE Period of courtly refinement Best known for celadon-glazed ceramics

69. Celadon-Glazed Ceramics Celadon-high-fired, transparent glaze of pale, bluish-green hue, typically applied over a pale gray stoneware body Invented by Chinese potters Korean potters experimented with such glazes Best pieces went to palaces, nobles, or Buddhist clergy Little decoration in 11th century Carved or molded decoration in 12th century (mimicked contemporaneous Chinese ceramics) Mid-12th Century-begin to explore new styles Inlaid decoration stamped into body Black and white slips create contrasting colors Late 12th Century

70. Buddhist Painting Buddhism enjoyed patronage under Goryeo Dynasty Paintings were wrought in ink and colors on silk Hanging scrolls usually Luxurious taste of the period: Flesh tones used for its face and hands Rich colors and gold pigment used for the deity’s clothing The Bodhisattba Avalokiteshvara, Late 14th Century

71. Brief Review China distinctive for its early advancement in ceramics, metalwork, and jade Technological advancement: Potter’s wheel, reduction firing, bronze casting Profound passion for refinement and subtleties of shape, proportion, and surface texture Human relationships and heroic ideals Confucian values and teaching standards of conduct—social order Later embrace of Buddhist tradition from India Represent divine potential of humanity-princely representations Philosophical ideals through theme of landscape Simple black ink  ultimate medium for expressing the vastness, abundance, and endurance of the universe