Lecture: Summer 2011 - Art History Teaching Resources



WEEK 7 - Chinese and Korean Art Before 1279

Links:

▪ Admonitions Scroll:

▪ Bamiyan Buddha:

1. 10-4 China: Cong

▪ A form of ancient Chinese jade artifact. The earliest cong were produced around 3400-2250 BC

▪ In form, a cong is a tube with a circular inner section and squarish outer section defining a hollow cylinder

▪ Proportions vary - a cong may be squat or taller than it is wide. The outer faces are sometimes decorated with masklike faces, which may be related to the designs found on later bronze vessels.

▪ Although generally considered to be a ritual object of some sort, the original function and meaning of the cong are unknown.

▪ Later writings speak of the cong as symbolizing the earth, while the bi (A FLAT, CIRCULAR JADE OBJECT) represents the heavens.

▪ The square represents the earth and a circle represents the heavens?

▪ Jade is expensive, so we do know this was an elite object and that jade is still venerated as a art material today

So, how can we relate some of the ideas from the previous survey chapters to the art of China and Korea before 1279?

• We’ve thought about how systems of belief shape the design of art and architecture in the Arabian peninsula (Islam) and India (Buddhism and Hinduism).

• And, how belief can be expressed in political terms, or in terms of power (architecture of Greece & Rome, Ashokan pillars).

• Here we’re going to take a very small portion of the artistic output of China and Korea, and next week, Japan and think about how the visual vocabulary of art was influenced by rulers in these countries and by shared belief systems like Confucianism and Daoism, and by the infiltration of Buddhism via the Silk Road.

• What happens in 1279 – Mongol invasion!

( (30 min) Video on China – “Engineering an Empire”

• The first 30 min describes the unification of China under the Qin, and the various engineering feats they pulled off in support of their initial dominance and this first unification of China.

• Take notes of major time periods, leaders, sites and ideas, especially the discussion of the Terracotta warriors.

• What were some of the major structures undertaken in the early history of unified or dynastic China?

Post-video: What were some of the major structures undertaken in the early history of unified or dynastic China?

( (Great Wall, canals, Terracotta Army)

• Qin = mid 3rd century BCE (unification occurs 221 BCE)

( How did they manage this unification?

- they were able to systematically make metal weapons, and so were able to deploy vast amounts of well armed foot soldiers

- they supplemented this strategically with the use of soldiers on horses

- hydraulic engineering – built levies to ensure food and water for their armies

- Also began projects like the Great Wall of China which was added to by successive rulers

- Hydraulic engineering also plays a very important role in creating the Great Canal which connects the East-west rivers with Beijing in the north and Hangzhou in the south, making an important trade connection. Finished under the Sui (581-618 AD).

2. 10-1 China: Soldiers

With the Terra-cotta Army of Shi Huangdi, 210 BCE, we see:

• For first time in its history, China united under single ruler (think: Palette of Narmer, 3100 BCE)

• As we saw, the emperor started building this before his death

If we think of the different ways rulers have been commemorated or commemorated themselves so far throughout our survey, who have we looked at?

- Naramsin (Akkadian), Narmer (Egypt), Pyramids (Egypt), Augustus (Roman statue) Sultan Hassan’s mosque, the Chandella Kings building the Khajuraho temple.

• After this first unification under the Qin, in the succeeding Han Dynasty, the countries borders were extended and secured and the Great Silk Road was established in around 200 BCE

• The Silk Road was a network of land and waterways that linked China to Europe.

• Under the Han, two very important belief system called Confucianism and Daoism flourished.

3. 10-8 China: Incense Burner (Daoism)

T/Daoism:

• A philosophical or religious tradition in which the basic concept is to establish harmony with the Tao which is the mechanism of everything that exists.

• The word "Tao" (or "Dao") is usually translated as "way", "path" or "principle", although the word literally means "nature" as in the nature of all things as well as the natural world.

• Taoist propriety and ethics emphasize the Three Jewels of the Tao: compassion, moderation and humility

• Taoist thought generally focuses on nature, and the belief that immortal life could be achieved on earth

• Popular Daoist legend told of the Land of the Immortals in the eastern sea, depicted on this incense burner - stylized waves, mountains above it, used in Daoist ceremony

4. Chinese Bells; Admonition Scroll (Confucionism) (supplementary: Detail from a rubbing of a stone relief in the Wu family Shrine ;10-9 China: Tomb model of a house, Han Dynasty)

CONFUCIANISM

• Confucius was a scholar born into an aristocratic society (551 BC – 479 BC).

• It was during his lifetime that warfare for supremacy was constant. Looking back at earlier, peaceful and orderly ages before him as a golden age, he though about how a just and harmonious society could again emerge.

• His philosophy became central to Chinese thought and culture.

• Confucianism was a concern for humans and their place in socuety. There was an emphasis on peace, prosperity and order.

Confucianism: (after Confucius) (see stokstad p337)

• Rational political philosophy emphasizes deference, duty, discipline

• Possible to better ones’ self through education (Confucius was a teacher)

• Humanity (reciprocity) is key ideal;

Golden Rule “Never impose on others what you would not choose for yourself.”

• Emphasis on: moderation, integrity, self-control, loyalty, reciprocity, altruism, justice, decorum

Bell – MACGREGOR READING

• This bell was made at the beginning of the Warring States period (475BCE – 221BCE) – around the same time of political fragmentation and moral crisis in China that Confucius developed his teachings.

• Confucius was also a keen musician and saw in music the harmony he wanted to achieve in society.

What social value did bells have in early Chinese society? How did they connect to philosophical ideas associated with Confucianism?

• So, while the bells could be an “audible sign of status” (they were costly to make, so you had to be a rich patron to own one)

• They also stood for the idea that “music produces a kind of pleasure which human nature cannot do without”

• And therefore the Confucian idea that “Music acts as a metaphor for a harmonious society”

• This is more abstract than making a hierarchical representation of yourself as a God, or crushing your enemies – through your leadership, you commission art that advocates the status quo, the stable society that benefits you, the order that keeps you at the top

The Admonitions to the Palace Ladies, Six Dynasties period (220-589 AD), Handscroll.

• Illustrates a text of the same title

• It was painted to illustrate a poetic text written in 292 by the poet-official Zhang Hua (232–300).

• The text itself was composed to reprimand Empress Jia (disliked, villainous Empress of the late 3rd century AD) and to provide advice to the women in the imperial court.

• The painting illustrates this text with scenes depicting anecdotes about exemplary behaviour of historical palace ladies, as well as with more general scenes showing aspects of life as a palace lady.

• The first scene shows the Lady Feng moving to protect her husband (the Emperor) from a bear - showing that calmness of self, mind, and character are very powerful

“When a black bear climbed out of its cage, Lady Feng rushed forward.

How could she have been without fear? She knew she might be killed, yet she did not care.”

o Writings say “Men and women know only how to adorn their faces/ None know how to adorn their character.”

o Confucian ideals of self-sacrifice and social duty shown through art

Look briefly at the rest of the Admonitions scroll on Wiki and as individual slides.

• The corresponding quotation from Zhang Hua's text is placed to the right of each scene.

• Copies have been made of this visual re-telling of the story (that’s why it says “after Gu Kaizhu” like Roman sculptures made after Greek originals)

• Scene 4: Lady Feng and the bear, moral courage, sacrifice for the Emperor

• Scene 5: Imperial litter and Lady Ban, etiquette and presenting the correct face to society

“paintings of wise rulers always showed them in the company of their ministers, whereas paintings of decadent rulers always showed them in the company of their wives and concubines, and so it would be inappropriate for her to be seen in public with the emperor.”

• Scene 6: mountain, presents metaphor for the impermanence of fame and glory

o Huge importance placed on the landscape aspect – has been the most repainted part of the scroll; combines the abstract qualities of brushwork and ideal moral subject matter prized by later landscape painters

• Scene 7: ladies at the mirror, importance of inner nature as much as their external appearance

So, how were philosophical ideas conveyed through early Chinese painting, and why/to whom was it important to convey these ideas?

- How? Confucianism – respect of fellow humans – portrayed by using historical narrative to comment on a contemporary situation, a metaphor rather than explicit criticism

- Why? Contemporary official made the comment – POLITICAL CRITIQUE

- To whom? Other people who would see this handscroll – a private, small comment intended for a discreet, chosen audience at first, but copied and circulated more widely

See also: Low relief from a family shrine

▪ Stone relief in a family shrine

▪ Rubbings of low relief carving

▪ Meant to teach respect for the emperor, filial piety, wifely devotion

▪ Men on lower floor, women on upper floor

How do the two belief systems differ?

• Confucianism offers an ethical system based on the correct relationship among people.

• Because of the emphasis on social order and the respect for authority, the Han Emperor made Confucianism the official philosophy. It remained the state philosophy until the end of Imperial rule in the 20th c.

• Taosim is more concerned with the harmony of humans with nature rather than humans with humans.

• It is more escapist and seeks relief from trouble through nature and through meditation.

5. p. 342 China: Camel Carrying a Group of Musicians

THE SILK ROUTE

▪ The Han Dynasty part 1: During the Western Han dynasty (207 BC-9 AD), north and west China were threatened by raids from nomadic Mongol and Turkic tribes, in particular a tribe the Chinese called the Xiongnu (later known in Europe as the Huns).

▪ In order to protect themselves from these raiders, the Chinese needed horses. At this period, the only horses the Chinese possessed were a small, ponylike breed, but they had begun to hear reports of a new kind of horse.

▪ This was large and strong, and capable of carrying armor-clad men into battle.

▪ The Han Emperor Wu-ti attempted to send an expedition to find these horses. The expedition passed the western end of the Great Wall, and China discovered the potential for trade with the west.

▪ They returned to China with almost 3000 male and female horses. Since then the horses became status symbols for rich men and government officials.

▪ The exploration was the opening of the eastern routes of the silk route

Merchants began to explore this new route in order to carry silk from China. The traders traveled to the west along the silk route, and they discovered that silk was considered to be very precious material in the west. Therefore, they decided to open up the silk route to the west.

▪ Merchants from the west brought horses, cattle, furs, hides and luxuries such as ivory and jade. Traders also introduced new goods to the Chinese such as Cucumber, walnut, sesame, figs, alfalfa and pomegranate, and new skills such as using grapes to make wine.

▪ The first emperor of the Tang dynasty (597 - 649 A.D.) was very open- minded, and under his powerful leadership Chinese control again reached over Central Asia. As in the Han dynasty, goods and ideas flowed across the silk route during the Tang dynasty.

▪ Being cosmopolitan and tolerant, Tang dynasty was confident in itself and curious about the world. Foreign visitors were welcomed to trade with the Tang Chinese. At the time many foreign merchants came to China, and the art in China was greatly influenced by foreign art.

▪ In order to keep on trading with foreign merchants, The Chinese kept on producing art works such as ceramic, pottery and porcelain. As a matter of fact foreigners were often depicted in the art of that period.

One example is this ceramic statue of a camel carrying a troupe of musicians reflects the Tang fascination with the Turkic cultures of Central Asia.

▪ The two musicians with beard are Central Asian, and the rest are Tang Chinese. The motif of the musicians on the back of the camel is very popular in Tang dynasty.

▪ Foreigners were always depicted in Chinese art as great nose and hairy faces. The statue reveals a new interest in nationalism, an important trend in both painting and sculpture.

▪ Compared to the rigid, staring ceramic soldiers of the first emperor of the Qin dynasty, the Tang Chinese in ceramics have lively gestures and expressions.

▪ Symbolizes the cosmopolitan and colorful life of Tang Chinese

6. 10-12 China: Seated Buddha, Cave 20

( We’ll also think about Buddhism in conjunction with some of the artworks we see today. Buddhism was brought from India to China, Korea, and Japan along the Silk Road, arriving in China as early as the 2nd century BCE (although more codified in China from 1st century AD) and in Japan in the mid 6th century AD.

Buddhism engaged with existing belief systems in China and Japan (and other countries like Tibet) making it’s spread much easier.

Seated Buddha, Yungang, 460 CE

- Many Chinese intellectuals turned to Confucianism and Daosim because of their strong escapist qualities – you could use them to cement your position at the top of the social order or forget society and turn toward nature.

- But, it was the new belief system of Buddhism that was embraced by many during this time.

- Buddhism offered the consolation in life and the promise of a “life” after death in a time of constant warfare and material devastation.

- Buddhist shrines and caves were common along the Silk route. Small caves in upper area of rock were for monks/ passing pilgrims. Larger caves near the base were intended for shrines to the Buddha

- Shrines like the one at Yungang (just outside Beijing in N. China) were created.

- Another v famous one is at Bamiyan in Afghanistan.

7. 10-16 China: Great Wild Goose Pagoda

▪ An example of Buddhist architecture in China

▪ This is a Buddhist pagoda located in southern Xi'an, Shaanxi province, China.

▪ It was built in 652 during the Tang Dynasty and originally had five stories, although the structure was rebuilt in 704 and its exterior brick facade was renovated during the Ming Dynasty.

▪ What is the pagoda? A tiered building, an evolution of the stupa!

▪ One of the pagoda's many functions was to safely hold sutras and figurines and relics of the Buddha that were brought to China from India by the Buddhist translator and travelers

▪ Originally standing at a height of 54 m (177 ft) now is 210 feet

▪ However, this construction of rammed earth with a stone exterior facade eventually collapsed five decades later. The ruling Empress then had the pagoda rebuilt and added five new stories by the year 704; however, a massive earthquake in 1556 heavily damaged the pagoda and reduced it by three stories, to its current height of seven stories.

▪ The entire structure leans very perceptibly (several degrees) to the westDuring the Tang Dynasty the pagoda was located within the grounds of a monastery, within a walled ward of the larger southeastern sector of the city, then known as Chang'an.[3][4] The monastic grounds around the pagoda during the Tang Dynasty had ten courtyards and a total of 1,897 bays.[3][5] In those days graduate students of the Advanced Scholars examination in Chang'an inscribed their names at this monastery

8. 10-20 China: Fan Kuan, Travelers Among Mountains and Streams (Northern Song painting)

9. 10-23 Xia Gui, Section of Twelve Views of Landscape (Southern Song painting)

Transition: Moving from Buddhist sites, let’s look at two painted works from China that combine some of the elements of Confucianism, Daoism and Buddhism in two dimensional form.

Song Dynasty was a ruling dynasty in China between 960 and 1279; it was followed by the Yuan Dynasty (Mongols).

▪ It was the first government in world history to issue banknotes or paper money, and the first Chinese government to establish a permanent standing navy. This dynasty also saw the first known use of gunpowder, as well as first discernment of true north using a compass.

▪ The Song Dynasty is divided into two distinct periods: the Northern Song and Southern Song.

During the Northern Song (Chinese: 960–1127), the Song capital was in the northern city of Bianjing (now Kaifeng) and the dynasty controlled most of inner China.

The Southern Song (Chinese: 1127–1279) refers to the period after the Song lost control of northern China to the Jin Dynasty.

▪ During this time, the Song court retreated south of the Yangtze River and established their capital at Lin'an (now Hangzhou).

▪ Although the Song Dynasty had lost control of the traditional birthplace of Chinese civilization along the Yellow River, the Song economy was not in ruins, as the Southern Song Empire contained 60 percent of China's population and a majority of the most productive agricultural land.

▪ The Southern Song Dynasty considerably bolstered its naval strength to defend its waters and land borders and to conduct maritime missions abroad.

▪ In 1234, the Jin Dynasty was conquered by the Mongols, who took control of northern China, maintaining uneasy relations with the Southern Song.

▪ In 1271, Kublai Khan was proclaimed the Emperor of China

▪ After two decades of sporadic warfare, Kublai Khan's armies conquered the Song Dynasty in 1279. China was once again unified, under the Mongol Yuan Dynasty (1271–1368)

Social life during the Song was vibrant; social elites gathered to view and trade precious artworks, the populace intermingled at public festivals and private clubs, and cities had lively entertainment quarters.

▪ The spread of literature and knowledge was enhanced by the earlier invention of woodblock printing and the 11th-century invention of movable type printing.

▪ Pre-modern technology, science, philosophy, mathematics, engineering, and other intellectual pursuits flourished over the course of the Song.

▪ Philosophers reinvigorated Confucianism with new commentary, infused with Buddhist ideals, and emphasized a new organization of classic texts that brought out the core doctrine of Neo-Confucianism.

▪ Although the institution of the civil service examinations had existed since the Sui Dynasty, it became much more prominent in the Song period. This became a leading factor in the shift of an aristocratic elite to a bureaucratic elite.

HANDSCROLL/HANGING SCROLL SHAPES

o This is one of the earliest extant examples of a Hand Scroll -- read from right to left -- when one finishes they would see the Imperial Lady recording her admonitions.

o Difference between Handscroll, Hanging scroll, Album leaf, Silk painting, wall painting.

o Scroll would not be fully unrolled, but read little by little

o Hanging scroll = fully open

o Beginnings of the continuous narrative format in Chinese scrolls

Let’s compare the Admonitions Scroll to Travelers Among Mountains and Streams. Fan Kuan. 11th c. 7ft high, Song Dynasty

Q: What do we see? What do we not see? Landscape, many brushstrokes, vertical format

Q: Let’s look closer – what do we see? What does the mule train add to the painting?

• DAO The ptg of the landscape had a history in the Daoist practice of wandering through the landscape for spiritual nourishment.

• It was thus taken a step further in the belief that if one could wander through a painted landscape with one’s mind, the same effect would be achieved.

• Landscape appears strongly as a subject matter in painting in Song Dynasty

• Nature is spiritually refreshing

• Guo Xi [pronun: Goo-oh See] was a court painter in the late eleventh century.  He left significant writings on the philosophy and technique of landscape painting.  In answer to the question, “Why landscape?”, he wrote [see slide]

• CONFUCIANSIM Paintings like this one also contained the ideas of Confucianism: the natural world was used as a metaphor for social order.

• Confucianism had emphasized moral and didactic (teachable) value of painting (as previous example)

• Paintings were prized based on quality of brush stroke – therefore calligraphy and abstract landscape painting align as the most prized art forms

• The individual brushstrokes stand for the millions of individuals in society coming together to make a greater good

• The landscape becomes more than the sum of it’s parts

• Does not record specific sties- the goal was to record the eternal essence of mountain-ness etc. “Nature is vast and deep; high intelligence is infinite and eternal.”

• BUDDHISM Paintings like these were almost an ad-hoc mixture of Conf, Dao & Buddhism

• Although Song ptrs not necessarily Buddhists (Buddhism was still foreign), a viewer could read the mountains as either a Confucian ruler with his attendants, or a Buddha with his attendants.

• The ideas of social order and harmony, and the connection to nature also rang true for the Buddhist faith, and indeed, this was a deliberate method of spreading Buddhism – by making it seamlessly connect to existing faiths in neighbouring areas.

Note on perspective:

What is linear perspective? Diagram on board

What kind of perspective is used here? “Vertical perspective.” The ability of a Chinese landscape to allow the viewer to wander freely is closely linked to the absence of linear perspective. The goal of Chinese ptg is to provide a view beyond what we normally see.

( Secondary comparison

Xia Gui - Chinese landscape painter of the Song Dynasty. Very little is known about his life, and only a few of his works survive, but he is generally considered one of China's greatest artists.

▪ Further simplifying the earlier Song style to achieve a more immediate, striking effect.

▪ Art of the Southern Song was not appreciated during later periods, i.e. during the Yuan Dynasty and afterwards; hence Xia's popularity declined. However, a few critics felt that his paintings were among the better works of the Song Dynasty

▪ In early 17th century China a few painters still knew and imitated Xia's works, however, soon afterwards tastes became radically different. During the Ming Dynasty and later periods, Xia, like his contemporaries, was completely forgotten. It was not until the 20th century that his art was rediscovered.

The vast majority of Xia's surviving works are small album leaves, the favorite genre of Song academy painters.

▪ Instead of producing highly detailed, complex paintings, he limited his materials and thus achieved a more immediate effect.

▪ Perfectly balanced diagonal composition, in which the void and the solid mass play equally important roles, and a formidable ink technique.

▪ Contemporary accounts describe Xia as a painter who worked very fast, and with great ease. Work on paper, which absorbs ink quickly, an example of such spontaneous creation

▪ Some sources mention the painter's preference for brushes with worn tips, used to avoid excessive smoothness, and "split" brushes, which allowed making two or more strokes at the same time.

SLIDE: What relationship or response was the viewer meant to have with these works? Was it the same in each case? What were the differences?

• Educated response (the viewer knows it’s Confucian/Daoism) which then prompts a cerebral exercise in looking. Literary response when you read the poem alongside seeing

• Intimate relationship/response – (handscroll format demands a small audience – what about the hanging scroll? What were the differences between the two?)

• Time-based response – the handscroll unravels slowly, you take time to see the detail in Fan Kuan’s work, repeated visits to the work, seeing it multiple times.

• Aesthetic response – the beauty of nature, of courtliness, of Lady Feng’s bravery, translated into visual action.

• A direct tangible relationship with the work – if you were important then you might stamp the work as your signature

• You had a privileged relationship – you were part of an elite scholar class who would understand these different responses and relationships with the work. Or, part of court, part of upper ruling class in society.

• Political relationship – did you recognize the implied criticism of the Empress in the Admonitions Scroll?

Just to finish, how were specific Confucian, Daoist and/or Buddhist ideas played out in these works from China and Japan? How are they presented?

Confucian:

• Moral order of the Admonitions Scroll – Lady Feng is willing to sacrifice herself

• Based on a poem by a scholarly official of the court who is influenced by Confucius’ tales of wifely virtue

• Therefore, based on the notion of correct relationships, duties, responsibilities, ethics and etiquette between people in a social order

• There is a hierarchy, but there is also a sense of reciprocal responsibility

• In Kuan’s work, idea of “everything in it’s place”

• In the very early art – the Bell evoked similar ideas of social order (like Ashoka, as a political tool to impose ideas/ideals of order)

Daoism:

• The relationship between man and nature in Fan Kuan’s work – not a specific site, stood for “all nature” + bigger relationship

• The prizing of the natural landscape in the Admonitions Scroll – the most repaired part of the whole thing

Buddhism

• The idea of being able to meditate on one image

• Taking time with the handscroll, stopping to look closely at the hanging scroll

• Being aware of your place in the world and your relationships with others

• These elements/actions offer movement towards enlightenment, the end goal

• The rise of Chen/Zen Buddhism in China (7th Cent. AD onwards) and later in Japan promotes “direct” path to enlightenment that is not through theory or text but “special transmission outside scriptures, not founded on words or letters.”

• Images become key in this spiritual realization and self-actualization

Conc: Thinking back to the video, and to the Great Wall of China, the canal systems, the Terracotta soldiers and then the bells, visual art and architectural structures are used in exactly the same manner as we’ve seen thus far – to unite large (and often warring) populations under one ruler or one cohesive belief system.

KOREA

Prelim Class Question: Why is Korean art relevant? 

▪ Korea, esp. Silla Province is the eastern end of the Silk Road.

▪ An integral part of the Silk Road. Trade and travel connects to this area all the way through China to the Med.

▪ Also important because of Buddhism - this belief system connects to the rest of Asia and Korea is a stepping stone/part of transmitting Buddhism to Japan. Korea's role is important to Asian culture.

▪ Little connection to Europe until 17th century in Asia. Instead, Korea is in constant contact and attack with its neighbors.

▪ In the 17-19th century, Korea was closed to the west unlike Japan.

See map: 

▪ Border with China

▪ Around C.400ad Korean peninsula divided into four parts even though it's called three kingdoms.

1 koguryo

2 paerche

3 silla - rises to prominence in 668AD and conquers the others and unites Korea

Background politics/history/notes: 

▪ S Korea - two party political system like the US

▪ Rise of Japanese empire in early 20th; c 1910-45 the Japanese colonized Korea.

▪ Post WWII, Americans occupied south. Russians occupied north in 1945.

▪ Korean war 1950-53. Ended in truce. Maintained the state as we know it currently.

▪ Unification possible? Economic disparity is so great.

▪ Pervasiveness of N Conf mentality everywhere in Korea. Eg. Filial piety. Still a part of modern Korea. Male offspring. Female propriety very strong. Much more so than in China or Japan. In mourning for three years. No cutting hair. Continued into the 20th century.

▪ Neo Confuciansim is the shared philospohy - creating a new kingdom, enforces a new belief system.

▪ But, ppl can be Buddhist privately. So was the court. Commissioned Buddhist paintings - but outwardly it was a Confucianism society.

10. 10-24 China: Guan Ware Vase

▪ What object is best for inter Asian lecture? CERMAICS, painting, calligraphy, Buddhist art from 7-9th centuries – all have links and can be compared and contrasted.

▪ This one was made for imperial use in the Southern Song court. Introspective? Refined? Like ptng?

▪ Buddhism has intellectual baggage that comes with it - written, societal. Classical Chinese was the Latin of the day, the language that translated everywhere - therefore ruling administration intertwined with Buddhist art too.

▪ Korean spoken language is distinct from Chinese, but the Korean alphabet was not developed until the 15th century. So china, Japan and Korea all had Chinese as written official language.

▪ The Chinese translated the Sanskrit Buddhist writings, the Buddhist canon.

▪ Ceramics can talk about differences. Korean was a domestic product for Asia. Japanese and Chinese ceramics went to he West, much wider. 

11. 10-25 Korea: Crown

12. 10-26 Korea: Ceremonial stand with snake, abstract, and openware decoration

Treasure Tombs: Three Kingdoms Period, ca. 350-600 AD

What kinds of burials and what do the contents of the tombs tell us about the society and beliefs of the time?

Silla (southeastern kingdom): golden treasures

▪ Elaborate burial tradition.

▪ gyeongju/kyongju - ancient capital city of Silla.

▪ In the middle of the modern city is a complex of earthen mound tombs. Excavated - pottery, gold regalia, accessories, adornments - deceased would take these togs to the afterlife.

▪ Indigenous religions, then Buddhism is introduced in 558AD. When Buddhism arrives this burial culture disappears.

▪ There are no written histories of Korea until the 12th century. There are writings on stone and wood, but no comprehensive history until post 12th century.

▪ Most prevalent in the tombs is gold regalia. Huge numbers have been discovered. Huge volume of goods. Sophisticated techniques and aesthetics.

▪ 5 pure gold crowns - think about this in the context of archaeology - how often does that depth of richness occur in a dig.

▪ Ritual garb for special events in life and for burial purposes. Some of the tombs had been robbed but lots were only dug in the 20th century (no western archeologists to loot!)

▪ Belt, pendants, necklaces, earrings, rings, bowls, clay pottery,

▪ VERY ELITE - perhaps royal tombs but no definitive records and no inscriptions on the tombs.

▪ Wooden coffins. Surrounded by auxiliary treasure chests. All the gold was placed on the dead body.

▪ Treasure chests/cases/chamber that housed huge number of other goods to serve them in the afterlife.

--Slide Gold earrings

Gold beads attached to the surface. Where did the technique come from? Where did the gold come from? No gold mines have been identified in Korea but this is a huge amount of gold to have been solely imported.

■ imported gold bracelets, cloisonné which is not typically Asian. Probably came from west Asia. Travel went both ways.

■ Repousse bowl - dagger hilt - only one other like it that is preserved in pare with Sutton Hoo?

■ Glass - as far as we know it's not domestically made, maybe produced in west or central Asia.

Burial culture; sophistication and techniques and aesthetics; part of the Silk Route

13. 10-27 Korea: Bodhisattva seated in meditation

2) Buddhism, the Religion that Changed Everything: from Three Kingdoms to

Unified Silla (668-935)

What is it, when was it introduced to the Korean kingdoms, and what kinds of icons were produced?

How did Buddhism change Silla culture?

▪ Buddhism - a watershed moment for Korean history.

▪ History of Buddhism is really important here. Religion is formed in two branches, Mahayana and Therveda

▪ Mahayana Buddhism goes to China, Korea, Japan.

▪ Two important deity types - the Buddha, and the bodhisattva.

▪ The Buddha is the enlightened one, and the bodhisattva who is one rung down the ladder and helps others achieve nirvana

CONVENTIONS: Set standards that get repeated in terms of representing these deities.

▪ Regional styles do occur.

▪ Buddhism comes as early as the late 4th century.

▪ Silla comes to Budd in 528ad.

▪ The whole culture of silla changes. Large earthen mound tombs basically disappear as of the 6th century. Ppl are still buried, but the permanence of the afterlife is no more and cremation is introduced, a Buddhist practice

▪ Less use of gold - no more use of gold to bury - used for deities.

▪ INTERESTING LINK- this happens with Christianity too!! Gold given to the church and not to personal burial.

Korean style - icons are more approachable, gentle, humane.

▪ Iconography- central figure is the Buddha in the triad, flanked by bodhisattvas. Always dressed in simple robes. Elongated earlobes, his earrings as a prince pulled his ears long. Often on a lotus petal bc they grow in water that is murky - only open in daylight - from darkness comes light.

▪ Topknot - great wisdom that one head cannot contain bursting out of his head. Not hair - wisdom.

▪ Also all seeing eye. Buddha can look into previous lives and also into the future. Cosmic Buddha, looking into the various points in the karmic cycle.

▪ Mudra - hand signs.

Bodhisattvas - richly dressed because they haven't given up the earthy realm as yet. Lots of temples are dedicated to them.

▪ Like Christianity, it takes on regional temperament terms of the local area.

▪ Where does the sense of greater approachability come from? It's clear in comparison with Chinese and Japanese examples, but it isn't absolutely clear why.

-- popular icon - "pensive bodhisattva"

▪ In china this iconography is the bodh of the future, the maytraia. THE THINKER. Popular in Korea in 6-7th centuries. Many survive today. Two are life size.

▪ "National Treasure 78" and NT 83.

▪ Standard posture, leaning slightly forward, right leg over left knee. Downcast eyes. Sun and moon crowns - Sassanian culture.

▪ Gilt bronze.

▪ The majority of the pensive bodh are small, used for private devotion by those who could afford it - they were gilded bronze. Private shrines were part of the home.

▪ Crowned head.

Why was Buddhism adopted? It was a powerful wave. Politically advantageous for the elites because there was no systematically organized religion until this point. Gave them a religion that used one focal point and cosmic order - mirrored the system they wanted

Buddhism remained the State religion until 1392 until the Jeoson dynasty who renounce it and choose Neo-Confucianism

14. 10-29 Korea: Maebyeong bottle with decoration of bamboo and blossoming plum tree

Celadon: green-glazed ceramics

▪ 10-14th centuries - Buddhist paintings and celadon ceramics are the big things.

▪ Celadon - 12th century high fired stoneware. Only produced in China and Korea. Meant to be an aesthetic object - not just a practical object.

▪ First produced in china. The color!! Everything from olive green to turquoise Boise in the china. Slightly grey-green in Korea.

Firing

▪ Earthenware - least high fired. lower than 1000 deg Celsius. More porous. Less technically sophisticated. Nothing to do with stone. It's hardness resembles stone.

▪ Stoneware - much less porous. Brittle.

▪ Porcelain - not just the forming temp but the clay itself. Site clay and kaolin that makes it porcelain. Known as white ware.

Capital at this time was Kaesong, just north of today's capital of Seoul but celadon was made in the south coast - close to trade ports.

▪ Maebyong - Korean transliteration of a Chinese term for a curved porcelain pot.

▪ Inlaid

▪ White slip remains white. Red slip goes black. Time consuming and artisanal.  Very Korean method.

▪ Coppered red - difficult to control. Beautiful red color needs a great degree of control and sophistication.

Porcelains as a world wide phenomenon. MASS PRODUCTION.

End with Ai Weiwei and Sunflower Seeds/Tate Turbine Hall

- Like Fan Kuan, everything is in its place

- Like Admonitions, comment on contemporary society and mass labor

What work today tells the most compelling story?

Q of the political/social effectiveness of art, specifically Zhao Mengfu

Ai Weiwei – Sunflowers

Describe work, Tate Turbine commission, many sunflower seeds, walk/look at them

Why comp? Aesthetic level, “many pieces, everything in place” like Kuan, mass-produced, so socio-cultural comment

Ai Weiwei’s work provokes similar reactions to Fan Kuan’s, Admontions, Mengfu – forces us to think past an initial aesthetic response.

ALL IN PORCELAIN!! Mass labor. Beauty of traditional Asian Art medium.

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