Download Lecture: Summer 2011 - Art History Teaching Resources

WEEK 7 - Chinese and Korean Art Before 1279
Links:
 Admonitions Scroll:
http://upload.wikimedia.org/wikipedia/commons/c/c9/Gu_Kaizhi_001.jpg
 Bamiyan Buddha: http://www.youtube.com/watch?v=aElJmNYkmG8
1. 10-4 China: Cong
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A form of ancient Chinese jade artifact. The earliest cong were produced
around 3400-2250 BC
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In form, a cong is a tube with a circular inner section and squarish outer
section defining a hollow cylinder
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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.
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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
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So, how can we relate some of the ideas from the previous survey chapters to the
art of China and Korea before 1279?
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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?
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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.
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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
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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.
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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.”
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Writings say “Men and women know only how to adorn their faces/ None
know how to adorn their character.”
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.
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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)
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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?
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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
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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
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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).
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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.
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This was large and strong, and capable of carrying armor-clad men into battle.
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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.
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They returned to China with almost 3000 male and female horses. Since then the
horses became status symbols for rich men and government officials.
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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.
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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.
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The first emperor of the Tang dynasty (597 - 649 A.D.) was very open- minded,
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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.
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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.
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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.
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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.
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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.
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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.
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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
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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
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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
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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.
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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).
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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.
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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.
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The Southern Song (Chinese: 1127–1279) refers to the period after the Song lost
control of northern China to the Jin Dynasty.
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During this time, the Song court retreated south of the Yangtze River and
established their capital at Lin'an (now Hangzhou).
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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.
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The Southern Song Dynasty considerably bolstered its naval strength to defend
its waters and land borders and to conduct maritime missions abroad.
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In 1234, the Jin Dynasty was conquered by the Mongols, who took control of
northern China, maintaining uneasy relations with the Southern Song.
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In 1271, Kublai Khan was proclaimed the Emperor of China
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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.
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The spread of literature and knowledge was enhanced by the earlier invention of
woodblock printing and the 11th-century invention of movable type printing.
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Pre-modern technology, science, philosophy, mathematics, engineering, and
other intellectual pursuits flourished over the course of the Song.
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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.
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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
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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?
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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
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one of China's greatest artists.
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Further simplifying the earlier Song style to achieve a more immediate, striking
effect.
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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
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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.
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Instead of producing highly detailed, complex paintings, he limited his materials
and thus achieved a more immediate effect.
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Perfectly balanced diagonal composition, in which the void and the solid mass
play equally important roles, and a formidable ink technique.
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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
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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?
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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?
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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.
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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.
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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
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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 -
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therefore ruling administration intertwined with Buddhist art too.
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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.
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The Chinese translated the Sanskrit Buddhist writings, the Buddhist canon.
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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
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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.
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 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
Kazakstan.Compare 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?
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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.
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Topknot - great wisdom that one head cannot contain bursting out of his head.
Not hair - wisdom.
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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.
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Mudra - hand signs.
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Bodhisattvas - richly dressed because they haven't given up the earthy realm as
yet. Lots of temples are dedicated to them.
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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.
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Maebyong - Korean transliteration of a Chinese term for a curved porcelain pot.
Inlaid
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White slip remains white. Red slip goes black. Time consuming and artisanal.
Very Korean method.
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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, massproduced, 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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