ART OF SOUTH AND SOUTHEAST ASIA AFTER

1200Ivana Zak, Alexandra Lopez-Vila, Callie Schiff

Period 1 AP Art History

Regions

South Asia India Tibet

Southeast Asia Cambodia Thailand Vietnam Laos Burma Indonesia Malaysia

India After 1200

Luxury Arts of India

Technically superb, crafted from precious materials, tableware, jewelry, furniture

Metalwork, rock crystal, agate, jade, ivory Because of their value, pieces have been disassembled,

melted down, reworked Many pieces have no dates or records, and have been

removed from their original places

Buddhist Art

Religion based on teachings of Buddha “the awakened one”

Shared his insights to help sentient beings end suffering, achieve nirvana, and escape a cycle of suffering and rebirth

2 types: Theravada ("The School of the Elders") and Tantric Mahayana ("The Great Vehicle")

Practices of Tantric Buddhism included technique for visualizing deities-development of images with iconographic details

Buddhist Philosophy

Rich cultural iconography The Lion: a symbol of Buddha’s royalty The Wheel: Buddha’s law Lotus: symbol of Buddha’s pure nature

(grows in swamps, but mud slides off its surface)

Columns surrounded by a wheel: Buddha’s teaching

Empty Throne: Buddha, reminder of Buddha’s presence

Characteristics of Art

Buddhist Architecture Stupa-mound shaped shrine with no interior

Reliquary-worshippers gain spiritual merit through being in close proximity to its contents

Buddhist Painting + Sculpture Buddha’s with compact pose with little negative space

Often seated Drapery varies

Generally frontal, symmetrical, have nimbus (halo) Bodhisattvas : helpers usually near Buddha Buddha’s actions + feelings are revealed by hand

gestures mudras Head has top knot, ushnisha, and hair has series of tight

curls Yakshas (males) + yakshis (females): nature spirits

Bodhisattva Avalokiteshvara

Avalokiteshvara: bodhisattva of greatest compassion – bows to forgo buddhahood until all others become buddhas

Has garments, unlike buddha who wears monk’s robes

Holds lotus flower & wears crown of parent Has 3 eyes = ability to see in

miraculous ways Wheel of his palm = ability to

teach Buddhist truth Relaxed pose = posture of royal

ease Body bends gracefully

Chest scarf & garment reveal body

Detail of varied textures: flowers, ribbons

Formalized image

1200, India & East Asia Guilt bronze, 10’’

Jain Art

Traces roots to spiritual leader Mahavira (599-527) Final in a series of 24 saviors known as

pathfinders, tirthankaras Devotees seek through purification to become

worthy of rebirth in heaven of the pathfinders-zone of pure existence a zenith of universe

Monks live life of austerity More private forms of artistic expression

Illustrating sacred texts rather than public temples

Detail of a Leaf with the Birth of Mahavira

Illustrated manuscript from Kalpa Sutra (explicates the lives of the pathfinders

1st Jain manuscript on paper rather than palm leaf

Medium: gouache on paper

Mahavira shown being cradled in his mother’s arms after birth

Vibrant colors impart an energy to the painting that suggests the arrival of the divine in the mundane world

Swelling curves of the figures show a sense of importance

Date: c. 1375-1400Size: 8.5 X 7.6 cm

Goache Painting

Pronounced “gwash.” Comes from the Italian word “guazzo” for mud

Mix of pigment and Gum Arabic (the binder for the pigment, giving it a creamy, flowing consistency)

Opaque, dries quickly, matt finish, very amenable, covers well

Indian Process of Painting on Paper Painter applies a thin wash of chalk-

based white (sealing the surface) Fill outlines with thick washes of opaque

unmodulated color When colors dry, the painting was laid

facedown on a smooth, marble surface & burnished with a rounded agate stone (to polish)

Details were then added with a fine brush

Hindu Art

Dominant religious tradition in India Building programs spurred by wealthy

rules Structures of era were monumental with

complexity and grandeur of proportion Largely in south of India

Most powerful southern Hindu Kingdom was Vijayanagar (1336-1565) Viewed themselves as defenders/preservers

of Hindu faith & culture Kings lavished donations on sacred shrines

Hindu Philosophy

Infinite variety of divine-expressed through gods, nature, human beings

Shiva is one of principal Hindu deities-dances the world to destruction and rebirth

Characteristics of Art

Hindu Architecture Hindu temple is not for worship but residence for a god

Used corbelled-vaulting techniques to create cavelike look Thick walls protect deity from outside forces

Northern India-vertical character Hindu Painting

Miniatures, illustrations Tend to be crowded and colorful Perspective tilted upward Figures painted with delicacy-generally small

compared to landscape Hindu Sculpture

Temple sculpture integrated to architecture Mithuna: pairs of divine couples To touch image is to touch god himself-images treated

with respect

Minakshi-Sundareshvara Temple

Temple at Madurai, Hindu faith (13th century)

Dedicated to goddess Minakshi & Sundareshvara (the Shiva)

Dramatic features include the thousand-pillar halls, large ritual bathing pools, entrance gateways (gopuras)

Tallest structures in temple cities are at the periphery, rather than central temples

The complex at Madurai has 11 gopuras, over 160 ft tall

Gopura originates from the vimana (7th century pyramidal tower) has graceful concave silhouette Exterior has 1000s of sculpted figures,

evoking a world of gods & goddesses

Outer Gopura of Minakshi-Sundareshvara Temple

Tantric Influence in the Art of Nepal & Tibet

Inlaid Devotional Sculpture Metalwork style-use of polished stones Inlaid gems and semiprecious stones

enlivened copper or bronze sculptures Complex representations of deities

Celestial attributes, multiarmed, adorned Tangka Painting

Wrathful manifestatins of deities, mysterious and powerful

Maya, Mother of Buddha

Holds legendary tree branch while Buddha emerges from her side

Details: fluttering scarves, jewelry, large studded crown

Tree also richly inlaid w/ stones = auspicious nature of birth

Figure and tree rise from pedestal = blossoming lotus, Buddha’s purity

18th century, gilt bronze 22’’

Achala

Medium: gouache on cottton

Deities associated with truth, resolve, and the overcoming of obstacles

Background-green hills + blue sky=material world + cosmic geometry of Tantric Buddhism

Repeated representations of the deity conspicuous power

of image

Date: 19th century, Tibet Size: 85 X 60 cm

Southeast Asia after 1200

Theravada Buddhism in Burma/Thailand

11th-13th century-rulers built many religious monuments-temples, monasteries, stupas in Pagan plain

Artists working under royal patrons developed classic statement of Theravada ideals in bronze sculptures of Buddha

Shwe-Dagon Stupa (Pagoda)

Established in Rangoon (capital) by Mon rulers

Enshrines relics of Buddha Shwe-dagon = “Golden Dragon” Reflects centuries of restoration &

enhancement Center of Theravada devotion Contains lotus elements symbolic of

the Buddha’s purity Decoration in gilding & precious

stones Pagoda = temple or sacred building

(pyramid-like tower) w/ upward curving roofs over individual stories

Northern Burma, 11th – 13th century

Buddha Calling the Earth to Witness Thailand, Sukhothai

kingdom Bronze sculptures of Buddha Inspired by devotional texts

and poetry Iconographic & stylistic

elements of perfection Cranial protuberance =

flame of divine knowledge Details of ecclesiastical

costume now reduced to few elegant lines

Mudras = hand gestures (eloquent)

Mid 13th – 14th century

Kouros

Greek Archaic smile

Perfection of the body

Symmetry & balance

Ceramics from Hoi An Hoard (Vietnam) Burmese and Thai kingdoms produced ceramics Inspired by stonewares & porcelains from China Excavation of Hoi An “hoard” = contents of sunken

ship laden w/ ceramics for export Embellished with overglaze enamels Vietnamese potters

Late 15th-16th century

Porcelain with underglaze blue decoration

Ramayana Scene

Indonesia experienced Hindu revival following the Buddhist period (8th-9th century)

Ramayana = Hindu epic Javanese versions of epics can be found illustrated in

narrative reliefs from shrines of 14th century Modeling reduced, rhythmic surface ornamentation

increased Wayang style: similar to leather shadow puppets of

Indonesian wayang theater Botanic motifs

Sarcophagus of Junius Bassus Scenes (religious) Relief sculpture Roman

1526–1858

Mughal Empire

Mughal Period

Islam touched South Asian subcontinent in 8th century-Arab armies captured territory near Indus

From 1206-Turkish dynasties ruled portions of subcontinent from Delhi

Sultanates constructed forts, mausoleums, monuments, mosques

Mughal Architecture

Mughal architects were heir to 300 yr-old tradition of Islamic buildings in India

Forts housing government + court buildings Ancestors= 2 fundamental Islamic

structures: mosque + tomb Construction based on arch + dome Borrowed decorative + structural elements to

create hybrid styles Synthesized Indian, Persian, Central Asian elements

Cenotaphs = tombs or monuments to someone whose remains are actually somewhere else

Buland Darvaza (The Lofty Gate)

Akbar: patron of architecture, constructed capital at palace of Fatehpur Sikri

The gate is built on a high plinth, leading to a central courtyard

Gateway of proportion Inscription dated 1601

cites kbar’s triumphant return from the Deccan

1573-1574

Taj Mahal

Taj Mahal (1631-48)

Indian Islamic structure, on the bank of Yamuna River at Agra

Commissioned as a mausoleum for his wife by emperor Shah Jahan leader of the Moguls

The enclosure is divided into quadrants planted with trees & flowers pool & gardens

Walkways & stone inlaid in geometric patterns

Made of red sandstone & white marble

Tomb is raised higher than other structures on marble platform

A minaret (slender tower) defines the surrounding space with three levels

Crowning each minaret is a chattri (pavilion)

Lucid geometric symmetry & proportions (height & width)

Weightless effect

On the roof, 4 octagonal chattris create a visual transition to the bulbous dome

Sides of platform are carved in relief with a blind arcade motif and cared from the Quran inlaid in black marble

Spandrels are decorated with floral arabesques inlaid in colored stones pietra dura

Each façade is identical with central iwan (vaulted opening with an arched portal

Iwans contribute to sense of weightlessness

Taj Mahal

TAJ MAHAL

Hagia Sophia, 537 CE

Ordered by emperor Justinian

Byzantine Religious 1453: ordered

conversion into mosque

Islamic features: minarets

Domed ceiling, balance & symmetry

The Duomo, 1418

By Brunelleschi, Gothic

Dome of Florence Cathedral

Striking impact balance

Mughal Painting

Akbar-most control over solidification of Mughal Empire and creation of Mughal art (loved the arts)

Created imperial atelier (workshop) of painters Placed under direction of 2 artists from

Persian court Learning from 2 masters-Indian painters of

atelier transformed Persian styles into more vigorous, naturalistic

Mughal Painting

Painting in the Court of Akbar Paintings documenting Akbar’s own life +

accomplishments in Akbarnama Illustrated manuscript of Hamzanama

Persian classic about adventures of Hamza Painting in the Court of Jahangir

Preferred courtly life to adventurous one-painting reflect subdued + refined taste (realistic detail)

Fidelity in portraiture

Akbar Inspecting The Construction of Fatehpur Sikri

Artist: Tulsi the Elder with Bandi and Madhu Kalan

Medium: opaque watercolor on paper

Akbar’s inspection of stone masons and other craftsmen

Rendering of Buland Darwaza (Lofty Gate)

Date: c. 1590Size: 37.5 X 25 cm

Akbarnama

Hamza’s Spies Scale The Fortress

Medium: gouache on cotton

Shows Hamza’s spies scaling a fortress wall

Receding lines of architecture provide reasonably believable 3D setting

Sense of depth-boldly undercut by richly variegated geometric patterns of tilework Flat tiles contrast

rounded human figures

Robust, naturalistic figure style

Sensuous landscape

Date: c. 1567-82Size: 76 X 61 cm

Jahangir in Darbar

Medium: gouache on paper

Emperor holding an audience, darbar, at court

Symmetrical format Jahngir=top center Audience divided along

central axis (figures lined up in profile or ¾ view) Date: c. 1620

Size: 35 X 20 cm

Jama Masjid in Delhi

1656

Jama Masjid

Principle mosque in Old Delhi Commissioned by Mughal

emperor Shah Jahan (builder of Taj Mahal)

Largest known mosque in India Can hold up to 25,000

worshippers Enhances majesty with

placement of high ground Easter gate (royal) has 35

steps Used to house food stalls,

shops & street entertainers Faces west with open arched

colonnades, and has 2 lofty minarets

Inlay detail of the interior arches

Iron Door of the Main Entrance

Rajput Painting

Northern India governed regionally by local Hindu princes, descendants of Rajput warrior clans

Supported painters-variety of strong, indigenous Indian painting styles perpetuated

More abstract + poetic than Mughal style Royal portraits, court scenes, indigenous

subject (myths, love poetry, Ragmala) Bhakti= Hindu devotional movement

Inspired poetic literature, especially to Krishna Gita Govinda= cycle of rhapsodic poems about

love between God and humans

Krishna and the Gopis

Manuscript of Gita Govida Krishna sits in dalliance with

group of cowherd women Radha peers through trees-

overcome with jealousy Radha=cool blue behind her Crimson red behind

Krishna=passion Curving stalks + bold patterns-

exuberance of springtime Figures of single type (plump

faces & oversized eyes) Variety of texture provides

individuality

Region of Rajasthan 1525-50Size: 12.3 x 19 cm

Krisna and the Gopis Comparison

Hour of Cowdust

Medium: gouache on paper

Shows influence of Mughal naturalism on later schools of Indian painting

Krishna wearing peacock crown, garland of flowers, yellow garment returns to village with his

fellow cowherds + cattle Charming village with

pastel houses (creates space)

Diagonal movement of cows

Trees on horizon-naturalism

Date: c. 1790Size: 36 X 31.9 cm

India’s Engagement with West

Indian Influence in the West

British Colonial Period Under mercantile interests of British East

India Company in 17th/18th century Political concerns extended to arts,

architecture Modern Period

Wake of WWII, imperial powers of Europe shed colonial domains

British Colonial Period

India Gate, 1931

1911 British had intention to move the government seat from Calcutta to New Delhi

Sir Edwin Lutyens: architect Lutyens developed Viceroy’s House

w/ focal point of triumphal arch of All India War Memorial

Inspiration from Classical antiquity, models from Washington, D.C.

Lutyens sought to maintain tradition of Classical architecture

Developed “Delphi order” based on the Roman Doric

Arch of Constantine, 312-15 CE

Barrel-vaulted arches High pedestals Highly decorated, although

India Gate is simple Also mean to

commemorate Constantine’s victory over Maxentius

Reliefs symbolize his power and generosity

Bharat Mata (Mother India)

Artist: Abanindranath Tagore

Medium: watercolor on paper

Style that reflected ethnic origins

Invents nationalistic icon by using Hindu symbols Drew upon

format/technique of Mughal painting Date: c. 1905

Size: 26.7 X 15.3 cm

Modern Period

Gandhi Bhavan

Gandhi Bhavan

Gandhi Bhavan at Punjab University in Chandigarh (N. India)

After Indian independence in 1947, a modern, internationalist approach was introduced

Used for lectures & prayer Designed late 1950’s by B.P. Mathur with Pierre

Jeanneret International Style: pinwheel plan and abstract

sculptural qualities reflect modern version Robust combination of angles & curves from

Sanskrit letterforms

Dharma And The God

Artist: Manjit Bawa Medium: oil on

canvas Juxtapose

illusionistically modeled figures and animals against colored backgrounds of flat, unmodulated color

Date: c. 1984Size: 216 X 185.4 cm