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Asian Art High School Advanced Art Unit. Asian Cultures Covered  Japanese  Tibetan  Chinese  Indian  Indonesian/Malaysian.

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Presentation on theme: "Asian Art High School Advanced Art Unit. Asian Cultures Covered  Japanese  Tibetan  Chinese  Indian  Indonesian/Malaysian."— Presentation transcript:

1 Asian Art High School Advanced Art Unit

2 Asian Cultures Covered  Japanese  Tibetan  Chinese  Indian  Indonesian/Malaysian

3 Japanese  Screens  Painted scrolls  Woodblock prints  Textile patterns

4 Japanese Screens Ama-no-Hashidate Edo period (1615–1868), first quarter of 17th century Single six-panel screen; ink, color, and gold on paper John C. Weber Collection

5 Musashino at Sunset Edo period (1615–1868), 17th century Single two-panel screen; ink, color, and gold on paper Peggy and Richard M. Danziger Collection

6 Scenes from the Tale of Genji Edo period (1615–1868), late 17th century Pair of six-panel screens; ink, color, and gold on paper The Mary and Jackson Burke Collection

7 Tosa Mitsuoki (1617-91) Cherry Trees at Yoshino Edo period (1615-1868), late 1650s-1660s? Pair of six-panel screens; ink, color, and gold on paper John C. Weber Collection

8 Detail of Cherry Trees at Yoshino

9 Painted Scrolls Roaring Tiger (left) Mid-Showa period (1940-1950) Colored inks on silk; 15 3/4” x 44 1/4” Entire "kakejiku" (hanging scroll) is 21” x 73 1/2” Roaring Tiger (#2) (right) Taisho to early-Showa period (1910's-1930) Colored inks on light tan silk; 15 3/4” x 41 1/2” Entire "kakejiku" (hanging scroll) is 21” x 72 1/2”

10 Pine Tree (left) Late-Meiji to early-Taisho period (1890-1910's) Black, grey, green, soft red sumi-ink and white "gofun" on light tan paper; 11 3/4” x 51 1/2” Entire "kakejiku" (hanging scroll) is 16 3/4” x 76” Kingfisher (right) Late Meiji to early-Showa period (1900-1930's) Sumi-ink of 3 colors on paper; 12” x 47 3/4” Entire "kakejiku" (hanging scroll) is 16 3/4” x 77”

11 Sun and Waves (left) Early to mid-Showa period (1930-1940's) Grey, black, red, and blue sumi-ink colors on light tan paper; 12 3/4” x 51” Entire "kakejiku" (hanging scroll) is 18” x 81 1/2” Snowy Herons in the Reeds (right) Late-Edo to early-Meiji period (1840-1870) Sumi-ink, colored inks, and "gofun-white" on silk; 16 1/8” x 43” Entire "kakejiku" (hanging scroll) is 22 1/4” x 72 1/2”

12 Woodblock Prints Shunsen A Standing Beauty (left) 1825 Woodblock Print 29 3/4” x 9 3/4” Kunichika Five Kabuki Actors (above) 1868 Woodblock Print - Triptych 14” x 27 1/2”

13 Eisen A Beauty and a Flowering Plum (left) 1830’s Woodblock Print 14 3/4” x 10” Shuncho A Lady at a Fish Market (right) early 1790's Woodblock Print 24 1/4” x 4 3/4”

14 Yoshitoshi; Watanabe Naoki at Rajomon Gate, 1887 Woodblock Print - Diptych; 29” x 10 1/4”

15 Textile Patterns

16 Formal handwoven Silk Maru Obi Edo Era (1615 - 1867) Hand woven of the finest pure Gold and Silk threads

17 Fukuro Obi originally intended for both formal and semi formal wear Meiji Era (1868-1912) Hand woven of the finest Silk threads

18 A Maru Obi, reversible The most formal and expensive of the handwoven Obi. Mid Meiji Era (1868-1912), circa 1880s Hand woven of the finest pure Silk and Gold threads

19 Nagajuban or Under Kimono Showa Era, ca 1930s Brilliantly hand dyed and stenciled Silk Maru Obi Taisho Era (1912 - 1925) Handwoven of the finest quality Silk threads

20 Young Girl's Formal, Summer Kimono Late Meiji Era (1868 - 1912) This stunning Kimono represents the most intricate of the silk gossamer weaves known as "Karami Ori." It is called "Ro" and is distinguished by strips of densely woven material separated by an open weave; hence, this rare gauze fabric creates a strong, beautiful and cool "Summer Silk." The design was created through the Rice Paste Resist technique which required that each individual color be applied separately, while all the remaining colors must first be painted out in the rice paste. This is an extraordinarily difficult, time consuming, labor intensive artistic process that often took months to accomplish. This extraordinary Kimono is of the highest quality.

21 Silk Maru Obi (above) Meiji Era (1868 - 1912), circa 1880s Handwoven of the finest Silk with an unmatchable sheen and artistry. Hand woven Silk Maru Obi (below) Meiji Era (1868 - 1911), prior to the turn of the Century Pure Gold and Silk threads

22 Tibetan  Mandala - The Tibetan mandala is a tool for gaining wisdom and compassion and generally is depicted as a tightly balanced, geometric composition wherein deities reside. The principal deity is housed in the center. The mandala serves as a tool for guiding individuals along the path to enlightenment. Monks meditate upon the mandala, imagining it as a three-dimensional palace. The deities who reside in the palace embody philosophical views and serve as role models. The mandala's purpose is to help transform ordinary minds into enlightened ones.

23 Examples of Mandalas Tibetan Mandala Animation

24 Vajravarahi Abhibhava Mandala (phag-mo mngon-'byung-gi dkyil-'khor) Central Tibet, 14th century 62 x 52 cm

25 Hevajra Mandala (dgyes-pa rdo-rje'i dkyil-'khor) Central Tibet, 14th century 54 x 43.5 cm

26 Chinese  Hanging scrolls  Hand scrolls  Album leaf

27 Hanging Scrolls Dao Ji (Shitao) Autumn Landscape (left) 1701 Hanging scroll; ink and color on paper Kaigetsudo Doshin Courtesan (right) Hanging scroll; ink and opaque color on paper

28 Emperor Guan, Qing dynasty (1644–1911) ca. 1700 Hanging scroll; ink, color, and gold on silk 68 1/8” x 36 7/16”

29 Hand Scrolls Wen Zhengming Bamboo, Orchids, Rock, and Calligraphy c. 1530 Handscroll; ink on paper

30 Li Gonglin The Classic of Filial Piety Northern Song dynasty (960–1127), ca. 1085 Handscroll; ink on silk; various dimensions

31 Emperor Huizong, 1082–1135 Finches and Bamboo Northern Song dynasty (960–1127) Handscroll; ink and color on silk 11” x 18”

32 Album Leaf Ma Yuan (ca. 1190-after 1225) Couplet inscribed by Empress Yang (1162-1233) Apricot Blossoms Leaning Against Clouds Song Dynasty Album leaf, ink and color on silk 9 7/8" H x 9 15/16" W

33 Ma Lin (ca.1180-after 1256) Emperor Lizong (Zhao Yun, 1205-1264, r.1224-64) Scholar Reclining and Watching Rising Clouds Song Dynasty Album leaf originally mounted together as a round fan with ink and light colors on silk 9 7/8" H x 9 13/16" W

34 Indian  Ceremonial masks  Tribal masks

35 Ceremonial masks Chhau Dance Papier Mache Mask : Devi Durga

36 The Kathakkali Dancer, wearing the Mask of Kathakkali Cow Mask from Ramleela

37 Mask depicting Lord Shiva for Purulia Chhau Mask depicting Hidimba for Purulia Chhau

38 Tribal masks Mask with crooked nose Terai, Nepal, Wood and clay Middle Hills, Nepal Wood and fur

39 Magar Mask Middle Hills, Nepal Wood Clown's mask Middle Hills, Nepal Wood

40 Indonesian/Malaysian  Batik - The word batik is thought to be derived from the word 'ambatik' which translated means 'a cloth with little dots'. The suffix 'tik' means little dot, drop, point or to make dots. Batik may also originate from the Javanese word 'tritik' which describes a resist process for dying where the patterns are reserved on the textiles by tying and sewing areas prior to dying, similar to tie dye techniques. Another Javanese phase for the mystical experience of making batik is “mbatik manah” which means “drawing a batik design on the heart”.

41 Indonesian Batik

42 Kawung - Kawung is another very old design consisting of intersecting circles, known in Java since at least the 13th century. This design has appeared carved into the walls of many temples throughout Java. For many years, this pattern was reserved for the royal court of the Sultan of Jogjakarta. The circles are sometimes embellished inside with two or more small crosses or other ornaments such as intersecting lines or dots. It has been suggested that the ovals might represent flora such as the fruit of the kapok (silk cotton) tree or the aren (sugar palm).

43 Ceplok - Ceplok is a general name for a whole series of geometric designs based on squares, rhombs, circles, stars, etc. Although fundamentally geometric, ceplok can also represent abstractions and stylization of flowers, buds, seeds and even animals. Variations in color intensity can create illusions of depth. The Indonesian population is largely Muslim, a religion that forbids the portrayal of animal and human forms in a realistic manner. To get around this prohibition, the batik worker does not attempt to express this matter in a realistic form. A single element of the form is chosen and then that element is repeated again and again in the pattern.

44 Parang - Parang was once used exclusively by the royal courts of Central Java. It has several suggested meanings such as 'rugged rock', 'knife pattern' or 'broken blade'. The Parang design consists of slanting rows of thick knife-like segments running in parallel diagonal bands. Parang usually alternated with narrower bands in a darker contrasting color. These darker bands contain another design element, a line of lozenge-shaped motifs call mlinjon. There are many variations of this basic striped pattern with its elegant sweeping lines, with over forty parang designs recorded. The most famous is the 'Parang Rusak' which in its most classical form consisting of rows of softly folded parang.

45 Malaysian Batik Nusantara Series II, Fatimah Chik (left) 1982 204 x 72 cm

46 Fatimah Rautin Ibrahim Woman’s Blouse Bright green batik 1995


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