Chinese Art Vocabulary Early China and Korea Chinese Art Vocabulary Northern Song Period Yangshao Culture Liao Dynasty Shang Dynasty Southern Song Period Zhou Dynasty Korean Art Qin Dynasty Three Kingdoms Period Han Dynasty Unified Silla Kingdom Period of Disunity KoryoDynasty Tang Dynasty Click the Pagoda to take you home

Chinese Art Confucianism School of thought founded by Confucius and his disciple Mencius (Mengzi) stressing social responsibility and order. The ideal social order is personified by the junzi ( “superior person“) who possesses ren (“human- heartedness”). Anyone can become a junzi by cultivating virtues such as empathy, pursuit of morality and justice, and respect for tradition. Daoism Philosophy arising from the metaphysical teachings of Laozi and Zhuangzi stressing an intuitive awareness and harmony with nature. The Dao is the “universal path“ where strength comes from flexibility and inaction. It stresses the cultivation of individuals, often in reclusion. Clustered brackets A system of cantilevering a roof to allow for broad overhang of eaves using beams, lintels, struts, purlins, and rafters, all interlocking without mortar or glue. Bays Spaces between supporting columns in architecture. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Yangshao Culture Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

The prehistoric Yangshao culture located along the Yellow River in northeastern China. Its major artistic form was Earthenware pottery.

Decoration on Yangshao pottery included zigzags, lozenges, and spirals Techniques for decorating earthenware and stoneware in early China relied on changes made to the piece during firing. Earthenware is fired at low temperatures in open pits or simple kilns and remains soft and porous, allowing liquids to seep through. Stoneware is fired at a much higher temperature in a kiln, and has a stonelike hardness and density. Decoration on Yangshao pottery included zigzags, lozenges, and spirals Potters of the Yangshao Culture produced fine decorated earthenware bowls in the 4th millennium BCE, prior to the invention of the potter's wheel. IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Majiayao relics is situated in Lintao County, Gansu Province, at the upper stream of the Yellow River, and belongs to the late period of the New Stone Age, from the year 3300 B.C. until 2050 B.C with a duration of about 1000 years. Majiaya Painted Pottery is an important representative of the Majiayao Culture. At that time the pottery industry was in its prime, and painted pottery accounted for quite a proportion among all the pottery products, and a number of fine works emerged. The paintings on the Majiayao Painted Pottery were made with brush pens and with lines as the means of shape-design, with black (equals to ink) as the main keynote color. The most spectacular painted pottery products are those with geometrical patterns, from which people can sense the strong and powerful vitality, like the torrents of the Yellow River, with thousands of different postures. Majiayao Painted Pottery boasts a rich variety of pottery types, multiple themes, refined and elaborate pattern decoration. Its primitive simplicity, magnificence and elegance make it an unparalleled wonder in the world history of painted pottery. Furthermore, these potteries also convey abundant social and cultural information about the pre-historic ages---this is of extraordinary cultural value. The pottery basins and kettles unearthed in 1973 in Datong County of Qinghai Province with dancing patterns on them are precious exemplification of this ancient art. Yangshao Culture vases from Gansu Province, China mid-third millennium B.C.E. 5

Shang Dynasty

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Bronze ritual vessels were most characteristic of the Shang period. Shang dynasty bronzes used animal forms probably connected with the world of spirits. Bronze ritual vessels were most characteristic of the Shang period. IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Guang probably from Anyang, China Shang dynasty 12th or 11th century BCE. bronze 6 1/2 in. high 8

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Types of objects found in tombs of Shang rulers and those of Sanxingdui and the material from which they were made. bronze vessels Elephant tusks and an ivory beaker inlaid with turquoise jade (nephrite) objects Turtle shells and animals bones inscribed in the earliest form of the Chinese language lacquer and gold objects Bronze statues IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Standing figure from Sanxingdui, China ca. 1200–1050 B.C.E. bronze 8 ft. 5 in. high, including base 10

Zhou Dynasty The Zhou dynasty was among the longest in Chinese history.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

While all theories presented to date are speculative, we can forward one based upon the Warring States text Zhou li (Rites of Zhou), that "bi" are thought to represent symbols of heaven and were used in ancient rituals together with square tubes (cong) symbolizing the earth. "To worship heaven with a bi" explains their importance and use. "Bi" also symbolize status of high social rank and sheds light on why many carved jades have been found in Zhou royal tombs. When used in burials, the Bi is placed under the head or heart of the deceased, to conduct the “hun” soul to heaven Among the most common finds in tombs during the Zhou dynasty are bi disks IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Bi disk with dragons from Jincun(?), China Eastern Zhou dynasty fourth to third century B.C.E. Nephrite 6 1/2 in. diameter 13

Qin Dynasty

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In addition to his work on the Great Wall, the Qin ruler Shi Huangdi, the first emperor of China, is remembered in art history for the army of life-sized ceramic and bronze warriors and horses he commissioned for his tomb IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Army of the First Emperor of Qin in pits next to his burial mound Lintong, China Qin dynasty ca. 210 B.C.E. painted terracotta average figure 5 ft. 10 7/8 in. high.

What was found in excavations around the tomb mound of Emperor Shi Huangdi at Shaanxi? A vast underground funerary palace filled with more than 6000 life-size painted terracotta figures of soldiers and horses, as well as bronze horses and chariots. IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE

Han Dynasty Han ancestral shrines documented the emergence of private, non-aristocratic families as patrons of religious and mythological art.

The Archer Yi? and Reception in a Mansion Jiaxiang, China IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE The Archer Yi? and Reception in a Mansion Jiaxiang, China Han Dynasty ca.147-168 C.E. rubbing of a stone relief 3 x 5 ft..

Stylistic characteristics of Han reliefs Scenes are separated into horizontal courses each with its own groundline. Slightly twisted perspective, giving a flat appearance with no depth of space. Strong silhouettes with a mix of curvilinear and angular forms.

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The Silk Road The overland route that brought silk from China to Rome and other fine goods (and ideas, like Buddhism) along the way; a network of caravan tracts across Central Asia linking it to the Mediterranean world. Buddhism was brought to China from India in the first century BCE. IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Funeral Banner from Tomb 1 Mawangdui, China Han Dynasty ca.168 B.C.E. painted silk 6 ft. 8 3/4 in. x 3 ft. 1/4 in.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Model of a house Han dynasty first century CE Painted earthenware 4 ft. 4 in. high 24

Chinese raised-beam construction 25

Period of Disunity

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Three stylistic features, derived from Gandharan prototypes, that occur in the earliest Chinese image of the Buddha The ushnisha and the cross- legged position. The flat, relief-like handling of the robe’s folds. The dhyana (meditation) mudra, which is actually misrepresented here, with the hands facing the stomach instead of the viewer. Buddhism and Buddhist images became important in China during the Period of Disunity IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Shakyamuni Buddha From Hebei Province Period of Disunity 338 gilded bronze 1 ft. 3 1/2 in. high

Gu Kaizhi Lady Feng and the Bear, detail of Admonitions of the Instructress to the Court Ladies Period of Disunity late fourth century handscroll, ink and colors on silk entire scroll 9 3/4 in. X 11 ft. 4 1/2 in. IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE 29

The earliest extant precisely datable Chinese Buddhist image is a gilded bronze statuette of Shakyamuni Buddha IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Shakyamuni and Prabhutaratna from Hebei Province Northern Wei dynasty 518 Gilded bronze 10 1/4 in. high 30

Tang Dynasty Worldly and dignified typifies the Tang court and the art it commissioned.

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Drawing of East Main Hall Foguang Si IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Drawing of East Main Hall Foguang Si Mount Wutai, China Tang dynasty ca. 857 33

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The Vairocana Buddha is massive in size (44 feet tall), but in addition, is carved in the round with a geometric regularity of contour and smoothness of planes to emphasize the volume of the figure, as opposed to the flatter, more relief-like carving of the Zhao Shakyamuni Buddha. IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Vairocana Buddha, disciples, and bodhisattvas Fengxian Temple, Longmen Caves, Luoyang, China Tang dynasty completed 675 Limestone Buddha 44 ft. high.

Vairocana Buddha, disciples, and bodhisattvas IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Vairocana Buddha, disciples, and bodhisattvas Fengxian Temple, Longmen Caves, Luoyang, China Tang dynasty completed 675 Limestone Buddha 44 ft. high.

Tang dynasty artists and craftspeople taught visitors from Korea and Japan, and some traveled abroad. IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Vairocana Buddha, disciples, and bodhisattvas Fengxian Temple, Longmen Caves, Luoyang, China Tang dynasty completed 675 Limestone Buddha 44 ft. high. 37

Materials Wood (with lacquer), marble, and tiled roofs. Colors favored Red, black, yellow, and white. Roof line favored Curved, with overhanging eaves. Builders laid beams between columns, decreasing the length of the beams as the structure rose. The beams supported vertical struts, which supported higher beams and eventually the purlins running the length of the building. The purlins carry the roof’s sloping rafters, which could be straight or curved. Unlike Egyptian and Greek architecture, Chinese architecture had roofs with curving silhouettes and were constructed differently.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Type of perspective was used; Central, with objects that recede into space but do not converge onto one single vanishing point. IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Paradise of Amitabha Cave 172, Dunhuang, China Tang Dynasty mid 8th century wall painting wall approximately 10 feet high

The painting The Thirteen Emperors is attributed to Yan Liben Each figure exists in an undefined space. Importance is represented by size. The emphasis is on line drawing and flat colored washes, with simple shading to suggest volume. The painting The Thirteen Emperors is attributed to Yan Liben IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE attributed to Yan Liben Emperor Xuan and attendants, detail of The Thirteen Emperors Tang dynasty ca. 650 handscroll, ink and colors on silk detail: 1 ft. 8 1/4 in. x 1 ft. 5 1/2 in. ; entire scroll, 17 ft. 5 in. long 41

Devices used to give a sense of depth and space to the composition. Paired figures facing into and out of the space of the picture. The figures are grouped in an oval with intervals that suggest a common ground plane. IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Palace ladies, detail of a wall painting in the tomb of Princess Yongtai Qianxian, China Tang dynasty 706 detail 5 ft. 10 in. high 42

Types of figurines commonly found in Tang tombs: Chinese people (such as First Emperor of Qin’s army). Foreigners. Fantastic creatures. Domestic animals. IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Horse Tang Dynasty 8th to 9th century C.E. 20 in. high glazed earthenware

IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Neighing Horse Tang Dynasty 8th to 9th century C.E. 20 in. high glazed earthenware

Northern Song Period

Stylistic characteristics Shifting perspective where some objects are represented from a level ground and others from an oblique perspective. Humans are dwarfed by overwhelming nature. Distance is represented with smaller, paler brush markes and unrepresented space (in front of the mountain). Shifting perspective is most characteristic in the paintings of the northern Song artist Fan Kuan. IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Fan Kuan Travelers Among Mountains and Streams Northern Song Period early 11th century hanging scroll, ink, and colors on silk 6 ft. 7 1/4 in. x 3 ft. 4 1/4 in.

A pioneer of Chinese landscape painting during the Period of Disunity was Fan Kuan The six canons of Chinese painting include responding to things, depicting their forms and dividing and planning, positioning and arranging, but not making objects appear still and persons appear in motion Scholars praised landscape Song dynasty painter Fan Kuan as a master of light, shade, and texture IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Fan Kuan Travelers Among Mountains and Streams Northern Song Period early 11th century hanging scroll, ink, and colors on silk 6 ft. 7 1/4 in. x 3 ft. 4 1/4 in. 47

Calligraphy has been highly valued throughout China’s history and was required training for court painters. Chinese painting valued care with and variety of brushstrokes for both drawing and shading. When Huizong reorganized the imperial painting academy, he required the study of poetry as part of the official training of court painters. IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Attributed to Huizong Auspicious Cranes Northern Song period 1112 section of a handscroll, ink and colors on silk 1 ft. 8 1/8 in. X 4 ft. 6 3/8 in. 48

Chinese potters applied slip to earthenware and stoneware vessels by painting, pouring, and dripping on a clay body not yet fully dried. IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Meiping vase from Xiuwi, China Northern Song period 12th century stoneware, Cizhou type, with sgraffito decoration 1 ft. 7 1/2 in. high 49

IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Meiping vase Northern Song period 960-1127 C.E. Stoneware, Cizhou type with sgraffito decoration

Liao Dynasty

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

A pagoda, or tower of winged eaves, was earliest used for housing relics and providing devotion to the Buddha, but later served other functions. The form developed from the tall towers of Indian temples and stupas. IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Foguang Si Pagoda Yingxian, China Liao Dynasty 1056 C.E.

Foguang Si Pagoda Yingxian, China Liao Dynasty 1056 C.E. IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Foguang Si Pagoda Yingxian, China Liao Dynasty 1056 C.E.

Southern Song Period

Elements typical of Southern Song landscape painting: Landscape reduced to a few elements that carefully frame a figure. Foreground, middle ground, and background arranged vertically. Abbreviated, expressive calligraphy-inspired ink painting, with a variety of wet and dry brush strokes. The Chinese interest in landscape was most strongly influenced by Daoist nature cults and poetic themes IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Ma Yuan On a Mountain Path in Spring Southern Song period early 13th century album leaf, ink and colors on silk 10 3/4 in. x 17 in. 56

In Chan thought, the performance of even mundane tasks have the potential to become a spiritual exercise. A scruffy, caricature-like representation suggests that the figure is not burdened by worldly matters such as physical appearance. Quick and seemingly casual painting can be interpreted to mean progress towards enlightenment. IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Liang Kai Sixth Chan Patriarch Chopping Bamboo Southern Song period early 13th century hanging scroll, ink on paper 2 ft. 5 1/4 in. high 57

Lohans Giving Alms to Beggars IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Zhou Jichang Lohans Giving Alms to Beggars Southern Song Period 1178 C.E. hanging scroll, ink and colors on silk 3 ft. 7 7/8 in. x 1 ft. 8 7/8 in.

Korean Art Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Unlike at Longmen, the interior wall surfaces and sculpture were not cut from the rock in the process of excavation. Instead, workers built the rotunda wall by attaching hundreds of granite pieces by stone rivets. The result is more polished and geometric. A colossal relief in the Longmen complex of caves from the Tang dynasty features a central figure of the Buddha that is 44 feet tall. The sculpted granite pieces at Sokkuram were attached to the walls of the cave using stone rivets Vairocana Buddha, disciples, and bodhisattvas Fengxian Temple, Longmen Caves, Luoyang, China Shakyamuni Buddha at entrance to cave temple from Sokkuram, Korea

The Korean Buddha shares compactness and stylization of features most with the Sarnath Buddha. The pose is elegantly simple, more balanced than the Longmen; the Buddha hardly seems to occupy much space yet it is definitely carved in the round and has a sense of quiet motion and peace that is best seen in 6-12. Shakyamuni Buddha at entrance to cave temple from Sokkuram, Korea Seated Buddha preaching first sermon from Sarnath, India 5th century C.E. sandstone Vairocana Buddha, disciples, and bodhisattvas Fengxian Temple, Longmen Caves, Luoyang, China

Three Kingdoms Period Crown from tomb 98 Hwangnamdong, Korea IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Crown from tomb 98 Hwangnamdong, Korea Three Kingdoms Period 5-6th century gold 10 3/4 in. high

Unified Silla Kingdom Shakyamuni Buddha at entrance to cave temple IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Shakyamuni Buddha at entrance to cave temple from Sokkuram, Korea Unified Silla Kingdom 751-744 granite approximately 11 ft. high

Koryo Dynasty Celadon Korean pottery characterized by highly translucent iron-pigmented glazes, fired to produce gray, pale blue, pale green, or brownish olive. Incised or engraved areas created tonal variations. Impressive celadon ceramics were developed during the Koryo dynasty The Koryo potters of Korea produced world famous celadon ware. IDENTIFY COMPLETELY: STYLISTIC PERIOD OR CULTURE SUBJECT/ICONOGRAPHY STYLE/TECHNIQUE Maebyong vase Koryo dynasty ca. 918-1000 celadon with inlaid decoration 1 ft. 4 1/2 in. tall