Name: Mark Jiang Date: 9/27/23 Period: 4th

Unit 3: Topic 3.2 Religious Sites, Art, and Monumental Architecture (1450 - 1750CE)
Location, Historical Significance & Other Notes
Time Period,
& Empire Think PIECES - find ways to connect information to what you see in your
“Topics” for Unit 3, especially Topic 3.2

Versailles Location: Notes: The site used to be a small hunting lodge until Louis XIV decided
Versailles, to build the palace on it. It is a major example of the over-the-top
France excesses of the French nobles that led to the French Revolution. The
architect team had Louis le Vau, André le Nôtre, and Charles le Brun.
Time Period: The palace was completed 21 years after it was begun in 1661, allowing
Louis and his closest friends, family, courtiers, servants, and soldiers
(1661-1710) (20,000 people), to set up a court there. The French government was
thus shifted away from the feuding, gossiping, trouble-making noble
Early Modern families in Paris. The most important room, the Hall of Mirrors, caught
Period the sun's rays to remind us again of Louis XIV’s power. After Louis XIV,
the room has been used for parties and military agreements (Treaty of
Empire: France Versailles). The outside of the palace had more classical elements, and
was ‘repetitive’ in comparison to the inside. This ancient past was seen
as the root of the intellectual and aesthetic superiority that people
believed had descended to France. Louis linked himself to the Sun God,
Apollo, a lot (hence the name Sun King).

How was this palace used to legitimize the rule of the French king?

The enormous, grand palace legitimized the rule of the French king as it
clearly demonstrated his wealth and glory; the classicism of the palace
showed his intellectual and cultural stature. Showing your power and
money legitimizes your rule as those are two favored aspects of a
leader; the people would’ve thought that the king was a powerful,
wealthy, and thus good ruler.

How does it illustrate absolutism?

This palace illustrated absolutism as it symbolized how the king had all
of the power. Also, Louis XIV made sure the nobles were in the palace
so that he could keep an eye on them at all times; he did not want any
possibilities of the nobles being able to work on their own/secretly plot
against him. This showed absolutism as he did not let any other
government officials have power.
Sistine Chapel, ceiling & altar wall Location: Notes: Michelangelo had been the major artist of the ceiling of the
frescoes Sistine Chapel. He proposed to paint scenes of the Old Testament, which
Vatican City, is now what is on the ceiling today. The narrative begins at the altar and
Rome is divided into three sections. In the first three paintings, Michelangelo
tells the story of The Creation of the Heavens and Earth; then The
Time Period: Creation of Adam and Eve and the Expulsion from the Garden of Eden;
and lastly the story of Noah and the Great Flood. In 1510, Michelangelo
Renaissance
took a yearlong break from the chapel, and the frescoes after this break
Early Modern were different from before; they now showed the essential figures on a
monumental scale. The sibyls and prophets showed this monumentality
Period
greatly. (The Libyan Sibyl was especially important.) The chapel was
Empire: completed in 1512 by Michelangelo, and it would turn into a veritable
Rome academy for young painters. The chapel itself has great importance to
Catholicism, and in it the Pope will lead mass; the college of cardinals
also use a room in the chapel to decide the next pope.

How did these frescoes represent a new era of European history?

The frescoes represent the optimism and the intellectual and

emotional power of the Renaissance in all of its new found
appreciation for the ancient world. They show that the time was of
great promise. Overall, the frescoes represent the new Renaissance
culture that had sparked in Rome and later in Europe as a whole.
Forbidden City Location: Notes: A large precinct of red walls and yellow glazed roof tiles. It is like
Beijing, a micro-city, and it has more than 90 palace compounds including 98
China buildings. It is surrounded by a moat as wide as 52 meters. It was the
political and ritual center of China for more than 500 years. After its
Time Period: completion in 1420, the city was home to 24 emperors and their
Early families and servants during the Ming and the Qing dynasties. The city
Modern was built due to a coup plotted by Zhu Di that made him the Chengzu
emperor in 1402. He wanted to solidify his power, so he moved the
Period
capital, as well as his own army, from Nanjing (southeastern China) to
Empire:
Beijing and began building a new heart of the empire, the Forbidden
China (Ming
City. During the Qing Dynasty, the Manchu imperial family would
Dynasty and continue to live and rule there, so the status of the city did not change.
Qing Since the Forbidden City was a ceremonial, ritual and living space, the
Dynasty) architects made the layout follow the ideal cosmic order in Confucian
ideology. This ensured that all activities within the micro-city were
done in a manner appropriate to the participants’ social and familial
roles. “All activities, such as imperial court ceremonies or life-cycle rituals, would take place in
sophisticated palaces depending on the events’ characteristics. Similarly, the court determined the
occupants of the Forbidden City strictly according to their positions in the imperial family.” The

style also reflected the hierarchy; the structures were designed in

accordance to the Treatise on Architectural Methods or State Building
Standards (Yingzao fashi), a manual that specified specific designs for
buildings of different ranks in Chinese social structure.

The outer court contains large spectacular palace compounds, and it

belongs to the realm of state affairs; only men had access to it. It had
the emperor’s formal reception halls, places for religious rituals and
state ceremonies, and the Meridian Gate (Wumen) that was the main
entrance. This court is for public life, while the inner court is the
domestic space, dedicated to the imperial family. Three of the most
important palaces align with the city’s central axis: the Palace of
Heavenly Purity (Qianqinggong), which is the emperor’s residence
 located to the south; the Palace of Earthly Tranquility (Kunninggong) is
the empress’s residence to the north; the Hall of Celestial and
Terrestrial Union (Jiaotaidian) is a small square building for imperial
weddings and familial ceremonies that is in between the other two
palaces. The Palace of Heavenly Purity was too large for private
matters, so the residence eventually moved to the Hall of Mental
Cultivation (Yangxindian). The shape of K'un “☷," one of the eight
trigrams of ancient Chinese philosophy, is formed in the layout of the
emperor’s consorts.. It is the symbol of mother and earth. Emperor
Qianlong built his post-retirement palace, the Hall of Pleasant
Longevity (Leshoutang), in the northeast corner. Today, many people
see the Forbidden City as a time capsule for China’s past and an
educational institute for learning and appreciating the history and
beauty of ancient culture.

How was this palace used to legitimize the rule of the Ming and Qing
Emperors?

The palaces were used to legitimize the rule of the Ming and Qing
emperors as they showed the imperial family’s supreme status, such as
their power and wealth. It also appealed to Confucian and Chinese
philosophy with its types of buildings and layout. This legitimized their
rule as having power and wealth as a ruler gained the favor of the
people, and the Confucian elements gained the favor of the scholars.

Qing Imperial Portraits Location: Notes: Ceremonies during the Qing Dynasty included using art.
Beijing, China Portraits of emperors decorated many palaces in the Forbidden City,
(inside and they were important in funeral rituals for when an emperor died.
Forbidden City) Remnants of ancestor veneration are seen in how some emperors had
performed ceremonies before portraits of previous rulers of their
Time Period:
dynasty, even kowtowing to them. The emperor’s legitimacy was
Early Modern
enhanced with these portraits, and legitimacy was crucial for Emperor
Period
Kangxi.
Empire: China
How did imperial portraits legitimize the rule of Qing Emperors?
(Qing Dynasty)
Imperial portraits were able to portray the emperors with qualities
favored in China and in imperial Confucian ideology. For example,
portraits of Kangxi showed him surrounded by books or holding a book.
In imperial Confucian ideology, scholarship and being knowledgeable
merit legitimacy for the emperor, and the books symbolized that.
Emperor Kangxi, a Manchu, also needed to get respect from ethnic
Chinese. Promoting himself as an accomplished scholar helped give
him the favor of the scholar bureaucrats and gain the Mandate of
Heaven in the people’s eyes.
Ryoan-ji Location: Notes: A temple affiliated with a branch of Zen Buddhism. The
Kyoto, Japan rock garden and architecture of Ryoanji demonstrate the
quintessence and aesthetics of Zen. It thrived as a major Zen
Time Period: center for the cultural activities of the elite from the late 16th
Edo Period through the first half of the 17th century under the patronage of
the Hosokawa family. Today, the location is regarded as an
Early Modern expression of Zen art and a symbol of Zen Buddhism and
Period Japanese culture. It is one of the most famous examples of a
rock garden, which consists of rocks and pebbles rather than
Empire: Japan
plants and water. They were primarily made on the grounds of
temples to encourage contemplation. The garden itself may have
been inspired by aspects of both Japanese and Chinese culture.
There are 15 rocks of different sizes in the garden, and they are
carefully placed so that one can only possibly see 14 of the 15 at
once from any angle. The date and creator of the garden are
debated. The creators may have been either Mastumoto, the
chief patron of Ryoanji, or Soami, the connoisseur, painter, and
garden designer attending the Ashikaga shogunate. There are
also several theories about what the garden means, but either
way, its rustic austerity and minimalist rock garden have played a
major role in art and architecture from medieval times to today
in Japan. There had been a radical shift in the interior program of
the Zen monastery during the late Momoyama and early Edo
periods, led by the rise of samurai warlords as important patrons
of art and formidable political entities. Today, scholars have
criticized the romanticized notion of Zen art and culture as a
symbol of Japanese aesthetic, and say that this view came from
growing nationalism in Japan during the 20th century. Also, Zen
Buddhism was spread in the west and filtered through modernist
artists.

How does Ryoan-ji illustrate religious syncretism in Japan?

Ryoan-ji illustrates religious syncretism in Japan as it combines

two different religions: Shinto, an indigenous religion of Japan
that focuses on the worship of deities in nature, and Zen
Buddhism, which came from China and emphasizes meditation
as a path toward enlightenment. (Zen Buddhism is also in of
itself a syncretic religion that combines Confucianism with
Daoism and Buddhism.) Together, the concepts show the
aesthetic values of rustic simplicity, spontaneity, and truth to
materials that came to characterize Zen art.
Suleymaniye Mosque Location: Notes: The mosque gives off a feeling of being illuminated by
Istanbul divine light. Light is almost an architectural element of the
building; it makes the interior far more effective, especially since
Time Period: Istanbul gets cold and dark in the winter. The light comes from all
Early Modern angles and directions, and it reflects and refracts as if we’re in a
Period gem. Ancient forms had been reused and rethought, and you can
(1558) see this throughout the mosque. An example is the capitals at
the top of the granite columns, which are not classical designs.
Empire: They are muqarnas, which are used in many ways in Islamic
Ottoman architecture, and are being reinvented in the capital of the
Empire column. The weight of the building feels as if it dissipates before
our eyes with how the great columns support something that
seems light and almost feathery. There is almost a presence of
an other worldly thing that makes one feel very humble. This is a
reminder of the power of God and the power of the Sultan. Back
then, the Sultan would have paraded through the city with
thousands of Janissaries in front of him and behind him, when
arriving at this mosque on Fridays for prayers. One would feel
awe in how powerful the Sultan was. The building is
overwhelming, and even the ceremony is too.

The Byzantine Basilica was the greatest architectural

achievement of the early Christian Church. When the Ottomans
conquered Constantinople in 1453, they converted the higher
Sofia into a mosque rather than demolishing it. However, the
conversion from the Hagia Sophia to the mosque was superficial,
as Islamic elements had just been bolted onto a church;
Christianity was always showing through. Suleiman the
Magnificent, the greatest of the Ottoman rulers, found this
partial makeover to not be good enough, so he decided to build
a new mosque without Christian leftovers. This was to make a
point for Allah. This point was also directly made at his rivals, the
Holy Roman Emperor and the Pope. The master builder, Mimar
Sinan, had actually been born a Christian; he was a Janissary
who was converted to Islam as a child. Suleiman’s order was
thrilling, but daunting; a great dome with half domes
surrounding it, four minarets; a structure as immense as the two
continent empire that would outshine the Hagia Sophia. Sinan’s
great idea was the indivisibility of space, an architectural
proclamation of the union of all believers. There thus aren’t lots
of columns and barriers; we are all in it together. We submit to
the light in this mosque, such as the light of true faith, the light
of the Quran, and the light of God’s law, passing through 249
windows. This drowns the space with radiance. The complex
feels weightless; even the gigantic dome does, despite the huge
amount of architectural support it needed. Behind the airiness,
lightness, and gracefulness is the mathematical engineering
mind of Sinan. That achievement is what makes the place one of
the most beautiful places on Earth.
 Why does it look like the Hagia Sophia?

The Hagia Sophia was like a model for this mosque. Sinan sought
to improve upon it, and take the Byzantine legacy.

How does this mosque illustrate the power of Sultan Suleiman

the Magnificent and his empire?

The mosque illustrates the power of Suleiman the Magnificent

and his empire, as it shows how he was able to challenge the
strong Christianity. Not even other rulers could challenge the
Holy Roman Emperor or the Pope. This demonstrates how
Suleiman was a powerful ruler, and how his empire was strong
with its Islamic beliefs.

Taj Mahal Location: Notes: Shah Jahan was the fifth ruler of the Mughal Dynasty, and his
Agra, India wife (Mumtaz Mahal) died during his third regnal year (due to issues
with birthing their 14th child). The emperor almost immediately began
Time Period: constructing a suitable, permanent resting place for her. He would then
Early create the Luminous Tomb, as it was called in contemporary Mughal
Modern
texts, which is known today as the Taj Mahal. Its dome shape was not
Period
unique, but it was, however, exceptional for its massive scale, stunning
Empire: gardens, lavish ornamentation, and its overt use of white marble. Agra,
Mughal where Shah Jahan had taken the throne in 1628, had been located on
Empire the banks of the Yamuna River. It quickly earned the reputation as a
“riverfront garden city”, as it had meticulously planned gardens. The
first impression when entering is of grand splendor and symmetry.
There are two identical buildings flanking on either side of the
mausoleum; one is a mosque, while the other’s purpose is unknown,
but provides architectural balance. Minarets being used ornamentally
rather than functionally (like in mosques) shows the Mughal focus on
structural balance and harmony. The Taj Mahal uses the hasht bishisht
(8 levels) principle, alluding to the eight levels of paradise. The center
of the main chamber holds the intricately decorated marble cenotaph
of Mumtaz Mahal on a raised platform. The emperor’s cenotaph was
laid beside hers after his death three decades later. Their remains are in
a coffin in the spaces directly beneath the cenotaphs. Viewing from the
moon gardens across the river makes the complex seem grander, which
shows the brilliance of the architect. The gardens incorporated
waterways and fountains, a new type of gardening that was introduced
to India by Babur. The best material and skills were employed, with the
finest marble coming from quarries 250 miles away in Makrarna,
Rajasthan. There are many theories for what the Taj Mahal was, like it
being an architectural symbol of love in popular literature, a Divine
Throne on the Day of Judgment, a replica of a house of paradise, or a
vanity project built to legitimize Mughal rule. Shah Jahan would die as a
prisoner.

How does Taj Mahal represent religious and cultural syncretism?

The Taj Mahal represents religious and cultural syncretism as it fuses

aspects from other Islamic traditions, and the white and red color
scheme of the complex might correspond with principles said in
ancient Hindu texts.
Jahangir Preferring a Sufi Shaikh to Kings Location: Notes: Flames of gold radiate from the Emperor’s head against a
India background of a larger, darker gold disc. A slim crescent moon hugs
(now in most of the disc’s border, thus demonstrating day and night, and
symbolizing the ruler’s emperorship and divine truth. The emperor,
Washington,
Jahangir, is the biggest out of the 5 people in the painting. The disc
D.C.)
with his halo, which symbolizes his title of honor, is the largest object in
Time Period: the painting. Jahangir faces four men. The one almost on par with the
emperor is Sufi Shaikh, who accepts the gifted book with a smile.
Early
Jahangir only directly interacts with the Shaikh, which makes a
Modern
statement about his spiritual inclinations. Inscriptions in the cartouches
Period
again show that Jahangir favors visitation with a holy man over kings.
An Ottoman Sultan is below Saikh, and thus second in importance. The
Empire:
style of his turban shows he is a foreigner, and his hands are joined in
Mughal
respectful supplication. King James I of England is the third figure, and
Empire
he is distinctive by his European attire (plumed hat worn at a tilt; pink
cloak; fitted shirt with lace ruff; and elaborate jewelry). His frontal
posture and direct gaze make him appear improper and perhaps even
uneasy. Bichitr, the artist responsible for the miniature, is the last
person. His yellow jama tied on his left shows he is a Hindu working at
the Mughal court, which is a reminder that artists who made Islamic art
weren’t always Muslim. Recent scholarship has Bichitr’s reputation as
being strong in formal portraiture, and in this category, having superior
rendering of hands. Jahangir’s gem bracelets and the Shaikh’s bare
hands show a distinction between rich and poor, and the pursuit of
material and spiritual endeavors. The Shaikh accepts the book with his
shawl, not his hands, to avoid a cultural taboo of having physical
contact with a royal person. The Sultan pressing his palms together in a
respectful gesture is a similar principle. The Ottoman leader shows
respect and humility by agreeing to adopt the foreign country’s manner
of greeting. For King James, Bichitr based his image of him on a portrait
of the English monarch by John de Critz. Only one of his hands can be
seen in this painting, and it is positioned close to the hilt of his weapon.
At the time, typical portraits of European kings had one of the
monarch’s hands on his hip, and the other on his sword. Bichitr thus
may have changed the position of the hand on purpose to avoid an
interpretation where the monarch is threatening the emperor. Lastly,
Bichtr is in a miniature painting inside the painting. His yellow jama
may have been drawn to clarify his identity, and two horses and an
elephant are alongside him, maybe being imperial gifts. To emphasize
his humility, he is signing a part of the stool where the emperor’s feet
had to have touched. Beneath Jahangir’s seat, crouching angles write in
Persian, “O Shah, May the Span of Your Life be a Thousand Years,” at the
base of the hourglass that is the pedestal of Jahangir’s throne. This
reading is an allusion to the passage of time. The putti figures at the
top of the painting have little clues for their purpose or meaning. The
many-headed kneeling figure that is the base of the footstool is also
cryptic.

How does this work of art legitimize and glorify the Mughal Emperor?

The work of art shows Jahangir as a powerful ruler, superior to other

kings, but with a spiritual bent. Showing the Mughal Emperor as being
superior to other rulers legitimize him, as being powerful makes your
rule seem more real and strong.