Chapter 5 - Asian Art

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ASIAN ART
LEAL - GONZALES - CANDELARIO - PULMA

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THE STUDENT SHOULD BE

ABLE TO DEMONSTRATE
AGENDA UNDERSTANDING AND
APPRECIATION TOWARDS
ASIAN ART.
CHINESE ART JAPANESE ART INDIAN ART INDONESIAN ART
ASIAN MUSIC
PULMA
CHINESE ART
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CHINESE CULTURE
3000 b.c. Yangtze and huang ho rivers
CHINESE CULTURE
Hsia dynasty (2205-1767 sung dynasty (960-1276)
b.c) neolithic golden age lsp-cal-pot-jade
Shang dynasty (1766-1121

ming dynasty (1368-1643)
b.c.)
ornamental carvings
bronze
T’ang dynasty (a.d. 618- ch’ing dynasty (1644-

906) painting & porcelain 1911) print making
First republic of sun

yat sen (a.d. 1911)
A D
LET’S
B E
PLAY!
C F
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CHINESE
PHILOSOPHY
confucius placed importance on
man and standards of personal and
social conduct with the golden rule: CONFUCIANISM
“do not do unto others what you do not
wish others to do unto you”
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CHINESE
PHILOSOPHY
taoism is derived from “tao”, the
order and harmony in nature following
an unfailing pattern. TAOISM
influenced chinese art by its
contemplative and poetic characted
which became a way of viewing universe Back to
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KEY
CONCEPTS
perpetual motion & mutation
returning to tao
yin and yang TAOISM
meaningful space
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CHINESE
PHILOSOPHY
buddhism was introduced into
china from india. man attain wholeness
by stilling the heart to become one CH’AN BUDDHISM
with the universe.
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chinese paintings
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CHINESE
PAINTING
hsieh ho, a portraitist,
formulated 6 principles of painting
1. create lifelike tone
2. build structure thru brushwork HSIEH HO’S 6 CANONS
3. depict forms of things as they are
4. appropriate coloring
5. composition
6. transcribing and copying Back to
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CHINESE
PAINTING
HARMONY AND RELATIONSHIP OF
THINGS IN NATURE ARE EMPHASIZED:
1. FLOWERS PAINTING MANUALS

2. OLD & YOUNG TREES
3. BAMBOO
4. MOUNTAINS & WATERFALLS
5. LANDSCAPE PAINTINGS Back to
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CHINESE
PAINTING
1. IN HEIGHT, VERTICALITY
EMPHASIZED
2. IN DEPTH, LESS DISTINCT THE
FARTHER THEY ARE PERSPECTIVE
3. ON THE LEVEL, ONE LOOKS FROM
FOREGROUND INTO FAR DISTANCE
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CHINESE
PAINTING
5 DISTINGUISHED STYLES BY THE
SUNG DYNASTY:
1. COURTLY STYLE
2. MONUMENTAL STYLE STYLES
3. LITERAL STYLE
4. LYRIC STYLE
5. SPONTANEOUS STYLE
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ku k’ai’s admonitions of the imperial

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majestic mountains by
northern sung painters
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bird on a branch by emperor hui tsung

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on a mountain spring by ma yuan

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immortal in
splashed ink by liang
kai
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CHINESE
ARCHITECTURE
chinese buildings are identified

by its curved tile roof
BUILDING
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CHINESE
ARCHITECTURE
a tower that serves a religious
function. it usually has 7 stories,
each storey a repetition of the first.
the pagoda served to house religious
relics of buddha.
PAGODA
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CHINESE ART IN
PHILIPPINES
chinese influence has remained largely
in the economic rather than social &
cultural sphere.
trades recorded in chao ju-kua’s account:
1. porcelain
2. damask
3. colored beads
4. iron pots
5. iron needles
TRADE
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CHINESE ART IN
PHILIPPINES
excavated porcelains in calatagan,
batangas, mindoro, novaliches, rizal and
sta.ana manila
served as grain and wine containers as well

as ritual purposes.
TRADE
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sung celadons - gray bodied with pale sea

green or olive green glaze. a porcelain to rival
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chinese resident traders are

confined
DURING they proved to excel at

masterbuilding and craftsmen
SPANISH chinese manufactured durable & low

cost materials, bricks & tiles
a number of chinese worked as

sculptors, stone lions at intramuros
REGIME
they also excelled at woodcarving
and participated in making of santos.
PULMA
JAPANESE ART
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Japanese Art often reflects daily

appreciation of nature including human
nature to a subject matter and
artistic approach.
Japanese Artists have a talent for

adapting and integrating elements and
forms of culture that align with their
aesthetic preferences.
HISTORY OF
JAPAN’S ART
JOMON PERIOD DOLMEN PERIOD ASUKA PERIOD NARA PERIOD
HEIAN PERIOD KAMAKURA PERIOD MUROMACHI

PERIOD
MOMOYAMA PERIOD EDO PERIOD

JOMON term Jōmon comes from the cord pattern
PERIOD
technique in this period's pieces.
JOMON
PERIOD
Clay figurines, "DōGU", often
depicted women with exaggerated
features.
One of the most celebrated

Dōgus is the Jomon Venus -
Symbolises fertility goddess.
Jomon venus Shakōki

DOLMEN PERIOD
The earliest evidence of the
construction of dolmens belongs to
the final stage of the Jōmon period.
Japanese art in Dolmen Period started

when an imperial Court was
established in the province of
Yamato.
Haniwas
ASUKA PERIOD (548-645)

Increase in Japan's contact with other regional powers, the rule of such famous
figures as Prince Shotoku, the establishment of the powerful Fujiwara clan, and
the adoption of Buddhism.
Asuka period significant cultural relations were maintained with the Baekje
(Paekche) kingdom of Korea.
ASUKA PERIOD WAS THE TIME

OF TRANSFORMATION FOR
JAPANESE SOCIETY.
Chinese influence from their "seventeen article Constitution" which centralised

government and emphasizing both Buddhist and Confucian principles.
LITERATURE AND MUSIC FOLLOWING CHINESE MODELS WERE ACTIVELY

PROMOTED BY THE COURT AND ARTISTS WERE GIVEN TAX RELIEFS.
NARA PERIOD (645-793)

The capital of Nara followed the pattern and city planning of Chang'an, the
brilliant T'ang capital, built according to the grid pattern of streets.
First several decades of the 8th century were marked by power struggles,
political intrigue, attempted coups, and epidemics.
Emperor shomu, In 741, established the kokubunji system, building a monastery

and a nunnery in each province, all under a central authority at Nara.
IN 743, TODAI
TEMPLE WAS BUILT,
WITH ITS CENTRAL
IMAGE, A MASSIVE
BRONZE STATUE OF
THE BIRUSHANA
(GREAT BUDDHA)
Shūkongōjin - guardian deity

presented for viewing only once a
year. (Clay sculpture with its
original gold leaf , modeled on
Chinese statues of guardian angels
representing power and force)
HEIAN PERIOD (794-1184)

The capital of Japan was moved to Kyoto, there was an emergence of a new
aristocracy class, controlled by the powerful Fujiwara clan.
From religion decorations of temples, artist now began to produce portable

paintings in the form of scrolls, albums, and screens.
Poetry, too, and literature in general, flourished in this period because of

deepend interests in and understanding of human nature.
Yamato-e paintings: subjects often

about Japanese landscapes, poetry,
history and mythology. Usually done on
folding screens, and room partitions.
Emaki: handscrolls that usually

depicts literary classics like "The
Tale of Genji" written by Lady
Mirusaki Shikibu. - illustrated new
genre of style which would later on
influence the art of printmaking. Long
and complex tale that follows the life
and relationship of Prince Genji and
the woman of his life.
KAMAKURA PERIOD (1185-1337)

Marked the beginning of the feudal period that would last for 700 years.
Fujiwara clan dominance declined and political power shifted from the noble
class to military landowners in the provinces.
Under the leadership of Minamoto Yoritomo which was named seii taishōgun
"barbarian-quelling generalissimo".
The samurai, Japanese warrior class, established the ruling power of the
shogunate "bakufu" (tent government) in Kamakura.
deepening pessimism
resulting from the civil
wars increased the appeal
of the search for
salvation; as a result,
various schools of
Buddhism grew in
popularity.
Zen Buddhism greatly

influence the art of
Kamakura Japan.
GREAT BUDDHA OF KAMAKURA SITUATED AT THE KŌTOKU-IN TEMPLE IN KAMAKURA

Painting from the Kamakura Period largely continued the traditions of

the previous Heian Period, including emaki handscrolls , the yamato-e
style of painting, and painted mandalas .
Emaki or painted hand scrolls usually encompassed religious,

historical, or illustrated novels, accomplished in the style of the
earlier Heian period
Ceramics was also introduced to Japan from China and due to the
increase in porcelain, tea ceremony was born.
KAMAKURA-PERIOD PORTRAIT OF A "NIGHT ATTACK ON THE SANJÔ PALACE"

REVERED MONK (PORTRAIT OF JION (DETAIL), ILLUSTRATED SCROLLS OF
DAISHI, 14TH CENTURY, INK AND COLOR THE EVENTS OF THE HEIJI ERA (HEIJI
ON SILK, THE METROPOLITAN MUSEUM OF MONOGATARI EMAKI)
ART)
MUROMACHI PERIOD (1338-1573)

Ashikaga clan took control of Shogunate, favoured Zen Buddhism.
Continuing influence of the spontaneous style of Zen in painting and one of the
important painters of the period was Sesshu.
foremost painter of the new Sumi-e style was Sesshū Tōyō (1420–1506), whose most
dramatic works were completed in the Chinese splashed-ink (Haboku) style.
The Sumi-e style was highly influenced by calligraphy, employing the same tools
and style as well as its Zen philosophy.
HABOKU-SANSUI, SESSHŪ, 1495, INK ON

SILK.
MOMOYAMA PERIOD (1568-1615)

Japan underwent a period of unification under the leadership of Oda Nobunaga and
his two successors, Toyotomi Hideyoshi and Tokugawa Leyasu.
Traditional temple architecture was replaced by lavish castles and mansions.

EDO PERIOD (1615-1868)

also referred to as the Tokugawa Period. The country was under the rule of
Tokugawa Shogunate, the military government that was in charge for over 2 ½
centuries.
In 1639, the country was closed to foreigners, except for the port of Nagasaki
which admitted Chinese and Dutch traders.
First major art movement in Japan

that was not supported by the ruling
class or Aristocracy.
Prominent artist of the period is

Hokusei who is known for his series
“Thirty-Six Views of Mt. Fuji” -
widely regarded as one of the most
iconic and influential series in
Japanese Art history.
THE GREAT WAVE OFF KANAGAWA

Kabuki theatre - plays are about

historical events and moral conflict
in relationships of the heart.
Haiku : consist of three phases

composed of 17 phonetic units in a 5
7 5 pattern.
The policy of isolation was reversed only in 1853 with the arrival of Commodore
perry.
In 1867, the Tokugawa Shogunate ended, followed by the Meiji Restoration that
reestablished practical imperial rule under Emperor Meiji
VINCENT VAN GOGH WAS FASCINATED BY UKIYO-E PRINTS

AND WAS KNOWN TO HAVE COLLECTED AND STUDIED THEM,
INCLUDING THE WORK OF HIROSHIGE “ONE HUNDRED FAMOUS
VIEWS IN EDO"
CONSTANTS IN JAPANESE ART

1. Japanese art is more people oriented (tale of Genji).
2. Chinese painters often portrayed an awesome and impressive nature, the

Japanese treated nature as their familiar environment.
INFLUENCE OF ZEN
BUDDHISM
Two predominant religions in Japan, namely Shintoism and Buddhism.

When Buddhism reached China, it merged with the native Taoist philosophy
and the result was Zen Buddhism.
Zen attainment is through satori. 1: through verbal way, through Zen

riddles (koan) and direct action.
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Japanese art that stem from the Zen worldview.
1: wabi, the spirit of poverty. Prefer a simple, honest existence and to

feel content to be within nature.
2: sabi, feeling of historical period, air of antiquity or Primitiveness

with a sense of loneliness.

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The art form most strongly

associated with Zen Buddhism is
ink painting, called sumi-e in
Japan. commonly described as
art done in monochrome, with
the use of sumi ink and
handmade paper.
Taking inspiration from the

temples, Japanese homes started
to incorporate a tokonoma
(alcove), shoin (study or
drawing room), and tana (built-
in shelving, often with shoji
sliding doors.
Zen nurtured an appreciation

for the beauty of natural,
humble materials such as
irregular wood beams and tatami
mats.
KOYASAN ONSEN FUKUCHIIN
Poetry: the spirit of Zen also finds expression in the haiku, the shortest
poem in the world literature.
Art of Tea : The Japanese tea ceremony, or chanoyu, is one of the most
emblematic arts of Japan and embodies the Zen practice of using every day
tasks as a vehicle for meditation in the brewing, serving and drinking of
the tea, as well as the Zen aesthetic of rustic simplicity in the
implements of the tea ceremony and the design of the Japanese tea house.
SHINTO AND BUDDHIST
ARCHITECTURE
Shinto Shrines are typical Japanese structures, as shintoism itself was

the indigenous faith of the people which stressed love of nature, family,
and the Japanese ruling class as direct descendants of the gods

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SHINTO SHRINE
BUDDHIST TEMPLE IN JAPAN
BUDDHIST TEMPLE IN CHINA
PRINTS
print making originated from the production of genre screens byubo,
showing people in various activities, usually in a household or in
enclosed rooms, such as courtesans grooming themselves.
Japanese prints:
Popular commercial prints - consists of landscapes, portraits of beautiful
women, actors, wrestlers, and figures of ancient Japanese history and
legend.
Erotic prints - usually given as gifts to be placed under the pillows of
newlyweds couple.
Surimono - miniature woodblock prints usually designed to be given away as
keepsakes on New Year's Day

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POPULAR COMMERCIAL PRINT EROTIC PRINT

SURIMONO
OUTSTANDING JAPANESE
PRINTMAKERS
Suzuki Haronubu Kitagawa

- first to Utamaru - known
exploit for his prints
possibilities of beautiful
of color. women.
ONO NO KOMACHI AT KIYOMIZU-DERA TEMPLE

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OUTSTANDING JAPANESE
PRINTMAKERS
Ando Hiroshige
- poetic
Katsushita
landscapist,
Hokusai - known
known for his
for his thirty
Fifty three
six views of
stages of the
Mt. Fuji.
Tokaido.

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THEATER
Noh drama- oldest surviving form
of Japanese theater. It combines
music, dance, and acting to
communicate Buddhist themes. Often
the plot of a Noh play recreates
famous scenes from well-known
works of Japanese literature such
as The Tale of Genji or The Tale
of the Heike. The typical Noh play
is not a dramatic reenactment of
an event but its retelling.

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THEATER
Kabuki Play - originated in the Edo period with the rise of the
merchant middle class.
Kabuki plays are about historical events and moral conflict in

relationships of the heart.
The actors speak in a monotone voice and are accompanied by

traditional instruments.
Kabuki plays run from morning to night.
Originally performed by women and men, but eventually only male

actors performed the plays.

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THEATER
Bunraku puppets are about one-
half life size and each is
operated by three performers: a
principal operator and two
assistants.
Bunraku and kabuki often depict

stories based on adaptations of
scripts with similar themes.
Classic tragic love stories,
heroic legends and tales based
on historical events are
popular.

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HIGHSCORE 2500 CANDELARIO
INDIAN ART
INDIAN ART
THE ORIGINS OF INDIAN
CIVILIZATION GO BACK TO ABOUT
3000 B.C. ITS FIRST PERIOD
COINCIDES WITH THE ANCIENT
RIVER CIVILIZATION OF
MESOPOTAMIA IN THE TIGRIS-
EUPHRATES VALLEY.
INDUS VALLEY CIVILIZATION
(C. 3000 B.C.)
ABOUT 3000 B.C. THERE WAS A FLOURISHING
CIVILIZATION IN THE INDUS VALLEY WITH TWO
IMPORTANT CENTERS, MOHENJO-DARO AND HARRAPA,
CITIES IN NORTHWESTERN INDIA.
SYMBOLISM ON SEALS:
THE SEALS FOUND IN THE INDUS
VALLEY ARE AMONG THE MOST
ICONIC ARTIFACTS. THEY OFTEN
DEPICT INTRICATE AND
STANDARDIZED SYMBOLS,
INCLUDING ANIMALS, HUMAN
FIGURES, AND SCRIPT THAT HAS
NOT YET BEEN DECIPHERED.
THE SYMBOLS ON THESE SEALS
ARE BELIEVED TO HAVE HAD
ADMINISTRATIVE OR COMMERCIAL
SIGNIFICANCE, SUGGESTING A
WELL-ORGANIZED SOCIETY WITH
A SYSTEM OF GOVERNANCE AND
TRADE.
TERRACOTTA FIGURINES:
TERRACOTTA FIGURINES,
INCLUDING THE FAMOUS
"DANCING GIRL" STATUETTE,
SHOWCASE THE ARTISTIC
SKILL OF THE PEOPLE. THE
ATTENTION TO DETAIL IN
THESE FIGURINES SUGGESTS A
KEEN OBSERVATION OF HUMAN
AND ANIMAL FORMS.
THESE FIGURINES MAY HAVE
HAD RITUALISTIC OR SYMBOLIC
PURPOSES, POTENTIALLY
LINKED TO RELIGIOUS OR
CULTURAL PRACTICES.
GREAT BATH AT MOHENJO-DARO:
THE CONSTRUCTION OF THE GREAT
BATH IN MOHENJO-DARO IS A
TESTAMENT TO THE ARCHITECTURAL
AND ENGINEERING CAPABILITIES OF
THE CIVILIZATION. THE PURPOSE OF
THIS LARGE, RECTANGULAR POOL IS
NOT FULLY UNDERSTOOD, BUT IT IS
THOUGHT TO HAVE HAD CEREMONIAL
OR RELIGIOUS SIGNIFICANCE.
THE CAREFUL PLANNING AND
CONSTRUCTION OF SUCH STRUCTURES
EMPHASIZE THE IMPORTANCE OF
COMMUNAL SPACES AND POTENTIALLY
COMMUNAL RITUALS.
URBAN PLANNING AND ARCHITECTURE:
THE OVERALL LAYOUT OF CITIES LIKE MOHENJO-DARO AND
HARAPPA, WITH WELL-ORGANIZED STREETS, RESIDENTIAL
AREAS, AND PUBLIC STRUCTURES, REFLECTS A DELIBERATE
APPROACH TO URBAN PLANNING.
THE USE OF STANDARDIZED BRICKS AND THE CONSTRUCTION
OF MULTI-STORIED HOUSES HIGHLIGHT THE ARCHITECTURAL
PROWESS OF THE CIVILIZATION.
TRADE ARTIFACTS:
THE ARTIFACTS RELATED TO TRADE, SUCH AS
SEALS WITH IMAGES OF ANIMALS AND
INSCRIPTIONS, INDICATE A THRIVING
ECONOMIC SYSTEM. THESE ARTIFACTS
HIGHLIGHT THE IMPORTANCE OF TRADE AND
CULTURAL EXCHANGE IN THE CIVILIZATION.
PERIOD OF INDO-ARYAN INVASIONS ( 1500-800 B.C.)
MIGRATION OR INVASION OF INDO-ARYAN-

SPEAKING PEOPLE INTO THE INDIAN SUBCONTINENT.
VEDISM- RELIGION BROUGHT BY THE ARYANS
-REFERS TO THE RELIGIOUS AND
CULTURAL TRADITIONS ASSOCIATED WITH THE
VEDAS, THE OLDEST SACRED TEXTS OF THE INDO-
ARYANS. THE VEDAS ARE A COLLECTION OF HYMNS,
PRAYERS, AND RITUALS COMPOSED IN AN EARLY
FORM OF SANSKRIT. THE FOUR VEDAS ARE THE
RIGVEDA, SAMAVEDA, YAJURVEDA, AND
ATHARVAVEDA.
THE RIGVEDA, IN PARTICULAR, IS CONSIDERED THE

OLDEST AND CONTAINS HYMNS DEDICATED TO
VARIOUS DEITIES.
THE FOUR VEDAS ARE THE RIGVEDA, SAMAVEDA, YAJURVEDA,
AND ATHARVAVEDA.
VEDISM IS POLYTHEISTIC, WITH NUMEROUS
DEITIES MENTIONED IN THE VEDAS. SOME OF
THE MAJOR DEITIES INCLUDE INDRA (GOD OF
THUNDER AND WAR), AGNI (GOD OF FIRE),
VARUNA (GOD ASSOCIATED WITH COSMIC
ORDER), AND MITRA (ASSOCIATED WITH
CONTRACTS AND FRIENDSHIP).
THE DEITIES ARE OFTEN INVOKED IN HYMNS
AND RITUALS, AND THEY REPRESENT
DIFFERENT ASPECTS OF THE NATURAL
WORLD AND COSMIC ORDER.
VEDISM PLAYED A ROLE IN
SHAPING THE SOCIAL ORDER.
THE RIGVEDA CONTAINS
HYMNS THAT MENTION THE
VARNA SYSTEM, WITH
REFERENCES TO THE FOUR
MAIN SOCIAL CLASSES:
BRAHMINS (PRIESTS AND
SCHOLARS), KSHATRIYAS
(WARRIORS AND RULERS),
VAISHYAS (MERCHANTS AND
FARMERS), AND SHUDRAS
(LABORERS).
TRANSITIONAL PERIOD
THE TRANSITIONAL PERIOD IN THE EVOLUTION OF VEDIC

TRADITIONS INTO WHAT WE NOW RECOGNIZE AS HINDUISM
INVOLVED SIGNIFICANT CHANGES AND DEVELOPMENTS IN
RELIGIOUS THOUGHT, PRACTICES, AND SOCIAL
ORGANIZATION.
RELIGIOUS EDUCATION COULD BE ACHIEVED WITH THE
HELP OF A GURU OR MASTER IN THE READING OF THE
SACRED TEXTS. AND ONE OF THE MAIN SCHOOLS OF INDIAN
THOUGHT WAS YOGA, WHICH PREACHED ASCETISM OR THE
ATTAINMENT OF HOLINESS THROUGH THE DISCIPLINE AND
CONTROL OF THE BODY.
TWO GREAT INDIAN EPICS
EMERGED IN THIS PERIOD
1. MAHABHARATA
2. RAMAYANA
MAURYA PERIOD ( C. 300 B.C. -A.D. 100)
PIVOTAL ERA THAT WITNESSED THE
EMERGENCE OF ONE OF THE FIRST MAJOR
EMPIRES ON THE INDIAN SUBCONTINENT.
THE MAURYA EMPIRE, FOUNDED BY
CHANDRAGUPTA MAURYA AND LATER
EXPANDED UNDER THE LEADERSHIP OF HIS
GRANDSON ASHOKA, MARKED A SIGNIFICANT
PHASE IN THE POLITICAL, SOCIAL, AND
CULTURAL DEVELOPMENT OF ANCIENT
INDIA.
EMPEROR ASHOKA
EMBRACED BUDDHISM.
PERIOD OF THE THREE STYLES ( 2ND-4TH
CENTURIES A.D.)
THE MAURYA PERIOD WAS FOLLOWED BY A PERIOD

IN WHICH THREE SIMULTANEOUS ARTISTIC STYLE
PREDOMINATED.
REFERS TO THE ARTISTIC EVOLUTION OBSERVED
IN THE REPRESENTATION OF BUDDHA IMAGES
DURING DIFFERENT PERIODS AND IN DISTINCT
GEOGRAPHICAL REGIONS. THE THREE PRIMARY
STYLES ASSOCIATED WITH THIS EVOLUTION ARE
THE GRECO-BUDDHIST STYLE, THE MATHURA
STYLE, AND THE AMARAVATI STYLE.
1. GRECO-BUDDHIST STYLE (1ST
CENTURY BCE TO 1ST CENTURY CE):
CHARACTERISTICS:
SYNTHESIS OF HELLENISTIC AND
INDIAN ARTISTIC ELEMENTS.
BUDDHA DEPICTED WITH WAVY HAIR,
WEARING A TOGA-LIKE ROBE.
USE OF REALISTIC ANATOMICAL
DETAILS INFLUENCED BY GREEK
ART.
2. MATHURA STYLE (1ST
CENTURY BCE TO 3RD
CENTURY CE):
CHARACTERISTICS:
MORE INDIGENOUS AND
ROOTED IN INDIAN ARTISTIC
TRADITIONS.
BUDDHA DEPICTED WITH
INDIAN FACIAL FEATURES,
WEARING A SIMPLE MONK'S
ROBE.
EMPHASIS ON SPIRITUAL
AND SYMBOLIC ASPECTS.
3. AMARAVATI STYLE (2ND
CENTURY BCE TO 3RD CENTURY
CE):
CHARACTERISTICS:
ELABORATE AND INTRICATE
ORNAMENTATION.
BUDDHA OFTEN PORTRAYED IN
A MORE CELESTIAL OR DIVINE
FORM.
EMPHASIS ON NARRATIVE
SCENES AND STORYTELLING
THROUGH RELIEF SCULPTURE.
THE GUPTA OR CLASSICAL PERIOD (5TH-6TH
CENTURIES)
ALSO KNOWN AS THE CLASSICAL AGE OF ANCIENT

INDIA, LASTED FROM APPROXIMATELY THE 4TH TO
THE 6TH CENTURY CE. IT IS CONSIDERED A GOLDEN
AGE IN INDIAN HISTORY, MARKED BY REMARKABLE
ACHIEVEMENTS IN VARIOUS FIELDS, INCLUDING ART,
LITERATURE, SCIENCE, AND PHILOSOPHY. THE GUPTA
EMPIRE, UNDER RULERS LIKE CHANDRAGUPTA I,
SAMUDRAGUPTA, AND CHANDRAGUPTA II
(VIKRAMADITYA), WITNESSED SIGNIFICANT
CULTURAL AND INTELLECTUAL DEVELOPMENTS.
IN ART, THE GUPTA STYLE WAS A
COMBINATION OF THE GRECO-BUDDHIST STYLE
WITH THE NATIVE STYLE OF MATHURA. THE
FIGURE OF BUDDHA BECAME MAJESTIC AND
EXCEEDINGLY REFINED. AN IMAGE OF
TRANQUILITY AND INWARDNESS, HIS FACE
BEARS AN INEFFABLE SMILE, WHILE HIS
FINGERS ARE DELICATELY EXPESSIVE. THE
MASTERPIECE OF THIS STYLE IS BUDDHA
PREACHING IN A DEER PARK THE FIRST
SERMON, DONE IN SANDSTONE IN THE 5TH
CENTURY.
PLAYER 1
THE POST-GUPTA PERIOD

(BEGINNING WITH THE 6TH
CENTURY)
WHILE IN THE GUPTA PERIOD BRAHMANISM OR HINDUISM BEGAN TO
REASSERT ITSELF, IN THE POST-GUPTA PERIOD IT GRADUALLY ELIMINATED
BUDDHISM FROM INDIA AND REDUCED IT TO A SMALL SECTION OF THE
POPULATION.
PLAYER 1
10 VARIOUS FORMS OF VISHNU

PLAYER 1
64 VARIOUS FORMS OF VISHNU

PLAYER 1
GODS OF HINDU MYTHOLOGY
KALI RAVANA
PLAYER 1
IN ARCHITECTURE
TEMPLES OF
MAMALLAPURAM
PLAYER 1
IN POETRY AND DRAMA
KALIDASA:
SANSKRIT POET AND DRAMATIST,
PROBABLY THE GREATEST INDIAN
WRITER OF ANY EPOCH
PLAYER 1
THE MOGUL PERIOD

(16TH CENTURY)
BABUR:
A DESCENDANT OF TIMURLAINE,
ROSE TO POWER AND UNITED A GREAT
PORTION OF INDIA, THUS RULING THE
LARGEST EMPIRE SINCE ASOKA.
PLAYER 1
THE MOGUL PERIOD

(16TH CENTURY)
AKBAR:
RECOGNIZED HINDUISM AS A
RELIGION EQUAL TO ISLAM. HE
ENCOURAGED ART AND LEARNING AND
THE REVIVAL OF HINDU LITERATURE
AND ART..
PLAYER 1
THE MOGUL PERIOD

(16TH CENTURY)
THE MAIN CONTRIBUTIONS OF THE MOGULS TO THE ENRICHMENT OF
INDIAN CULTURE LAY IN PAINTING AND IN ARCHITECTURE. MUCH
APPRECIATED ARE THE MOGUL MINIATURES OF THE PERIOD OR THE
INDO-PERSIAN MANUSCRIPT ILLUMINATIONS. DONE WITH A MASTERY
OF LINE AND VIVIDNESS OF COLOR, AS IN SHAH JAHAN OUT RIDING
WITH HIS SON, DARA SHUKOH, THEY HAVE AN ELEGANT, CEREMONIAL
QUALITY.
PLAYER 1
THE MOGUL PERIOD

(16TH CENTURY)
THE TAJ MAHAL BUILT IN 1632 BY SHAH

JAHAN IN MEMORY OF HIS WIFE.
PLAYER 1
THE MOGUL PERIOD

(16TH CENTURY)
PLAYER 1
THE EXPANSION OF INDIAN ART

ALTHOUGH BUDDHISM DECLINED IN ITS COUNTRY OF ORIGIN, IT SPREAD
RAPIDLY TO THE NEIGHBORING ASIAN COUNTRIES. THE HINAYANA SCHOOL
ESTABLISHED ITSELF IN CEYLON, SIAM, AND BURMA, WHILE THE
MAHAYANA THRIVED IN NEPAL, TIBET, CHINA, KOREA, AND JAPAN
PLAYER 1
IN POLONNARUWA IN CEYLON OR
SRI LANKA IS FOUND THE
COLOSSAL FIGURES NEARLY 50
FEET LONG OF THE DYING
BUDDHA.
PLAYER 1
ONE OF THE GREATEST BUDDHIST MONUMENTS

IS THE BOROBUDUR IN JAVA, BUILT IN THE 8TH
CENTURY, AFTER THE DECLINE OF BUDDHISM IN
INDIA.
PLAYER 1

THE ANGKOR WAT HAS A SQUARE
WALLED ENCLOSURE SURROUNDED
BY A MOAT TWO AND A HALF MILES
LONG. THE MANY TOWERS ARE
SURMOUNTED BY A 200 FOOT HIGH
CENTRAL TOWER AND ITS
COURTYARDS SOMETIMES CONTAIN
AS EXTENSIVE AS HALF A MILE OF
SCULPTURED RELIEFS DEPICTING
IN A PROLIFIC STYLE THE HINDU
GODS AND THEIR COURT OF
LESSER DEITIES. THE BASE OF
THE CENTRAL TEMPLE ALONE
MEASURES MORE THAN 3,000 FEET
ON EACH SIDE.
PLAYER 1

THE TEMPLE COMPLEX AT ANGKOR
THOM OCCUPIES AN AREA FOUR
TIMES LARGER THAN THE EARLIER
ANGKOR WAT. ITS MOST IMPORTANT
SHRINE IS THE BAYON, SYMBOL OF
THE WORLD MOUNTAIN, CONTAINING
ON AND ALL AROUND IT A LUSH
PROLIFERATION OF RELIEF
SCULPTURE. ITS MAIN FEATURE,
HOWEVER, CONSISTS IN FOUR
COLOSSAL HUMAN HEADS DISPOSED
ON FOUR SIDES OF THE CENTRAL
TOWER. WITH THEIR SERENE
ASIATIC FEATURES, THEY SMILE
ENIGMATICALLY FROM THEIR GREAT
HEIGHT.
PLAYER 1
INDIAN DANCE
INDIAN DANCE IS A COMPLEX LANGUAGE IN ITSELF. IT DEPENDS
MUCH ON HIGHLY EXAGGERATED FACIAL EXPRESSIONS AND ON AN
EXTENSIVE VOCABULARY OF HAND GESTURES CALLED MUDRAS.
MANY DANCES REQUIRE AN INTRICATE PAINTING OF THE FACE IN
MANY HUES, ELABORATE COSTUMES AND JEWELRY, INCLUDING
ANKLETS, TO FURTHER ENRICH THE DANCE RHYTHMS. KATHAKALI,
AN IMPORTANT DANCE, IS OF A VIRILE CHARACTER. ITS ACTIONS,
SPECTACULAR AND EXAGGERATED, INCLUDE HIGH LEAPS, JUMPS,
AND PLUNGES.
PLAYER 1
INDONESIAN ART
THE ART OF INDONESIA IS PERMEATED BY A STRONG HINDU-
BUDDHIST TRADITION DUE TO THE MIGRATION OF INDIAN CULTURE.
THIS IS EVIDENT ESPECIALLY IN THEIR ARCHITECTURE, THEATRE,
AND DANCE. IN ARCHITECTURE, THE GREATEST TESTIMONY TO
THIS TRADITION IS THE BOROBODUR IN JAVA.
PLAYER 1
INDONESIAN ART
WAYANG KULIT, A TYPE OF SHADOW PLAY

WHICH IS BELIEVED TO HAVE BEEN GENERALLY
KNOWN AS EARLY AS 1000 A.D.
PLAYER 1
INDONESIAN ART
THE PUPPETS ARE MANIPULATED
BY THE DALANG, AN IMPORTANT
PRIESTLY FIGURE WHO
INTERPRETS THE STORY AND
MAY SPICE IT WITH HUMOROUS
AND SATIRICAL CONTEMPORARY
ELEMENTS.
PLAYER 1
INDONESIAN ART
THE ENTIRE NARRATION IS

ACCOMPANIED BY THE
GAMELAN ORCHESTRA,
WHICH IS ALSO FOUND IN
SOUTHERN PHILIPPINES.
PLAYER 1
INDONESIAN ART
RANGDA BARONG
THE WITCH OF EVIL THE GOOD SPIRIT
PLAYER 1
INDONESIAN ART
KECHAK OR THE
MONKEY DANCE
PLAYER 1
INDONESIAN ART
PENCHAK OR
DANCE-FIGHT
PLAYER 1
INDONESIAN ART
BATIK DESIGN
PLAYER 1
INDONESIAN ART
TIE DYEING
PLAYER 1
ASIAN MUSIC
ASIAN MUSIC, WHEREVER IT IS PLAYED, IS ASSOCIATED

WITH RELIGIOUS RITUAL, MAGIC, AND ASTRONOMY, THUS
FULFILLING THE SOCIAL FUNCTION OF STRENGTHENING
COMMUNAL BONDS.
PLAYER 1
ASIAN MUSIC
MUSIC AND DANCE OFTEN COMBINE IN A MAGICO-MIMETIC

RITUAL IN CONNECTION WITH RICE PLANTING AND
HARVESTING. IN INDONESIA AND JAPAN, MUSIC IS CLOSELY
ALLIED WITH THE THEATRE AND CEREMONIAL DANCE.
PLAYER 1
ASIAN MUSIC
ASIAN AND WESTERN MUSIC HAVE MANY POINTS OF DIFFERENCE.

WITH RESPECT TO TONE, THE SCALES IN ASIAN MUSIC MAY VARY FROM 5 TO 7
TONES, WITH THE PENTATONIC SCALE PREDOMINATING, AS OPPOSED TO THE
WESTERN DIATONIC SCALE. INDIAN MUSIC IS AMONG THE MOST COMPLEX, FOR
INSTEAD OF WHOLE-TONE AND SEMI-TONE INTERVALS.
PLAYER 1
ASIAN MUSIC
WHILE WESTERN MUSIC FOLLOWS A DEFINITE TIME SIGNATURE-AND TRIPLE

METER IS PARTICULARLY WESTERN ASIAN MUSIC SHOWS A DIFFERENT
CONCEPT OF TIME, MARKED BY LESS URGENCY AND DRIVE, AS FOUND IN
FEUDAL AGRICULTURAL SOCIETIES. MUCH OF ASIAN MUSIC LACKS A
PRONOUNCED METRIC PULSE.
PLAYER 1
ASIAN MUSIC
MELODY IN ASIAN MUSIC LARGELY DEPENDS ON IMPROVISATION

WHILE FOLLOWING A PARTICULAR TRADITIONAL FORM
PLAYER 1
ASIAN MUSIC
ASIAN MUSIC IS HETEROPHONIC.
JAVANESE GAMELAN ORCHESTRA, RANGING FROM A FEW TO 75

INSTRUMENTS PERFORMING IN HETEROPHONIC TEXTURE.
PLAYER 1
ASIAN MUSIC
ASIAN MUSICAL INSTRUMENTS CLASSIFICATION BY TONE QUALITY

ACCORDING TO MUSICOLOGISTS :
1. IDIOPHONES
2. MEMBRANOPHONES
3. CHORDOPHONES
4. AEROPHONES
PLAYER 1
ASIAN MUSIC
KULINTANG
PLAYER 1
ASIAN MUSIC
ANGKLUNG (BAMBOO SHAKE)

PLAYER 1
ASIAN MUSIC
ASIAN MUSIC ALSO DIFFERS FROM THE WEST IN VOCAL TECHNIQUES.

UNLIKE THE ITALIAN BEL CANTO IN WHICH THE SINGER FOCUSES THE
TONE IN HIS HEAD, ASIAN SINGING SHOWS VARIED STYLES. WHILE
MALAYAN SINGING IS NATURAL, JAPANESE IS THROATY AND GUTTURAL,
CHINESE NASALLY PITCHED, AND INDIAN HIGHLY ORNAMENTED IN A
MELISMATIC STYLE. THE LAST IS SIMILAR TO THE LUGU SINGING STYLE
OF THE TAUSUGS WHICH IS SLOW AND LACKING A PRONOUNCED METRIC
PULSE AND IN WHICH THE MELODIC LINE IS AN ALTERNATION OF LONG
SUSTAINED TONES, ORNAMENTED WITH TRILLS, AND MELISMATIC
PHRASES.
PLAYER 1
GAME OVER

Chapter 5 - Asian Art

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Chapter 5 - Asian Art

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PLAYER 1 HIGHSCORE 2500 PLAYER 2

LEAL - GONZALES - CANDELARIO - PULMA

THE STUDENT SHOULD BE

CHINESE ART JAPANESE ART INDIAN ART INDONESIAN ART

Shang dynasty (1766-1121

T’ang dynasty (a.d. 618- ch’ing dynasty (1644-

First republic of sun

1. FLOWERS PAINTING MANUALS

ku k’ai’s admonitions of the imperial

Back to Agenda Page

bird on a branch by emperor hui tsung

on a mountain spring by ma yuan

Back to Agenda Page

chinese buildings are identified

served as grain and wine containers as well

sung celadons - gray bodied with pale sea

chinese resident traders are

DURING they proved to excel at

SPANISH chinese manufactured durable & low

a number of chinese worked as

Japanese Art often reflects daily

Japanese Artists have a talent for

HEIAN PERIOD KAMAKURA PERIOD MUROMACHI

MOMOYAMA PERIOD EDO PERIOD

JOMON term Jōmon comes from the cord pattern

One of the most celebrated

Jomon venus Shakōki

Japanese art in Dolmen Period started

ASUKA PERIOD (548-645)

ASUKA PERIOD WAS THE TIME

Chinese influence from their "seventeen article Constitution" which centralised

LITERATURE AND MUSIC FOLLOWING CHINESE MODELS WERE ACTIVELY

NARA PERIOD (645-793)

Emperor shomu, In 741, established the kokubunji system, building a monastery

Shūkongōjin - guardian deity

HEIAN PERIOD (794-1184)

From religion decorations of temples, artist now began to produce portable

Poetry, too, and literature in general, flourished in this period because of

Yamato-e paintings: subjects often

Emaki: handscrolls that usually

KAMAKURA PERIOD (1185-1337)

Zen Buddhism greatly

GREAT BUDDHA OF KAMAKURA SITUATED AT THE KŌTOKU-IN TEMPLE IN KAMAKURA

Painting from the Kamakura Period largely continued the traditions of

Emaki or painted hand scrolls usually encompassed religious,

KAMAKURA-PERIOD PORTRAIT OF A "NIGHT ATTACK ON THE SANJÔ PALACE"

MUROMACHI PERIOD (1338-1573)

HABOKU-SANSUI, SESSHŪ, 1495, INK ON

MOMOYAMA PERIOD (1568-1615)

Traditional temple architecture was replaced by lavish castles and mansions.

EDO PERIOD (1615-1868)

First major art movement in Japan

Prominent artist of the period is

THE GREAT WAVE OFF KANAGAWA

Kabuki theatre - plays are about

Haiku : consist of three phases

VINCENT VAN GOGH WAS FASCINATED BY UKIYO-E PRINTS

CONSTANTS IN JAPANESE ART

2. Chinese painters often portrayed an awesome and impressive nature, the

Two predominant religions in Japan, namely Shintoism and Buddhism.

Zen attainment is through satori. 1: through verbal way, through Zen

Highlight two or more cells, right-click then choose "Merge

1: wabi, the spirit of poverty. Prefer a simple, honest existence and to