CHINA AND KOREA TO 1279 GARDNER 7-3 PP. 196-204

SONG DYNASTY The Song Dynasty (Northern 960- 1126 and Southern 1129-1279) began in 960 when Zhao Kuangyin consolidated control and became the first Song Emperor The three centuries of Song rule were a time of technological innovation, centrally controlled army and bureaucracy, and problems with northern nomads

(8-201) Travelers among Mountains and Streams Fan Kuan – artist c (8-201) Travelers among Mountains and Streams Fan Kuan – artist c. 1000 CE Ink on silk FLASHCARD Detail of Travelers among Mountains and Streams, Northern Song Period, early 11th century, hanging scroll, ink and colors on silk Song Dynasty is high point of Chinese painting Fan Kuan was a Daoist recluse and master of landscape painting One of the first masters of light, shade, distance, and texture -> tributes to nature not portraits of specific places Vertical landscape with massive mountains rising in background and tiny mule train in lower right corner

Attributed to Huizong, Auspicious Cranes, Northern Song Period, 1112, section of a handscroll, ink and colors on silk CALLIGRAPHY = the art of writing, highly esteemed in China throughout its history This scroll is attributed to the Emperor Huizong and displays his mastery as painter and calligrapher HUIZONG

FOGUANG SI PAGODA View of Foguang Si Pagoda, Yingxian, China, Liao dynasty, 1056 PAGODA = tower -> the building type most associated with Buddhism in China and East Asia Pagodas housed Buddhist relics, images, texts, and provided a focus for devotion This is the tallest wooden building in the world -> nine story octagonal -> beam-and-bracket construction

SOUTHERN SONG PERIOD MA YUAN Contrast this with Fan Kuan’s Travelers among Mountains and Streams LIANG KAI Religious painting -> master of the expressive style of ink painting -> found favor among Chan monks -> depicts the “Chan moment” when the chopping sound of his blade propelled the patriarch to enlightenment ZHOU JICHANG Painter of Buddhist themes -> hanging scroll called Lohans Giving Alms to Beggars -> bright lohans above ragged scrambling beggars

CHAN BUDDHISM A new type of Buddhism developed during the Song Dynasty and second only to Neo- Confucianism in importance The means of enlightenment lies within the individual -> meditation is the key practice -> “Northern School” said enlightenment came slow after long meditation/”Southern School” said breakthrough to enlightenment can be sudden and spontaneous

Korea is a northeast Asian peninsula that shares borders w/China and Russia and faces Japan Korea is influenced by both China and Japan Korean art is based on Chinese models but has a distinct identity KOREA

(8-196) Gold and jade crown Three Kingdoms Period Silla Kingdom, Korea 5th to 6th century Metalwork Gold and jade crown -> from a Silla tomb -> evidence of the wealth of kingdom and skill of artist -> uprights may be stylized tree or antler forms symbolizing life and supernatural power The Three Kingdoms Period lasted from 57 BCE to 688 CE -> native kingdoms During this period Korea was in contact with both China and Japan Buddhism was introduced to Korea from China in the 4th century then the Koreans spread it to Japan in the 6th century FLASHCARD

UNIFIED SILLA KINGDOM Shakyamuni Buddha, in the rotunda of the cave temple, Sokkuram, Korea, Unified Silla 751-774 CE, granite, 11” high In 688 the Silla Kingdom conquered the other two to create a Unified Silla Kingdom which ruled from 688 to 935 Unlike the rock-cut Chinese shrines, the Korean cave temple at Sokkuram was constructed using granite blocks -> dominating the rotunda is huge statue of Buddha at the moment of enlightenment

KORYO DYNASTY Maebyong vase, Koryo dynasty, ca. 918-1000, Celadon with inlaid decoration 16 ½ “ tall KORYO DYNASTY 935-1261 CE -> replaced the Great Silla w/out conflict In 1231, the Mongols, who had invaded China, pushed into Korea and in 1261 Korea submits to the Mongols CELADON = type of ceramic pottery that features translucent iron- pigmented glazes with incised/engraved designs invented by Koryo potters in the 12th century

(8-204) The David Vases Yuan Dynasty, China 1351 CE White porcelain with cobalt-blue underglaze FLASHCARD CHAPTER 27 – CHINA AND KOREA AFTER 1279 Kublai Khan, Genghis Khan’s grandson, founded the Yuan Dynasty and established a “Pax Mongolica” that created an environment for flourishing trade after the chaos of the Mongolian invasions -> 1279-1368 These vases, known as the David Vases after a former owner who reunited them in 1935, are among the very earliest known blue and white porcelain wares. They date to the Yuan Dynasty, 1351arguably the most important blue and white porcelain to exist.

CHINESE PORCELAIN Porcelain ceramics, often simply referred to as china, immediately conjure up notions of a Chinese aesthetic and artisanal tradition, and nothing seems more quintessentially Chinese than the blue and white patterns that decorate so many porcelain wares’ surfaces.  What is undisputedly Chinese is the origin of porcelain itself. It is created by firing clay at extremely high temperatures, between 1200—1400 degrees Celsius. This process creates an exceptionally hard and shiny ceramic ware that is able to hold water, unlike other porous clay wares.

(8-205) Portrait of Sin Sukju (1417-1475) Imperial Bureau of Painting c. 15th century CE Hanging scroll (ink and color on silk) FLASHCARD painting depicts Sin Sukju (1417-75) as a “meritorious subject,” or an official honored for his distinguished service at court and loyalty to the king This painting shows Sin Sukju dressed in his official robes with a black silk hat on his head Although portraiture conventions, such as the attire and posture of the sitter, were quite formulaic, the facial features were painted with the goal of transmitting a sense of unique, physical likeness. This careful attention to the sitter’s face, such as wrinkles and bone structure, served the Korean belief that the face could reveal important clues about the subject Skilled in capturing the likeness of the sitter while still adhering to pictorial conventions, artists in the Royal Bureau of Painting (a government agency staffed with artists) created portraits of officials awarded this honorary title. These paintings would be cherished by their families and worshipped for generations to follow

MING DYNASTY (1368-1644) In 1368 Zhu Yuanzhong led an uprising against the last Mongol emperor in China and he est. the Ming Dynasty The Ming capital of Beijing was laid out as three nested walled cities The outer wall 15 miles long and enclosed the Imperial City -> within that was the moated Forbidden City in which the Ming emperor resided

FORBIDDEN CITY FLASHCARD (8-206/1) Forbidden City Beijing, China Ming Dynasty, 15th century CE and later Stone, masonry, marble, brick, wood, and ceramic tile The Forbidden City was the perfect setting for the elaborate ritual of the imperial court of the Ming emperor FORBIDDEN CITY

FORBIDDEN CITY – FRONT GATE Beijing, China Ming Dynasty, 15th century CE and later Stone, masonry, marble, brick, wood, and ceramic tile The entrance gate contains five portals -> only the emperor could walk through the central portal The entrance just to the left and right were reserved for the imperial family and high officials The outermost gates were for lesser people FLASHCARD

FORBIDDEN CITY – HALL OF SUPREME HARMONY Beijing, China Ming Dynasty, 15th century CE and later Stone, masonry, marble, brick, wood, and ceramic tile FLASHCARD

FORBIDDEN CITY – THE PALACE OF TRANQUILITY AND LONGEVITY Beijing, China Ming Dynasty, 15th century CE and later Stone, masonry, marble, brick, wood, and ceramic tile FLASHCARD

(8-206/5) Forbidden City - plan Beijing, China Ming Dynasty, 15th century CE and later Stone, masonry, marble, brick, wood, and ceramic tile FLASHCARD Largest and most complete Chinese architectural ensemble in existence 9,000 rooms Rectangular plan with a tower in each representing the four corners of the world Yellow tile roofs and red painted wooden beams on marble foundations

(8-212) Chairman Mao en Route to Anyuan Artist unknown, based on an oil painting by Liu Chunhua c. 1969 CE color lithograph FLASHCARD Painted during the time of the Cultural Revolution of 1966-1976; high art was dismissed as feudal or bourgeois Poster-like; vivid colors; dramatic and obvious political message Depicts a moment in the 1920’s; Mao on his way to Anyuan to lead a miner’s strike Iconic image in the “Great Leader’s” career -> totalitarian propaganda