1. Content Area 8: South, East, and Southeast Asia 300 BCE-1980 CE

2. Masonry, stone. sandstone Content
192. Great Stupa at Sanchi, Madya Pradesh, India. Buddhist; Maurya Period, late Sunga Dynasty c. 300 BCE-100 CE Stone masonry, sandstone on dome. (4 images).
Form
Masonry, stone. sandstone
Content
Placed on a hill, location of relics of Buddha, stupas can be various sizes
Function to house relics of Buddha
Context
People come to the location to honor Buddha, no images of him are seen here. Walk in clockwise direction around the stupa
Themes
Scared space
Religious worship
Terms
stupa
North Gate

3. 193. Terra cotta warriors from the mausoleum of the first Qin emperor of China. Qin Dynasty c BCE Painted terra cotta (2 images)
Form
Terracotta, life size
Content
Life sized figures, chariots, horses, army of figures to protect .
Function
tomb
Context: emperor Qin Shihuang (became emperor at 13) was responsible for unifying China. He was obsessed with immortality, built the mausoleum to parallel his life on earth. Underground army
Themes
funerary
Terms
Mausoleum

4. 194. Funeral banner of Lady Dai (Xin Zhui). Han Dynasty, China. c
194. Funeral banner of Lady Dai (Xin Zhui). Han Dynasty, China. c.180 BCE Painted Silk.
Form
6 ft long silk banner
Content: arranged in registers: heavenly realm, Lady Dai & attendants, body of Lady Dai & mourners, underworld.
Function:
funerary
Context: believed afterlife important, buried with lavish objects, found in preserved tomb. Possibly a “name banner” to identify the dead.
Early example of pictorial art in China. Earliest known portrait painting in Chinese history.
Dai was wife of high ranking official
Themes:
Funerary
Terms
Hunan Provincial Museum, Changsha 

5. 195. Longmen caves. Luoyany, China. Tang Dynasty
195. Longmen caves. Luoyany, China. Tang Dynasty CE Limestone (3 images)
Form
Content: 2300 caves, 100,000 statues, filled with Buddhist art. 1 mile long. Central relief is Buddha 45 feet tall.
Function
Context: Buddhism born in India but transmitted through China. Shows serene majesty of Buddha and monumetal simplicity of the figure
Themes
Terms
3rd image next slide

7. 196. Gold and jade crown. Three Kingdoms Period, Silla Kingdom, Korea
196. Gold and jade crown. Three Kingdoms Period, Silla Kingdom, Korea. 5th to 6th century CE metalwork
Gold and jade
Form
Content
Function
Context
Themes
Terms
Gyeongju National Museum, Korea

8. 197. Todai-ji. Nara, Japan. Various artists, including sculptors Unkei and Keikei, as well as the Kei School. 743 CE; rebuilt c Bronze and wood (sculpture); wood with ceramic roofing (architecture). 5 images
Form
Oldest wooden temple
Content Great Eastern Temple, once burned don but rebuilt in 710.
Function
Temple Buddhist
Context: japan wanted to match the grandeur of art and arch of China and Korea, so they imported some features. Large Buddha is associated with Cosmos and sun
Themes
Terms

9. 198. Borobudur Temple. Central Java, Indonesia. Sailendra Dynasty. c
198. Borobudur Temple. Central Java, Indonesia. Sailendra Dynasty. c CE Volcanic-stone masonry
(3 images)
Content 504 statues f Buddha, 3D mandala: series of passage ways that radiate clockwise around a central axis. 72 stuppas. Worlds largest Buddhist temple. Resembles a pyramid
Form
Function
Shrine, stupa,
temple, reliquary
Context: based on 3 spheres: Desire, Forms, Formlessness. Narratives throughout illustrate the life of Buddha and path to enlightenment.
Themes
Terms

10. 199. Angkor, the temple of Angkor Wat, and the city of Angkor Thom, Cambodia. Hindu, Angkor Dynasty. c CE Stone masonry, sandstone. (5 images) really 6
Content: surrounded by motes, combined Hindu and Buddhist temple with shaman practices. Reliefs around tell Hindu stories (showing good over evil)
Form
Function
Shrine
observatory\
Funerary temple
South Gate Angkor Thom
Context: dedicated to Vishnu, possible that also serves as mausoleum for king. Viewed as a home for the gods, not a place of worship
Themes
Terms

11. 200. Lakshmana Temple. Khajuraho, India. Hindu, Chandella Dynasty, c
200. Lakshmana Temple. Khajuraho, India. Hindu, Chandella Dynasty, c CE Sandstone (4 images).
Content:covered with images of 600+ gods, some erotic images. Main shrine faces east flanked by sub shrines
Form
Function
Hindu temple
Context
Dedicated to Vishnu, must look at reliefs as you walk clockwise around, also had fertility images. Hindu temples were seen as the home of the gods on earth and a place where they make themselves visible. Not for congregation. Only priests may enter the inner chamber with offerings.
Themes
Sacred space
fertility
Terms

12. Form: scroll ink on silk
201. Travelers among Mountains and Streams. Fan Kuan. c.1000 Ink and colors on silk.
Form: scroll ink on silk
Content: Use of scale, shows vastness of nature embodying human existance
Function: decorative, inspired future Chinese Landscape
Context: Fan Kuan was a Daoist during the Song period. A combo of Buddhist and Confuscian philosophy
Themes
Nature
landscape
Terms
Daoism
Neo-Confusionism
National Palace Museum, Taipei

13.
Use website for close ups of painting

14. Shiva as Lord of Dance (Nataraja)
Shiva as Lord of Dance (Nataraja). Hindu; India (Tamil Nadu), Chola Dynasty.
c.11th century CE Cast Bronze
Content dancing shiva inside flaming ring/halo, right hand holds a drum, left hand a flame, lower hands show fear. Stomping on a figure that refers to illusion, which leads man astray. Medieval India. When worshiper prays before statue, faith activates it and Shiva is present
Form
Function: unsure of desired placement. Used in procession
Themes
Context: represents the never-ending cycle of time. Through belief in Shiva, you can achieve salvation
Terms
Metropolitan Museum of Art, NYC

15. From MET website

16. 203. Night Attack on the Sanjo Palace. Kamakura Period, Japan. c
203. Night Attack on the Sanjo Palace. Kamakura Period, Japan. c CE
Handscroll (Ink and color on paper) (2 images)
Form
18 feet long
Content shows mayhem, violence and palace on fire, birds eye view meant to be read right to left.
Function
History painting of
battle
Context about battle over power between emperor and head of clan. History painting, designed to be read while being unscrolled
Themes
Terms

17. 204. The David Vases. Yuan Dynasty, China
204. The David Vases. Yuan Dynasty, China CE White porcelain with cobalt-blue underglaze.
Form
Content: named after the collector, dragon, phoenix, elephant, inscription with date and purpose
Function: dedicated to daoist temple as an offering
Context: made for altar of Daoist temple, blue and white porcelain was being produced as inscription states, demonstrates the skill and beauty of Chinese ceramics, made for imperial courts, domestic market and export. Shows Iranian influence (Blue and subject matter)
Themes
British Museum
Terms

18. They were made for the altar of a Daoist temple and their importance lies in the dated inscriptions on one side of their necks, above the bands of dragons. The long dedication is the earliest known on Chinese blue-and-white wares.
The dedication records that in AD 1351 a man named Zhang Wenjin from Yushan county presented these two vases and an incense  burner (the whereabouts of which is unknown), to a Daoist temple in Xingyuan (modern day Wuyuan county). Yushan county is in northeast Jiangxi, which lies 120 km to the southeast of Jingdezhen, where these vases were made. This inscription demonstrates that blue-and-white porcelain production was already well-established at Jingdezhen by AD Originally the vases, modelled after bronzes, had porcelain rings attached through the elephant head shaped handles.
Porcelain was first produced in China around AD 600. The skillful transformation of ordinary clay into beautiful objects has captivated the imagination of people throughout history and across the globe. Chinese ceramics, by far the most advanced in the world, were made for the imperial court, the domestic market, or for export.
These vases were owned by Sir Percival David (1892–1964), who built the most important private collection of Chinese ceramics in the world.
From British Museum Website

19. 205. Portrait of Sin Sukju (1417-1475) Imperial Bureau of Painting. c
205. Portrait of Sin Sukju ( ) Imperial Bureau of Painting. c.15th century CE
Hanging scroll (ink and color on silk).
Form
Content: portrait of scholar and one time Korean prime minister, face detailed but sharp angular blocks of color elsewhere. Badge with rank on chest
Function: Korean Royal portrait
Context: official portrait, intended to show a likeness of the person, more attention to face
Themes
Terms

20. The establishment of the Joseon ("Fresh Dawn") dynasty in 1392, following a revolutionary yet bloodless coup, purged the corrupt practices of the Goryeo regime, ended Mongol domination, and fueled an extraordinary cultural renaissance. The new political vision of the state promoted Neo-Confucianism in both theoretical explorations and practical implementation in nearly every aspect of society. Buddhism, the state-sanctioned religion for more than a thousand years, was officially rejected, though private worship and artistic production continued. The Neo-Confucian royal court and elite literati (yangban), the primary patrons of the arts, embraced and encouraged the advancement of secular art and culture. The fifteenth and sixteenth centuries witnessed the revival and reinterpretation of classical traditions alongside significant achievements in innovative art forms. Under King Sejong (r. 1418–50), who was the embodiment of a renaissance monarch, a unique, phonetic alphabet (hangeul) was created, permitting an accurate transcription of the native language and the wide dissemination of Confucian texts and mores.
From Met website

21. 206. Forbidden City. Beijing, China. Ming Dynasty
206. Forbidden City. Beijing, China. Ming Dynasty. 15th century CE and later. Stone masonry, marble, brick, wood, and ceramic tile (5 images).
Content: vast complex 178 acres, took 20+ years to complete
Form
Function
Context: in 1420, to maintain control, the emperor moved capitol to beijing. Complex was only open to imperial family and those associated with it (aka “forbidden”)
Themes
Terms

22. 207. Ryoan-ji. Kyoto, Japan. Muromachi Period, Japan. c
207. Ryoan-ji. Kyoto, Japan. Muromachi Period, Japan. c.1480 CE; current design most likely dates to the 18th century. Rock garden. (3 images).
Form
Spiritual complex
Content
Function
Zen Buddhist
complex
Context uses nature to enhance meditation, Japanese aesthetics, Zen= reach enlightenment through meditation
Themes
Terms

23. 208. Jahangir Preferring a Sufi Shaikh to Kings. Bichitr. c
208. Jahangir Preferring a Sufi Shaikh to Kings. Bichitr. c.1620 CE watercolor, gold, and ink on paper.
Content
Form
Function
Context
Themes
Terms
Freer Gallery of Art, Smithsonian Institution, Washington, DC

24. 209. Taj Mahal. Agra, Uttar Pradesh, India
209. Taj Mahal. Agra, Uttar Pradesh, India. Masons, marble workers, mosaicists, and decorators working under the supervision of Usted Ahmad Lahori, architect of the emperor CE Stone masonry and marble with inlay of precious and semiprecious stones; gardens (2 images).
Form
Monumental tomb
ContentIslamic tradition, dome on cube, appears weightless, floats above reflective pools, proportionof horizontal and vertical are balanced
Function
Funerary mausoleum
Context Shah Jahan built as memorial to his wife Mumtaz Mahal, tomb is empty
Themes
Terms
Cenotaph- empty tomb

25. 210. White and Red Plum Blossoms. Ogata Korin. c
210. White and Red Plum Blossoms. Ogata Korin. c CE ink, watercolor, and gold leaf on paper (2 images)
Form
Content
Function
Context
Themes
Terms

27. 211. Under the Wave off Kanagawa (Kanagawa ok nami ura), also knowns as the Great Wave, from the series Thirty-Six Views of Mount Fuji. Katsushika Hokusai CE Polychrome woodblock print; ink and color on paper.
Form
Content
Function
Context
Themes
Terms
Met Museum

28. 212. Chairman Mao en Route to Anyuan
212. Chairman Mao en Route to Anyuan. Artist unknown: based on an oil painting by Liu Chunhua. c.1969
Color lithograph
Form
Content
Function
Context
Themes
Terms

29. The painting-turned-poster Mao zhuxi qu Anyuan [毛主席去安源, Chairman Mao goes to Anyuan] became a cause celèbre, "... perhaps the most important painting of the Cultural Revolution period". It depicts Mao as a young man on his way to the city of Anyuan to lead a miners' strike. The work was explicitly promoted by Jiang Qing as a model painting equal to the model operas and ballets she espoused. As such it became the benchmark for the iconographical representation of Mao. The painting was made by Liu Chunhua, a Red Guard studying at the Central Academy of Industrial Arts, but it was collectively designed and planned by a group of students from universities and institutes in Peking. Liu explained how the painting was preconceived along ideological lines and invested with symbolic meaning:
"To put him in a focal position, we placed Chairman Mao in the forefront of the painting, advancing towards us like a rising sun bringing hope to the people. Every line of the Chairman's figure embodies the great thought of Mao Zedong and in portraying his journey we strove to give significance to every small detail. His head held high in the act of surveying the scene before him conveys his revolutionary spirit, dauntless before danger and violence and courageous in struggle and in 'daring to win'; his clenched fist depicts his revolutionary will, scorning all sacrifice, his determination to surmount every difficulty to emancipate China and mankind and it shows his confidence in victory. The old umbrella under his right arm demonstrates his hard-working style of travelling, in all weather over great distances, across the mountains and rivers, for the revolutionary cause [...] The hair grown long in a very busy life is blown by the autumn wind. His long plain gown, fluttering in the wind, is a harbinger of the approaching revolutionary storm [...] With the arrival of our great leader, blue skies appear over Anyuan. The hills, sky, trees and clouds are the means used artistically to evoke a grand image of the red sun in our hearts. Riotous clouds are drifting swiftly past. They indicate that Chairman Mao is arriving in Anyuan at a critical point of sharp class struggle and show, in contrast how tranquil, confident and firm Chairman Mao is at that moment [...]."