Art 125 Slide List: Section IV (China, Southeast Asia, Japan, Korea) For each exam know the CULTURE/STYLE (listed below in CAPS), ARTIST (if known, in bold, first or last name ), TITLE (italics), Medium (material), and city (FOR ARCHITECTURE ONLY). CHAPTER 7: LOOKING OUTWARD: THE SIX DYNASTIES AND SUI AND TAN DYNASTIES (Make sure you are able to analyze the distinct formal elements of each artist) 16. Colossal Attendants of the Buddha, Tang Dynasty, Fengxian Temple, Cave 19, Longmen Grottoes, Luoyang Henon province, 660-676, limestone, fig. 7-1 (see 7-24) 17. Gu Kaizhi (?), Admonitions of the Court Instructress to the Palace Ladies, Six Dynasties, 500-600, handscoll ink and color on silk, fig. 7-2. 18. Colossal Shakyamuni and Smaller Buddha, Northern Wei Dynasty, 460-465, Yungang Grottoes, Daton, Shanxi Province, fig. 7-6. 19. Western Pure Land, Northern Qi Dynasty, 550-577, Xiangtangshan Caves, Fenfen, Heibei province, fig. 7-10. 20. Zhan Ziqian, Spring Outing or Traveling in Spring, Song Dynasty, handscroll, ink and color on silk, fig. 7-18. 21. Yan Liben, The Thirteen Emperors, or Scroll of the Emperors, Tang Dynasty, handscroll, ink and color on silk, fig. 7-19. 22. Zhou Fang, Palace Ladies Tuning the Lute, Tang, handscroll, ink and color on silk, fig. 7-22. 23. Main Hall, Nanchan Temple, Wutaishan, Shanxi province, 782, Tang Dynasty, 782. Fig. 7-27. 24. Ewer, Tang Dynasty, 675-750, earthenware with three color (sancai) glaze, fig. 7-31. CHAPTER 8: ART, CONQUEST, AND IDENTITY: THE FIVE DYNASTIES PERIOD AND THE SONG AND YUAN DYNASTIES. (Make sure you are able to analyze the distinct formal elements of each artist) 25. Gu Hongzhong, Night Revels of Han Xizai, Southern Song, 1125-1200, handscroll, ink and color on silk, fig. 8-2. 26. Guo Xi, Early Spring, N. Song, 1071, ink on silk, fig. 8-6. 27. Emperor Huizong, Five-Colored Parakeet on Blossoming Apricot Tree, Northern Song, 1110, handscroll, ink and color on silk, fig. 8-8. 28. Ding Ware: Bowl with Carved Decoration of Lotus, Flowers, and Leaves, Song Dynasty, 1000-1125, porcelain with clear glaze and copper. Fig. 8-10. 29. Ma Yuan, Viewing Plum Blossoms by Moonlight, S. Song, 1190-1225, fan mounted as an album leaf, ink and color on silk, fig. 8-17.
30. Zhou Jichang, The Rock Bridge at Mt. Tiantai, S. Song, 1178, hanging scroll, ink and color on silk, fig. 8-19. 31. Anige, White Stupa, Buddhist, Miaoying Temple, Beijing, 1279, fig. 8-21. 32. Wang Zhenpeng, Dragon Boat Festival, Yuan Dynasty, 1308, ink on silk, fig. 8-24. 33. Qian Xuan, Wang Xizhi Watching Geese, Yuan Dynasty, 1295, ink and color on paper, fig. 8-25. 34. Fan Kuan, Travelers among Mountains and Streams, N. Song, 1000, handing scroll, ink and color on silk, fig. 8-30. 35. Wang Meng, Dwelling in Reclusion in the Qingbian Mountains, Yuan Dynasty, 1366, hanging scroll, ink on paper, fig. 8-31. CHAPTER 9: The City and th Market in Chinese Art: The Mind and Qing Dynasties 1. Hall of Supreme Harmony, Beijing, 1406/1697, Ming/Qing, fig. 9-2/3. 2. Arrow Vase with Persian Inscriptions and Floral Scrolls, Ming, 1505-1521, porcelain, fig. 9-8. 3. Three String Vase, Qing, 1710-1722, porcelain with peach-bloom glaze, fig. 9-10. 4. Dai Jin, The Hermit Xu You Resting by a Stream, Ming, ink and color on silk, fig. 9-11. 5. Zhou Chen, Beggars and Street Characters (detail), Ming, 1516, ink and color on paper, fig. 9-13. 6. Chen Hongshou, Lady Xuanwenjun Giving Instructions on the Classics, Ming, 1638, fig. 9-15. 7. Shen Zhou, Poet on a Mountaintop, Ming, 1490-1500, ink and color on paper, fig. 9-16. 8. Chen Chen, Hills and Streams After Rain, Ming, ink and color on paper, fig. 9-19. 9. Dong Qichang, Qingbian Mountains, Ming, 1617, ink on paper, fig. 9-21. 10. Chen Su, Flowers (detail), Qing, ink on paper, fig. 9-24. 11. Lang Shining, Inauguration Portraits, Qing, 1736, ink and color on silk, fig. 9-26. 12. Ren Xiong, Self Portrait, Qing, ink and color on paper, fig. 9-33. CHAPTER 10: THE PUSH FOR MODERNIZATION 1912 TO THE PRESENT 13. Chen Hengke, Viewing Paintings at an Exhibition, Early Republic, 1917, ink and color on paper, fig. 10-2. 14. Hu Yichuan, To The Front!, Social Realism, 1932, woodblock print, fig. 10-4. 15. Ding Cong, Images of Present Times, Social Realism, 1944, gouache on paper, fig. 10-8. 16. Sun Zixi, In Front of Tiananmen, Social Realism, 1964, oil on canvas, fig. 10-10.
17. Shi Lu, Fighting in Northern Shaanxi, Social Realism, 1959, ink and color on paper, fig. 10-11. 18. Let Philosophy Be Transformed into a Sharp Weapon in the Hands of the Masses, Social Realism, 1971, poster, fig. 10-14. 19. Luo Zhongli, Father, Social Realism, 1980, oil on canvas, fig. 10-15. 20. Fang Lijun, Series 2, No. 3, Postmodern, oil on canvas, fig. 10-17. 21. Yu Youhan, A Pocket Western Art History about Mao, Postmodern, acrylic on canvas, fig. 10-18. 22. Cai Guo-Qiang, Project to Extend the Great Wall by 10,000 Meters, Postmodern, 2/27/93, fig. 10-24. 23. Ai Weiwei, Dropping a Han Dynasty Urn, Postmodern, 1995, fig. 10-25. 24. Lin Tianmiao, Mother s!! No. 6 sitting, Postmodern, 2008, mixed media, fig. 10-28. CHAPTER 5: AT THE CROSSROADS: THE ARTS OF SOUTHEAST ASIA 1. Shwe Dragon Pagoda, Buddhist, Yongon, Burma, fig. 5-1. 2. Ban Chiang Painted Pots, Thailand, ceramic, fig. 5-3 3. Ngoc Lu drum, Dong Son, Vietman, bronze, fig. 5-4ab 4. Pangolin, Sa Huynh Culture, 3 rd century cbe-2 nd ce, bronze, fig. 5-5. 5. Ling-ling-o, Sa Huynh culture, Vietnam, 3000 b.c.e., jade, fig. 5-6. 6. Torajan House, South Sulawesi, Indonesia, fig. 5-7. 7. Yene (Ancestor Figure), South Moluccas, Indonesia, 19 th early 20 th century, wood, fig. 5-8. 8. Hinggi (Man s Cloth), 1920, cotton, Indonesian, 1920, fig. 5-9. 9. Avalokiteshvara, Buddhist, Cambodia, 7-8 th century, sandstone, fig. 5-11. 10. Great Stupa, Borobudur, Java, Buddhist, 8-9 th century, fig. 5-13. 11. Kung Uposadha Distributing Alms, Borobudor, Java, Buddhist, 8-9 th century, volcanic stone, fig. 5-14. 12. Manjushri, Central Java, Buddhist, early 10 th century, silver fig. 5-16. 13. Angkor Wat, Siem Reap province, Cambodia, Hindu, 12 th Century, fig. 5-18 (see details) 14. Walking Buddha, Sukhothai, Thailand, Buddhist, bronze, fig. 5-24. 15. Wayang Puppet, Thailand, 1900, Hindu, buffalo hide, gold leaf, pigment, fig. 5-27. PART III: KOREA AND JAPAN
25. Crown, Silla, 5-6 th century, gold and jade, fig. 11-1. 26. Comb-Patterned Vessel, Neolithic, 3000 b.c.e., earthenware, fig. 11-2. 27. Stele of King Gwanggaeto of Goguryeo, Korean, granite, fig. 11-3. 28. Dancing Scene, Goguryeo, wall painting, fig. 11-4. 29. Bodhisattva Seated in Meditation, Silla, 6-7th Century, Bronze, fig. 11-8. 30. Seated Buddha at Seokguram Cave Temple, Silla, granite, fig. 11-10. 31. Ewer in shape of a bamboo shoot, Goryeo, 1100-1150, celadon, fig. 11-14. 32. Maebyeong Bottle, Goryeo, 12th-13th century, celadon, fig. 11-15. 33. Sungnymun, Joseon, Seoul, 1398, fig. 11-17 (see 11-18 and 19). 34. Jar with Grapevine Decoration, Joseon, 17th century, porcelain, fig. 11-25. 35. The Arhat Deokswei, Joseon, 1562, ink and color on silk, fig. 11-26. 36. Yi Myeong-gi, Portrait of Oh Jaesun, Joseon, 1791, color on silk, fig. 11-27. 37. Sin Yunbok, WOmen on Tano Day, 18th century, ink and color on paper, page 264. 38. Lady Sin Simdang, Mice Nibbling at a Watermelon, Joseon, 16th century, ink and color on silk, fig. 11-32. 39. The Aftermath of Fighting in Seoul, Documentary Photography, 1950, fig. 11-34. 40. Mansudae Studio, Kim Il-Sung, 1972, bronze, fig. 11-36. 41. Han Jun-bin, We re the Happiest in the world, Social Realism, ink on paper, fig. 11-37. 42. Park Seo-bo, Work No 18-59. Abstract Expressionism, 1959, cement, hemp, oil on canvas, dig. 11-39. 43. Paik Nam June, TV Buddha, 1974, Fluxus, fig. 11-43. 44. Yun Suk Nam, The Kitchen, 1999, Postmodern, mixed media, fig. 11-45. 45. Lee Bul, The Secret Sharer, 2011, Postmodern, mixed media (see textbook), fig. 11-47. 46. Wedded Rocks, Futamigaura, Ise-Shima National Park, fig. 12-1. 47. Main Hall, Inner Shrine, Ise-jingu, Mie Prefecture, 1 st century c.e. (last rebuilt 2013), fig. 12-2. 48. Vessel, Middle Jomon, earthenware, 3000-2000 b.c.e., fig. 12-5 (compare to 12-4 1. Dogu (Clay Figurine), Middle Jomon, 1500-1000 b.c.e., earthenware, fig. 12-7. 2. Dotaku, Late Yayoi, 3 cenury b.c., bronze, fig. 12-9 3. Vessel, Late Yayoi, 1 st -3 rd century c.e., terracotta, fig. 12-12.
4. Tumulus of Emperor Nintoku, Kofun period, Sakai Osaka, Japan, 4 th century, fig. 12-15. 5. Sueki vessel, Kofun period, 6 th century, pottery, fig. 12-16. 6. Haniwa figure, Kofun period, 6 th century, terracotta, fig. 12-18 (see 12-19) 7. Horyu-ji, Asuka period, Nara Prefecture, Japan, 7 th century, fig. 12-21 (see 12-23 and 25). 8. Tori Busshi (Master Craftsman Tori), Shaka triad, Asuka period, bronze, 623 b.c., fig. 12-16 9. Tamamushi Shrine, Asuka period, mid 7 th century, page 294. CHAPTER 13: EXTERNAL INFLUENCES AND INTERNAL EXPLORATIONS: THE NARA AND HEIAN PERIODS 10. Five-stringed Lute (Biwa), China Tang Dynasty, 8 th century, red sandalwood, fig. 13-3. 11. Buddha Roshana, Nara Period, 8 th century, fig. 13-6. 12. Juichimen Kannon (11 headed Avalokiteshvara), Late Nara/Heian period, 8-9 th century, painted wood, fig. 13-9. 13. Shukongo-Jin, Nara Period 8 th century, clay with polychromy and gold leaf, fig. 13-1.. 14. Womb Mandala, Heian period, 859-880, color on silk, fig. 13-14a. 15. Red Fudo and attendants, Fudo, Heian period, 9th century, colors on silk, fig. 13-16. 16. Kondo (Main Hall), Muro-ji, Nara prefecture, Heian period, 9 th century, fig. 13-18. 17. Phoenix Hall, Byodo-in, Uji, Kyoto prefecture, Heian Period, 1053, fig. 13-19. 18. Amida Buddha, Phoenix Hall, Byodo-in Heian Period, 1053, gold leaf and lacquer on wood, fig. 13-21. 19. Shinto Goddess, Heian Period, 9 th century, wood, fig. 13-28. CHAPTER 14: STRIFE AND SERENITY: KAMAKURA, MUROMACHI, AND MOMOYAMA PERIODS 20. Yoroi (suit of armor), Late Kamakura period, 14 th century, iron, fabric, leather, fig. 14-3. 21. Unkei and Kaikei, Kongo Rikishi (Ungyo), Kamakura Period, 1203, painted wood, fig. 14-5. 22. Fujiwara Takanobu, Minamoto no Yoritomo, Kamakura period, 1142-1205, ink and colors on silk, fig. 14-10 23. The Hell of Dissections, (from the Jigoku zoshi (Hell Scrolls), Kamakura period, 12 th century, handscroll ink and color on paper, fig. 14-13.
24. Kogaku Soko and Soami, Garden of the Daisen-in, Muromachi period, 16 th century, fig. 14-19. 25. Great Amida Buddha (Daibutsu), Kamakura Period, Japan, 1253 (see powerpoint) 26. Himeji Castle, Hyogo prefecture, Momoyama period, 1581/1601-9, fig. 14-28. 27. Kano Eitoku, Cypress Tree, Momoyama period, 1590, color, ink and gold leaf on paper, fig. 14-31. 28. Noh Robe, Momoyama period, 16 th century, gold foil on purple plain weave silk, fig. 14-36 and 37. 29. Sen no Rikyu, Tea Room (Tai-an tea room of Myokian), Kyoto prefecture, Momoyama period, 1583, fig. 14-38. CHAPTER 15: FROM ISOLATION TO INTERNATIONALISM: EDO PERIOD TO THE PRESENT 30. Tawaraya Sotatsu, Waves at Matsushima, Edo Period, 17 th century, ink, miner, silver and goldleaf on paper, fig. 15-7. 31. Ogata Korin, Red and White Plum Blossoms, Edo period, 1710-1716, color, silver and gold leaf on paper, fig. 15-8. 32. Maruyama Okyo, Pine Trees in the Snow (detail), Edo Period, late 18 th century, ink and light colors on paper, fig. 15-11. 33. Kitagawa Utamaro, Couple in Upstairs Room (Poem of the Pillow) Edo Period, 1788, fig. 15-15. 34. Toshusai Sharaku, Otani Oniji II as Yakko Edobei in the Play the Two Colored Reins, Edo Period, 1794, woodblock print, fig. 15-17. 35. Katsushika Hokusai, The Great Wave off Kanagawa (36 Views of Mount Fuji), color woodblock print, 1831, fig. 15-18. 36. Shozo Shimamoto, Hurling Colors, Gutai Group, 1956, fig. 15-28. 37. Morimura Yasumasa, A Requiem: Spinning a Thread, Postmodern, 2010, fig. 15-32 (see 15-33, 35). 38. Takashi Murakami, Tan Tan Bo Puking- A.K.A. Gero Tan, Postmodern, 2002, fig. 15-36. 39. Yayoi Kusama, Infinity Mirrored Room Filled with the Brilliance of Life, Postmodern, 2012, fig. 15-38.