2 Asian Art 1: Buddhist Art Korea And Japan

Front 1

ThreeKingdom Period

Back 1

300-668 c.

Front 2

SillaState

Back 2

668-935 c.

Front 3

KofunPeriod

Back 3

200-710 CE d

Front 4

AsukaPeriod

Back 4

552-645 CE

the asukaperiod is where we see the initial rise in Buddhism

the political leaders used their power topromote Buddhism

Front 5

TheHakuhoperiod

Back 5

645-710 CE

Front 6

Sui

Back 6

581-618 CE

Front 7

Tang

Back 7

618-907 CE

Front 8

PrinceShotoku

Back 8

574-622 CE, a regent appointed by the Soga clan

-supported Budhismalong with Empress Suiko -the image represents political official

-many Chinese aspects of the culture wereintroduced into japan at this time

-the figure symbolizes the acceptance ofthe Chinese culture in the asuka period

-a Buddhist scholar, a great patron ofBuddhist art

-well loved figure

Front 9

Horyu-ji(Temple of Flourishing Law)

Back 9

Near today’s Nara, First built 607, rebuilt late 7th c CE Patron: Prince Shotoku and Empress Suiko. Dedicated to Buddha of Healing in honor of Prince’s father.

Front 10

Back 10

The Kondo, theGolden Hall

-used for the major active worship-stauesreside in this place-style of the architecture was inspired byChinese temple structure (hipped and gabled roof)-elevation and wooden structure is seenhere as well-two roofs are covered with ceramic tiles( a woodenstructure underneath)-curved roof(hipped roof) -this style is the palace style in china-multiple brackets were used in the roof-cloud shape brackets are used in thestructure of the roof-different engineering for constructionof the temples •Temple commissioned by empress suikoand prince shoutoku•Equivalent to chitaya hall in India •Post and lintel structure•The oldest surviving wooded structures onearth

Front 11

Back 11

Pagoda: late 7th and early 8th c.

•Wasrebuild at the end of the7thcentury•Inspired by Paekche or Chinese Tang architectural style•Many Korean and Chinese were artisansduring the asukaperiod, also the asuka really wanted to mix in with Chineseculture•Shows a divine connection with thespiritual world•Four doors in the pagoda and kondothat symbolize the spread of Buddha

•Asingle pillar went through each floor.•On the top there was a copper shaft witha jewel on the top: Buddha’s visions•By installing the shaft worked like alightning role, stopping from burning the structure.•Inspired by the sikhara tower.5

Front 12

Back 12

Shaka Triad inside the Golden Hall, 623 CE,gilt bronze Artist: Tori BusshiPatron: Empress Suiko andMembers of court

•Usedfor active worship•Agroup of icons were originally displayed•Usedto be shining figures•Thegilt bronze will light up the figures tofocus on the figures in the dark room•Well documented piece, •The patrons were hoping that prince shoutoku and his consort could become healthy butthey ended up passing away so instead they used it to pray that prince shoutoku and his consort could be reborn•Tori Busshi became a prominent Buddhist artist •2

Front 13

Back 13

TAMAMUSHISHRINE. Asukaperiod, ca. 650.Cypress and camphor wood, with lacquer. Height 7'7-1/2" (2.33m).Gallery of Temple Treasures, Horyu-ji,Nara prefecture. Photo BenridoInc., Kyoto.•Oncethe wood was painted with lacquer they willsurvive for a long time.•Beetle wings were used to make thispiece, their wings would provide the light for the metal openwork of thispiece. •Elevatedby a pedestal. •On top of the plinth or the second middlebase.•In the top there is a miniature kondoconstructed in the top.•A miniature sculpture was place in the kondo.•Detailed kondo.

Front 14

Wooden Pagoda

Back 14

stupa (function) + lou or que (style: multi-storied building in Chinaduring the Han Dynasty)

Front 15

Chinesearchitectural style

Back 15

post and lintel structure

Front 16

Dougong

Back 16

bracketing system

•Multiplelayer use for brackets but the brackets onthe kondoand pogodaserve a simpler shape•Come in different shapes•Usually have arms•Redistributes the weight of the roof•The roof is very heavy due to the ceramictiles; I order to elevate and transfer the weight of the roof to the columns

Front 17

Waterfal drapery comparison between cave 20 Buddha and asuka period buddha?

Back 17

Comparison:

1.SimilarChinese monk robes.

2.The way the folds were portrayed is verysimilar. Multiple layers

3.Falling down, cascading drapery or linearform for the shakatriad Buddha. Very symmetrical.

4.The material is different. The shakatriadwas casted in bronze with piece mold casting and the lost wax method.

5.While the binyang Buddha was carved out of stone.

Front 18

Back 18

DETAILOF "HUNGRY TIGRESS" PANEL. Asukaperiod, ca. 650.Cypress and camphor wood, with lacquer.

•Continues narration paintingtechnique•The story emphasizes sacrifice•Actions that take place at different times but are in the same space•Simplified and abstract way of representing a landscape•The simplified landscape emphasizes the importance of the human figures•Romanticized representation of nature mimic the slender form ofBuddha/human body•Inspired by the chinese