JAPANESE CULTURE. A tatami is a type of mat used as a flooring material in traditional Japanese-style rooms. Traditionally made using rice straw

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1 Anaida Kazarian Help notes JAPANESE CULTURE The Japanese culture is a multi-layered and complex system that has been developing within itself and forming new layers for thousands of years. When Westerners think of Japanese culture, perhaps one of the first images that spring to mind is one of an ancient Samurai warrior wielding his heavy sword, or perhaps they picture a young Geisha, pouring tea and serving sushi. While these elements do play some role in the entire concept of Japan as a whole, the entire meaning and history of the nation is larger than that. When entering a house, the guest must replace his shoes with slippers. The slippers are given to the guest by his host at the genkan (doorway). These slippers are taken off in rooms that are floored with tatami. It is rude for anyone to walk on tatami floors wearing anything other than socks or bare feet. There are even slippers that are exclusively worn in the washroom. The person leaves his house slippers outside the washroom door and wears the special footwear that is exclusively for bathroom use. A tatami is a type of mat used as a flooring material in traditional Japanese-style rooms. Traditionally made using rice straw WET GARDEN 6. Why was it made: It is an expression of a pure form of abstract composition meant to incite meditation. 7. Subject: The garden consists of a flat, rectangular surface of raked white sand with fifteen rocks scattered about singly and in clusters. It seems to represent the ocean with islands protruding above its surface. The garden's elimination of trees and plants and its overall simplicity is reminiscent of abstract art. It may well be compared to a scroll of calligraphy or to a painting in the splashedink style of sumi-e.

2 8. Style: Japanese Buddhist Architecture 9. Historical/cultural context: Water is one of the basic elements in Japanese gardens, which were essentially symbolic representations of the cosmos and places for meditation 10.Specific notes: One of the most famous sights in Japan Located within a temple called Rinzai Zen The garden is not ascribed to one designer, although common belief is that Soami (1480?-1525), a leading monochrome artist of the age DRY GARDEN 6. Why was it made: It is an expression of a pure form of abstract composition meant to incite meditation 7. Subject: The garden is measured at thirty by seventy-eight feet. It is located on the south side of the temple. Earthy colors used The garden itself is composed of fifteen stones in five groups, lying on an area of raked sand. 8. Style: Japanese Buddhist Architecture 9. Historical/cultural context: Japanese aristocrats from at least mid-eighth century customarily had gardens near their homes. During the medieval age, the Japanese began experimenting in unique and abstract ways with the use of rocks, although still maintaining such features of their traditional garden as the pond, stream, and artificial island. 10. Specific notes:

3 It was during and after the Higashiyama epoch (second half of the fifteenth century) that the greatest of the medieval dry rock gardens, known as kare-sansui or "withered landscapes," were built on the grounds of Zen temples. Possibly, the most famous Japanese rock garden is that at Ryoanji Temple in Kyoto. The earliest temple recorded on this site dates from 983. It was destroyed during the Onin Wars ( ). RYOAN-JI TEMLE The records contain more information about the temple buildings. The main building was burned in 1789 and a substantially larger structure was moved here from another site. It seems that the east side of the garden had to be shortened to make room for a new gate that was added at the same time. In , both the roof of this replaced building and the garden wall were repaired. The clay-tiled roof of the wall was replaced with one of cedar shingles, and the texture of the wall was substantially changed. ISLAMIC CULTURE The term Muslim culture is used broadly to represent many diverse Muslim cultural groups: the Asian Muslims, the Middle Eastern, the African, the European and the American Muslims, each with their own variations on customs and traditions. Some customs and traditions may be more motivated by culture than by religion Muslims are required to pray five times a day. Men are encouraged to pray in the mosques instead of at home to strengthen community bonds, while women are granted a special concession if they wish to pray at home due

4 to their family responsibilities. Depending on lifestyle and work schedules, many Muslims pray at home, in the workplace, or during travel in the car, the train or an airplane whenever the time for either one of the five daily prayers approaches. It is not uncommon for Muslims to keep a prayer mat in their cars and simply stop anywhere at the time of prayer and spread it out on the ground Jahangir Preferring a Sufi Shaikh 7. Subject: There are 4 individuals at the left. Below we find Bichitr himself, our own artist, and this was the first time that a painter from the east included himself in his painting. This was very bold, considering that he is in front of the emperor. Here Bichitr holds a miniature and, inside it, we can see him again, deeply vowing the emperor. Above Bichitr is the king James I of England, who was copied by the artist from a painting that was given to Jahangir. Over James I, there is a Turkish sultan and, above him, we find an old Sufi sheikh, a mystical saint that gives Jahangir a book with an inscription that says although to all appearances kings stand before him, Jahangir looks inwardly toward the dervishes (Islamic holy men). Bichitr signs the work in the step the emperor uses to climb to the throne, which means that Jahangir walks over Bichitr s name, indicating the awareness the artist has on his own lower status. a) From top to bottom, in order of importance, Ottoman Sultan, King James I of England, and the artist Bichtir b) Shaikh's bare hands and the bejeweled hands of Jahangir (distinction between rich and poor) c) To underscore his humility, Bichtir puts his signature on the stool over which the Emperor s feet would have to step in order to take his seat.

5 d) May the Span of Your Life be a Thousand Years e) He covers his face with his hands. Does he shield his eyes from the Emperor s radiance, as some scholars believe? Or as others suggest, is he crying because time is running out for the Emperor (as represented in the slipping sand in the hourglass)? AUTHOR: Bichitr used Indian landscapes in European perspective, and this too was quite probably influenced by European works, yet his painting is a magnificent reflection of his own place and time. TAJ MAHAL 6. Why was it made: Built for his favorite wife, Mumtaz Mahal 7. Style: Islamic 8 Historical/cultural context: Shah Jahan was the fifth ruler of the Mughal dynasty. During his third regnal year, his favorite wife, known as Mumtaz Mahal, died due to complications arising from the birth of their fourteenth child. Deeply saddened, the emperor started planning the construction of a suitable, permanent resting place for his beloved wife almost immediately. The result of his efforts and resources was the creation of what was called the Luminous Tomb in contemporary Mughal texts and is what the world knows today as the Taj Mahal. 9. Specific notes: An area of 10,400 sq km around the Taj Mahal is defined to protect the monument from pollution, the height is 240 feet.

6 Taj Mahal literally means Place of the Crown WHITE AND RED PLU BLOSSOMS 6. Why was it made: Kōrin deeply admired the work of Sōtatsu, a painter who had worked during the first half of the 17th century. Kōrin studied Sōtatsu s style and later developed his own style. 7. Subject: The white plum tree s trunk is mostly outside of the screen, and one major branch comes back into the screen horizontally. The red tree s trunk is almost completely within the screen, and its young branches are extending upward. The stream at the center cuts through the pair of screens and gives the impression of expansion. 8. Historical/cultural context: All of these elements are combined to yield a stunning decorative effect which makes this pair of screens one of the greatest masterpieces in the history of Japanese art. 9.Specific notes: Ogata Kôrin transforms a very simple landscape theme two flowering trees on either side of a brook into a dream vision. AUTHOR: Ogata Kōrin, original name Ogata Koretomi, also called Ogata Ichinojō, or Kōrin (born 1658, Kyōto, Japan died July 20, 1716, Kyōto), Kōrin s artistic maturity began in 1697, when he established himself as a professional painter. In 1701, at the age of 43, he was given the rank of hokkyō, indicating that he was an accomplished artist; after that, virtually all his work bears the signature Hokkyō

7 Kōrin. Because almost none of his paintings bears a date, it is difficult to determine the chronology of his artistic output, but it appears that all his important work was produced in the 20-year period after These years may be divided into three parts: the formative Kyōto period, from 1697 to 1703, when he gained recognition as an artist; the period from 1704 to 1710, when he lived in Edo (present-day Tokyo); and the years 1711 to 1716, when he reached his artistic climax.

AP History of Art Dr. Schiller Anaida Kazarian. Thursday, February 11, 16

AP History of Art Dr. Schiller Anaida Kazarian 1 Ryoan-ji, wet garden 1. Artist: Soami (1480?-1525) 2. Name of work: Ryoan-ji wet garden 3. Date: 1480 C.E. 4. Medium: Rock 5. What culture: Japanese 6.