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

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1 AP History of Art Dr. Schiller Anaida Kazarian 1

2 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. 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 splashed-ink style of sumi-e. 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 2

3 Ryoan-ji, wet garden 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 3

4 yoan-ji, wet garden 4

5 Ryoan-ji, dry garde 1. Artist: Soami (1480?-1525) 2. Name of work: Ryoan-ji, dry garden 3. Date: 1480 C.E. 4. Medium: Rock 5. What culture: Japanese 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. 5

Ryoan-ji, dry garde Specific notes: 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

6 Ryoan-ji, dry garde Specific notes: 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 ( ). 6

7 Ryoan-ji, dry garden 7

8 Ryoan-ji plan Ryoan- ji dry garden plan Ryoan-ji wet garden plan 8

The records contain more information about the temple buildings.

9 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. Ryoan-ji temple 9

Jahangir Preferring a Sufi Shaikh 1. Artist: Bichitr 2. Name of work: Jahangir Preferring a Sufi Shaikh 3. Date: 1615-1618 C.E. 4. Medium: watercolor gold, ink on paper 5. What culture: Islamic 6.

10 Jahangir Preferring a Sufi Shaikh 1. Artist: Bichitr 2. Name of work: Jahangir Preferring a Sufi Shaikh 3. Date: C.E. 4. Medium: watercolor gold, ink on paper 5. What culture: Islamic 6. Why was it made: 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 Thursday, February the 11, awareness 16 the artist has on his own lower status. 10

11 Jahangir Preferring a Sufi Shaikh 11

12 From top to bottom, in order of importance, Ottoman Sultan, King James I of England, and the artist Bichtir Shaikh's bare hands and the bejeweled hands of Jahangir (distinction between rich and poor) 12

May the Span of Your Life be a Thousand Years Crying putto He covers his face with his hands.

13 Angel's at Jahangir's pedestal 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. May the Span of Your Life be a Thousand Years Crying putto 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)? 13

Taj Mahal 1. Artist: Shah Jahan 2. Name of work: Taj Mahal 3. Date: 1632-1653 4. Medium: stone masonry, marble with inlay precious, semiprecious stones 5. What culture: Indian 6.

14 Taj Mahal 1. Artist: Shah Jahan 2. Name of work: Taj Mahal 3. Date: Medium: stone masonry, marble with inlay precious, semiprecious stones 5. What culture: Indian 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. Taj Mahal literally means Place of the Crown 14

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16 White and Red Plum Blossoms 1. Artist: Ogata Korin 2. Name of work: White and Red Plum Blossoms 3. Date: c C.E. 4. Medium: Ink, watercolor, gold leaf on paper 5. What culture: Japanese 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. 16

17 White and Red Plum Blossoms Right side, red blossoms 17

18 White and Red Plum Blossoms Left side, white plum blossoms 18

19 White and Red Plum Blossoms 19

20 Thank You! 20

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

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