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Chapter 25 The later art of south and Southeast Asia

Chapter 25 The later art of south and Southeast Asia. minaret A distinctive feature of mosque architecture, a tower from which the faithful are called to worship. vimana A pyramidal tower over the garbha griha of a Hindu temple of the southern ( Dravida ) style. Gopura

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Chapter 25 The later art of south and Southeast Asia

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  1. Chapter 25 The later art of south and Southeast Asia

  2. minaret • A distinctive feature of mosque architecture, a tower from which the faithful are called to worship.

  3. vimana • A pyramidal tower over the garbhagriha of a Hindu temple of the southern (Dravida) style.

  4. Gopura • The massive, ornamented entrance gateway towers of South Indian temple compounds.

  5. mandapa • Pillared hall of a Hindu temple.

  6. mosque • The Islamic building for collective worship. From the Arabic word “masjid,” “a place for bowing down.” Mughals • “Descended from the Mongols,” the dynasty started by Babur, a Muslim prince, r. 1526-1530. Akbar • Babur’s grandson, called the Great, ascended to the throne at age 14, r.1556-1605. Patron of narrative paintings. He commissioned a workshop of painters to illustrate the narratives of his and his uncle’s lives. He was fascinated with European art. Jahangir • Akbar’s son and successor, r. 1605-1627.

  7. QutbMinar that was erected in Delhi in the 15th century is a towering monument to the victory of Islam, engraved with inscriptions in Arabic and Persian proclaiming that the minaret casts the shadow of Allah over the conquered Hindu city.

  8. Bichitr symbolized the power of Janhangir; The cupids inscribe the throne with the wish that the emperor would live a thousand years. The emperor is portrayed as above time, with a radiant halo combining a golden sun and a white crescent moon. The emperor is given costly gifts of horses, an elephant, and a book. Islamwas the religion that gained adherents in India from the thirteenth through the fifteenth century. Jahangir (d.1627) preferring Sufi shaikhs over King James I of England; by Bichitr, earlier 1620's

  9. The purpose of the TajMahal • A mausoleum to Shah Jahan’s favorite wife, MumtazMahal. Shah Jahan was eventually buried there as well. • Symbolic meaning • The minarets are symbols of ladders reaching toward Heaven and the surrounding gardens are symbols of Paradise. Together the TajMahal symbolizes the Throne of God perched above the gardens of Paradise on Judgment Day. The minarets hold up the canopy of that throne. In Islam, the most revered place of burial is beneath the Throne of God. Aesthetic effect it creates The tomb seems to float above the pools that punctuate the garden leading to it. The interplay of shadowy voids with light-reflecting marble walls that seem paper-thin creates an impression of translucency. The climatic dome is crown-shaped and the eye sweeps up to it along the pointed arches. There is a delicate balance between verticality and horizontality: it is exactly as wide as it is tall. TajMahal Agra, India 1632-1647

  10. Bhadrakali within the Rising Sun. Folio 10 from the Tantric Devi series. India, Punjab Hills, Basohli, ca. 1660-70. Opaque watercolor, gold, silver, and beetle-wing cases on paper. Lent by Dr. Alvin O. Bellak, Philadelphia.

  11. Maharaja Jaswant Singh of Marwar ca. 1880opaque watercolor on paper1 ft. 3 1/2 in. x 11 5/8 in.

  12. Rajputs were "Sons of kings,” small Hindu dynasties that ruled northwestern India. They eventually fell to the Mughals, but some of them maintained a degree of independence although they paid a tribute to the Mughal treasury. An 1876 engraving of Rajputs of Rajasthan, from the Illustrated London News

  13. Four stylistic elements of the miniature of Krishna and Radhna : The drawing style is lyrical and sensual. The decoration is rich with jewels, mangos, flowering shrubs, and the dark monsoon sky. The composition is simple and symmetrical, with a central focus on the pavilion and lovers. Lightning is one of the standard symbols for sexual excitement. The love between Krishna and Radha symbolized a model of the devotion, or bhakti, paid to Vishnu. • Krishna • “The Blue God”, the most popular Vishnu avatar. He descends to earth to aid mortals. Krishna was a herdsman who spent an idyllic existence tending his cows, fluting, and sporting with beautiful herdswomen. Krishna and Radha in a Pavilion ca. 1760 opaque watercolor on paper11 1/8 in. x 7 3/4 in.

  14. Frederick W. Stevens Victoria Terminus Mumbai (Bombay), India 1878-1887

  15. Two features that characterize south Indian temple complexes like the one at Mandurai. Positioned like boxes within boxes, each set of walls had taller gopuras than those of the previous circuit, the towers reaching colossal size and dwarfing the actual central temples. The ornamentation is extremely rich, consisting of row after row of brightly painted stucco sculptures representing the vast pantheon of Hindu deities and attendant figures. Gopura, Great temple Madurai, India 17th century

  16. Main temple group at WatMahathat, Sukhothai ancient city.

  17. Walking Buddha Sukhothai, Thailand 14th centurybronze 7 ft. 2 1/2 in. high

  18. Dish with Two Mynah birds on flowering branch Vietnam 16th centurystoneware painted with underglaze-cobalt1 ft. 2 1/2 in. diameter

  19. Using the internet an/or available resources, compare the Buddhist structures at the following sites: Sanchi (FIGS. 6-5 & 6-6), Karli (FIG. 6-8), Borobudur (FIG.6-26), Byodoin, Uji (FIG. 8-12 ), the Bayon at Ankor Thom (FIG. 6-31), and Yingxian (FIG. 7-21). What was the purpose of each, and how is that purpose reflected in the forms?

  20. Great Stupa Sanchi, India third century B.C.E. to first century C.E. Cosmic Mountain Borobudur, Java, Indonesia ca. 800 C.E.400 ft. wide Chaitya Hall Karle, India ca. 100 C.E. Foguang Si Pagoda Yingxian, China Liao Dynasty1056 C.E. Phoenix Hall Byodoin, Uji, Kyoto Prefecture, Japan Heian period1053 Towers of the Bayon Angkor Thom, Cambodia 12th to 13th centuries C.E.

  21. Write at least two pages analyzing Bichitr’s picture of Jahinger Preferring a Sufi Shaykh to Kings (FIG. 25-4 and p. 748). Look carefully at each element of the painting and describe everything that you see. After describing the objects, analyze their style. Use the following terms in your analysis: foreshortening, picture plane, hue, line, pattern, shape and mass. What elements come from the Islamic tradition and which show influences from Western art. Then look thorough the text and see if you can find objects or images that relate to what you have written. Jahangir (d.1627) preferring Sufi shaikhs over King James I of England; by Bichitr, earlier 1620's

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