Guang

D: 12th or 11th century B.C.E.

P/S: Shang Dynasty

A: Unknown

P: Unknown

L: Probably from Anyang, China

M/T: Bronze/caste of elaborate bronze vessels in piece molds.

F: Many of these vessels were used in sacrifices to ancestors in funerary ceremonies, they held water, wine, grain, or meat for sacrificial rites.

C: One of the most dramatic forms is the Guang which is the libation vessel shaped like a covered gravy boat. It displays the decorative vocabulary of abstract and animal motifs.

DT: None

pg. 193 Fig. 7-2

Bi disk, with dragons

D: Fourth to third century B.C.E.

P/S: Eastern Zhou Dynasty

A: Unknown

Pa: Unknown

L: A royal Eastern Zhou tomb in Jincun, China

M/T: Nephrite/bi disks- thin, flat circular pieces of jade with a hole in the center, which may have symbolized the circle of Heaven. Rows of raised spirals, created by grinding and polishing decorate the disk itself. The inner circle are elegant dragons.

F: Burial of the dead

C: Dragons were symbols of good fortune. They also symbolized the rulers power to mediate between Heaven and Earth.

DT: None

pg. 195 Fig. 7-4

Army of the 1st Emperor of Qin in pits next to his burial mound

D: ca. 210 B.C.E. Found in 1974

P/S: Qin Dynasty

A: Unknown

Pa: Unknown

L: Lintong, China

M/T: Painted Terracotta (baked earthenware)

F:"Immortal Imperial Lifeguards"

C: Balance of uniformity and individuality. over 6,000 characters of warriors/chariots/horses

DT: none

pg. 197 Fig. 7-5

Shakyamuni Buddha

D:  338 C.E.

P/S: Zhao Dynasty/Period of Disunity (lasted 220 B.C.E. -589 C.E.)

A: Unknown

Pa: Unknown

L: Now located in the Asian Art Museum of San Francisco, San Francisco

M/T: Gilded bronze statuette

F: Early Buddha resembles prototype at Gandhara (see Meditating Buddha pg.175 fig. 6-9).  C: Has flat, relief-like handling on the robes folds, the ushnisha (cranial bump) on the head and cross-legged.

DT: After the Han Dynasty fell, the Period of Disunity began, which was also called the Period of Six Dynasties

pg. 199 Fig. 7-9

Lady Feng and the Bear, detail of Admonitions of the Instructress to the Court Ladies

D: Late Fourth Century

P/S: Period of Disunity

A: Gu Kaizhi (ca. 344-406), renowned as a calligrapher, painter of court portraits, and a pioneer of landscaping.

Pa: Unknown

L: Unknown

M/T: Handscroll- ink and colors on silk

F: Contains painted scenes and accompanying explanatory text.  This was read right to left with only a small section exposed for viewing at one time.

C: Illustrates Lady Feng saving her emperors life by placing herself between him and an attacking bear. (model of Confucian behavior)

DT: None

pg. 201 Fig. 7-10

Shakyamuni and Prabhutaratna

D: 518 CE

P/S: Northern Wei Dynasty ( 386-534 CE)

A: Unknown

Pa: Unknown

L:China

M/T: Gilded Bronze

F: Private devotion in a domestic setting or as a votive offering in a temple

C: Represents a meeting of Shakyamuni Buddha (n the right) and Prabhutaratna. Their meeting symbolized the continuity of Buddhism throughought the ages.

DT: None

pg. 202 Fig.7-11

Vairocana Buddha(not the historical Buddha, but the Mahayana Cosmic Buddha, the Buddha of Boundless Space and Time), discples, and Bodhisattvas

D: Completed 675 CE when Gaozong was the Tang Emperor

P/S: Tang Dynasty

A: Unknown

Pa: Sort of Wu Zetian?? Woman emperor!!

L: Longmen Caves, Luoyang, China

M/T: Stone

F: Colossal Relief

C: Folds of his robe fall in a few concentric arcs. Flanking him are two monks, attendant bodhisattvas, and guardian figures.

DT: None

pg. 203 Fig. 7-12

Travelers among Mountains and Streams

D: Early 11th century

P/S: Northern Song Period

A: Fan Kuan (Daoist recluse who shunned the cosmopolitan life of Bianliang)

Pa: Unknown, possibly Fan Kuan

L: Unknown, China

F: Landscape painting

C: Presents a vertical landscape of massive mountains rising from the distance. The overwhelming natural forms dwarf the few human and animal forms.

DT: Used small, pale brush marks called raindrop strokes.

pg. 207 Fig. 7-18

Foguang Si Pagoda

D: 1056 C.E.

P/S: Liao Dynasty (R. 907-1125)

A: Unknown

Pa: Unknown

L: Yingxian, China in the Shanxi Province

M/T: Wood/Pagoda, or tower, building.

F: Housed relics and provided a focus for devotion to the Buddha, yet later pagodas served as housing sacred images and texts.

C: Tallest wooden building in the world!

DT: pagoda

pg. 209 Fig. 7-21

On a Mountain Path in Spring

D: Early 13th Century

P/S: Southern Song Period

A: Ma Yuan

Pa: Ningzong? (Painted for)

L: China

M/T: Album lead, ink and colors on silk

F:None

C: Perfect embodiments of the Chinese ideals of peace and unity with nature.

DT: None

pg. 210 Fig. 7-23

Sixth Chan Patriarch Chopping Bamboo

D: Early 13th Century

P/S: Southern Song Period

A: Liang Ki (Master of an abbreviated, expressive style of ink painting)

Pa: Unknown

L: China

F: Stressed the quest for personal enlightenment through meditation.

C: Chan though, the performance of even such mundane tasks had the potential to become a spiritual exercise. This represents the patriarchs "Chan moment," when the sound of the blade striking the bamboo resonates within his spiritually attuned mind to propel him through the door towards enlightement. He is not burdened by wordly matters like physical appearance or signs of social status.

DT: Chan

pg. 211 Fig. 7-25