Survey 1 ch11

Copyright © 2018, 2014, 2011 Pearson Education, Inc. All Rights Reserved
Art History
Sixth Edition
Chapter 11
Chinese and Korean Art
before 1279

Learning Objectives (1 of 2)
11.a Identify the visual hallmarks of early Chinese and Korean art for
formal, technical, and expressive qualities.
11.b Interpret the meaning of works of early Chinese and Korean art
based on their themes, subjects, and symbols.
11.c Relate early Chinese and Korean artists and art to their cultural,
economic, and political contexts.

Learning Objectives (2 of 2)
11.d Apply the vocabulary and concepts relevant to early Chinese and
Korean art, artists, and art history.
11.e Interpret a work of early Chinese or Korean art using the art
historical methods of observation, comparison, and inductive reasoning.
11.f Select visual and textual evidence in various media to support an
argument or an interpretation of a work of early Chinese or Korean art.

TERRA-COTTA SOLDIERS
From the mausoleum of Emperor Shihuangdi, Lintong, Shaanxi.
Qin dynasty, c. 210 BCE. Earthenware, life-size. [Fig. 11-01]

The Middle Kingdom
• China's uninterrupted development has been traced back for 8,000
years.
• The three great rivers Huang He (Yellow), Yangzi, and Xi became the
cultural heart of China.
• Agriculture based on rice and millet arose before 5000 BCE and
supported sophisticated towns dating to as early as 4000 BCE.

CHINA AND KOREA
The map shows the borders of contemporary China and Korea. Bright-colored areas
indicate the extent of China’s Han dynasty (206 BCE–220 CE. [Map 11-01]

Neolithic Cultures (1 of 4)
• One of the clearest archaeological signs of Neolithic culture in China is
evidence of the vigorous emergence of towns and cities.
• The foundations of the earliest-known Chinese palace have been
uncovered and dated to about 2000 BCE.

• Painted Pottery Cultures
– A recovered object of interest is a shallow red bowl with a turned-
out rim.
– The bowl is an artifact of the Yangshao culture, one of the most
important of the so-called Painted Pottery cultures of Neolithic
China.

BOWL
From Banpo, near Xi'an, Shaanxi. Neolithic period, Yangshao culture, 5000–4000 BCE.
Painted pottery, height 7" (17.8 cm).
Banpo Museum. Cultural Relics Publishing House. [Fig. 11-02]

• Liangzhu Culture
– In the southeastern coastal region, human and animal images,
often masks or faces, have been uncovered.
– A cong from Liangzhu, bears a lustrous, smooth finish and mask
motifs.

• Liangzhu Culture
– The intricacy of these carvings shows the technical sophistication
of the jade-working Liangzhu culture.
– Chinese historians began referring to the ancient mask motif as
taotie.

DRAWING OF THE MASK DECORATION ON A JADE CONG
Neolithic period, Liangzhu culture, 3200–2200 BCE.
Line drawing © Michael Sullivan, The Arts of China, 5th Edtion, Revised and Expanded.
Published by the University of California Press, 2009, p. 12, fig. 1-14. [Fig. 11-03]

CONG
Neolithic period, Liangzhu culture, 3200–2200 BCE.
Jade, height 1-7/8" × width 2-5/8" (5 × 6.6 cm).
Shanghai Museum. [Fig. 11-04]

Bronze Age China
• Bronze casting using the piece-mold casting technique arose
independently in China, and it attained a high level of sophistication.

Technique: Piece-Mold Casting
• The early piece-mold technique for bronze casting is different from the
lost-wax process.
• A clay model was made first and eventually the molten bronze would
be poured in.
– An example is a fang ding.
 A ding is a ceremonial cooking vessel used in Shang rituals
and buried in Shang tombs.

TECHNIQUE: Piece-Mold Casting
Sectional clay molds for casting bronze vessels. This sketch is based on a vessel in the
Zhengzhou Institute of Cultural Relics and Archaeology.

TECHNIQUE: Piece-Mold Casting
A fang ding, a ceremonial cooking vessel.

Shang Dynasty (1 of 3)
• There were three Bronze Age dynasties: the Xia, the Shang, and the
Zhou.
• China's bronze age began with the Shang dynasty in the Yellow River
valley.
• The ruling group possessed bronze technology for weapons.

• Ritual Bronzes
– Bronze vessels are the most admired and studied Shang artifacts.
– Vessels of this time were connected with ritual practices.

• Ritual Bronzes
– The bronze fang ding is decorated with a complex array of images
based on animal forms.
– A ritual pouring vessel, called a guang, shows a highly sculptural
rendition of animal forms.

COVERED RITUAL WINE-POURING VESSEL (GUANG) WITH TIGER AND OWL
DÉCOR
Shang dynasty, 13th century BCE. Cast bronze, height with cover 9-3/4" (25 cm), width
including handle 12-3/8" (31.5 cm). Arthur M. Sackler Museum, Harvard Art Museum,
Cambridge, Massachusetts. Bequest of Grenville L. Winthrop (1943.52.103).
Bridgeman Images. [Fig. 11-05]

Zhou Dynasty (1 of 2)
• The Shang were conquered by the Zhou about 1100 BCE.
– The Zhou established the mandate of heaven, or the belief that
imperial rule was sanctioned directly from the supreme deity.
– Many great philosophers lived during this dynasty, including
Confucius, whose system of philosophy became central to
Chinese thought and culture.

Zhou Dynasty (2 of 2)
• Bronze Bells
– Ritual bronze objects continued to play an important role during
the Zhou dynasty.
– A recent discovery is a carillon of 65 bronze components, mostly
bells, found in the tomb of Marquis Yi.
– Music may well have played a part in rituals for communicating
with the supernatural.

SET OF BELLS
From the tomb of Marquis Yi of Zeng, Suixian, Hubei. Zhou dynasty, 433 BCE.
Bronze, with bronze and timber frame, frame height 9' (2.74 m), length 25' (7.62 m).
Hubei Provincial Museum, Wuhan. © Asian Art & Archaeology, Inc./Corbis. [Fig. 11-06]

Art and Its Contexts:
Chinese Characters
• Each word in Chinese is represented by its own unique symbol, called
a character.
– Some characters originated as pictographs, images that mean
what they depict.
– Other characters are ideographs, pictures that represent abstract
concepts or ideas.

Early Chinese Empires
• China was united again in 221 BCE under Qin Shihuangdi.
– He built an underground mausoleum at Lintong that was
excavated in 1974 and discovered to contain thousands of terra-
cotta soldiers and horses.
– His tomb has not yet been opened but is speculated to replicate
the world as it was known to the Qin.

Han Dynasty (1 of 2)
• During the Han dynasty, China enjoyed peace, prosperity, and stability.
• The Silk Road, a land route that linked China by trade all the way to
Rome, was opened.

Han Dynasty (2 of 2)
• Painted Banner from Changsha
– The early Han dynasty was the mythocentric age, when people
believed in a close relationship between the human and
supernatural worlds.
– The best-preserved example of art from this time is a T-shaped
silk banner that summarized this early worldview.

PAINTED BANNER
From the tomb of the Marquess of Dai, Mawangdui, Changsha, Hunan.
Han dynasty, c. 160 BCE. Colors on silk, height 6'8-1/2" (2.05 m).
Hunan Provincial Museum, Changsha. © Asian Art & Archaeology, Inc./Corbis.
[Fig. 11-07]

Art and Its Contexts: Daoism (1 of 3)
• Daoism is an outlook on life that brings together many ancient ideas
regarding humankind and the universe.
– Its primary text is the Daodejing.
– A secondary text is Zhuangzi.
 Together, the two texts formed a body of ideas that crystallized
into a school of thought during the Han period.

• The Dao is the Ultimate Way, the Way of the universe.
• It is often said that the Chinese are Confucians in public and Daoists in
private.
– The two approaches seem to balance each other.

• Confucianism is a rational political philosophy that emphasizes
propriety, deference, duty, and self-discipline.
• Daoism is an intuitive philosophy that emphasizes individualism,
nonconformity, and a return to nature.

Philosophy and Art (1 of 4)
• The Han dynasty was prosperous and peaceful.
• Confucianism and Daoism flourished.
• Daoism and Nature
– Daoism emphasized the closeness of humans and nature, and
absorbed folk practices as it became an organized religion.

• Daoism and Nature
– A Daoist legend of the Isles of the Immortals is depicted on a
bronze incense burner with gold inlay.

INCENSE BURNER
From the tomb of Prince Liu Sheng, Mancheng, Hebei. Han dynasty, 113 BCE.
Bronze with gold inlay, height 10-1/2" (26 cm).
Hebei Provincial Museum, Shijiazhuang. © Asian Art & Archaeology, Inc./Corbis.
[Fig. 11-08]

• Confucianism and the State
– Confucianism contrasts the metaphysical focus of Daoism with a
human focus.
 The Wu family shrines built in 151 CE have engraved stone
slabs with scenes teaching basic Confucian tenets.

Art and Its Contexts:
Confucius and Confucianism
• The teachings of Chinese scholar Confucius (551–479 BCE) are
collected in the Analects.
• Ren was the emphasis of morality and empathy as basic standards for
human interaction.
– Etiquette and formalized social interaction
– Deference based on age and sex

A CLOSER LOOK: A Reception in the Palace
Detail from a rubbing of a stone relief in the Wu family shrine (Wuliangci).
Jiaxiang, Shandong. Han dynasty, 151 CE. 27-1/2" × 66-1/2" (70 × 169 cm). Princeton
University Art Museum. Far Eastern Seminar Collection. (2002-307.24) © 2016. Princeton
University Art Museum/Art Resource NY/Scala, Florence. Photo: Bruce M. White.
[Fig. 11-09]

• Architecture
– Nothing of Han architecture survives but ceramic models.
– One model of a house with seven stories survives from a tomb,
and shows a third-story passageway to a tower.
– An interesting feature of the house is the bracketing system that
supports the broad eaves of its tiled roofs.

TOMB MODEL OF A HOUSE AND TOWER
Eastern Han dynasty, 1st–mid 2nd century CE.
Painted earthenware, 52" × 33-1/2" ×27" (132.1 × 85.1 ×68.6 cm).
The Nelson-Atkins Museum of Art, Kansas City, Missouri. [Fig. 11-10]

Six Dynasties (1 of 7)
• With the fall of the Han in 220 CE, China splintered into three warring
kingdoms.
– The Confucian system lost influence.
– Intellectuals turned to Daoism for its strong escapist element.
 Only available to the educated elite.
– Ultimately, the newly arrived religion of Buddhism flourished in the
China of the Six Dynasties.

• Painting
– Few paintings survive from the Six Dynasties.
– This new emphasis on the spiritual value of painting contrasted
with the Confucian view.
– Traditional Chinese judge a painting above all by the quality of its
brushwork.

• Painting
– One of the most important works associated with the Six
Dynasties period is a painted scroll called Admonitions of the
Imperial Instructress to Court Ladies.
 It alternates illustrations and text to relate seven Confucian
stories of wifely virtue from Chinese history.

Attributed to Gu Kaizhi DETAIL OF ADMONITIONS OF THE IMPERIAL INSTRUCTRESS
TO COURT LADIES
Six Dynasties period or later, 5th–8th century CE.
Handscroll, ink and colors on silk, 9-3/4" × 11'6" (24.8 × 348.2 cm).
British Museum, London. © The Trustees of the British Museum. All rights reserved.
[Fig. 11-11]

• Calligraphy
– The same brushes are used for both painting and calligraphy.
– Painting was felt to reflect moral concerns, while calligraphy was
believed to reveal the character of the writer.
 Calligraphy is regarded as one of the highest forms of artistic
expression in China.

• Calligraphy
– The most important calligraphy practitioner of the day was Wang
Xizhi.
 An example is from a letter that part of an album known as
Feng Ju.

Wang Xizhi PORTION OF A LETTER FROM THE FENG JU ALBUM
Six Dynasties period, mid 4th century CE.
Ink on paper, 9-3/4" × 18-1/2" (24.7 × 46.8 cm).
National Palace Museum, Taibei, Taiwan, Republic of China. © National Palace Museum,
Taipei, Taiwan, Dist. RMN-Grand Palais/image NPM. [Fig. 11-12]

• Buddhist Art and Architecture
– Buddhism reached China through the Silk Road.
– Buddhism offered consolation in life and the promise of salvation
after death.

• Buddhist Art and Architecture
– The most impressive works of Buddhist art surviving from the Six
Dynasties are the hundreds of northern rock-cut caves along the
trade routes.
 Both the caves and the sculptures in them were carved from
the rock of the cliffs.
– An example is the 45 foot Seated Buddha statue at
Yungang.

SEATED BUDDHA, CAVE 20, YUNGANG
Datong, Shanxi. Northern Wei dynasty, c. 460.
Stone, height 45' (13.7 m).
Takashi Images/Fotolia. [Fig. 11-13]

Sui and Tang Dynasties
• The short-lived Sui dynasty paved the way for the Tang, 618–907 CE.
– Many Chinese living abroad still call themselves "Tang people."
 Tang implies the part of the Chinese character that is strong
and vigorous, noble and idealistic, but also realistic and
pragmatic.

Buddhist Art and Architecture (1 of 4)
• The Sui emperor was a Buddhist and his reunification of China
coincided with a fusion of the several styles of Buddhist sculpture that
had developed.
– This can be seen in a bronze Altar to Amitabha Buddha.
• Buddhism reached its greatest development in China during the Tang
dynasty.

ALTAR TO AMITABHA BUDDHA
Sui dynasty, 593. Bronze, height 30-1/8" (76.5 cm).
Museum of Fine Arts, Boston. Gift of Mrs. W. Scott Fitz (22.407) and Gift of Edward
Holmes Jackson in memory of his mother, Mrs. W. Scott Fitz (47.1407–1412).
Photograph © 2017 Museum of Fine Arts, Boston. [Fig. 11-14]

• A Tang vision of the most popular sect, Pure Land, was expressed in a
wall painting from a cave in Dunhuang.

THE WESTERN PARADISE OF AMITABHA BUDDHA
Detail of a wall painting in Cave 217, Dunhuang, Gansu.
Tang dynasty, c. 750. 10'2" × 16' (3.1 × 4.86 m).
© dbimages/Alamy Stock Photo. [Fig. 11-15]

• Nanchan Temple
– The Nanchan Temple shows characteristics of both temples and
palaces of the Tang dynasty.
– Tiled roofs took on curves silhouettes and they used the bay
system of construction.
 The bay functioned in Chinese architecture as a module, a
basic unit of construction.

NANCHAN TEMPLE, WUTAISHAN
Shanxi. Tang dynasty, 782.
© ChinaFotoPress/Getty Images. [Fig. 11-16]

• The Great Wild Goose Pagoda
– It was originally built in 645 CE but rebuilt in the mid eighth century.
– Pagodas are elaborate, often multistory burial mounds that
housed relics of the Buddha.
– Upward-curving roofs are supported by elaborate bracketing.

GREAT WILD GOOSE PAGODA AT CI'EN TEMPLE, CHANG'AN
Shanxi. Tang dynasty, first erected 645; rebuilt mid 8th century CE.
© Amy Harris/123RF.com. [Fig. 11-17]

Elements of Architecture: Pagodas
• Pagodas developed from Indian stupas as Buddhism spread northeast
along the Silk Road.
• The transformation culminated in wooden pagodas with upward-
curving roofs supported by elaborate bracketing in China, Korea, and
Japan.

ELEMENTS OF ARCHITECTURE: Pagodas

Tang Figure Painting and Ceramics
(1 of 2)
• Very few Tang scroll paintings still exist.
• The wall paintings of Dunhuang give us some idea of the character of
Tang figure painting.
– Ladies Preparing Newly Woven Silk is an example.

Attributed to Emperor Huizong DETAIL OF LADIES PREPARING NEWLY WOVEN SILK
Copy after a lost Tang-dynasty painting by Zhang Xuan.
Northern Song dynasty, early 12th century CE.
Handscroll with ink and colors on silk, 14-9/16" × 57-3/16" (37 × 145.3 cm).
Museum of Fine Arts, Boston. Chinese and Japanese Special Fund (12.886). Photograph
© 2017 Museum of Fine Arts, Boston. [Fig. 11-18]

Art and Its Contexts: The Silk Road
during the Tang Period
• Foreigners came to the capital and were depicted in a humorous and
detailed way, as seen in Camel Carrying a Group of Musicians.
• The Tang specialized in a three-color-glaze technique for their
ceramics.
– The Silk Road linked Chang'an to Rome in over 5,000 miles of
caravan and sea routes.

CAMEL CARRYING A GROUP OF MUSICIANS
From a tomb near Xi'an, Shanxi. Tang dynasty, c. mid 8th century CE.
Earthenware with three-color glazes, height 26-1/8" (66.5 cm).
National Museum, Beijing. Cultural Relics Publishing House. [Fig. 11-19]

Tang Figure Painting and Ceramics
(2 of 2)
• Two earthenware Equestrian Figures reveal the robust naturalism and
exuberance of figural representation in the Tang dynasty.

TWO EQUESTRIAN FIGURES
Tang dynasty, first half of 8th century CE. Molded, reddish-buff earthenware with cold-
painted pigments over white ground, height (male figure) 14-1/2" (37 cm).
Arthur M. Sackler Museum, Harvard Art Museum, Cambridge, Massachusetts. Gift of
Anthony M. Solomon (2003.207.1-2). Bridgeman Images. [Fig. 11-20]

Song Dynasty (1 of 2)
• The mood during the Song dynasty was more introspective, a
reflection of China's weakened military situation.
• Song culture is noted for its refined taste and intellectual grandeur.
• The finest expressions of the Song, are in art, especially painting and
ceramics.
• Also gifted in poetry and scholarship.

Song Dynasty (2 of 2)
• Despite changing political fortunes during the dynasty (960–1279), the
Song was a time of plentiful patronage.
• The Seated Guanyin Bodhisattva shows no hint of despair in his pose
of "royal ease."

SEATED GUANYIN BODHISATTVA
Liao dynasty, 11th–12th century CE (the painting and gilding were restored in the 16th
century). Wood with paint and gold, 95" × 65" (241.3 × 165.1 cm).
The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase, William Rockhill
Nelson Trust (34-10). [Fig. 11-21]

Philosophy: Neo-Confucianism
• The revival of Confucianism through Neo-Confucianism depended on
a metaphysical basis.
– Two interacting forces known as li and qi consist the universe.

Northern Song Painting (1 of 5)
• Neo-Confucian ideas were best exemplified in landscape painting.
– They expressed the desire for spiritual communion with nature as
being key to enlightenment.

• Fan Kuan
– Fan Kuan was an early master.
– Travelers Among Mountains and Streams is a composition in three
stages, with rocks at the bottom in the foreground, travelers in the
middle ground, and a misty transition to the background waterfall.

Fan Kuan TRAVELERS AMONG MOUNTAINS AND STREAMS
Northern Song dynasty, early 11th century CE.
Hanging scroll with ink and colors on silk, height 6'9-1/2" (2.06 m).
National Palace Museum, Taibei, Taiwan, Republic of China. © Corbis. [Fig. 11-22]

• Fan Kuan
– Chinese painters directly avoided linear perspective, as it was too
controlling.

• Xu Daoning
– One of the finest handscrolls to survive from the Northern Song is
Fishing In A Mountain Stream.

Xu Daoning SECTION OF FISHING IN A MOUNTAIN STREAM
Northern Song dynasty, mid 11th century CE.
Handscroll with ink on silk, 19" × 6'10" (48.9 cm × 2.09 m).
The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase: William Rockhill
Nelson Trust (33-1559). [Fig. 11-23]

• Zhang Zeduan
– The Northern Song fascination with precision extended to details
within landscape.
– Peace Reigns Along the River, by Zhang Zeduan, is an example
of this passion for observation.

Zhang Zeduan SECTION OF PEACE REIGNS ALONG THE RIVER
Northern Song dynasty, late 11th–early 12th century CE.
Handscroll with ink and colors on silk, 9-1/2" × 7'4" (24.8 cm × 2.28 m).
The Palace Museum, Beijing. Werner Forman Archive/Palace Museum, Beijing.
[Fig. 11-24]

Southern Song Painting and Ceramics
(1 of 3)
• Landscape painting took a different direction after the fall of the
Northern Song in 1126.

(2 of 3)
• Xia Gui
– Xia Gui of the Academy of Painters presents an intimate and
lyrical view of nature in the handscroll Twelve Views of
Landscape.
 Simplified forms with stark contrast and expanses of blank
space typify such works.

Xia Gui SECTION OF TWELVE VIEWS OF LANDSCAPE
Southern Song dynasty, early 13th century CE. Handscroll with ink on silk,
height 11" (28 cm); length of extant portion 7'7-1/2" (2.31 m).
Nelson Trust (32-159/2). [Fig. 11-25a]

Xia Gui SECTION OF TWELVE VIEWS OF LANDSCAPE
Southern Song dynasty, early 13th century CE. Handscroll with ink on silk,
height 11" (28 cm); length of extant portion 7'7-1/2" (2.31 m).
Nelson Trust (32-159/2). [Fig. 11-25b]

(3 of 3)
• Guan Ware
– Guan ware was the most prized type of Song ceramic.
– Featured here, the potter allowed a pattern of irregular,
spontaneous cracks to appear in the off-white glaze.

GUAN WARE VESSEL
Southern Song dynasty, 13th century CE.
Gray stoneware with crackled grayish-blue glaze, height 6-5/8" (16.8 cm).
Percival David Foundation of Chinese Art, British Museum, London. © The Trustees of
the British Museum. All rights reserved. [Fig. 11-26]

The Arts of Korea
• The peninsula between China and Japan, Korea developed a unique
culture during the Three Kingdoms period (57 BCE–668 CE).

KOREA
The map shows Korea, with its division into North and South, and indicates major sites
mentioned in this chapter. [Map 11–2]

The Three Kingdoms Period (1 of 4)
• Three independent nation-states were established: Silla in the
southeast, Baekje in the southwest, and Goryeo in the north.

• A Gold Headdress
– Large tomb mounds built during the fifth and sixth centuries are
enduring monuments.
– A recovered headdress was made from gold and embellished with
jadeite.

CROWN
From the Gold Crown Tomb, Gyeongju, North Gyeongsang Province, Korea. Three
Kingdoms period, Silla kingdom, probably 6th century CE.
Gold with jadeite ornaments, height 17-1/2" (44.5 cm).
National Museum of Korea, Seoul, Republic of Korea. [Fig. 11-27]

• High-fired Ceramics
– Ceramics were found in the same tombs.
– The most imposing ceramic shapes are tall stands used to support
round-bottomed jars.

CEREMONIAL STAND WITH SNAKE, ABSTRACT, AND OPENWORK DECORATION
Reportedly recovered in Andong, North Gyeongsang Province, Korea. Three Kingdoms
period, Silla kingdom, 5th–6th century CE. Gray stoneware with combed, stamped,
applied, and openwork decoration and with traces of natural ash glaze, height 23-1/8"
(58.7 cm). Arthur M. Sackler Museum, Harvard University, Cambridge, Massachusetts.
Partial gift of Maria C. Henderson and partial purchase through the Ernest B. and Helen
Pratt Dane Fund for the Acquisition of Oriental Art (1991.501). Bridgeman Images.
[Fig. 11-28]

• A Bodhisattva Seated in Meditation
– Buddhism was introduced into Silla in the second half of the fifth
century.
– Korean sculptors had created a distinctive style by the sixth
century, which can be seen in the image of the seated bodhisattva.

BODHISATTVA SEATED IN MEDITATION
Korea. Three Kingdoms period, probably Silla kingdom, early 7th century CE.
Gilt bronze, height 35-7/8" (91 cm). National Museum of Korea, Seoul, Republic of Korea
(formerly in the collection of the Toksu Palace Museum of Fine Arts, Seoul). Pictures from
History/National Museum of Korea/Bridgeman Images. [Fig. 11-29]

The Unified Silla Period
• In 660, the peninsula came under the rule of the Unified Silla dynasty.
– Buddhism prospered and many large temples were erected near
the capital.
• Seokguram
– The greatest monument is Seokguram, an artificial cave-temple.

SEATED SHAKYAMUNI BUDDHA
Seokguram Grotto, near Gyeongju, North Gyeongsang Province, Korea.
Unified Silla period, c. 751 CE.
Granite, height of Buddha 11'2-1/2" (3.42 m).
© Prisma Bildagentur AG/Alamy Stock Photo. [Fig. 11-30]

Goryeo Dynasty (1 of 3)
• Celadon-glazed Ceramics
– The Goryeo dynasty (918–1392) sponsored works in celadon, a
pale-green glaze applied to a light gray stoneware body.
– Inlaid decoration using black and white slips developed distinctive
forms.

• Celadon-glazed Ceramics
– The bottle here displays bamboo and geese on celadon.
 It would have been used as a storage jar.

MAEBYEONG BOTTLE WITH DECORATION OF BAMBOO AND BLOSSOMING PLUM
TREE
Korea. Goryeo dynasty, late 12th–early 13th century CE. Inlaid celadon ware: light gray
stoneware with decoration inlaid with black and white slips under celadon glaze, height
13-1/4" (33.7 cm). Tokyo National Museum, Tokyo, Japan. (TG-2171). TNM Image
Archives. [Fig. 11-31]

• Buddhist Paintings
– The most lavish Buddhist works produced during the Goryeo
period were paintings.
– The hanging scroll depicting Gwanse'eum Bosal, the bodhisattva
of compassion is an example.
 Ink and rich colors were used on silk, which reflected the
luxurious taste of the period.

SEATED WILLOW-BRANCH GWANSE'EUM BOSAL (THE BODHISATTVA
AVALOKITESHVARA)
Korea. Goryeo dynasty, late 14th century CE.
Hanging scroll with ink, colors, and gold pigment on silk, height 62-1/2" (159.6 cm).
Arthur M. Sackler Museum, Harvard University, Cambridge, Massachusetts. Bequest of
Grenville L. Winthrop (1943.57.12). Bridgeman Images. [Fig. 11-32]

Think About It (1 of 2)
• To what extent is naturalism—the artistic goal of reproducing the visual
appearance of the natural world—a motivating force in early Chinese
and Korean art?
• Compare and contrast the Chinese seated Guanyin bodhisattva (Fig.
11–21) and the Korean bodhisattva seated in meditation (Fig. 11–29).
Define "bodhisattva," and examine how the artists gave visual
expression to each deity's attributes.

Think About It (2 of 2)
• Summarize the main principles of Confucianism. Then select a work
from this chapter that gives visual form to Confucian philosophy and
explain how it does so.
• Select one of the Song-era Chinese landscape paintings included in
this chapter. Describe it carefully and explain how it may embody
philosophical or religious ideals.

Survey 1 ch11

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