E ASIAN ART FINAL (KOREA AND JAPAN)

Neolithic period. Earthenware with incised decoration.
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Goryeo period. Bronze. Unearthed near the ruler's tomb.WANG GEONGoryeo dynasty. Hanging scroll, ink, colors, and gold pigment on silk. Aid for meditation and worship. Distinctive Korea touches.THE BODHISATTVA OF COMPASSIONGoryeo dynasty. Haeinsa Monastery. Birch wood. Used blocks to print copies in ink for educational purposes.MONK WITH ORIGINAL WOODBLOCK FROM TRIPITAKA KOREANAGoryeo dynasty. Celadon-glazed stoneware with incised decoration.EWER IN THE SHAPE OF A BAMBOO SHOOTGoryeo dynasty. Celadon-glazed stoneware with incised and inlaid decoration. Images of plum tree, bamboo, birds, butterflies.MAEBYONG BOTTLEGoryeo dynasty. Celado-glazed stoneware with incised, inlaid, and underglaze copper decoration.WINE POT WITH BOWLJoseon dynasty. Seoul. Stone foundation. Topped by Chinese style tiled and bracketed wooden structure. Main entrance into the city.SUNGNYEMUN (GATE OF EXALTED CEREMONIES)Joseon dynasty, Changdeok Palace, Seoul. Painted in traditional Korean style.DETAIL OF PAINTING ON EAVES, INJEONGJEON (THRONE HALL)Joseon dynasty. Seoul. Painted screen. Yin and yang symbolism.DETAIL OF THRONE AND SCREEN PAINTING OF THE SUN, MOON AND FIVE PEAKSJoseon dynasty. Seoul. Garden built for enjoyment of the royal family.THE ONGNYUCHEON (JADE STREAM), HUWON (SECRET GARDEN), CHANGDEOK PALACEJoseon dynasty. Buncheong ware. Light gray stoneware with decoration painted in iron-brown slip on a white slip ground.DRUM-SHAPED WINE BOTTLE DECORATED WITH BIRD, FISH, AND LOTUSJoseon dynasty. Buncheong ware. Round, irregularly shaped bottle with abstract markings.BOTTLE WITH ABSTRACT DECORATIONJoseon dynasty. Porcelain. For use in Confucian ancestral rituals.WINE CUPJoseon dynasty. Porcelain with decoration painted in underglaze iron-brown slip. Created for court use. Ne-confucian preferences for restrained ornamentation.JAR WITH GRAPEVINE DECORATIONJoseon dynasty. Hanging scroll, ink and color on silk. Shows influence of earlier Chinese ink paintings.THE ARHAT DEOKSEWIJoseon dynasty. Hanging scroll, color on silk. Individual physical likeness and personality.PORTRAIT OF OH JAESUNAn Gyeon. Joseon dynasty. Handscroll, ink and light colors on silk. Dynamic brushstrokes and interplay between solids and voids.DREAM JOURNEY TO THE PEACH BLOSSOM LANDJeong Seon. Joseon dynasty. Hanging scroll, ink and colors on paper. Distinctively Korean style of landscape painting.PANORAMIC VIEW OF THE DIAMOND MOUNTAINSKim Hongdo. Late Joseon dynasty. Album leaf, ink and light color on paper. Observation and playful humor.ROOF TILINGSin Yunbok. Joseon dynasty. Album leaf, ink and colors on paper. Wearing traditional Korean dress.WOMEN ON TANO DAYLady Saimdang. Joseon dynasty. Panel from a screen painting, ink and color on silk. Rich in symbolism.MICE NIBBLING AT A WATERMELONLee Joon-sup. 1953. Oil on paper. Bull is a symbol of labor and perseverance in Korea.THE BULLMansudae Studio. 1972. Bronze. Example of Socialist Realist Art.KIM IL-SUNGHan Jun-bin. 1975. Ink on paper. Promoted idea of North Korea as a paradise.WE'RE THE HAPPIEST IN THE WORLD2007. May Day Stadium. Propaganda glorifying North Korea.A SCENE FROM THE MASS GAMES (ARIRANG FESTIVAL)Lee Ufan. 1978. Stone pigment and glue on canvas. Simplicity echoes the restraint of Joseon white porcelain or calligraphic brush-stroke.FROM POINTSong Su-name. 1983. Ink on paper. Exploration of the tonal variations of ink.SUMMER TREESPaik Nam June. 1974. Video installation with bronze Buddha statue.TV BUDDHAYun Suk Nam. 1999. Mixed media installation. Challenges the traditional definition of Korean women as self-sacrificing beings.THE KITCHENKimsooja. 1998. Single channel video. Exploration of mobility.CITIES ON THE MOVELee Bul. 2011. Installation. Underscores the notion that nothing is constant and everything changes.THE SECRET SHARERSuh Do-ho. 2004. Fabric installation. Reminder of the insubstantial nature of our world.REFLECTIONFutamigaura, Ise-Shima National Park.WEDDED ROCKSJomon period. Miyako island, Okinawa prefecture. Priestesses performed sacred rites for the welfare of the community.SACRED GROVE12,000 BCE. Low-fired clay. Some of the earliest examples of ceramics.VESSELMiddle Jomon period. Low-fired clay. Used for making offerings in ritual ceremonies.VESSELJomon period. Constructed from wood and covered with a thatched roof.RECONSTRUCTED JOMON PIT DWELLINGLate Jomon period. Low-fired clay. Clay female fertility figure.FIGURINELate Jomon period. Oyu, Akita prefecture. Shinto.NONAKADO STONE CIRCLELate Yayoi period. Bronze. Gridlike pattern of geometric designs.DOTAKULate Yayoi period. Bronze. Hunting or agricultural scenes.DOTAKU WITH IMAGES OF ANIMALS AND PEOPLE (DETAIL)Middle Yayoi period. Painted earthenware. Simplicity and smooth.PEDESTAL AND ASSORTED VESSELSYayoi period. Terra-cotta. Likely used to store grains and liquids.VESSELYayoi period. Saga prefecture. Wood and thatch. Permeates the designs of later Shinto shrines.RECONSTRUCTION, CEREMONIAL HALLMeiji period. Westernized portrait.GOVERNMENT BANKNOTE FEATURING EMPRESS JINGUKofun period. Osaka prefecture. Tomb has bell-shape design.TOMB OF EMPEROR NINTOKUKofun period. High-fired pottery with ash glaze. Used for ceremonial purposes.SUEKI VESSELKofun period. Jadeite. Symbol of divine authority.MAGATAMAKofun period. Terra-cotta. Nara. Inspiration for haniwa from objects in Chinese tombs.HANIWA FIGURE OF FALCONERKofun period. Terra-cotta. Haniwa can be seen as a bridge between the realm of the dead and the living.HANIWA FIGURE OF SEATED FEMALE SHAMANKofun period. Strips of paper and rice symbolize purity. Offered to the kami.SHEAVES OF RICE AND STRIPS OF PAPERAsuka period. Nara prefecture. Block plan with latitudinal axis.GENERAL VIEW OF HORYU-JIAsuka period. Nara. Number 5 usually symbolizes the cosmos.FIVE-STORY PAGODA, HORYU-JIAsuka period. Nara. Used for worship and ceremony. Stone base.KONDO (MAIN HALL), HORYU-JITori Busshi. Kondo (main hall), Horyu-ji. Gilt bronze. Inspired by models from Chinese Northern Wei period.SHAKA TRIAD17th century. Horyu-ji. Guard the building and protect Buddha's Law.DETAIL OF DRAGON POSTSAsuka period. Cypress and camphor wood, with lacquer. Horyu-ji. Paintings inspired by jataka stories.TAMAMUSHI SHRINEAsuka period. Horyu-ji. Gilt bronze. Variety of Buddhist symbols.KANNONAsuka period. Camphor wood. Nara. Meditative pose. Shares similarities with Korean figures.MIROKU BOSATSUAsuka period. Embroidered silk. Nara. Oldest surviving example of Japanese embroidery.TENJUKOKU EMBROIDERYNara period. Color and gold on hemp. Round, fuller body was celebrated. Tang-style gown.KICHIJOTENArchitecture borrowed from Chinese sources.MAP OF NARATang dynasty. Red sandalwood and chestnut inlaid with mother-of-pearl, amber and tortoiseshell. Chinese.FIVE-STRINGED LUTE (BIWA)Nara period. Bronze. Fleshy form can be traced to Chinese Tang.YAKUSHI BUDDHA. (MEDICINE BUDDHA)Nara period. One of the largest wooden buildings in the world.THE GREAT BUDDHA HALL (DAIBUTSUDEN)Nara period. Bronze. Todai-ji. Inspired by statues of Buddha in China.BUDDHA ROSHANALate Nara period. Painted wood. Bodhisattva of Compassion. Elongated features.JUICHIMEN KANNONNara period. Dry lacquer, painted. Nara. Lifelike. Dry-lacquer method from China.PRIEST GANJINNara period. Clay with polychromy and gold leaf. Nara. Destroyer of the faithless.SHUKONGO-JINNara period. Wood covered with lead white covering, printed paper charm, ink on paper. Project of Empress ShotokuONE OF THE 'ONE MILLION PAGODAS AND PRINTED BUDDHIST TEXTS'Heian period. Based on grid plan of Chang'an.LAYOUT OF HEIAN-KYOHeian period. Hanging scroll, color on silk. Kyoto. Visual evocations of Esoteric Buddhist ideals.WOMB WORLD MANDALA OF THE RYOKAI MANDALAHeian period. Color on silk. Esoteric Buddhism.RED FUDO AND ATTENDANTSHeian period. Painted wood. Osaka. Early Heian aesthetic of heavy proportions.NYOIRIN KANNONHeian period. Wood. Nara. Asymmetrical layout unlike Chinese. Built into surroundings.KONDO (MAIN HALL)Heian period. Kyoto. Estate transformed into a Buddhist temple.PHOENIX HALL, BYODO-INHeian period. Gold leaf and lacquer on wood. Kyoto. Joined-block technique.AMIDA BUDDHAHeian period. Black lacquer with gold lacquer and mother-of-pearl inlay. Secular and sacred images intertwine.COSMETIC BOXHeian period. Ink with gold and silver on decorated and collaged paper. Script on paper embellished with silver and gold plant motifs.ALBUM LEAF FROM THE ISHIYAMA-GIREHeian period.DRAWING OF A SHINDEN-STYLE MANSIONHeian period. Ink, silver, and gold ink on a collage of colored papers. Nara. Captures the refined aesthetic standards of the Heian era.PAGE FROM THE ISE SHULate Heian period. Handscroll, ink and color on paper. Roof removed, tension not depicted through features but through surroundings.SCENE FROM THE AZUMAYA CHAPTER OF THE TALE OF GENJILate Heian period. Handscroll, ink and color on paper. Example of classic yamato-e tradition.SCENE FROM THE MINORI CHAPTER OF THE TALE OF GENILate Heian period. Handscroll, ink and color on paper. Limited use of color, transparent washes. Lesson on karmic retribution.HUNGRY GHOSTS IN A GRAVEYARD AND HUNGRY GHOSTS EATING FECESHeian period. Painted wood. Kyoto. Inspiration from Buddhist statuary.SHINTO GODDESSKamakura period. Handscroll, ink and colors on paper. Panoramic view. Stylistic links between this scroll and Tale of Genji scrolls.TALE OF HEIJI SCROLLS (DETAIL)Kamakura period. Steel. Named in reference to the Heart Sutra.OSAFUNE NAGAMITSU DAI HANNYA NAGAMITSUKamakura period. Lacquered iron and leather, silk, stenciled doeskin, gilt copper. Protected warrior and enhanced his status.SUIT OF ARMOR (YOROI)Kamakura period. Painted cypress wood. Nara. RealismPRIEST SHUNJOBO CHOGENKamakura period. Painted wood. Nara. Joined-block technique.UNKEI AND KAKEI KONGO RISHIKIKamakura period. Painted wood with cut-gold leaf. Nara. Chinese Song influences.KAIKEI JIZO BOSATSUKamakura period. Painted wood, inlaid crystal eyes. Founder of the Kamakura shogunate.MINAMOTO YORITOMOKamakura period. Hanging scroll, color on silk. Kyoto. Combines formality with individuality.PORTRAIT OF MINAMOTO YORITOMOKamakura period. Handscroll, ink and color on paper. Commemorates warrior's actions in fighting.SECTION OF ILLUSTRATED HISTORY OF THE MONGOL INVASIONSKamakura period. Hanging scroll, colors and gold on silk. Kyoto. Attests to a growing interest in landscape.THE DESCENT OF AMIDA BUDDHA AND TWENTY-FIVE BODHISATTVASJosetsu. Muromachi period. Hanging scroll, ink and slight color on paper. Kyoto. Minimal color and variation in tones, asymmetry.CATCHING A CATFISH WITH A GOURDSesshu Toyo. Muromachi period. Hanging scroll, ink on paper. Powerful calligraphic brushstrokes, scratchy intersecting lines.WINTER LANDSCAPESesshu Toyo. Muromachi period, Hanging scroll, ink on paper. Swift yet controlled manner of applying paint.DARUMASesson Shukei. Muromachi period. Hanging scroll, ink and slight color on paper. Sense of motion unleashed by the gale. Reflection of an unstable world.WIND AND WAVESKogaku Soko. Muromachi period. Kyoto. Designed for external contemplation.SOAMI GARDENMuromachi period. Kyoto. Reduced to essentials.ROCK GARDENTosa Mitsumochi. Muromachi period. Hanging scroll, colors on silk. Kyoto. Commemorative image used in memorial rites.PORTRAIT OF THE NUN SHUN'OKU-SOEIMuromachi period. Kanazawa City. Cypress wood stage.NOH STAGEMuromachi period. Noh mask. Painted wood.KO-OMOTEHannyabo. Muromachi period. Noh mask. Painted wood.HannyaMuromachi period. Kyoto. Wood. Combines Chinese architectural influences with indigenous preferences.GOLDEN PAVILION (KINKAKU)Momoyama period. Hyogo. Constructed by Hideyoshi. Stone base, white plaster walls, winglike tiled roofsHIMEJI CASTLEMomoyama period. Formal shoin-style reception room.KOJOIN GUEST HALLKano Eitoku. Momoyama period. Color, ink and gold leaf on paper. Eight-panel folding screen. Striking blue and gold composition.CYPRESS TREEHasegawa Tohaku. Momoyama period. One of a pair of six-panel screens. Ink on paper. Inspired by Chinese monochromatic painting.PINE FORESTKano Naizen. Momoyama period. Two panels from a six-panel screen. Color and gold leaf on paper. Vivid colors associated the yamato-e tradition.ARRIVAL OF THE PORTUGUESEMomoyama period. Gold foil on purple plain-weave silk. Worn as outer garments by actors in performances.NOH ROBE WITH DESIGN OF GRAPEVINES AND DECORATIVE PAPERSen no Rikyu. Momoyama period. Kyoto. Designed in accordance with the wabi aesthetic.Taian Teahouse (interior view)Momoyama period. Kyoto. Myokian temple.TAIAN TEAHOUSEMomoyama period. Red raku ware, glazed earthenware. Imperfection was beauty.TWILIGHTHon'ami Koetsu. Momoyama period. Black raku ware, glazed earthenware. Conveys sabi ideal of a time-worn vessel.SHICHIRIEdo period. Porcelain. Motif combines bold patterns with an empty space in typical Japanese fashion.DISH WITH MAPLE LEAVESEdo period. From a pair of screens, color and gold leaf on paper.SHOGUNAL PROCESSION IN FRONT OF NIJO CASTLE AND NINOMARU PALACE (DETAIL)Edo period. Nijo Castle, Kyoto. Constructed from Japanese cedar wood.NINOMARU PALACEEdo period. Kyoto. Country retreat for imperial family. Borrows from tea ceremony architecture.KATSURA IMPERIAL VILLAEdo period. Kyoto. Encapsulates the ideals of Japanese residential architecture.INTERIOR, KATSURA IMPERIAL VILLAHon'ami Koetsu (calligraphy), Tawaraya Sotatsu (painting). Edo period. Handscroll, ink, gold and silver on paper. Imagery and poems refer to fall.DEER SCROLLTawaraya Sotatsu. Edo period. Pair of six-panel folding screens, ink, mineral colors, silver, and gold leaf on paper. Innovative composition. Influenced later generations of artists.WAVES AT MATSUSHIMAOgata Korin. Edo period. Pair of two-panel folding screens. Ink colors, silver, and gold leaf on paper. Tarashikomi technique on trees. Hallmark of the Rinpa style.RED AND WHITE PLUM BLOSSOMSOgata Korin. Edo period. Hand-painted, ink and color on silk. Outergarment, reflection of the refined tastes and wealth of high-ranking merchants.KOSODE WITH FALL FLOWERS AND GRASSESOgata Kenzan. Edo period. Glazed earthenware decorated with designs in white slip. Designs suggest a tangled web of foliage.TEA BOWLMaruyama Okyo. Edo period. One of a pair of six-panel folding screens, ink, slight color, gold leaf on paper. Naturalistic, naturally bent tree in response to the elements.PINE TREES IN THE SNOWIke Taiga. Edo period. Hanging scroll, ink and color on silk. Rhythmical oval dots. Assimilation of Chinese models.TRUE VIEW OF KOJIMA BAYSuzuki Harunobu. Edo period. Polychrome woodblock print on paper. Artist's idealized image of female beauty.THE FLOWERS OF BEAUTY IN THE FLOATING WORLDKitagawa Utamaro. Edo period. Polychrome woodblock print on paper. Glimpse of woman's buttocks and nape of her neck heighten the erotic atmosphere.COUPLE IN AN UPSTAIRS ROOMKitagawa Utamaro. Edo period. Polychrome woodblock print on paper. Subtle differences in features and expressions transmit individuality.NIGHT RAINToshusai Sharaku. Edo period. Woodblock print, ink, color, and white mica on paper. Kabuki actor.OTANI ONIJI III AS YAKKO EDOBEI IN THE PLAY THE TWO-COLORED REINSKatsushika Hokusai. Edo period. Polychrome woodblock print on paper. Low horizone line and small-scale Mount Fuji reflect Western perspective.THE GREAT WAVE OFF KANAGAWAUtagawa Toyokuni I, Edo period. Colored woodblock print. Panoramic view, use of orthogonal lines.INTERIOR OF A KABUKI THEATERTokuyama Gyokuran. Edo period. Hanging scroll, ink on silk. Delicately rendered flowers.ORCHIDS AND ROCK WITH CALLIGRAPHYKatsushika Oi. Edo period. Hanging scroll, ink and color on paper. Use of light reflective of Western style.YOSHIWARA AT NIGHTHakuin Ekaku. Edo period. Hanging scroll, ink on paper. Swift, ropy brushstrokes, range of ink tones.Hotei MeditatingKuroda Seiki. Meiji period. Oil on canvas. Sparked controversy. Subject prevalent in Western art.WISDOM, IMPRESSION, SENTIMENTYokoyama Taikan. Meiji period. One of a pair of hanging scrolls, ink, colors, and gold on silk. Interesting hybrid of influences.FLOATING LIGHTSKenzo Tange. Showa period. Concrete and steel cable. Tokyo. Inspiration from Shinto shrines, but also has modernity.YOYOGI STADIUMShozo Shimamoto. Showa period. Smashed bottles of paint onto canvases on the floor.HURLING COLORSAtsuko Tanaka. 1956. Enamel paint on lightbulbs, electric cords, control console. Dynamic entity but also vulnerable like postwar Japan.ELECTRIC DRESSYanagi Yukinori. 1993. Neon, painted steel, haniwa figures. Installation. Symbolizes the unthinking masses duped by those in power.HINOMARU ILLUMINATIONMorimura Yasumasa. 2010. Gelatin silver print. Pays homage to photograph of Gandhi.A REQUIEM: SPINNING A THREAD BETWEEN THE LIGHT AND THE EARTH/1946, INDIAMorimura Yasumasa. 1988. Photograph, chromogenic print with acrylic paint and gel. Pays homage to "Olympia" painting.PORTRAIT (FUTAGO)Takashi Murakami. 2002. Acrylic on canvas. Explores Japan's infatuation with fantasy.TAN TAN BO PUKINGYayoi Kusama. 1991. Mirror-encased wooden cubicle, filled with soft sculptures of pumpkins. Offers a glimpse into Kusama's hallucinatory world.MIRROR-ROOM - PUMPKINJoseon dynasty. Seoul. Dedicated to the spirits of Korea's past kings and queens. Memorial tablets housed in spirit chambers.JONGMYO, THE ROYAL ANCESTRAL SHRINEPhoebe Ching-ying Man. 1997. Hong Kong. Installation, plastic. Commemorates the political reversion of Hong Kong to China.97 REUNIFICATION, I AM VERY HAPPY...Ai Weiwei. 1995. Triptych of gelatin silver prints. Suggest that there is no point in valorizing the past for its own sake. May present a critical stance on destruction from Cultural Revolution.DROPPING A HAN DYNASTY URN

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