ART HISTORY 290 STAFF:ASSISTANT PROFESSOR SANDY KITA. OFFICE: ART/SOCIOLOGY BUILDING, ROOM 4225. (301) 405 8363

TAs:

TA NAME HERE

TA NAME HERE

TA NAME HERE

TA NAME HERE

TAs’ OFFICE HOURS AND LOCATION NOTED ON THEIR SYLLABI.

GRADING POLICYTHERE IS A MIDTERM AND A FINAL EXAMINATION. THE MIDTERM IS IN CLASS AND COUNTS FOR

30% OF THE GRADE (THE TA SYLLABUS, MENTIONED LATER, HAS THE DATE OF THE MIDTERM). THE FINAL

IS CUMULATIVE AND COUNTS FOR 30% OF THE GRADE (SEE THE UNIVERSITY’S SCHEDULE FOR DATE).

THERE IS ALSO A CLASS PROJECT, A SUMMARY OF THE COURSE LECTURES DUE AT THE TIME OF THE FINAL.

IT COUNTS FOR 10% OF THE GRADE.

YOUR TAs DETERMINE THE FINAL 30% OF YOUR GRADE. TAs GIVE OUT A SYLLABUS AND THEIR

OWN GRADING POLICY/ THE TAs DESIGN THEIR SECTIONS SEPARATELY, SO SECTIONS MAY DIFFER IN

CONTENT AND PRESENTATION. HOWEVER, ALL HAVE IN COMMON UNANNOUNCED IN-CLASS QUIZZES (A

MINIMUM OF 4 BEFORE THE MIDTERM AND SOME AFTER) AND TAKE-

HOME WRITING ASSIGNMENTS. CLASS ATTENDANCE AND

PARTICIPATION ARE ALSO USUALLY COUNTED TOWARDS YOUR

GRADE. WRITING ASSIGNMENTS MAY INVOLVE DESCRIPTION OF AN

OBJECT OR SUMMATION OF KEY COURSE IDEAS.

THE WRITING ASSIGNMENTS AND QUIZZES ARE THE BASIS

UPON WHICH TAs AND INSTRUCTOR CONSTRUCT THE MIDTERM AND

THE FINAL. THUS, BY SEEING HOW YOU DO IN THE QUIZZES AND

WRITING ASSIGNMENTS, YOU SHOULD HAVE A VERY GOOD IDEA OF

HOW YOU WILL DO ON THE MIDTERM. IN FACT, THE QUIZZES AND

WRITING ASSIGNMENTS WILL PROVIDE YOU WITH 8 POINTS AT

WHICH YOU WILL RECEIVE FEEDBACK ON YOUR PERFORMANCE IN

THIS CLASS AND AT WHICH YOU CAN JUDGE HOW YOU ARE LIKELY

TO DO ON THE MIDTERM AND FINAL EXAMS. SUBJECT TO YOUR TA’s

APPROVAL, SOME QUIZZES AND WRITING ASSIGNMENTS CAN BE

REDONE SO THAT YOU CAN IMPROVE YOUR GRADE. THIS IS NOT THE

CASE FOR MIDTERM AND FINAL WHERE PERFORMANCE IS NOT

SUBJECT TO READJUSTMENT IN THIS WAY. THUS, YOU SHOULD

LOOK AT SECTION AS PREPARATION FOR THE BIG EXAMS. IN ALL THIS, YOU MUST WORK CAREFULLY AND

CLOSELY WITH YOUR TAs SINCE THEY ARE THE FINAL JUDGES OF YOUR PERFORMANCE. THE TA IS MEANT

TO WORK WITH YOU CLOSELY IN A WAY THAT THE INSTRUCTOR CANNOT. THUS, WHILE THE INSTRUCTOR

AND TA DETERMINE GRADES TOGETHER, THE TA’s OPINION WEIGHS HEAVILY.

3

MAKING UP MISSED EXAMSBECAUSE EXAMINATIONS ARE CONSIDERED OFFICIAL TESTS, A MISSED MIDTERM AND FINAL IS

A FAILED MIDTERM OR FINAL, WINNING YOU ZERO (0) POINTS TOWARDS YOUR FINAL GRADE. THERE ARE

NO MAKE-UP EXAMINATIONS. IF YOU MISS AN EXAMINATION FOR A LEGITIMATE REASON, HOWEVER,

YOU CAN WRITE A MAKE-UP PAPER, BUT YOU MUST FOLLOW THE PROCEDURE OUTLINED HERE.FIRST, INFORM YOUR TA, AS SOON AS POSSIBLE. SUBMIT AN EXCUSE IN WRITING TO THE

INSTRUCTOR. DO THIS IN THE FORM OF A LETTER EXPLAINING WHY YOU MISSED THE EXAMINATION.

INCLUDE SUPPORTING DOCUMENTATION (LETTER FROM THE DOCTOR, ETC.). YOU MUST MAKE A GOOD CASE

FOR WHY YOU MISSED BECAUSE YOUR TA AND I

WILL JUDGE WHETHER YOUR REASON IS

LEGITIMATE. IF THE REASON IS JUDGED NOT

LEGITIMATE, YOU HAVE FAILED THE EXAM. IF

THE REASON FOR MISSING THE EXAMINATION

IS JUDGED LEGITIMATE, YOU THEN HAVE

PERMISSION TO WRITE A MAKE-UP PAPER. YOU MUST HAVE PERMISSION TO SUBMIT A MAKE-UP PAPER.

TO WRITE THE MAKE-UP PAPER, BEGIN

WITH A PAPER PROPOSAL. THE PROPOSAL

SHOULD BE ONE PAGE LONG, TYPED, AND

SHOULD INCLUDE A BIBLIOGRAPHY OF AT LEAST

5 ITEMS. YOU CAN PROPOSE ANY TOPIC

INVOLVING ASIAN CULTURE BUT YOU MUST USE

SOME IDEA DEVELOPED IN CLASS. BE CREATIVE.

IF YOU LIKE JAPANESE ANIME FILMS, WRITE

ABOUT THAT. OR, VISIT A MUSEUM AND

RESEARCH SOME OBJECT THERE.

YOUR PAPER IS GRADED ON HOW

THOROUGHLY YOU RESEARCHED IT AND HOW

CREATIVELY YOU USED CLASS IDEAS. TO MAKE

UP A MISSED MIDTERM, I RECOMMEND A PAPER

OF AT LEAST 5 PAGES. FOR THE FINAL, AT LEAST 10. THE PAPER REPLACES YOUR MISSED EXAMINATION BUT DOES NOT EXCUSE YOU FROM THE CLASS PAPER OR FINAL PROJECT.

YOU CAN ALSO SUBMIT A PAPER FOR EXTRA CREDIT. SEE THE INSTRUCTOR, BUT THE PROCEDURE

IS ESSENTIALLY THE SAME.

REQUIRED TEXTSHERMAN E. LEE, A HISTORY OF FAR EASTERN ART

COURSE BOOK FOR ARTH290

4

READING ASSIGNMENTS

REQUIRED READINGS SUPPLEMENT THE LECTURES AND COURSE BOOK. THEY DO NOT REPLACE THE

LECTURES OR COURSE BOOK. IF YOU MISS LECTURES AND NEED TO MAKE THEM UP YOU WILL HAVE TO

READ THE REQUIRED READINGS FIRST AND THEN GO TO THE RECOMMENDED WORKS AT MCKELDIN OR AT

THE ART LIBRARY IN THE ART-SOCIOLOGY BUILDING. LECTURES OFTEN SUM UP POINTS THAT A BOOK

WILL BRING OUT. SO, IF YOU READ A SECTION IN THE REQUIRED AND RECOMMENDED READINGS THAT

YOU DO NOT UNDERSTAND, READ THE REST OF THE BOOK.

LECTURE GROUP I:LEARNING HOW A SCHOLAR THINKS

THE CHINESE BRONZE

1: THE CHINESE BRONZEREQUIRED READINGS ARE IN BOLD: SHERMAN LEE, A HISTORY OF FAR EASTERN ART. ABRAMS: 1982, PP. 18-41RECOMMENDED READINGS ARE IN NORMAL TYPE:

RITA GILBERT, LIVING WITH ART, 5TH EDITION, 1998, PP. 3-44

WEN FONG, “THE STUDY OF CHINESE BRONZE AGE ARTS: METHODS AND APPROACHES.” THE GREAT

BRONZE AGE OF CHINA, CHAPTER 2, PP. 20-34

2: THE WORLD OF THE CHINESE BRONZE MAKERLEE, PP. 42-56MIRCEA ELIADE, RITES AND SYMBOLS OF INITIATION, HARPER TORCHBOOKS, 1965

MARTIN POWERS, ART AND POLITICAL EXPRESSION IN EARLY CHINA, YALE UNIVERSITY PRESS,

1991, PP. 1-31

3: QIN AND HAN PAINTING AND SCULPTURELEE, PP. 57-75MAXWELL K. HEARN, “THE TERRACOTTA ARMY OF THE FIRST EMPEROR OF QIN (221-206 BC)” IN WEN

FONG, GREAT BRONZE AGE OF CHINA, PP. 353-368

OSVALD SIREN, CHINESE PAINTING: LEADING MASTERS AND PRINCIPLES, INTRODUCTION, PP. 1-16

5

LECTURE GROUP II:LEARNING HOW SCHOLARS THINK

Part 1: INDIA AND BUDDHISM

1: PREHISTORIC AND EARLY INDIAN ARTLEE, PP. 76-102

A. L. BASHAM, THE WONDER THAT WAS INDIA, NEW YORK: GROVE PRESS, 1980, PP. 1-44

2: INDIAN ART FROM THE 1ST TO THE 5TH C. ADLEE, PP. 103-135BASHAM, PP. 44-79

3: LATER INDIAN ARTLEE, PP. 168-177BASHAM, PP. 242-345

4: THE INDIAN AESTHETICLEE, PP. 178=199ANANDA K. COOMARASYAMY, THE TRANSFORMATION OF NATURE IN ART, DOVER PUBLICATIONS,

1956, PP. 1-59, 153-170

LEARNING HOW SCHOLARS THINKPart 2: LATER CHINESE ART

1: THE CHINESE TRANSFORMATION OF THE INDIAN AESTHETICLEE, PP. 136-147, 252-287LUDWIG BACHHOFER, A SHORT HISTORY OF CHINESE ART. NEW YORK, PANTHEON, 1946.

POWERS, ART AND POLITICAL EXPRESSION, PP. 188-279

2: SECULAR ART IN CHINA: PAINTING IN THE TANG, SONG AND YÜANLEE, PP. 343-375, 402-472JAMES CAHILL, CHINESE PAINTING, SKIRA BOOKS, 1980

6

LECTURE GROUP III:USING THE COURSE

JAPAN

1: APPLYING OLD IDEAS TO NEW MATERIAL: INFLUENCE VS. NATIVE DEVELOPMENT IN THE STUDY OF PREHISTORIC JAPANLEE, PP. 288-312LANGDON WARNER, THE ENDURING ART OF JAPAN, GROVE PRESS, 1958.

NOMA SEIROKU, ARTS OF JAPAN, KODANSHA, 1978, VOL. 1, PP. 9-15, 33-38

YASUTADA WATANABE, SHINTO ART: ISE AND IZUMO, HEIBONSHA SURVEY OF JAPANESE ART,

1990, PP. 27-84

2: BUDDHIST JAPAN: THE RITUALLY REAL GODSLEE, PP. 313-333NOMA, PP. 61-66, 81-86

SEIICHI MIZUNO, ASUKA BUDDHIST ART: HORYU-JI

3: TRADITIONAL RELIGIONS AND LATER JAPANESE BUDDHIST ART (8-11TH C.)NOMA, PP. 113-119, 161-166

TAKESHI KOBAYASHI, NARA BUDDHIST ART: TODAI-JI, PP. 11-91

TOSHIO FUKUYAMA, BYODOIN AND CHUSON-JI, PP. 9-79, 140-148

4: RELIGIOUS TO SECULAR: MEDIEVAL JAPANESE ART (12-13TH C.)LEE, PP. 376-401AKIYAMA TERUKAZU, JAPANESE PAINTING, PP. 11-19

DONALD KEENE, AN ANTHOLOGY OF JAPANESE LITERATURE, PP. 33-54

IVAN MORRIS, THE WORLD OF THE SHINING PRINCE, PANTHEON BOOKS, PP. 132-210

5: THE JAPANESE AESTHETICLEE, 473-503AKIYAMA, JAPANESE PAINTING, PP. 103-123

TANAKA ICHIMATSU, JAPANESE INK PAINTING, HEIBONSHA SURVEY OF JAPANESE ART, VOL. 12,

PP. 9-58

7

THE ARTIST’S PREFACE

THIS IS THE COMIC-BOOK VERSION OF PROF. KITA’S COURSE BOOK. THIS SEMESTER, YOU WILL

HAVE THE CHOICE BETWEEN THE ORIGINAL FULL-TEXT VERSION AND THIS ONE.

THIS IS A SERIOUS WORK. THE COURSE BOOK IN ITS ENTIRETY IS REPRESENTED HERE. THE

IMAGES AND DIALOGUE ARE NOT JUST LEISURELY RELIEF, THEY CARRY AS MUCH OF THE CONTENT AS THE

TEXT PARAGRAPHS DO. IN A SENSE, THIS COMIC-BOOK IS A METAPHOR OF PROF. KITA’S TEACHING STYLE.

HIS CHRONOLOGY, WHAT HE STATES UP FRONT IN AN ORDERLY FASHION, IS COMPARABLE TO THE TEXT

IN THIS BOOK. HIS ANTHOLOGY, THE THINGS HE IMPLIES AND BUILDS UP TO MAKE A POINT, ARE NOT

UNLIKE THE IMAGES AND SKETCH-UPS I ADDED THROUGHOUT THE BOOK. OTHER REFERENCES TO ASIAN

CULTURE MIGHT COME TO YOUR ATTENTION.

I HOPE YOU ENJOY THIS COURSE BOOK, BUT DO NOT FORGET TO DO THE READINGS, ATTEND THE

LECTURES AND STUDY. TO SUCCEED IN MAKING A COMIC-BOOK, READING OTHER COMIC-BOOKS IS NOT

SUFFICIENT. LIKEWISE, TO SUCCEED IN THIS COURSE, COURSE BOOK AND TEXT BOOK ALONE ARE IN NO

WAY A SUBSTITUTE FOR SERIOUS STUDY.

IN ANY CASE, THANK YOU FOR CHOOSING THIS VERSION OF THE COURSE BOOK. ONE LAST THING:

IF YOU ARE WONDER WHAT THE PROFESSOR MEANS WITH “BE CREATIVE,” KNOW THAT THIS COMIC-BOOK

WAS A LECTURE SUMMARY FOR THIS SAME COURSE IN ITS EARLIEST AND MORE COMPACT VERSION.

8

THIS IS AN EASY CLASS FOR STUDENTS WHO STUDY. IT IS VERY, VERY

DIFFICULT FOR THOSE WHO DO NOT. IF YOU ARE STUDYING HARD AND HAVING

TROUBLE, PLEASE, PLEASE, PLEASE SEE ME.

IN THE NEXT SECTION, I WILL DISCUSS HOW THE SECTIONS OF THIS COURSE

INTER-RELATE BUT I WANT TO FINISH OFF HERE WITH ONE OTHER POINT.

COURSE BOOK AND TEXT

A FINAL PRELIMINARY MATTER CONCERNS THE RELATIONSHIP BETWEEN THE

COURSE BOOK AND THE TEXT. IN MOST OF MY INTERPRETATIVE LECTURES, I WILL GIVE YOU

MORE THAN ONE INTERPRETATION, SO YOU WILL ALWAYS HAVE A MEANS OF COMPARISON

AND SO CRITICISM. IT IS WITH THE SAME INTENT THAT I HAVE ASSIGNED THE SHERMAN

LEE TEXT. THE TEXTBOOK GIVES A DIFFERENT VIEW OF ASIAN ARTS THAN THAT WHICH I

USE IN CLASS FOR THE MOST PART. I DO THIS SO YOU WILL HAVE ANOTHER VIEWPOINT

THAT YOU CAN USE TO THINK ABOUT AND TO CRITICIZE THE PRINCIPAL ONE THAT I USE.

THE TEXT IS ALSO USEFUL IN PROVIDING NAMES, DATES, AND OTHER FACTS YOU

WILL NEED TO KNOW. BUT WHAT YOU MUST BE AWARE OF IS THAT THE TEXT IS IN NO

WAY A SUBSTITUTE FOR THE LECTURE. IT IS A SUPPLEMENT. YOU CANNOT READ IT

INSTEAD OF COMING TO LECTURE.

SO, TOO, WITH THIS COURSE BOOK. THE COURSE BOOK IS A GOOD GUIDE TO WHAT

HAPPENS IN THE LECTURE, BUT IT IS NOT THE LECTURE IN WRITTEN FORM. IT IS USEFUL

WHEN YOU MUST MISS A LECTURE BUT IT IS NOT MEANT TO SERVE AS A SYNOPSIS OF

THAT LECTURE. IT CAN MAKE THE SAME POINT AS A LECTURE IN A DIFFERENT WAY OR

MAKE A DIFFERENT BUT RELATED POINT. AGAIN, THEN, THE COURSE BOOK WILL NOT

SUBSTITUTE FOR LECTURE.

THE COURSE BOOK ALSO PROVIDES SAMPLE QUESTIONS AND GUIDES ON HOW TO

STUDY. KEY TO SUCCESS IN THIS CLASS, THEN, IS COMING TO LECTURE. DO NOT MISS

LECTURE IF YOU WANT TO DO WELL.

12

CLASS STRUCTURE AND KEY THEMES

REMEMBER, THIS CLASS IS A BROAD SURVEY OF THE ARTS OF INDIA, CHINA AND

JAPAN THAT MEANS TO TEACH YOU SOMETHING FUNDAMENTAL ABOUT ART IN THESE

THREE NATIONS. THUS, THE COURSE SEEKS BOTH BREADTH AND FOCUS, BUT THESE ARE

CONTRADICTORY GOALS. IT IS HARD TO DO BOTH AT ONCE. INEVITABLY, SOME CLASSES

SERVE ONE PURPOSE, AND OTHERS, THE OTHER.

I NOTED IN THE SECTION JUST BEFORE HOW THIS CLASS HAS AN ORGANIZING

THEME. THIS THEME BRINGS ALL OF THE PARTS OF THIS COURSE TOGETHER. IT GIVES

FOCUS. BUT, WE CANNOT JUST CONCENTRATE ON THAT THEME IF WE ARE TO SURVEY THE

ARTS OF ASIA SUFFICIENTLY BROADLY. INEVITABLY, WE MUST DIGRESS INTO OTHER

AREAS. SOME CLASSES PUSH OUR THEME ALONG, THEN, AND OTHERS DO NOT. BUT, IN

GENERAL, THE PATTERN IS TO ESTABLISH AT LEAST ONE FUNDAMENTAL ASPECT OF THE

INDIAN, CHINESE, AND JAPANESE AESTHETIC TRADITION AND TO SURVEY THE ARTS OF

THESE COUNTRIES WITH THAT KEY PRINCIPLE IN MIND.

NOTHING HELPS US UNDERSTAND THE FUNDAMENTAL NATURE OF ART IN INDIA,

CHINA, AND JAPAN BETTER THAN BUDDHISM. IN INDIA AND JAPAN, AND TO A LESSER

DEGREE CHINA, THE CODIFICATION OF NATIONAL ARTS FOLLOWED UPON THE

CODIFICATION OF NATIVE TRADITIONS OF RELIGION. THAT, IN TURN, OCCURRED IN EACH

OF THESE COUNTRIES AFTER THEIR PERIOD OF ENGAGEMENT WITH BUDDHISM. THUS, I

USE BUDDHISM AS ONE FOCAL POINT AND ONE KEY ORGANIZING STRUCTURE. MY CLASS

EXAMINES THE PRE-BUDDHIST PERIODS OF INDIA, CHINA AND JAPAN, THEIR BUDDHIST

ERAS, AND THEN HOW BUDDHISM LED TO A CODIFICATION OF NATIVE RELIGIONS AND ART

IN EACH OF THESE THREE COUNTRIES. FINALLY, I LOOK AT HOW THE NATIONAL

AESTHETIC EXPRESSES ITSELF IN THE LATER SECULAR ARTS OF ALL THREE LANDS.

WHY BUDDHISM PLAYED SO IMPORTANT A ROLE IN THE CODIFICATION OF NATIVE

RELIGIONS AND NATIONAL IS NOT KNOWN. BUT IT IS COMMON SENSE THAT INDIA,

JAPAN, AND, AGAIN TO A LESSER DEGREE CHINA, WOULD NOT HAVE BEEN ABLE TO CODIFY

THEIR NATIVE TRADITIONS OF RELIGION UNTIL THEY HAD SOMETHING DIFFERENT. HOW

COULD THEY KNOW WHAT THEIR NATIVE BELIEFS WERE IF THOSE NATIVE BELIEFS WERE

ALL THAT THEY HAD? THAT IS TO SAY, THEY WOULD NOT BE ABLE TO SEE THE FOREST

BECAUSE OF THE TREES. THEY REQUIRED A STANDARD OF CONTRAST—SOME MEANS OF

STANDING OUTSIDE THEMSELVES—TO SEE WHAT LAY WITHIN.

I LIKE THIS MODEL OF A CULTURE LOOKING OUTSIDE ITSELF TO SEE INSIDE

BECAUSE THIS CLASS IS A DIVERSITY CLASS. DIVERSITY CLASSES SEEK TO GIVE YOU MUCH

THIS SAME EXPERIENCE OF STANDING OUTSIDE TO SEE WITHIN. THEY SEEK TO TEACH

YOU SOMETHING DIFFERENT SO THAT YOU WILL BETTER UNDERSTAND YOURSELF. YOU

LEARN ABOUT ASIA, THEN, TO BE A BETTER, MORE SELF-AWARE AMERICAN.

HOWEVER, BECAUSE WE ADOPT THE ABOVE MODEL FOR THIS CLASS, WE CANNOT

DIVIDE ASIA UP GEOGRAPHICALLY, STARTING WITH INDIA AND THEN PROCEEDING ON TO

13

CHINA AND JAPAN. INSTEAD WE MUST HAVE A MORE COMPLICATED STRUCTURE. WHAT WE

WILL DO IS START WITH CHINA, MOVE TO INDIA, AND THEN GO BACK TO CHINA, AND

FINALLY PROCEED TO JAPAN. I DO THIS SO I CAN SHOW YOU HOW THE CHINESE

DEVELOPED A NATIVE AESTHETIC OF THEIR OWN IN THEIR VERY, VERY EARLY BRONZE AGE.

THEN, I WILL SHOW YOU HOW INDIA DEVELOPED AN AESTHETIC OF ITS OWN AND HOW

THAT AESTHETIC PERMEATED THE ARTS OF BUDDHISM, WHICH ALSO DEVELOPED FIRST IN

INDIA. IN ADDITION, WE WILL SEE HOW IT WAS IN CONTRAST TO BUDDHISM THAT THE

INDIAN NATIVE RELIGION OF HINDUISM DEVELOPED (LOOKING OUT TO SEE IN) AND HOW

THE CODIFICATION OF THE INDIAN NATIVE RELIGION LED TO THE CODIFICATION OF

INDIAN CONCEPTS OF AESTHETICS, SUCH AS PRANA. THEN, WE WILL TURN BACK TO CHINA

TO SEE HOW BUDDHISM AND BUDDHIST ARTS ENTERED THAT LAND. YOU WILL SEE HOW

CHINESE BUDDHIST ART CAME IN THE END TO REFLECT NOT THE INDIAN AESTHETIC, BUT

THE OLD CHINESE ONE OF THE BRONZES. MORE, WE WILL SEE HOW THE CHINESE CODIFIED

NOT ONLY THEIR RELIGION BY LOOKING TO SOMETHING FOREIGN, BUT ALSO THEIR ARTS.

FINALLY, WE WILL MOVE TO JAPAN TO SEE HOW THE JAPANESE IMPORTATION OF CHINESE

ART AND BUDDHISM LED TO A CODIFICATION OF THE NATIVE RELIGION OF SHINTO AND A

CODIFICATION OF THEIR NATIVE AESTHETIC OF YAMATO-E.

AS WE DO THE ABOVE, THIS COURSE WILL ALSO INTRODUCE YOU TO CERTAIN

METHODOLOGIES IMPORTANT IN THE STUDY OF ASIAN ART. FOR THE MOST PART, I AM

CONCERNED WITH HOW ASIANS STUDY ASIAN ART, BUT THEIR METHODS ARE NOT UNIQUE

AND ARE RELATED OR EQUIVALENT TO WESTERN METHODS. SO I WILL INTRODUCE THESE

METHODS BY GIVING THEIR WESTERN COUNTERPARTS, SINCE THE WESTERNERS WROTE OR

WERE TRANSLATED IN ENGLISH AND YOU CAN READ THEIR WRITINGS. HOWEVER,

REMEMBER ALWAYS THAT ASIAN ART HISTORY IN THIS COUNTRY PRESUMES AN

UNDERSTANDING OF ASIAN

LANGUAGES AND IS CONDUCTED FOR

THE MOST PART IN ASIAN

LANGUAGES, SO THAT IT WOULD BE

MUCH, MUCH MORE USEFUL FOR YOU

TO READ THE ASIAN AUTHORS I

MENTION IF YOU CAN.

FOR EXAMPLE, WHAT IN

JAPAN IS CALLED KANSHIKI

EQUATES WELL WITH THE METHODS

OF CONNOISSEURSHIP INTRODUCED

INTO THIS COUNTRY MAINLY BY

GERMAN SCHOLARS DURING THE

1950s AND 60s. THOUGH NOW

CONSIDERED AN ANTIQUATED

METHODOLOGY FOR THE STUDY OF

WESTERN ART, THESE METHODS REMAIN ABSOLUTELY FUNDAMENTAL IN ASIA AND, MORE

IMPORTANTLY, IN THE AMERICAN STUDY OF ASIAN ART, AS JOHN ROSENFELD OF HARVARD

RECENTLY NOTED IN HIS STATE OF THE FIELD ADDRESS. MANY OF THESE CONNOISSEURS

STUDIED THE PRE-BUDDHIST PERIOD OF CHINA. INDEED, IT WAS THE GREAT CONTROVERSY

OVER THE BRONZE VESSELS OF CHINA’S SHANG AND ZHOU DYNASTIES THAT FIRST

ESTABLISHED ASIAN ART HISTORY IN THIS COUNTRY. THUS, WHEN WE LOOK AT THIS

MATERIAL FIRST, WE ARE BEGINNING WITH THE BEGINNING OF ASIAN ART HISTORY IN

AMERICA. WE WILL CONTINUE TO USE THIS METHOD OF PRESENTING METHODOLOGY IN

ACCORDANCE WITH THE SUBJECT AS WE PROCEED THROUGH THE CLASS AS A WHOLE AND

14

EXAMINE ICONOGRAPHY, STYLISTIC ANALYSIS, MARXIST STUDIES, ETC., ETC.

MORE, LOOKING AT THE BRONZE AGE OF CHINA IS A GOOD WAY TO LEARN HOW TO

READ A WORK OF SCHOLARSHIP. IT CAN SHOW YOU HOW A SINGLE STATEMENT CAN HAVE

MULTIPLE LAYERS OF MEANING. BY EXAMINING THE CHINESE BRONZES, WE ALSO LEARN

ABOUT HOW RELIGIOUS ARTS BECOME SECULAR AND HOW AN IDEA CAN BE IMPLICIT, LONG

BEFORE IT IS EXPLICIT.

ONCE YOU HAVE LEARNED SOMETHING ABOUT HOW TO READ WORKS OF

SCHOLARSHIP, IT IS THEN USEFUL TO CONSIDER DIFFERENT KINDS OF SCHOLARSHIP. THIS

IS WHAT WE DO WHEN WE MOVE TO INDIA AND LOOK AT HOW WESTERN SCHOLARS OF

THE BRITISH ADMINISTRATION OF INDIA (THE RAJ) AND INDIAN NATIONALISTS

APPROACHED INDIAN ARTS DIFFERENTLY. WE DO THIS IN EXAMINING THE SCHOLARSHIP

ON THE INDUS VALLEY CULTURE OF CIRCA 2300 BC. WE KNOW THIS CULTURE MAINLY FROM

EXCAVATIONS. THUS, WE ALSO LEARN HERE HOW ARCHAEOLOGY AFFECTS ART HISTORY.

SIMILARLY, WE DO TWO THINGS IN SEEING HOW BUDDHISM LED TO A

CODIFICATION OF NATIVE RELIGION OF HINDUISM IN SURVEYING THE DEVELOPMENT OF

INDIAN ARCHITECTURE AND SCULPTURE FROM THE 3RD C. BC TO THE 5TH C. AD. HINDUISM IS

THE CODIFIED FORM OF THE NATIVE RELIGION. TO

DISTINGUISH IT FROM ITS UNCODIFIED, EARLIER

FORM ,WE CALL THE PRE-BUDDHIST NATIVE RELIGION OF

INDIA “HINDUISM” BETWEEN QUOTES. WE DO THE SAME

FOR “SHINTO” AND SHINTO IN JAPAN, THE CHANGE FROM

ONE TO ANOTHER BEING A THEME OF OUR CLASS. IN

BOTH INDIA AND JAPAN, THE CHANGE CAME JUST PRIOR

TO THE FIRST NATIVE STATEMENTS ON THE NATIONAL

AESTHETIC. WE CONSIDER THIS PROCESS IN INDIA

WHEN WE LOOK AT THE INDIAN CONCEPT OF PRANA (THE

SWELLING BREATH OF LIFE). WE FINISH WITH INDIA BY

SEEING HOW PRANA APPEARS IN LATER HINDU CULTURE,

SCULPTURE AND PAINTING UP TO THE 14TH C.

THEN, WE RETURN TO CHINA. WE SEE HOW

CHINESE BUDDHIST SCULPTURE IS MORE CHINESE THAN

INDIAN. TO LEARN MORE ABOUT HOW SCHOLARS ARGUE

POINTS OF STYLE, WE SHALL SEE HOW THEY HAVE USED THEORIES ON THE MEANING OF

BUDDHISM IN CHINA TO EXPLAIN THE ABOVE CHANGE IN BUDDHIST ART. THESE THEORIES

STRESS THE IMPORTANCE OF “INTERFLOW” IN CHINESE ART. TO SEE THE LARGER VISION

THAT SCHOLARS SOMETIMES HAVE BEHIND THEIR SPECIFIC THEORIES, WE WILL LOOK AT

INTERFLOW IN 9-10TH C. CHINESE FIGURE PAINTING, 11-12TH C. LANDSCAPE PAINTING, AND

13-14TH BIRD AND FLOWER PAINTING. FINALLY, WE CONSIDER THE DEVELOPMENT OF THE

LITERATI IN THE 15-17TH C. TO SEE HOW ART CAN BE TIED TO PHILOSOPHY AND POLITICS.

WE LEAVE JAPAN FOR LAST BECAUSE IT IS, IN MANY WAYS, THE CULMINATION OF

TRENDS CONSIDERED PREVIOUSLY. JAPAN IS THE BEST EXAMPLE OF A COUNTRY THAT

LOOKED OUTSIDE TO SEE WITHIN. IT IS ALSO A PARTICULARLY GOOD INSTANCE OF HOW

BUDDHISM CODIFIES NATIVE RELIGIONS. MORE, THE RELATIONSHIP BETWEEN BUDDHISM

AND SHINTO IN JAPAN IS PARTICULARLY INTERESTING IN THAT JAPAN’S PRE-BUDDHIST

RELIGION SHARED MUCH IN COMMON WITH HINDUISM. THERE IS THUS A THEORY THAT

THE JAPANESE, FROM THE START, IMPLICITLY UNDERSTOOD BUDDHISM BETTER THAN

15

THEIR CHINESE TEACHERS. WE SHALL CONSIDER THIS THEORY. WE DO SO BECAUSE IT

HELPS ORGANIZE OUR COURSE INTO A SINGLE BIG ARGUMENT IN WHICH CHINA CHANGES

BUDDHISM SO IT CAN MOVE TO JAPAN, BUT THE JAPANESE CHANGE IT BACK TO WHAT IT

WAS IN INDIA.

THE JAPANESE ADOPTION OF BUDDHISM ALSO BROUGHT WRITING TO JAPAN. WE

WILL CONSIDER THE QUESTION OF HOW LITERACY AFFECTS A CULTURE WHEN WE LOOK AT

BUDDHIST SCULPTURE, ARCHITECTURE AND PAINTING IN 8-10TH C. JAPAN. IN THIS TIME,

THE JAPANESE CODIFIED THEIR NATIVE RELIGION. WE SHALL SEE HOW THIS LED TO THE

EMERGENCE OF A NATIONAL AESTHETIC WHEN WE CONSIDER12-13TH C. JAPANESE

HANDSCROLL PAINTING. WE END BY LOOKING AT 14-16TH C. IMPORTATION OF CHINESE

LANDSCAPE AND INK PAINTING, AND THE REVIVAL OF JAPANESE ARTS IN 17TH C. PAINTING

AND GARDENS. THESE LECTURES ALSO INTRODUCE DECONSTRUCTION, ROLAND BARTHES

FINDING JAPAN A NATURALLY DECONSTRUCTED CULTURE. FINALLY, OUR LOOK AT UKIYO-E

SHOWS US HOW ELITE CULTURES POPULARIZE AND INTRODUCE THE NOTION OF THE

POWER OBJECT AS DEFINED BY WILLIAM LA FLEUR.

16

KEY TERMS:

XIA (HSIA), SHANG, ZHOU (CHOU)

DYNASTIES

AN YANG, CAPITAL OF SHANG

TAO-TIEH

BERNHARD KARLGREN AND

ICONOGRAPHY

MAX LOEHR, LUDWIG BACHHOFER,

HEINRICH WOLFFLIN AND STYLE

K. C. CHANG

VANDERSTAPPEN: TENSION VS. FLABBY

MIRCEA ELIADE, RITUALLY REAL GOD VS. TRADITIONAL GOD

IMAGE = REPRESENTATION, DUAL COGNITION (A = B)

QIN (CHIN) AND HAN DYNASTIES

EMPEROR QIN SHI HUANGDI (CHIN SHIH HUANG TI)

PRINCIPLE (LI) AND MANIFESTATION (CHI, QI)

LAO ZI (LAO TZU), ZHUANG ZI (CHUANG TZU), TAO, TAOISM

CONFUCIUS (KONG FUZI), MENCIUS (MENG ZI), MANDATE OF HEAVEN, CONFUCIANISM

GU KAIZHI (KU K’AI CHIH), NYMPH OF LO RIVER, THE ADMONITIONS SCROLL

XIE HO (HSIEH HO) AND THE SIX LAWS OF PAINTING

LIFE’S BREATH EQUALS THE CREATION OF MOVEMENT

THINGS TO DO:

1. MEMORIZE THE FIVE STAGES.

2. BE ABLE TO IDENTIFY TO WHICH STAGE A BRONZE BELONGS IN THE SYSTEM

3. BE ABLE TO DISCUSS HOW THE SYSTEM IS INTERDEPENDENT

4. BE ABLE TO DISCUSS HOW THE SYSTEM MAY HAVE AN UNDERLYING FORCE

5. DISCUSS ART AS SYMPATHETIC MAGIC VS. ART AS IMAGE-MAKING

6. DISCUSS HOW DUAL COGNITION IS KEY TO A ZHOU BRONZE

7. LEARN THE SIX LAWS OF PAINTING. THE FIRST WILL COME UP AGAIN WHEN WE

TALK OF CHINESE BUDDHISM.

8. BE ABLE TO DEFINE THE DIFFERENCE BETWEEN CONFUCIANISM AND TAOISM.

30

KEY TERMS

MONISTIC AND PLURALISTIC

BANNERJI AND INDUS VALLEY

ARYAN AND DRAVIDIAN

RG VEDA

CHANNIVIRA

DOHADA

HINAYANA AND MAHAYANA

MAURYA COLUMNS

BHARHUT AND SANCHI

BHAJA AND KARLI

CHAITYA

MATHURA

GANDHARA

KUSHAN

KING KANISHKA

ANANDA COOMARASWAMY

PRANA

THINGS TO DO:

1. BE ABLE TO DEFINE FUNDAMENTAL DOCTRINES OF BUDDHISM

2. BE ABLE TO DISCUSS THE DIFFERENCE BETWEEN THE RAJ VIEW OF INDIAN ART

AND BANNERJI’S

3. WHAT WAS THE IMPORTANCE OF THE INDUS SITES?

4. KNOW THE PARTS OF THE STUPA

5. GIVE THE DUAL INTERPRETATIONS OF BUDDHIST COLUMNS, ARCHITECTURE AND

SCULPTURE

6. GIVE TWO THEORIES FOR THE DEVELOPMENT OF THE BUDDHA IMAGE

7. DISCUSS PRANA

44

KEY TERMS:

ICONOGRAPHY AND ICONOLOGY

SPACE CELL

LITERATI

BLAND PAINTING

THINGS TO DO:

1. GIVE THE 9-STAGE DEVELOPMENT OF CHINESE BUDDHIST ART

2. DISCUSS THE IDEAS OF KENETH CHEN

3. WHAT IS THE NATURE OF THE CHINESE AESTHETIC OF BRONZE AND BUDDHA?

4. DISCUSS THE DEVELOPMENT OF CHINESE PAINTING FROM FIGURE TO LANDSCAPE

TO BIRD AND FLOWER.

52

KEY TERMS:

LEE AND WARNER, WAVE THEORY

ALICIA MATSUNAGA

NATIVE DEVELOPMENT VS. FOREIGN INFLUENCE

JOMON, YAYOI, KOFUN

ISE AND IZUMO

SHIMENAWA, HIMOROGI, SHIN NO MIHASHIRA

(HEART PILLAR)

“SHINTO” VS. SHINTO

MAREBITO

OUTSIDER GOD

PRINCE SHOTOKU (SHOTOKU TAISHI)

HORYU-JI

SHAKA TRINITY OF 623

YUMEDONO KANNON

WARIHAGI

AMIDISM

PHŒNIX HALL

THE CULT OF BEAUTY

THINGS TO DO:

1. GIVE THE PLURALISTIC AND MONISTIC VIEWS OF PREHISTORIC JAPAN.

2. WHY IS ISE SUCH A PUZZLE AND WHAT IS THE EXPLANATION OF THE PUZZLE?

3. GIVE THE STORY OF THE ENTRY OF BUDDHISM.

4. HOW IS THIS STORY TO BE UNDERSTOOD AS A MYTH COME TRUE?

5. HOW DOES MIZUNO’S WORK SUPPORT MATSUNAGA’S WORK?

6. GIVE THE DEVELOPMENT OF THE TEMPLE COMPOUND.

7. DISCUSS HOW BUDDHISM WAS ABSORBED IN JAPAN AND MIXED WITH SHINTO.

8. HOW IS THE RELIGIOUS SECULAR AND THE SECULAR, RELIGIOUS IN JAPAN?

9. HOW DID ZEN CREATE AN INDIVIDUALISTIC ARTIST?

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