Gardner's Art through the Ages Non-Western Perspectives 13e

275 Pages·2010·44.359 MB·English

by  Gardner, Helen;Kleiner, Fred S

G A R D N E R ’ S
A RT
T H RO U G H T H E
A G E S
-
N O N W E S T E R N
P E R S P E C T I V E S
T E
HIRTEENTH DITION
Fred S. Kleiner
Australia •Brazil •Japan •Korea •Mexico •Singapore •Spain•United Kingdom •United States
Gardner’s Art through the Ages:Non-Western ©2010,2006 Wadsworth,Cengage Learning
Perspectives,Thirteenth Edition
Fred S.Kleiner ALL RIGHTS RESERVED.No part of this work covered by the copyright
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Cover Image:Serpent Mound,Mississippian,Ohio, USA
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A b o u t t h e A u t h o r
FREDS.KLEINER(Ph.D.,Columbia University) is the co-author of the 10th,11th,and
12th editions ofArt through the Agesand more than a hundred publications on Greek
and Roman art and architecture,including A History ofRoman Art,also published by
Wadsworth.He has taught the art history survey course for more than three decades,
first at the University of Virginia and, since 1978, at Boston University, where he is
currently Professor ofArt History and Archaeology and Chair of the Art History De-
partment.Long recognized for his inspiring lectures and devotion to students,Profes-
sor Kleiner won Boston University’s MetcalfAward for Excellence in Teaching as well
as the College Prize for Undergraduate Advising in the Humanities in 2002 and is a
two-time winner of the Distinguished Teaching Prize in the College of Arts and Sci-
ences Honors Program.He was Editor-in-Chiefofthe American Journal ofArchaeology
from 1985 to 1998.
Also by Fred Kleiner:A History ofRoman Art (Wadsworth
2007;ISBN 0534638465),winner ofthe 2007 Texty Prize as
the best new college textbook in the humanities and social
sciences. In this authoritative and lavishly illustrated vol-
ume,Professor Kleiner traces the development of Roman
art and architecture from Romulus’foundation ofRome in
the eighth century BCEto the death of Constantine in the
fourth century CE,with special chapters devoted to Pom-
peii and Herculaneum,Ostia,funerary and provincial art
and architecture,and the earliest Christian art.
Serpent Mound,Ohio,ca.1070.1,200(cid:1) long,20(cid:1)wide,5(cid:1)high.
A b o u t t h e C ove r A r t
Serpent Mound is one ofthe largest monuments surviving from the Native American cultures that flour-
ished in North America before the arrival ofEuropeans at the end ofthe 15th century.First excavated in the
1880s,this “effigy mound”represents one ofthe first efforts at preserving a Native American site from de-
struction at the hands ofpot hunters and farmers.Scholars believe that the people known as the Mississip-
pians built Serpent Mound during the 11th century.Unlike most other ancient Native American mounds,
this one appears not to have been either a burial site or temple platform. The Mississippians, however,
strongly associated snakes with the earth and the fertility ofcrops,explaining why they would construct a
mound in the shape of a snake.A stone figurine found at one Mississippian site,for example,depicts a
woman digging her hoe into the back ofa large serpentine creature whose tail turns into a vine ofgourds.
Some researchers,however,have proposed another possible meaning,and assigned a date around 1070,for
the construction ofSerpent Mound.The date corresponds to the years following the brightest appearance in
recorded history ofHalley’s Comet in 1066.Scholars have suggested that the serpentine form ofthe mound
is not an effigy ofa snake;rather,it replicates the comet streaking across the night sky.
The names ofthe artists and patrons responsible for conceiving and constructing Serpent Mound are
unknown.This is typical ofmost ofthe history ofart worldwide,and although it has become standard
since the Renaissance for Western artists to sign and date their work,anonymous artworks remained the
norm in most ofthe non-Western world until very recently.Art through the Ages: Non-Western Perspec-
tivessurveys the art and architecture ofAsia,Native America,Africa,and Oceania from prehistory to the
present,and examines how artworks of all kinds,whether anonymous or signed,always reflect the di-
verse historical contexts in which they were created.
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C O N T E N T S
PREFACE xi CHAPTER 3
CHINA AND KOREA TO 1279 47
INTRODUCTION
China 47
WHAT IS ART HISTORY? 1
Korea 68
Art History in the 21st Century 2 (cid:1) MATERIALS AND TECHNIQUES: Sheng Bronze-Casting 49
Different Ways of Seeing 8 (cid:1) MATERIALS AND TECHNIQUES: Chinese Jade 51
(cid:1) RELIGION AND MYTHOLOGY: Daoism and Confucianism 52
CHAPTER 1 (cid:1) MATERIALS AND TECHNIQUES: Silk and the Silk Road 54
SOUTH AND SOUTHEAST ASIA (cid:1) ARCHITECTURAL BASICS: Chinese Wooden Construction 55
BEFORE 1200 9 (cid:1) MATERIALS AND TECHNIQUES: Chinese Painting Materials
and Formats 56
India and Pakistan 9
(cid:1) ARTISTS ON ART: Xie He’s Six Canons 57
Southeast Asia 26
(cid:1) MATERIALS AND TECHNIQUES: Chinese Earthenwares
(cid:1) RELIGION AND MYTHOLOGY: Buddhism and Buddhist and Stonewares 62
Iconography 13 (cid:1) RELIGION AND MYTHOLOGY Chan Buddhism 67
(cid:1) WRITTEN SOURCES: Ashoka’s Conversion to Buddhism 14
THE BIG PICTURE 71
(cid:1) ARCHITECTURAL BASICS: The Stupa 15
(cid:1) MATERIALS AND TECHNIQUES: The Painted Caves
CHAPTER 4
of Ajanta 19
(cid:1) RELIGION AND MYTHOLOGY: Hinduism and Hindu CHINA AND KOREA
Iconography 20 AFTER 1279 73
(cid:1) ARCHITECTURAL BASICS: Hindu Temples 24
China 73
THE BIG PICTURE 31
Korea 84
(cid:1) MATERIALS AND TECHNIQUES: Chinese Porcelain 76
CHAPTER 2
(cid:1) MATERIALS AND TECHNIQUES: Lacquered Wood 78
SOUTH AND SOUTHEAST ASIA
(cid:1) MATERIALS AND TECHNIQUES: Calligraphy and Inscriptions
AFTER 1200 33
on Chinese Paintings 80
India 33 THE BIG PICTURE 87
Southeast Asia 41
Contemporary Art 44
(cid:1) MATERIALS AND TECHNIQUES: Indian Miniature
Painting 36
THE BIG PICTURE 45
vii
CHAPTER 5 (cid:1) ART AND SOCIETY: The Mesoamerican Ball Game 152
JAPAN BEFORE 1333 89 (cid:1) MATERIALS AND TECHNIQUES: Andean Weaving 162
(cid:1) ART AND SOCIETY: Serpent Mound 169
Japan before Buddhism 89
THE BIG PICTURE 171
Buddhist Japan 92
(cid:1) RELIGION AND MYTHOLOGY: Shinto 93
CHAPTER 9
(cid:1) ART AND SOCIETY: Heian Court Culture 99
NATIVE ARTS OF THE AMERICAS
(cid:1) ART AND SOCIETY: Heian and Kamakura Artistic
AFTER 1300 173
Workshops 101
THE BIG PICTURE 103 Mesoamerica 173
South America 178
CHAPTER 6
North America 180
JAPAN AFTER 1336 105 (cid:1) RELIGION AND MYTHOLOGY: Aztec Religion 176
Japan,1336 to 1868 105 (cid:1) ART AND SOCIETY: Gender Roles in Native American Art 183
Modern Japan 116 THE BIG PICTURE 189
(cid:1) RELIGION AND MYTHOLOGY: Zen Buddhism 106
(cid:1) ART AND SOCIETY: The Japanese Tea Ceremony 110 CHAPTER 10
(cid:1) MATERIALS AND TECHNIQUES: Japanese Woodblock AFRICA BEFORE 1800 191
Prints 114
Prehistory and Early Cultures 192
THE BIG PICTURE 119
11th to 18th Centuries 197
(cid:1) ART AND SOCIETY: Dating African Art and Identifying African
CHAPTER 7
Artists 193
THE ISLAMIC WORLD 121 (cid:1) ART AND SOCIETY: Art and Leadership in Africa 195
Early Islamic Art 122 (cid:1) ART AND SOCIETY: Idealized Naturalism at Ile-Ife 196
Later Islamic Art 132 THE BIG PICTURE 203
(cid:1) RELIGION AND MYTHOLOGY: Muhammad and Islam 123
CHAPTER 11
(cid:1) ARCHITECTURAL BASICS: The Mosque 125
(cid:1) ARTISTS ON ART: Sinan the Great and the Mosque of AFRICA AFTER 1800 205
Selim II 134
19th Century 205
(cid:1) MATERIALS AND TECHNIQUES: Islamic Tilework 137
20th Century 211
(cid:1) ART AND SOCIETY: Christian Patronage of Islamic Art 142
Contemporary Art 220
THE BIG PICTURE 143
(cid:1) ART AND SOCIETY:Gender Roles in African Art Production 212
CHAPTER 8 (cid:1) ART AND SOCIETY: African Artists and Apprentices 213
(cid:1) ART AND SOCIETY: African Masquerades 215
NATIVE ARTS OF THE AMERICAS
BEFORE 1300 145 (cid:1) ART AND SOCIETY: Mende Women as Maskers 217
THE BIG PICTURE 223
Mesoamerica 146
Intermediate Area 159
South America 160
North America 167
viii Contents
CHAPTER 12 GLOSSARY 242
OCEANIA 225 BIBLIOGRAPHY 248
Australia and Melanesia 226 CREDITS 253
Micronesia 232 INDEX 255
Polynesia 234
(cid:1) ART AND SOCIETY: Women’s Roles in Oceania 233
(cid:1) MATERIALS AND TECHNIQUES: Tongan Barkcloth 235
(cid:1) ART AND SOCIETY: Tattoo in Polynesia 237
THE BIG PICTURE 241
Contents ix