introduction - Detroit Institute of Arts

INTRODUCTION
The arts of Asia at the Detroit Institute of Arts (DIA), including major
geographic areas of China, Korea, Japan, India, and Southeast Asia, are
pathways to understanding these cultures.
The geography of the region as a whole is marked by striking
contrasts—from the high mountain ranges of the Himalayas to remote
deserts such as the Gobi, to chains of islands, fertile plains, and great rivers
including the Yangzi and Mekong.
For nearly five thousand years within these varied surroundings, the
civilizations of Asia have produced art that testified to their changing
histories and cultural needs. Some works of art were intended for religious
settings, ceremonial, or ritual use, others for private viewing, burial, or
commerce and trade. Unrivaled in technical excellence, bronzes, ceramics,
lacquer wares, and silks were hallmarks of the Asian countries from which
they came.
Looking closely at Asian works of art, we can learn about belief systems
developed centuries ago and the continuity of those traditions today. The
individual qualities of a piece also demonstrate how techniques and styles
are transplanted or duplicated as ideas flow from place to place. Exchanges
were made by itinerant craftsmen, wandering pilgrims, and traders as well
as by conquests, wars, and the migrations of people. Such cross-cultural
influences and exchanges are woven into the very fabric of Asian art as seen
through the
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Influence of Buddhism
Importance of tea practices
Celebration of the seasons
Nature of well-wishing
Representation of auspicious beasts
Mastery of brush and ink
The works of art from the DIA selected for this guide reflect in some way
one or several major cultural themes described above, while highlighting
what is unique to the work of art and its country of origin.
1
CHINA
China is known as having the longest continuous cultural identity in the
history of the world. The very size of China lends itself to great variation in
landscape and climate, and interactions between different regional cultures
result in wide differences in beliefs, customs, and languages.
Within China, the wind-swept regions of the north were the heartland of the
ancient states while the south, marked by lakes, tropical river valleys, and
delta lands, became the economic engine of the country. Along China’s
busy network of rivers, lakes, and canals, the development of art and other
craft products thrived. Bronzes, lacquers, porcelains, silks, books,
calligraphy and paintings, and architecture characterized China to the world
while having a tremendous impact on the cultures of Korea and Japan, its
close neighbors.
Nearly two thousand years of imperial rule ended in 1912, when China
became a republic. The Chinese Communist Party has been in power since
1949, and its economic policies have evolved greatly. Beijing, the Chinese
capital, dates to 1420, and today traditional sites such as the Temple of
Heaven and the Forbidden City stand side by side with modern high-rises.
Dish with Varied Scrolling Flowers
China • Porcelain with underglaze cobalt decoration
1419–24, Ming Dynasty (1368–1644) • 47.370
D I S H W I T H VA R I E D
SCROLLING FLOWERS
China
Porcelain with underglaze cobalt decoration
1419–24, Ming Dynasty (1368–1644)
47.370
This Chinese porcelain dish was made at the imperial kiln* in Jingdezhen
(Jiangxi Province, eastern China) during the latter part of the reign of the
Yongle (Perpetual Happiness) emperor. For about one thousand years
Jingdezhen has produced China’s finest porcelain, one of the nation’s most
prized products.
Porcelain is made of kaolin and petuntse. Kaolin is a malleable, bright white
clay that hardens to a strong ceramic body when fired at high temperatures.
Both materials are derivatives of feldspar, and petuntse is found only in
China. When fired together, they vitrify to create porcelain. Potters would
paint designs on the porcelain using cobalt ore before glazing and firing.
This technique is called underglaze blue decoration. The cobalt used on this
dish was the finest ore of the day, imported from Iran and more precious
than gold in the 1400s. The dish was likely a lavish gift from the Chinese
emperor to an Islamic head of state. The Yongle emperor sent the Muslim
navigator Zheng He, known as the Chinese Christopher Columbus, as an
envoy carrying porcelains to countries in the west, and a dish such as this
could well have been part of the treasures sent.
This dish imitates earlier Islamic ceramics and metal dishes decorated with
intertwining scrolls of vines and flowers. The center flower is surrounded by
blossoms, among them the lotus, chrysanthemum, and peony. In China,
each flower has a symbolic meaning conveying good wishes or instruction.
For example, the chrysanthemum is a symbol of long life.
Certain flowers also represent the twelve months. This dish may have
been one of a pair, each dish center containing six flowers with the entire
calendar being represented when the two were placed together.
Notes:
A similar plate can be found in Ming export ware from the Ardebil Collection in
Tehran, Iran, see Chinese Porcelains from the Ardebil Shrine, John Alexander Pope,
Smithsonian Institution, Freer Gallery of Art, Washington, D.C., 1956, plate 36,
fig. 29.117.
* All words in bold can be found in the glossary
Head of a Lion
China • Cast iron
Ca. 1000–1127, Northern Song Dynasty (960–1127) • 31.281
head of a lion
China
Cast iron
Ca. 1000–1127, Northern Song Dynasty (960–1127)
31.281
This lion head was part of a Buddhist sculpture created during a period
when monumental projects using cast iron were popular. It is closely
related to China’s oldest and largest surviving cast iron sculpture, the Lion
of Cangzhou, forged in 953 and considered a Chinese national treasure.
This extremely rare lion head was placed on a body that was either cast
separately or made of a different material, such as wood. Both lions were
probably mounts for the Bodhisattva of Wisdom (Wenshu) descending from
Mount Wutai to guide devotees in wisdom of the Buddhist faith. Believers
traveled to Mount Wutai in Shanxi Province, stopping at temples where
such a sculpture was enshrined.
With its piercing eyes, flaring nostrils, curling lips, fiercely arching eyebrows,
and jaws open wide exposing powerful teeth, the face of the lion is very
expressive. At the same time, the mane’s large stylized curls create a
striking visual pattern. Realism and imagination would have successfully
created a dynamic balance if the ferocity of the lion were paired with a calm
Bodhisattva who was most likely riding the lion.
This lion head may have originally been covered with a thin layer of plaster
that was painted with bright colors. Known as gesso, this technique was
probably used to disguise the piece-mold casting seams running outside
the eyes down to the corners of the mouth and then angling sharply into the
curly mane.
Money Tree
China • Bronze and green-glazed earthenware
Eastern Han Dynasty (25–220) • 1996.29
MONEY TREE
China
Bronze and green-glazed earthenware
Eastern Han Dynasty (25–220)
1996.29
The Money Tree is named for the abundance of round coins with square
holes that hang from the branches. Thought to emit light, coins guided the
deceased, who would ride on a winged ram up the ceramic mountain to the
bronze tree of paradise. These coins could also be plucked for needs on the
journey from earth to the realm of immortals. Money trees are associated
with Taoism, a philosophy originating in China that offers ideas about
harmony and balance, nature and change. Images like the ram were popular
in Han times because the Chinese character for ram is part of the character
meaning “lucky.” Ram also has the same sound as yang, the masculine,
positive principle of the Taoist duality yin and yang, which creates balance in
the forces of nature.
The Western Paradise of Taoist immortals is ruled by the Queen Mother of
the West (Xiwangmu), who sits atop this tree on her tiger of the west and
dragon of the east throne, representing yin (dark) and yang (bright).
Xiwangmu is the most famous Taoist immortal because she holds the
secret of immortality. Money trees are decorated with scenes of paradise
containing magical creatures and immortals including the sun bird, the
moon toad, the deer who finds the main ingredient for the elixir of
immortality, and the clever monkey who steals the elixir.
Similar trees have been found in the Eastern Han dynasty (25–220) tombs
in western China in and near Sichuan province. Creators hoped that money
trees would aid the soul of the deceased in its journey to paradise.
Notes:
Money trees continue to be popular among families during the Chinese New Year. According to
custom, money trees are made of a bushy pine or cypress branch nestled inside a porcelain pot filled
with rice grains. Melon seeds and pine nuts are sprinkled over the top of the rice. Decorating the
branches are gold and silver coin garlands made of paper. Symbols of long life (including paper
cranes and deer) also embellish the tree, which is usually topped by the genie of wealth, Liu Hai, or
the character for happiness (fu).
Tea Bowl
China • Stoneware with “hare’s fur” dark brown glaze; Jian ware, Shuiji kiln, Fujian Province
Northern Song Dynasty (960–1127) • 62.18
tea bowl
China
Stoneware with “hare’s fur” dark brown iron glaze
Jian ware, Shuiji kiln, Fujian Province
Northern Song Dynasty (960–1127)
62.18
One thousand years ago in China, tea was prepared
by adding hot water to powdered tea leaves inside
deep, thick-bodied bowls like this. The tea was then
whisked into a frothy drink. Connoisseurs preferred
foamy tea made from pale green, almost white tea
leaves (Jian cha), grown in the southeastern province
of Fujian, where this tea bowl was made. Rich brownblack ceramics were favored for the contrast they
provided against the milky color of the whipped tea.
The thick melted glaze, pooled unevenly at the
bottom of this bowl, is the distinctive trademark of
Song Dynasty Jian ware. In addition to the dark
lustrous color of the glaze, the tea bowls also
featured mottled or streaked patterns such as the
“hare’s fur” marking on this piece.
Scholars from Fujian who served at the imperial
court during the 1100s promoted the tea and teadrinking customs of this province. Emperor Huizong
(ruled 1100–1125) wrote his masterly Treatise on Tea
in 1107, made his own tea, and held tea contests.
Competitors were judged on the taste, fragrance, and
appearance of their teas.
Japanese monks who visited temples in southern
China were introduced to whisked tea (which
survives today in the Japanese tea ceremony) and
brought home the much-admired Jian bowls known
in Japan as temmoku wares.
Lobed Bowl Stand
China • Black lacquer ware
Southern Song Dynasty (1127–1279) • 79.150
lobeD bowl stand
China
Black lacquer ware
Southern Song Dynasty (1127–1279)
79.150
This elegant stand held a stoneware tea bowl that
would sit inside the circular opening in the middle.
Lacquer stands were among the tea items listed in
the eighth-century Book of Tea (Cha Jing) by the tea
connoisseur Lu Yu. This text claimed that a full
appreciation of tea depended not only on the flavor
but also on the colors and shapes of the tea
items used.
During Lu Yu’s time (728–804) lacquer stands were
elaborately crafted with inlaid decorations of silver,
gold, and mother-of-pearl. By the Song Dynasty,
however, connoisseurs fostered the notion of
“natural spontaneity,” preferring simple, unadorned
ceramics and tea accessories to showy or elaborate
decoration. Stands were for the most part made of
lustrous black lacquer without detailed
embellishment, like the understated, undulating
petal-shaped lobes of the saucer part of this stand.
Single-colored lacquerwares were manufactured in
workshops along the lower Yangzi River, where the
lac tree could be cultivated.
During the Song, as in dynasties before, lacquer ware
remained costly and was only affordable to the upper
class. Although simple in outward appearance,
manufacturing lacquer was extremely labor intensive.
Many razor-thin layers of colored lacquer were
applied to a core material, such as wood or leather.
After each layer dried, it was polished. Lacquer added
a durable protective coat that could be carved,
engraved, painted, or inlaid. Lacquer ware has been
in continuous use over the centuries and is valued as
one of the most distinctive arts of Asia.
Lacquer Tray
China • Carved black lacquer
First half of the 14th century, Yuan Dynasty (1279–1368) • 80.25
lacquer tray
China
Carved black lacquer
First half of the 14th century, Yuan Dynasty (1279–1368)
80.25
This intricately carved tray represents the height of the lacquer-making
tradition in China. Lacquer wares were luxury items decorating the tables
of emperors, princes, and court nobles. Wealthy Buddhist temples in China
and Japan received such objects as gifts. Tea enthusiasts at temples and
palaces enjoyed using them to hold items such as sweets.
The design on this tray, known as a “two-bird” motif, shows cranes amid
chrysanthemums. The long life span of cranes earmarks them as symbols
of longevity and endurance that arrive in winter just before the ground
begins to warm. The name for crane (he) is also a homophone for
“harmony;” two birds double the lucky message. Chrysanthemums are
symbols of autumn, blooming in chilly winds and frosty weather. Their
health-giving nutrients make them symbols of long life.
Chinese artisans were the first to perfect the art of lacquer, making use of
the sap of the lac tree as early as the Warring States period (450–221 BCE).
Lacquer, clear when originally collected, was colored with mineral pigments
(iron for black and cinnabar or vermilion for red). Painstakingly, hundreds
of layers were applied over a cloth-covered wooden core. Sets of dishes,
lightweight and graceful, were created in state-controlled workshops where
labor was divided, each craftsman performing one step of a lengthy
production process, such as making the base, applying each layer of
lacquer, polishing, or carving.
KOREA
Korea, a peninsula of rugged mountains, lush valleys of green rice fields,
and rocky coastlines, arches outward between China (to the west and north)
and Japan (to the east), extending about 600 miles into the Yellow Sea.
Named after the Koryo dynasty (918–1392) and meaning “high and clear,”
the Korean peninsula has long served as a cultural bridge between China
and Japan. Throughout the centuries, Korean artists frequently borrowed
ideas from China and Japan, but also in turn inspired their neighbors with
outstanding artistic achievements. Korean ceramics and lacquer wares have
been particularly celebrated throughout the world.
For hundreds of years, Confucian rules of conduct, Taoist mystical thought,
and Buddhist religious ideals—all belief systems and values imported from
China—were expressed throughout Korean culture. At times, however,
contact with neighboring countries was aggressive and militant. The
Japanese and Manchurians invaded Korea sporadically for centuries, until
Japan annexed Korea in 1910; its occupation lasted through the end of
World War II. Since 1948, the Korean peninsula has been divided into two
nations: North Korea, governed by a communist regime, and South Korea,
a republic with an elected government.
Pillow
Korea • Celadon with inlaid slip decoration
Late 12th century, Koryo Dynasty (918–1392) • 80.39
Pillow
Korea
Celadon with inlaid slip decoration
Late 12th century, Koryo Dynasty (918–1392)
80.39
To protect the elaborate hairstyles that were
fashionable at the royal court, ceramic pillows were
designed to raise the head while supporting the neck.
They allowed comfortable napping with the added
advantage that ceramic objects stayed cool to the
touch during the hot summer months. The long,
upper portion of this headrest is described as being
in the shape of an ox tongue. Although pillows were
used in everyday life, this small pillow was probably
made for a tomb.
Two pug-faced lions, roaring with open mouths,
support the tongue-shaped surface. Their curling
manes, short bodies, and tufted tails are
characteristics of Buddhist lions, defenders of
Buddhist law, and were considered emblems of valor
and energy. The ever-vigilant lion is often positioned
as a sacred guard at entrances to Buddhist temples.
In Korea, the lion was also treasured as a home
guardian for protection against fire.
During the Koryo dynasty (918–1392), Korean artists,
inspired by Chinese ceramics, crafted their own
version of the green-glazed wares called celadons.
Like the Chinese originals, Korean celadons were
made to resemble the mystical and rare green color
of jade. Korean artists further embellished their
celadon wares with inlays, perhaps to imitate the
effect of more expensive inlaid bronzes. The striking
black and white design, inlaid on the top of this
pillow, features a lotus surrounded by willow trees.
The artist filled the incised designs with white or
reddish-brown creamy clays (or slips). When glazed
and fired, the white slip remained white, while the red
slip turned black, resulting in an elegant and
captivating design.
Notes:
Although celadon ware originated in China, the term
“celadon” takes its name from a seventeenth-century
character from French literature who wore green clothing.
For a similar version of this rare style of pillow (only a few
Korean celadon pillows supported by pairs of lions remain
in the world), see 5,000 Years of Korean Art, Asian Art
Museum of San Francisco, p. 96, figure 119.
Plum Blossom Fan
Korea • Ink on paper
Chong Tae-gyu, 19th century • 2000.89
plum blossom fan
Korea
Ink on paper
Chong Tae-gyu, 19th century
2000.89
The flowering plum symbolizes renewal; it blossoms
before all other flowers just as spring arrives. The
gnarled and battered trunk of the plum tree
contrasted against fresh blossoms is a favorite
decorative motif in Asian art. Korean scholars
brushed the flower in ink washes without color, as on
this fan, because the purity of the image represented
the height of cultured taste. Scholars would have
waved the fan for coolness or used it to accentuate
their conversation and to quietly impress their
audience with its special meaning. Painted fans were
also exchanged as tokens of friendship. The painting
was often meant to refresh the mind through elegant
verse and tranquil scenes of nature.
The plum blossom, triumphing over the cold, was
also known as one of the “Three Friends of Winter,”
which symbolize model scholars or “superior men.”
(The other two “friends” are the flexible bamboo and
sturdy pine.) Korean scholars would have admired
this fan painting for its symbolism and its classical
combination of calligraphy, poetry, and
painting—known as the “Three Perfections.” This
fan was later mounted as a hanging scroll for further
admiration and preservation.
Many traditional Korean painters were Confuciantrained scholars who strove to imitate the Chinesestyle of lofty self-expression and honorable conduct.
Confucius (551–479 BCE), a Chinese official and
teacher, believed good government depended on
people respecting their roles in the natural order of
things. He emphasized education and self-perfection
through the arts for scholars and officials. Confucian
teachings have influenced Korean culture since their
introduction during the Three Kingdoms era (about
57 BCE–668 CE).
Ox horn Box
Korea • Ox horn mounted on wood
Made in the 18th century, Choson Dynasty (1392–1910) • 1986.3
Ox horn box
Korea
Ox horn mounted on wood
Made in the 18th century, Choson Dynasty (1392–1910)
1986.3
Ox horn covered boxes like this were the treasured
possessions of upper-class Korean women.
Following the Confucian principle that men and
women had different roles to fulfill, they conducted
their daily activities in separate quarters in traditional
Korean houses. Boxes such as this one were
generally housed within the women’s quarters. The
boxes stored sewing equipment and clothes, which
were perhaps part of a young woman’s dowry, the
gifts and household items that accompanied a bride
to the groom’s house.
Traditional Korean weddings took place outdoors in
the main courtyard of the bride or groom’s family
home. Motifs suggesting long life and a happy
marriage would have decorated bridal furniture, and
they are found in abundance on the painted red
panels of this box. The dragon and phoenix stand for
masculine and feminine—a balance of opposites
central to Taoist beliefs of harmony. Taoism,
developed by Chinese philosophers in the fourth
century BCE, also built up the hope for immortality.
Paired birds and butterflies stand for happiness and
the related wish for many sons, which would secure
the bride’s status within her new home. The deer,
crane, and tortoise are symbols for long life.
The ox horn technique was uniquely Korean. Horns
from the field ox were soaked in warm water and
separated into thin layers, which were flattened, cut
into rectangles, painted on the reverse side, and
glued to a wooden frame with the painted side facing
inward. The ox horn’s translucency allowed the
images to be seen in reverse. The outer surface was
polished to a high luster, which on this box has
mellowed over time to cast a warm yellow glow over
the brilliant colors underneath.
Notes:
For another example of an eighteenth century storage chest, see
Auspicious Spirits: Korean Folk Paintings and Related Objects by Robert
Moes, p. 157, plate 90.
JAPAN
Japan is a country of mountainous islands (about three thousand) linked
together in a long chain winding down the Pacific coast of northern Asia.
To the west lie the Korean peninsula and northern China, further south the
Ryukyu Islands lead to Taiwan and the south of China. Japan’s closeness to
the Asian continent has brought a variety of influences, mainly from China
and Korea, which were adapted into Japan’s own culture. Some of the most
striking cultural imports include the use of the Chinese language and the
practice of Buddhism. Tea ceramics, lacquer wares, paintings, and prints, all
art forms imported from the continent, acquired distinctive Japanese flavors
and became known throughout the world as some of Japan’s greatest
artistic achievements.
During its long imperial history, Japan experienced many dramatic shifts in
power among emperors, shoguns (military dictators), aristocrats, and
warriors. In 1868 the emperor again became the ruling member of
government over the shoguns of the past. Edo, the capital, was renamed
Tokyo, which remains the center of Japanese society today. After World War
II, a parliamentary government was put into place, and the emperor fulfils a
largely ceremonial role in the governance of the nation.
Entertainments of the Four Seasons
Japan • Hand scroll, ink on paper
Maruyama Okyo, 1733–95, Edo Period (1615–1868) • 1983.21
ENTERTAINMENTS
OF THE FOUR SEASONS
Japan
Hand scroll
Ink on paper
Maruyama Okyo, 1733–95, Edo Period (1615–1868)
1983.21
Japanese picture scrolls unroll to tell a story about events in history,
literature, or everyday life. Picture scrolls originally came from China and
developed into a unique genre in Japan, often emphasizing human activities
in addition to landscapes and nature scenes. Subjects reflecting Japanese
sensibilities and love of one’s homeland—favorite travel sites, activities
during the twelve months, or scenes of the four seasons—became the
specialties of Japanese-style painting.
The scroll Entertainments of the Four Seasons by the master of the realist
school of painting Maruyama Okyo, shows the activities of seasonal
celebrations: the cherry blossoms of springtime invite spectators to picnic
and enjoy the clouds of flowers drifting among the trees; on summer nights
the smoky aroma of grilled foods tempts passersby along the riverfront;
early fall brings the lighting of lanterns and the delightful performance of
dances to honor ancestors; and winter finds families in preparation for the
New Year—hanging pine branches over doorways to bring good fortune,
beating sleeping mats to clean them, and purchasing special ingredients for
holiday meals.
Each seasonal image is preceded by a narrative text composed by the
calligrapher Takahashi Munenao (1701–85). The vivid descriptions of
seasonal sights, such as this one, lead viewers from one season into the
next as the painting is slowly unrolled:
Pretty little boys and girls…young brides…mothers with babies strapped
on their backs…how delightful to see them waving their arms to the
rhythmic stamping of their feet…. In every street and block of the city it
goes on—dancing everywhere.
Notes:
Japan traditionally adopted the writing system of China, and scholars wrote using
Chinese characters known as kanji. After the closing of diplomatic ties with China
in the ninth century, Japanese writers began to explore their own language and used
a newly developed phonetic script known as kana. Both scripts are used in the
narrative passages in this hand scroll.
Tea Storage Jar
Japan • Bizen high-fired stoneware
Momoyama Period (1573–1615) • 1989.73
tea storage jar
Japan
Bizen high-fired stoneware
Momoyama Period (1573–1615)
1989.73
Buddhist monks from China introduced tea drinking to Japan as a means
of aiding alertness during meditation. The tea drinking ritual reached its
peak in the elaborate Japanese tea ceremony. The renowned Japanese tea
master Sen-no Rikkyu (1521–91) advocated using simple rustic items, such
as this jar, produced at rural kilns for tea gatherings. Japanese ceramics
associated with tea are regarded as some of the finest traditional,
utilitarian arts objects produced.
Following Buddhist ideas, crafted wares with random irregularities enabled
viewers to more easily appreciate the objects’ inner beauty, thereby creating
a more spiritual experience. Such is the rustic appeal of this tea storage jar.
It was hand-built by stacking spiral coils of clay, which were then refined and
trimmed with a wooden tool on a potter’s wheel.
The jar was fired at a high temperature in a wood-burning kiln. During
firing, accidents such as ash deposits (that would fuse to the surface
making a glaze), marks made by rope (cord marks), and other
imperfections resulted in distinctive and spontaneous effects that later
potters tried to reproduce. The black fire marks and the spot of moss green
ash glaze on the shoulder of this iron red jar were deliberately created,
resulting in a natural look greatly appreciated by tea masters.
Tea leaf storage jars such as this one were carried from Edo (Tokyo) to the
tea growing area of Uji (near Kyoto) at the beginning of every summer. This
“journey of the honorable tea jars” was made to collect the finest tea of the
season for the shogun.
CAMBODIA
Cambodia is bordered by Vietnam on the east and south, Thailand on the
north and west, and Laos to the north. Rich, fertile plains touch the humid
jungle, and great rivers such as the Mekong—one of the world’s most
important waterways—cross the covered hills. An interchange of ideas
flowed between Cambodia and other cultures of the Southeast Asian
mainland, but India contributed a strong, unifying influence through
language, literature, religion, and politics.
Cambodian culture was at its height from the seventh through the
mid-fifteenth centuries under the Khmer rulers. Among them was King
Jayavarman II (reigned 802–850), who established the Khmer ruler as a
“god-king” or devaraja, the deity who protected the kingdom. King
Suryavarman II (reigned 1113–ca. 1150) extended the Khmer empire
through military conquests and built numerous temples, including the
monumental Hindu temple complex Angkor Wat.
From the mid-fifteenth century onward, neighboring countries continually
attacked and invaded Cambodia. In 1845 it was subjected to joint
Vietnamese and Thai protection, while French colonial interests in the
region began in the 1860s. Cambodia gained independence in 1953, which
was followed by years of civil war, communist rule, and invasion by the
Vietnamese. National elections in 1998 established political stability.
Garuda Sculpture
Cambodia • Bronze, ca. 1131
Khmer Empire, reign of King Suryavarman II (reigned 1113–ca. 1150) • 43.419
Garuda Sculpture
Cambodia
Bronze, ca. 1131
Khmer Empire, reign of King Suryavarman II
(reigned 1113–ca. 1150)
43.419
Garuda, a bird-man creature, is a Hindu deity. In this sculpture the strong
legs, talons, wings, and beak of an eagle are combined with the human
torso and crowned head of a king. The figure wears a belt, necklace, two
armbands, and elaborate earrings. Taking a forceful stride forward, Garuda
looks ready to fight, protect, or fly off. In the Hindu religion, gods travel the
universe on creatures that symbolize their powers. Garuda carries the god
Vishnu, roaming the world devouring evil. One of the three most important
deities in Hinduism, Vishnu the Preserver keeps the world intact. If he
withdrew for an instant, faithful Hindus believe the entire world would be
destroyed. At the time this sculpture was made, the Khmer king of
Cambodia, Suryavarman II (reigned 1113–ca. 1150), was considered a godking and the earthly manifestation of Vishnu. Suryavarman constructed an
enormous temple complex, Angkor Wat, to validate his divine claim
to govern.
This Garuda figure is very similar to one found on a sandstone relief at
Angkor Wat. Perhaps this Garuda was associated with the part of the
temple where the relief was found or was connected with Suryavarman’s
activities at the time. As a victor in the battle to preserve the universe,
Garuda was considered a bird-king and was symbolic of Khmer royal power
and strength. Refined, detailed, and elegant in style, this bronze Garuda was
created using the lost-wax method of casting. It probably adorned an altar,
and may once have had a sculpture of Vishnu mounted on its back.
GLOSSARY
China
Dish with Varied Scrolling Flowers:
Kaolin: A fine, usually white clay formed when the mineral feldspar breaks down.
Kiln: A workshop where porcelain is fired in furnaces made of heat-resistant bricks.
Petuntse: A type of mineral called feldspar, found only in China, made mostly of
potassium, sodium, and calcium.
Porcelain: A hard clay material that when fired becomes very strong and resistant
to breakage, but delicate and translucent looking. Porcelain wares have been
greatly appreciated in China since the tenth century.
Vitrify: To melt together when fired at high temperatures and become
indistinguishable from one another. For example, kaolin and petuntse form a
nonporous, natural glass-like material called porcelain.
Money Tree:
Taoism: A philosophy explaining the Tao (pronounced Dao, literally meaning the
Way) as the origin of all creation and the force that lies behind the functions and
changes of the natural world. This spiritual approach to life focuses on living in
harmony with the Tao.
Yin and Yang: Han dynasty philosophers explained that the universe is run by a
single principle, the Tao, which is composed of two opposite principles: Yin,
encompassing femaleness, the moon, completion, cold, darkness, earth,
submission; and Yang, representing maleness, the sun, creation, heat, light,
heaven, and dominance.
Head of a Lion:
Bodhisattva: An enlightened or spiritually “awakened being” in the Buddhist
religion destined to become a Buddha (one who has reached enlightenment) who
postpones reaching nirvana—a state of supreme peace—to help others reach
enlightenment.
Buddhist/Buddha: An enlightened or spiritually “awakened being” who has
entered into nirvana or a state of supreme peace. Sakyamuni, the first Buddha,
was born a wealthy prince in India in 563 BCE. He gave up riches and royalty to
discover a way to overcome the endless cycles of rebirth and suffering and
eventually become one with creation. He taught that enlightenment can be
reached through meditation and acts of kindness, by avoiding extremes, and
calming the mind. After Buddha’s death, his philosophy was transformed into
a religion reaching China from India by the first century.
2
Realism: Fidelity to nature or to real life; representation without idealization.
G L O S S A R Y (continued)
China
Jian Ware Tea Bowl:
Temmoku: Temmoku is the Japanese name for a type of Chinese ceramics called
Jian ware. It is named for Mount Tianmu in China, the site of Buddhist
monasteries where traveling Japanese monks stayed, which is not far from the
Jian ware kilns.
KOREA
Confucian/Confucius: Confucian refers to the teachings of Confucius (born during
the Zhou Dynasty in 551 BCE). He taught a way of living, or a social and ethical
philosophy, that became the standard in China during the Han Dynasty (206 BCE
to 220 CE). The main principles of Confucianism are based on the idea that
people are inherently good. The ideal of a good society and harmonious human
relations cannot be forced but will emerge from the government’s virtue and
moral example.
JAPAN
Shogun: Shoguns were military dictators who controlled Japan through much of
its history. An abbreviation of the term seii tai shogun, which means “barbariansubduing generalissimo,” the title of shogun was in theory bestowed by the
emperor, who in fact was often a figurehead controlled by powerful military figures.
CAMBODIA
Garuda Sculpture
Hindu/Hinduism: Hinduism originated in India about three thousand years ago.
Followers of the many forms of Hinduism believe in a final, eternal reality known
as Brahman. Each Hindu god or goddess possesses characteristics and powers
that represent aspects of the divine principle. According to this ultimate truth, the
soul is trapped in a cycle of life, death, and rebirth until it achieves enlightenment
and is reunited with the universal soul. Karma, or the consequences of past
actions, keeps the soul in cycle. There are thousands of Hindu deities, but Vishnu
the Preserver, Shiva the Destroyer, and the Great Goddess Devi are especially
revered. The religion focuses on the relationship among the universe, god,
and humanity.
3
A n n otat e d B i b l io g r a ph y
Adkinson, Robert, ed.
Tao. New York: Thames and Hudson, 1996. For more
about Taoism and Taoist symbols.
Eiichi, Wakahara.
“The Business of Tea Making in Uji.” Chanoyu Quarterly
52 (1987): 30–44. Advanced reading on tea storage jars.
Asian Art Museum of San Francisco.
5,000 Years of Korean Art: An Exhibition.
San Francisco: National Museum of Korea and Asian Art
Museum of San Francisco, 1979. General history of
Korean art.
Erickson, Susan N.
“Money Trees of the Eastern Han Dynasty.” Bulletin of
the Museum of Far Eastern Antiquities 66 (1994): 5–115.
Advanced reading on Han Dynasty money trees.
Fang, Zheng.
“New Archaeological Discoveries at Jian Kiln Sites.”
Trans. Suning Sun Bailey. Transactions of the Oriental
Ceramic Society (1995–96): 29–33. Advanced reading on
Chinese ceramics.
Bagley, Robert, ed.
Ancient Sichuan: Treasures from a Lost Civilization.
Seattle and Princeton, NJ: Seattle Art Museum and
Princeton University Press, 2001. Additional reading on
money trees and other unique treasures from Sichuan
Province, China.
Garner, Harry Mason.
Chinese Lacquer. Boston: Faber and Faber, 1979. General
history of Chinese lacquer.
Berliner, Nancy.
Chinese Folk Art: The Small Skills of Carving Insects.
Boston: Little, Brown, and Co., 1986. For more about
animals in art and culture in China.
Hu, William Chao-chung.
Chinese Lion Dance Explained. Ann Arbor, MI: Ars
Ceramica, Ltd., 1995. For more on the history and
development of the lion dance.
Blofeld, John.
The Chinese Art of Tea. Boston: Shambhala, 1985. General
reading on the Chinese tea ceremony.
Itoh, Ikutaro and Yutaka Mino.
The Radiance of Jade and the Clarity of Water: Korean
Ceramics from the Ataka Collection. Chicago and New
York: Art Institute of Chicago and Hudson Hills Press,
1991. Advanced reading on Korean ceramics.
Clunas, Craig.
Art in China. Oxford and New York: Oxford University
Press, 1997. General reading on Chinese art.
Coole, Arthur Braddan.
Coins in China’s History. Mission, KS: Intercollegiate
Press, 1963. Additional reading on Chinese money in
relation to coins from the money tree.
Kuwayama, George.
Far Eastern Lacquer. Los Angeles: Los Angeles County
Museum of Art, 1982. General reading on Asian lacquer.
Ledderose, Lothar.
Ten Thousand Things: Module and Mass Production in
Chinese Art. Princeton, NJ: Princeton University Press,
2000. General history of Chinese art.
Cort, Louise Allison.
Shigaraki: Potter’s Valley. Tokyo and New York:
Kodansha International, 1979. Additional reading on
Japanese ceramics.
Levathes, Louise.
When China Ruled the Seas: The Treasure Fleet of the
Dragon Throne 1405–1433. New York: Simon and Schuster,
1994. For more on navigator Zheng He and the
Yongle Emperor.
Dagens, Bruno.
Angkor: Heart of an Asian Empire. New York: Harry N.
Abrams, 1995. General reading on the Angkor Wat
temple in Cambodia.
4
A n n otat e d B i b l io g r a ph Y
Mannikka, Eleanor.
Angkor Wat: Time, Space, and Kingship. Honolulu:
University of Hawaii Press, 1996. Advanced reading on
Cambodian art.
(continued)
Sung, Vivien.
Five Fold Happiness: Chinese Concepts of Luck, Prosperity,
Longevity, Happiness, and Wealth. San Francisco:
Chronicle Books, 2002. For more about auspicious
symbols and their meanings.
March, Benjamin.
“A Chinese Iron Lion Head.” Bulletin of the Detroit
Institute of Arts 13 (1931–32): 14–16. Additional reading
on the Chinese lion head in the DIA collection.
Thorp, Robert L., and Richard Vinograd.
Chinese Art and Culture. New York: Harry N. Abrams,
2001. General history of China and Chinese art.
Mason, Penelope.
History of Japanese Art. New York: Prentice Hall, 1993.
General reading on Japanese art.
Till, Barry, and Paula Swart.
“Cast Iron Statuary of China.” Orientations 8 (1993):
40–45. Additional reading on cast iron monuments.
Moes, Robert.
Auspicious Spirits: Korean Folk Paintings and Related
Objects. Washington, D.C.: International Exhibitions
Foundation, 1983. General reading on Korean art.
Tsai, Shih-shan Henry.
Perpetual Happiness: The Ming Emperor Yongle. Seattle:
University of Washington Press, 2001. Biographical
information on the Yongle Emperor and the navigator
Zheng He.
Mowry, Robert.
“Koryo Celadons.” Orientations 5 (1986): 24–39.
Advanced reading on Korean ceramics.
Wagner, Donald B.
“Chinese Monumental Iron Castings.” Journal of East
Asian Archaeology 2/3 (2000): 199–224. Additional
reading on these monuments.
Mowry, Robert, Eugene Farrell, and Nicole Coolidge
Rousmaniere.
Hare’s Fur, Tortoiseshell, and Partridge Feathers: Chinese
Brown- and Black-Glazed Ceramics, 400–1400. Cambridge:
Harvard University Art Museums, 1996. Advanced
reading on Chinese ceramics.
Watt, James, and Barbara Breenan Ford.
East Asian Lacquer: The Florence and Herbert Irving
Collection. New York: Metropolitan Museum of Art, 1991.
Additional reading on lacquer wares with many
illustrations similar to the Detroit works.
Pope, John Alexander.
Chinese Porcelains from the Ardebil Shrine. Washington,
D.C.: Smithsonian Institution, Freer Gallery of Art, 1956.
Advanced reading on Chinese ceramics.
Wilson, Richard L.
Inside Japanese Ceramics: A Primer of Materials,
Techniques, and Traditions. New York: Weatherhill, 1995.
Additional reading on Japanese ceramics.
Portal, Jane.
Korea: Art and Archaeology. New York: Thames and
Hudson, 2000. General reading on Korean art.
Wu, Marshall.
“Black-Glazed Jian Ware and Tea Drinking in the Song
Dynasty.” Orientations 4 (1998): 22–31. Additional
reading on stoneware.
Rousmaniere, Nicole Coolidge.
Kazari: Decoration and Display in Japan, 15-19th Centuries.
New York: Harry N. Abrams, 2002. For more information
about the decorative aspects of traditional Japanese objects.
Stalberg, Roberta, and Ruth Nesi.
China’s Crafts: The Story of How They’re Made and What
They Mean. New York and San Francisco: Eurasia Press
and China Books & Periodicals, 1980. General reading
on Chinese symbolism in everyday life.
Yang, Lien-sheng.
Money and Credit in China, a Short History. Cambridge,
MA: Harvard University Press, 1971. Additional reading on
money in China in relation to coins from the money tree.
5
A n n otat e d B i b l io g r a ph y f or S t u de n ts
Mastrangelo, Giovanni.
Little Buddha: The Story of Prince Siddhartha.
Bath, England: Barefoot Books, 1994. For
more on the history of Buddhism, written
to accompany Bernardo Bertolucci’s film
Little Buddha.
Chen, Kerstin.
Lord of the Cranes. New York: North-South
Books, 2000. Explore the crane through
storytelling and the art of paperfolding.
Demi.
The Dragon’s Tale & Other Animal Fables of the
Chinese Zodiac. New York: H. Holt, 1996. For
more about animals in art and culture.
Park, Linda Sue.
A Single Shard. New York: Clarion Books,
2001. Additional reading about Korean
celadon production.
Freedman, Russell.
Confucius: The Golden Rule. New York: Arthur A.
Levine Books, 2002. An introduction to the life
and words of Confucius that explores the
teachings of the sage.
Sam, Sam-Ang and Patricia S. Campbell.
Silent Temple, Songful Hearts: Traditional Music
of Cambodia. Danbury, CT: World Music Press,
1991. For more about Cambodian music and
culture.
Holt, Daniel D.
Tigers, Frogs, & Rice Cakes: A Book of Korean
Proverbs. Auburn: Shen’s Books, 1999. For
more about traditional values expressed
throughout Korean culture.
Stepanchuk, Carol.
Exploring Chinatown: A Children’s Guide to
Chinese Culture. Berkeley, CA: Pacific View Press,
2002. For more about Chinese traditions,
symbols, and contemporary life.
Krasno, Rena.
Floating Lanterns and Golden Shrines:
Celebrating Japanese Festivals. Berkeley, CA:
Pacific View Press, 2000. For more about
Japanese festivals.
Temko, Florence.
A Thousand Cranes. Torrance, CA: Heian, 1998.
Explore the crane through storytelling and the
art of paperfolding.
Major, John S.
The Silk Route: 7,000 Miles of History. New York:
Harper Collins, 1995. For more about a variety
of objects from early times through the 1400s
CE that traveled across Asia.
Wang, Jia Nan, Cai Xiaoli, and Dawn Young.
Oriental Painting Course: A Structured, Practical
Guide to Painting Skills and Techniques of China
and the Far East. New York: Watson-Guptill,
1997. A beginners guide to brush painting.
Williams, Suzanne.
Made in China: Ideas and Inventions from
Ancient China. Berkeley, CA: Pacific View Press,
1996. General reading on Chinese art.
6
A n n otat e d B i b l io g r a ph y W e b s i t e s
http://www.dia.org/collections/asian
http://ias.berkeley.edu/orias/pallop/timeline.html
For further information on the Asian collections at
For more about the explorer Zheng He
the Detroit Institute of Arts
http://www.japansociety.org/edu_minisite/teacher_
http://www.123soho.com/artgroup/national_palace_
resource/index.cfm
museum/0702/np_3ex2.htm
For more on many aspects of Japanese culture
For Chinese tea ceremony vessels
http://www.koreana.or.kr/pdf_file/1997/1997_WINTER_
http://www.artsmia.org/arts-of-asia/china/dynasties
CO22.pdf
For a timeline of Chinese dynasties
To learn more about Korea’s tea culture
http://www.asia-art.net/japanese_tea.html
http://www.nga.gov/exhibitions/cambodia/suryavar.htm
For more on the Japanese tea ceremony
To learn more about Cambodian sculpture
http://www.asia.si.edu/education/artofbuddhism.pdf
http://www.pbs.org/hiddenkorea/religion.htm
For a teacher’s guide to the art of Buddhism
To learn more about the symbols on the Korean flag
http://www.chinapage.com/emperor.html
http://www.seattleartmuseum.org/Exhibit/Archive/
To see portraits of Chinese emperors, including the
grandfathershouse/
Yongle Emperor
To see an example of a traditional Korean home
http://urbandesires.com/1.4/Food/Docs/tea2.html
http://www.silkroadproject.org
For a modern version of the Chinese tea ceremony
For more information on cross-cultural lesson plans
for teachers
http://filmakers.com/indivs/RobertFortune.htm
http://www.sportstune.com/chinese/coins/index.html
http://www.enhancetv.com.au/study_it/robfort.pdf
For more about Chinese coins
For more information about the video “The Tea Thief”.
It includes a history of the transporation of tea from
http://www.staff.hum.ku.dk/dbwagner/cangzhou/
East Asia to Western cultures
cangzhou-fg.html
For images of the cast iron Chinese lion of Cangzhou
http://www.easterntea.com/tea/panyaro.htm
For more information on the Korean tea ceremony
* All Web sites accurate as of February 2004.
http://employees.csbsju.edu/jmakepeace/
perspectives99/f23Turay.html
For more about the Japanese tea ceremony
7
Teaching Suggestions
Study Questions, Activities, and Curriculum Links*
Chinese Objects
Dish with Varied Scrolling Flowers
•
Cobalt was imported from Persia (modern Iran) to China along the Silk Route and used to
make ceramics. Learn more about this network of trade routes used from around 200 BCE
through the 1400s CE and the variety of objects that traveled across Asia. See
http://www.silkroadproject.org and The Silk Route by John S. Major (for children).
Lacquer Tray
•
Find out more about mythological and actual animals in Chinese folklore, many of which are
associated with magical abilities. The heavenly dragon, for example, is mythological and
endowed with special powers to bring rain, while the earthly tiger is believed to command
the wind.
•
Compare this tray with the lacquer wares found in the other DIA Asian galleries and in
other museums.
Head of a Lion
•
Compare this style of lion with the celadon pillow lions from late twelfth century Korea (no.
80.39). Discuss the symbolism of mounts for gods, contrasting the lion with the Cambodian
Garuda as a mount for Vishnu (no. 43.419).
•
For an image of the Lion of Cangzhou, see
http://www.staff.hum.ku.dk/dbwagner/cangzhou/cangzhou-fg.html
Lobed Bowl Stand
8
•
The stoneware Jian bowl (no. 62.18) is an example of the type of tea ware that would have fit
inside this lacquer stand. For another example of lacquer suitable for tea service, see the twobird tray (no. 80.25).
•
Discuss how tea artifacts changed according to fashionable tea customs. Wide Jian bowls
were necessary for whipping tea; explore what happened to tea ceramics when steeped tea
was introduced in the fourteenth century. Look at tea sets in Chinese groceries and tea stores
today. Note that tea practice in Asia, unlike the enjoyment of tea in the West, is a high art
requiring training and skill. See
China: http://urbandesires.com/1.4/Food/Docs/tea2.html
http://filmakers.com/indivs/RobertFortune.htm
http://www.enhancetv.com.au/study_it/robfort.pdf
Japan: http://www.asia-art.net/japanese_tea.html
Korea: http://www.easterntea.com/tea/panyaro.htm
Teaching Suggestions
Study Questions, Activities, and Curriculum Links (continued)
Chinese Objects
Money Tree
•
Taoism is rooted in symbols. Learn about some of the symbols for long life and find these
images elsewhere in the Asian galleries at the DIA (or in other museums, Chinese
restaurants, grocery stores, and Chinatown shops). Also see the films “Tao: The Harmony of
the Universe” and “Ch’i: The Arts of China,” both from the series Asian Man: China,
Encyclopedia Britannica Education Corporation, 1977.
•
Modern good luck charms in the shape of ancient Chinese coins express wishes for luck,
prosperity, and wealth. The shapes have remained the same as those used on the money tree,
with a round shape representing heaven and a square hole in the center representing earth.
Students can become familiar with Chinese coins at the following Web sites:
http://www.calgarycoin.com/cast1.htm
http://coas.missouri.edu/anthromuseum/minigalleries/chinesecoins/intro.html
•
Modern reproductions of ancient Chinese coins are available at
http://store.yahoo.com/asianideas/chinesecoin.html
•
Other sources about ancient Chinese coins are Coins in China’s History by Arthur Braddan
Coole and Money and Credit in China, a Short History, by Lien-sheng Yang.
Korea
•
Find a flag of Korea. Explore how the ideals symbolized in the flag reflect the cultural
traditions of the country as seen in Korean objects from the DIA. The philosophy behind the
yin/yang symbol in the center of the flag, for example, is echoed in the lucky symbols found
on the ox horn box (no. 1986.3); the symbols in the four corners of the flag representing
harmony and balance are seen in the balanced proportion of painting to calligraphy in the
plum blossom fan (no. 2000.89); the ideals of order and symmetry making up the design of
the flag find their counterpart in the symmetrical form of the twin lions on the celadon pillow
(no. 80.39). For an explanation of the flag, see http://www.pbs.org/hiddenkorea/religion.htm.
Korean Objects
Plum Blossom Fan
•
Korea traditionally adopted the writing system of China, and the literati wrote using Chinese
script.* Try to recreate the artist’s act of writing by tracing how long the artist used one dip of
ink before the brushstroke went dry; check the speed or slowness with which the brush was
set down and lifted up; when the artist flicked the wrist or used one smooth motion. Team up
and have one of the partners paint an image, the other a poem.
*Today, Koreans use Hangul, a phonetic script developed by King Sejong’s court, dating to
the 1400s, for most written communication. Chinese characters are sometimes still used for
the writing of names and certain scholarly texts.
9
* All Web sites accurate as of February 2004.
Teaching Suggestions
Study Questions, Activities, and Curriculum Links (continued)
Korean Objects
Ox Horn Box
•
Korean furniture and decorative objects are made from natural resources and are designed to
fit the country’s climate and social conditions. Visit the following Web site
http://www.seattleartmuseum.org/Exhibit/Archive/grandfathershouse/
to see how a traditional Korean house looked and the kinds of objects suitable for use in the
women’s quarters (such as the ox horn box) and the men’s quarters. A strict Confucian
separation between the roles of the master and mistress of the house resulted in differences
in furnishings.
Celadon Pillow
•
Pairs of lions have decorated tombs, temples, and homes in Asia for centuries. Today, lions
are often seen in front of important buildings in many Asian American communities. Look for
examples—a pair of granite lions guard the gate to San Francisco’s Chinatown.
•
Compare this style of lion with the iron lion head from China (no. 31.281).
•
Learn more about ceramic production by reading the children’s story A Single Shard by
Linda Sue Park.
Japan
•
The flag of Japan shows a red sun. The Japanese call their country Nippon, which means
“source of the sun.” Explore how Japan’s respect for nature, the seasons, and tradition, as
expressed in its national symbol of the flag, is reflected in art and culture. For more images of
Japan that link paintings and art to landscape and environment, see the images in “Japan’s
Winter Wildlife,” National Geographic, January 2003. See also the Smithsonian Center for
Education and Museum Studies,
http://smithsonianeducation.org/educators/lesson_plans/japan_images_people/index.html
Japanese Objects
Tea Storage Jar
10
•
Learn more about the aesthetics of objects in Japan by exploring the concept of kazari, the
dazzling effect of extraordinary design. Everyday stoneware jars and bowls, for example,
humble in appearance, are transformed from the ordinary to the extraordinary in the context
of the tea ceremony—and thus fall into the aesthetics of kazari. See Kazari: Decoration and
Display in Japan by Nicole Collidge Rousmaniere.
•
The production of special ceramics for tea ceremonies helped spur the appreciation of
ceramics as high art in Japan. In the twentieth century, the famous and eccentric
restauranteur Kitaoji Rosanjin made his own ceramics when his collection of ancient
wares was destroyed. He called his creations “kimonos for food.”
Teaching Suggestions
Study Questions, Activities, and Curriculum Links (continued)
Japanese Objects
Hand Scroll
•
Different types of Japanese hand scrolls have different purposes—some some illustrate a folk
tale or historical account (monogatari), others alternate text and pictures (ekotoba). Think
about today’s versions of telling stories with pictures and words—as in picture books, comic
books, trading cards, and even film. Compare and contrast them with hand scroll formats.
Cambodia
•
In Cambodian mythology, the serpent king (naga) was ruler of the land. Snakes are a very real
presence in the humid jungles of Cambodia and are often represented in the country’s art.
See how animals are used in Cambodian art and rendered as real or fantastic creatures.
Cambodian Object
Garuda Sculpture
•
Explore how Garuda has gone from legend to national symbol and its use in popular
Cambodian culture today. For example, Garuda is the official emblem of the Republic of
Indonesia—discuss the symbolism; what other products or services might be named after
Garuda (look for examples in popular trading card games).
•
Compare the Garuda, mount for Vishnu (Hindu), with the lion, mount for the Bodhisattva of
Wisdom, Wenshu (Buddhist)—see Chinese lion head (no. 31.281). Discuss the similarities
and differences in size, placement, and function of these religious pieces.
Study Questions
11
•
Reproductions of art objects seen in museums and galleries continue to be made in China.
Look in Chinese grocery stores and import/export shops to see examples of today’s
handicrafts. What is the range of quality? How do modern examples compare with the works
of art that you see in museums?
•
Look at botanical gardens or garden stores and catalogues for flowers such as peonies,
chrysanthemums, camellias, magnolia, the gardenia, forsythia, and wisteria, Chinese roses
and pinks—all were introduced to European gardens from China. How do artistic
interpretations compare to real plants?
Teaching Suggestions
Study Questions, Activities, and Curriculum Links (continued)
Activities
Planning your Visit
A previsit to the Asian galleries prior to scheduling a school tour is advised in order to
ensure that the works of art you want to study are on display.
When to go
To use the DIA lesson plans in tandem with another class (such as coordinating social
studies and art classes), plan your visit to the museum in between the social studies and
art lessons. Students will benefit from having a history of Asia’s cultures before viewing the
works of art in the DIA.
Curriculum Links
Content ideas have been linked with the most appropriate standards from the Michigan
Department of Education’s K-12 Curriculum and Standards:
Standards of Authentic Instruction:
Higher Order Thinking
Deep Knowledge
Substantive Conversation
Connections to the World Beyond the Classroom
Arts Education Content Standards:
Visual Arts
English Language Arts:
Literature
Science:
Strand III. Using Scientific Knowledge in Life Science
Strand V. Using Scientific Knowledge in Earth Science
Social Studies:
Strand I. Historical Perspective
Strand II. Geographic Perspective
Strand IV. Economic Perspective
Strand V. Inquiry
World Languages:
Standard 6: Linking Language and Culture
For more information about the K-12 Curriculum Standards and MEAP assessment, visit
the MDE Web site at www.michigan.gov/mde.
12