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Art of China and Japan
Art ofChina and Japan
Art ofChina and Japan
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This curriculum packet contains the following items:Posters of 16 artworks from the collection of the Saint Louis ArtMuseum. Each poster offers information about the work of art andsuggested questions for discussion with younger and older students.A Teacher’s Guide, which includes a timeline, images, teaching sugges-tions, and an annotated list of source materials.
We encourage classes to visit the Museum to view the works in thiscurriculum packet. Tours are free and may be scheduled for groups(pre-kindergarten through adults). All groups, whether led by aMuseum docent or self-guided, must pre-register with the Museum toassure time in the designated galleries.
To schedule a tour, complete the tour request form on the Museum’swebsite at www.stlouis.art.museum.org or call the tour hotline at314.655.5484. Please allow four weeks notice.
Art of China and Japan Curriculum Project TeamBill Appleton, Assistant Director for Public Programs and EducationLouise Cameron, Head of InterpretationMarianne Cavanaugh, Head LibrarianPhilip Hu, Associate Curator of Asian ArtLouis Lankford, Des Lee Foundation Endowed Professor in Art Education,
University of Missouri, St. LouisMary Ann Steiner, Publications DirectorLisa Stelling-Jokisch, EducatorErika TenEyck, Associate EducatorJaime Watkins, Intern
Written by Bill Appleton, Ann Burroughs, Louise Cameron, Erika TenEyck, andJaime Watkins with assistance from Philip Hu, Heidi Lung, Mary Nichols, andLisa Stelling-JokischEdited by Mary Ann Steiner and Fontella BradfordDesigned by Lauri Kramer
Copyright 2008 Saint Louis Art Museum
Cover image:ChineseGuanyin, 11th centurywood, gesso, and pigment with gildingheight: 39 in. (99.1 cm)Museum Purchase 110:1947
Table of Contents
Introduction 4
Materials and Techniques 6
Bronze Casting 6
Calligraphy and The Four Treasures 6
Scrolls 7
Screens 7
Japanese Woodblock Printing 7
Wine Vessel 8
Śakyamuni Buddha 9
Bactrian Camel 10
Guanyin 11
Fish Swimming Amid Falling Flowers 12
Prunus Vase 13
Censer with Cover 14
Emperor’s Semi-formal Court Robe 15
Imperial Calligraphy of a Poem in Running Script 16
Gathering of the Immortals 17
Amitabha Buddha 18
Fans Afloat on a Stream 19
Spring Woods, Passing Rain 20
Sudden Shower Over Ohashi Bridge and Atake 21
Star Festival 22
Glowing Morning 23
Learning Activities 24
Communication Arts 24
Fine Arts 25
Social Studies 26
Useful Websites 27
Suggested Resources 28
List of Historical Events 30
The materials in this curriculum packet are designed to be used by students of all ages and their teachers.
The entire packet is available as an interactive program on the Museum’s website at www.stlouis.art.museum.org
We would appreciate your comments on these materials. Please log onto the Museum’s website at
www.stlouis.art.museum.org/packetevaluation to complete the online evaluation form.
The arts of China and Japan encompass a cultural and
aesthetic richness that spans over four millennia and
originates from a vast region. Cultural tradition, religious
beliefs, features of geography, the written word, respect
for nature, and man’s role in the universe all influence
the making of art in Asia. Whether they are powerful
ritual objects or sacred sculptures, exquisite textiles,
delicate porcelain vessels, or vast landscapes on scrolls
and screens, works of Chinese and Japanese art inspire
viewers with their beauty and provide valuable clues to
understanding the cultures that created them.
In ancient China there were three precious materials—
jade, clay, and bronze. Vessels made from bronze comprise
some of the oldest works of art in the Saint Louis Art
Museum’s collection. The large and commanding Wine
Vessel (poster 1) would have been placed with other food
containers deep underground in a tomb. Its presence
symbolized the role of wine in religious ritual and paid
tribute to the importance of the person buried there.
In ancient times other cultures exchanged their precious
merchandise for Chinese silk, the most sumptuous cloth
known. The land routes and sea lanes of the silk trade
became known as the Silk Road. Camels, important
players in this economy, carried goods over long distances
between China and the Mediterranean Sea along the
Silk Road. Ceramic animals like the Bactrian Camel
(poster 3) symbolized great wealth amassed from trade.
They were placed in tombs to demonstrate the high status
of the deceased.
Along with goods, foreign ideas came into China by way
of trade routes. Buddhism came from India along the
Silk Road around the first century AD. Large sculptures
of the Buddha, like the marble Śakyamuni Buddha
(poster 2), were installed in temples where worshippers
recognized the holy one by attributes seen in this figure—
symbolic hand gestures, downcast eyes, elongated
earlobes, and simple monk’s robe.
In contrast to the symmetry of Śakyamuni Buddha,
the figure of Guanyin (poster 4), a bodhisattva or
enlightened follower of Buddha, is shown seated in a
relaxed pose, wearing jewelry and elegant flowing
robes. This depiction reminds supplicants of Guanyin’s
decision to remain on earth to help others find the path
to enlightenment. The idea of Guanyin originated in
India where he was depicted as male. In this beautiful
and venerated Chinese carving he is shown with both
masculine and feminine traits.
Over time Buddhist monks traveling between China,
Korea, and Japan carried religious and artistic ideas back
and forth. Mahayana Buddhism, for example, came
to Japan from Korea in the mid-sixth century. Among
other beliefs, Mahayana Buddhism developed the idea
of multiple Buddhas, one manifestation of which is seen
in Amitabha Buddha (poster 11), an enlightened being
who reassures his followers that they can achieve
enlightenment through faith. Here Amitabha stands
on a lotus blossom, a symbol of purity. Although this
sculpture looks as though it is cast in metal, it is actually
skillfully carved from multiple pieces of wood and was
once covered with a thin layer of gold.
During the time of the Silk Road, the exchange of art-
works across vast geographic areas introduced new ideas
and forms. The Prunus Vase (poster 6) demonstrates
advances in Chinese ceramic technology as well as
foreign influences in shape, color, and ornamentation.
Its stylized lotus and peony flowers are motifs borrowed
from Persian art; their blue coloration comes from
a glaze made of cobalt imported from Samarkand.
Although the surface decoration is a departure from
traditional monochromatic Chinese ceramics, the shape
of the vase with its broad top and slender bottom is
thoroughly Chinese.
Their culture’s own history also exerted an influence on
the work of Chinese artists. By the 12th century AD the
Chinese were looking back in awe to the art production
of their ancestors. They found ancient bronzes particularly
fascinating and highly desirable. Bronze casting in China
had always been a mixture of art and craft. In the
12th to 18th centuries artisans were producing new
bronzes that looked old. They made reproductions
similar to ancient ones in every detail. The Censer
4 5
Introduction
with Cover (poster 7), made late in this period, is a small
version of an ancient bronze tripod. Strips of gold and
silver applied to the surface add to the impression of
opulence. The monster masks on the body of the censer
refer to this motif on ancient bronzes such as the Wine
Vessel (poster 1).
Works of art on paper are easily rolled up and transported
between destinations. By the 17th century, woodcut
prints on paper had traveled from Germany and
Northern Europe to Asia. Japanese artists saw works
by Albrecht Dürer and others and began experimenting
with the medium. During the next hundred years,
Japanese printmakers perfected the technique of making
multi-color woodblock prints, using separate blocks for
each color. Sudden Shower over Ohashi Bridge and Atake
(poster 14) demonstrates the skill of a team of three—
artist, block cutter, and printer—to produce a visually
beautiful and technologically complex print. Utagawa
Hiroshige is one of two great masters of 19th-century
Japanese woodblock. This print is from his last series,
One Hundred Views of Edo, published in 1857.
The Emperor’s Semi-formal Court Robe (poster 8) is an
example of fine craftsmanship typical of imperial robes
of the early 18th century. Made of heavy brocaded silk
embroidered with silk thread, this robe would have been
worn over multiple layers of clothing in the frigid winters
of northern China. Color and design were governed by
court rules. Only the emperor or his designees could
wear gold, and only the emperor was allowed to use
the five-clawed dragon motif.
For hundreds of years Asian painters have employed
three formats for their work—hanging scrolls, folding
screens, and handscrolls. In the 12th century Liu Cai,
a court painter, created the exquisite handscroll, Fish
Swimming Amid Falling Flowers (poster 5).
Handscrolls, which are paintings on silk or paper, are
held and slowly unrolled and rerolled. Holding the scroll
allows the viewer close contemplation of aspects like
the realistic detail in Liu Cai’s fish. Because of its great
age and incredible beauty, this scroll is one of the rarest
treasures of Chinese art in the world.
Hanging scrolls with their narrow upright formats, are
well suited to vertical landscapes such as the one seen in
Spring Woods, Passing Rain (poster 13). With its craggy
towering rocks and tiny people, the landscape reinforces
a philosophical belief in man’s small role in the vastness
of nature. Lines of calligraphy in the top center of the
scroll harmonize with the verticality of the scene.
Brush strokes of calligraphy can compose an entire scroll.
Calligraphy of a Five-Character Poem in Running
Script (poster 9) is a beautiful 18th-century example.
Painted in gold ink, the scroll presents five lines of
poetry, reading from top to bottom and right to left. The
Chinese emperor Gaozong was a poet and enthusiastic
calligrapher. He used special materials usually reserved
for Buddhist sacred writings—gold ink and indigo dyed
paper—to record a secular poem describing a garden.
The uniform style and size of the characters display the
emperor’s skill as a calligrapher.
A third Asian format is illustrated by three painted
screens in the Museum’s collection. The largest of the
three, the early 20th-century painting The Gathering of
the Immortals (poster 10), is presented on two six-panel
screens. Created to commemorate the 60th birthday of
Madame Chen, the painting combines real and mytholog-
ical characters in a scene of celebration. A mythological
ruler, the Queen Mother of the West, is shown on the
screen surrounded by performing musicians and courted
by admirers bearing gifts. The honoree, Madame Chen,
may also be present, shown as the woman seated facing
the queen. The screen’s large size indicates that it was
intended for use in a grand interior space.
The oldest of the three screens, the Japanese work Fans
Afloat on a Stream (poster 12) dates to the early 19th
century and features fans against a background of gold.
The composition of the painting on this pair of two-
panel screens is quite abstract. The flat gold background
is interrupted by a patch of stylized water in the lower
right corner and the fans appear to be floating through
the air, landing on the water and the surrounding shore.
From right to left the fans depict plants and animals that
symbolize the four seasons from spring to winter.
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Created in 1968, the most contemporary of the three
screens is Star Festival (Tanabata) (poster 15). Although
it was painted, the screen appears to be a collage of torn
paper. Like Fans Afloat on a Stream, this screen has a
strong diagonal element. The deep blue slash representing
the Milky Way leads the viewer’s eye to a graceful crescent
moon. The painting draws its content from mythology
and represents its characters through symbols.
A contemporary work of three-dimensional art,
Glowing Morning (poster 16) is a ceramic vase that
uses nature as an abstract decorative motif. Rather
than painting on the surface of the vase, the artist
Miyashita Zenji built up a landscape using colored clay.
Working on top of a cardboard form, the artist layered
the thin pieces of clay to create a scene of mountains
receding into a great distance. Miyashita Zenji is one
of the most internationally famous potters working in
Japan today.
These works of Chinese and Japanese art are only a
sample of the richness of the Museum’s collection. From
powerful three-dimensional works in bronze to delicate
calligraphic scrolls and painted screens, the range of work
can best be appreciated by visiting the Museum and
contemplating the works of art in person.
Bronze casting
Ancient Chinese bronzes were created through a process
known as piece-mold casting. This process employed
three main components: a model, a mold, and a core.
First, a model of the object to be cast was created from
clay. The decorative designs for the intended bronze
were carved or sculpted onto the surface of the model.
After the model was baked to harden it, a layer of soft
clay was pressed against its surface, transferring the
design and creating a mold. (There were also instances
when a model was not used and instead the designs for
the bronze were carved or sculpted directly on the inside
of the mold.) The clay mold was cut into sections to
make it easier to remove from the model. A solid clay
core was fashioned to fit within the mold, usually by
shaving down the model. This core defined the shape
of the inside of the finished bronze. The sections of the
mold were reassembled around the core. Small spacers
known as chaplets held the core and mold apart, leaving
a space between the two. Hot, molten bronze was
poured into this space and allowed to cool and harden.
The pieces of the mold were then broken apart to
release the newly fashioned bronze object.
Calligraphy and the Four Treasures
Calligraphy, the writing of characters, is an important
art form in Asian cultures. Each character is unique
and represents a whole word or phrase. Calligraphy is
traditionally written in vertical rows, read from top to
bottom and right to left. Asian painters have used the
same tools referred to as the “the four treasures” for
hundreds of years. They include an inkstick, inkstone,
brush, and paper. Inksticks are made of soot and glue
mixed together and pressed into a mold. The inkstick
is dipped in a small amount of water in the hollowed
part of the inkstone and then rubbed in a circle on the
stone many times to make a small amount of black ink.
Brushes made of animal hair come in a variety of sizes
that produce lines of different widths. Calligraphers
create each character using a prescribed number of
brush strokes done in the correct order. The style in
which a character is made is thought to reveal the
writer’s personality and intellect. Calligraphers must
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Materials and Techniques
know thousands of different characters to inscribe works
such as hand scrolls, hanging scrolls, or screens.
Scrolls
Before the invention of paper in China, writing was
done on silk that could be rolled up for easy storage.
This idea carried over into modern times. Scrolls today
are usually paintings or writings on paper mounted on
pieces of silk.
There are two kinds of scrolls. A hanging scroll looks
like a vertical banner with a thin rod and piece of cord
at the top for hanging. Another rod weights the bottom
so the scroll will hang straight. The painting is rolled
around this rod, bottom to top and tied with string or
straps for storage. A hanging scroll is displayed for a
short period of time, perhaps to observe the change of
seasons or celebrate a visit by a guest.
Handscrolls are horizontal scrolls made up of one long
painting or series of paintings and calligraphy. They are
meant to be looked at by one or two people at a time
on a flat surface. The handscroll is unrolled by the left
hand as it rolled up by the right hand, so that it is read
from right to left. Only a small part of the handscroll is
viewed at once. Handscrolls have rods at each end for
rolling and unrolling as well as ties for storage.
Screens
For many centuries, East Asian artists have decorated
single-panel, multi-panel, and sliding screens. These
painting formats are used to decorate rooms and can
serve as a practical way to prevent drafts or create
privacy. This is especially evident in Japan where folding
screens and sliding screens are popular in homes and
outdoors. Folding screens usually come in pairs and
have six panels, although screens with two, four, or
eight panels are also made. The individual panels of
the folding screens are constructed of wood strips within
a frame. The paintings are mounted on these panels.
The panels are connected by strong paper hinges.
Sliding screens are also made in pairs and work like
sliding doors. Screens are portable and can be moved
from room to room or stored for safekeeping.
Japanese Woodblock Printing
During Japan’s Edo period, the production of woodblock
prints involved an artist, a blockcutter, and a printer.
Normally, a publisher would coordinate this group and
might even choose the artist and subject for the print.
To begin production, the artist created a drawing of the
image. Once the drawing was approved by a censor (a
government official who oversaw the content of prints)
the drawing was given to the blockcutter, who pasted
it face down on a woodblock. Using metal tools, the
blockcutter removed areas of wood between the lines of
the paper drawing. The remaining raised lines looked
like the original drawing. Then the printer took over.
Black ink was applied to the surface of the block. A sheet
of paper was placed on the inked block, and a baren
(padded circular disk) was rubbed over the back of the
paper. This action transferred the inked lines to the
sheet. If the print was to be produced in fullcolor, there
was a block for each color, and each color was printed
separately. After the printing was complete, the prints
were sent to the publisher or bookseller to be sold. Marks
on a print typically include the artist’s signature and
the seals of the censor and the publisher.
2
Chinese
Śakyamuni Buddha, c.575marble with traces of pigmentheight: 63 3/4 inchesMuseum Purchase 182:1919
Śakyamuni (Sha-kiah-moo-nee) was a royal prince who
abandoned his life of comfort and riches to become a
monk seeking ultimate wisdom through meditation.
It was his spiritual discovery that earned him the title
of Buddha, or the “Awakened One.” In this sculpture
Śakyamuni stands dressed in a simple monk’s robe that
shows his lack of attachment to elaborate clothing and
other things in the physical world. The serene face and
downcast eyes show the inner peace Śakyamuni
attained through enlightenment. Sadly, the hands of
this Buddha are missing, but they were likely raised
in a ritual gesture of fearlessness and compassion.
An unusual feature is the jewel-like shape between
Śakyamuni’s feet, which may be a lotus bud or a pearl,
both of which symbolize purity.
For younger students:
This Buddha was originally painted. Which colors would
you choose for the figure?
If you could ask Buddha a question, what would it be?
For older students:
Would you describe this sculpture as real, stylized,
or abstract? Why? (Use details from the sculpture to
support your answer.)
What gesture do you think Buddha made with his
hands? (Look at poster 11 for a clue.)
Aristocrats and important officials in ancient China
would have used bronze vessels like this fanglei
(fang-lay) to hold offerings of wine during religious
ceremonies. Offerings to the gods and the ancestors
were so important that bronze vessels were often
buried in tombs to allow the dead to continue that
activity in the afterlife. This fanglei’s elaborate
decoration, large size, and heavy weight indicate
that it was a ritual vessel rather than an object for
everyday use. The three-dimensional animal head
on the front is surrounded by two masks known as
taotie (tah-oh-tee-eh). The taotie, which can be
identified by their horns, eyebrows, and eyes, are
stacked one on top of the other and framed by bands
of dragons at the top and bottom. These monster
masks are sometimes hard to identify as faces, and
although taotie appear on many early Chinese
bronzes, their true meaning is still a mystery.
For younger students:
Make a list of words that describe the vessel.
If you were going to use this container, what food or
drink would you put in it?
For older students:
Describe the vessel to a friend who is not looking at it,
then show your friend the image and ask if you did a
good job of describing the details.
Compare the image of the Wine Vessel with the bronze
Censer with Cover (poster 7) in the packet. What are
some of the similarities and differences?
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1
Chinese
Wine Vessel (fanglei), late 11th century B.C.
bronzeheight: 24 5/8 inchesMuseum Purchase 2:1941a,b
The divine being known to Chinese Buddhists as
Guanyin (goo-wan-yin) is usually shown dressed in
the flowing robes and rich jewelry of a prince. This
demonstrates Guanyin’s continued connection to the
world. As a bodhisattva (boh-dee-saht-vah), an enlight-
ened person who understands the secret to ending
human suffering, he stays on earth to help others. The
sculpture’s pose, leaning back on the left arm while the
right knee supports the right arm, is referred to as the
“great royal ease.” This posture and Guanyin’s gently
smiling face make the figure seem more approachable
to those who would look to the bodhisattva for help.
Though the sculpture appears calm and still, the restless
motion of the drapery makes it seem as though Guanyin
might climb down from his platform at any moment and
bless those who have come to worship before him.
For younger students:
Do you think the sculpture of Guanyin is bigger or
smaller than you?
See if you can pose exactly like Guanyin. How long can
you stay in this position?
For older students:
This sculpture is made out of wood. Why do you think
the maker used wood instead of marble or bronze?
Do the pose and expression relate to Buddhist thought?
If so, what do they mean and suggest about the character?
11
This Bactrian camel arches its long neck and brays,
indicating its cranky disposition. Used to transport
goods over long trade routes, camels were valuable to
the ancient Chinese for their endurance. Since owning
camels was a sign of wealth, the placement of this
sculpture in a tomb proved that the deceased had
been successful in life. Its presence in the tomb would
also have ensured continuing success in the afterlife.
This impressive camel is a wonderful example of
sancai (sahn-ts’ai). The style is named for the three
colors of unique glazes that were applied to the surface
of the clay.
For younger students
Show with your hands how big you think this
sculpture is; then check the measurements in the
information above. Were you correct?
The camel travelled to many places in Asia. Make up
a story about the camel and include the kinds of things
it would have carried during a trip.
For older students
Describe the camel’s pose. Why do you think the
maker sculpted the camel in this way?
Bactrian (two-humped) camels indicated wealth and
success. What are some objects that signify good
fortune and success in our society?
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3
Chinese
Bactrian Camel, 8th century
glazed earthenwareheight: 34 inchesWilliam K. Bixby Trust for Asian Art 181:1942
4
Chinese
Guanyin, 11th century
wood, gesso, and pigment with gildingheight: 39 inchesMuseum Purchase 110:1947
The shape of this porcelain vase, with its wide body
and narrow opening at the top, offers a clue to its
purpose—to hold a single spray of blossoms. A prunus
vase [meiping (may-ping) in Chinese] traditionally
displays blossoms from a plum tree (prunus). The unique
tree blooms in the winter and serves as a reminder that
spring is near. On the vase, various flowers decorate
the surface, including four large peony blossoms on the
mid-section and lotus blossoms hanging from larger
petals around the bottom edge. Flowers in Chinese art
can symbolize character traits or social status—these
peonies here might refer to wealth and honor. The floral
designs appear in horizontal bands of different sizes. Even
though there are many visual elements, the overall design
is arranged in an organized and harmonious way.
For younger students:
List some of the elements on the vase that are
symmetrical or asymmetrical.
If you were making a vase for roses, what shape and
decoration would you use?
For older students:
Discuss ways the artist designed this vase to be
functional as well as beautiful.
At the time this vase was made, who would have been
able to afford to purchase the vase, and why would
they want it?
13
This treasured painting was created in the form of
a handscroll almost 900 years ago. Handscrolls
are made to be held by the viewer and unrolled and
rerolled as the artwork is viewed. Though the silk
surface on which this scene of fish was painted is over
eight feet long, only small sections of the work were
meant to be seen at a time. The story unfolds along the
scroll from right to left. One lucky silver fish captures
a fallen blossom near the bottom of the painting and
escapes with his prize into a lively underwater world.
Carp, bass, catfish, and minnows swim and dart
through waving plant life that hides spidery shrimp.
The painting contains a large amount of detail, down
to “the very scales of a fish’s tail,” for which its creator
Liu Cai was famous.
For younger students:
Which fish is the largest? Which fish is the smallest?
Describe some of the sounds you would hear around
a pool of water filled with fish.
For older students:
Talk about how the artist uses line, color, and shape
throughout the scroll, reading it from right to left.
Discuss why an artist would paint a picture of fish in
a pool of water. Do you see any connections to religion
or politics?
12
5
attributed to Liu Cai, Chinese, active c.1080–1120
Fish Swimming Amid Falling Flowers, late 11th–early 12th century
handscroll: ink and color on silk10 9/16 x 99 5/16 inchesWilliam K. Bixby Trust for Asian Art 97:1926.1
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Chinese
Prunus Vase (meiping), early 14th century
porcelain with underglaze blueheight: 16 3/4 inchesFunds given by Edith Spink in memory of her husband,C. C. Johnson Spink 2:2000
Detail
This magnificent robe would have been worn by an
emperor. It is decorated with dragons chasing flaming
pearls of wisdom. Dragons are thought to be lucky,
symbolizing good fortune. A total of nine five-clawed
dragons are found throughout the robe, including on
the sleeves and neckline—and one is hidden beneath
the front flap. The dragons are depicted above the
earth’s rolling mountains and ocean waves of colorful
diagonal stripes. The use of five-clawed dragons, the
bright yellow color, and the costly silk fabric all suggest
the emperor’s strength and power. The waves, mountains,
and clouds that represent the whole universe were
required to be organized according to the strict guide-
lines of costumes worn at the Chinese courts.
For younger students:
Describe what you think the back of the robe
looks like.
This robe is gold. What colors do we associate with
royalty in our culture? Why?
For older students:
In China, dragons are viewed as symbols of luck
and power. What are some other ways people portray
dragons? Are they pictured as frightening or peaceful
creatures?
Consider the clothes and accessories of royal leaders
around the world. What do they wear to show
their status?
15
A censer is a container used to burn incense, a material
used in religious ceremonies that produces pleasant-
smelling smoke. This censer was made about 400
years ago to look like a bronze thousands of years
older. A taotie (tah-oh-tee-eh) monster mask is visible
on the body of the censer. The exact meaning of the
taotie, a design that was often seen on ancient bronzes,
remains unknown. The maker of this censer set strips
of gold and silver into the surface and added a knob
made of agate quartz on the top. On the legs are
cicadas, insects that symbolize rebirth or immortality.
In ancient China cicadas decorated works of art that
were associated with the afterlife.
For younger students:
Use your hands to indicate the size of the censer.
Can you find the taotie? How would you describe it to
someone who is not looking at the censer?
For older students:
Compare and contrast this Censer with the Wine Vessel
(poster 1) in this packet. Consider the scale, function,
and design of each piece.
Why do you think Chinese scholars wanted to recreate
objects from ancient times?
14
7
Hu Wenming, Chinese, active c.1572–1620
Censer with Cover, early 17th century
bronze with gold and silver inlay, wood, and agateheight with cover and finial: 8 1/4 inchesPartial and promised gift of Robert E. Kresko 7:2005a,b
8
Chinese
Emperor’s Semiformal Court Robe, early 18th century
embroidered and brocaded silk with silk and metallic threads54 15/16 x 75 1/16 inchesGift of Mrs. Ralph F. Bixby 97:1978
On an exotic island a celebration is taking place for
the birthday of the Queen Mother of the West, shown
seated on a red bench at left, surrounded by maidens
and musicians. She is the ruler of this island where the
Peaches of Immortality grow. Every 3000 years, when
the peaches are harvested, the Queen Mother celebrates
her birthday. Special guests walk across the enchanted
landscape to present her with gifts. The Queen Mother,
Eight Immortals, and Three Gods of Good Fortune in
this scene are related to Daoism, a religion believed to
have been founded by Laozi (lao-zuh), pictured here as
the old man riding a rhinoceros at the far right. The
giant peaches in the sack on the tiger’s back express
wishes for a long and happy life. An inscription on
the left says that the screens were made for another
celebration, the 60th birthday of Madame Chen, who
is thought to be shown seated near the peacock under-
neath the trees at left.
For younger students:
Count the number of animals that you see. Name as
many as you can.
Look to the left side of the screen where there is a boy
under the rocks. What is he doing?
For older students:
The scene illustrates the birthday celebration of the
Queen Mother of the West. What other occasions do
people mark with ceremonies or events?
What is an immortal? Can you think of any other
examples of immortals from stories, movies, or games?
17
Made by an emperor, this hanging scroll is an example
of calligraphy. Read from top to bottom and right to
left, the characters represent words or phrases. The five
rows of characters are a poem that describes an imperial
garden in Beijing. The artist created each character with
a brush and ink, using a certain number of brush strokes
done in the correct order. For hundreds of years, Asian
artists have used the same tools for calligraphy—an
inkstick, inkstone, brushes, and paper or silk. Mastering
the art of Chinese calligraphy can be difficult because
there are thousands of characters to memorize. Like
painting, calligraphy and poetry are considered
important forms of art in Chinese culture.
For younger students:
How many characters are on the scroll?
If you were going to write about a garden, what words
would you use to describe it? (Think of how it might
look, smell, or sound).
For older students:
Modern Chinese characters began thousands of years
ago as pictographs that represented thoughts or objects.
What other civilizations have used pictographs?
Do you consider this scroll to be an example of
symmetry or asymmetry? Explain your choice.
16
9
attributed to the Qianlong Emperor, Chinese, 1711–1799;
reigned 1736–1795
Calligraphy of a Five-Character Poem in Running Script,
18th century
hanging scroll: gold ink on indigo-dyed paper62 15/16 x 29 5/16 inchesFunds given by Mrs. Jack A. Jacobs 80:1988
10
Wang Wending, Chinese, late 19th–early 20th century
Gathering of the Immortals, 1919
pair of six-panel screens: ink and color on gold-leafed papereach screen: 86 3/4 x 98 5/8 inchesFunds given by Miss Helen M. Longmire, Mr. and Mrs. Stanley F. Jackes, Mrs. G. Gordon Hertslet,the Columbia Terminals Company Charitable Trust, Mrs. Clark P. Fiske, and donors to the1983 Art Enrichment Fund 42:1984.1,.2
This pair of folding screens once served as a sliding door
between rooms. Sakai Ho itsu painted the screen using
a popular theme of fans. Fans play an important role
in Japanese culture. One famous legend from Kyoto, a
city known for its fan production, may help explain the
image of drifting fans on this screen. According to the
story, a group of people crossing a bridge encountered
a sudden gust of wind which blew one of their fans
into the water below. Others in the group, fascinated
by the drifting fan, began to throw their fans into the
river beginning a delightful tradition. The thirty fans
in Ho itsu’s screen appear as if they had been tossed
in the wind. Reading from right to left, images on the
fans represent the four seasons, from spring to winter.
A flowering plum branch at the lower right marks
spring, while the snowy evergreen tree in the upper
left is a reminder of winter.
For younger students:
How many fans do you see? How many are open and
how many are closed?
If you could design a folding screen based on the
seasons, what kinds of flowers, animals, or plants
would you use?
For older students:
Look closely at the screen and then list all the plants,
flowers, and other natural elements that you see.
Which seasons do they represent?
Discuss the use of the folding screen in a Japanese
house. If you owned this folding screen, where would
it be in your home?
19
Some Buddhists believe that there are many different
Buddhas, each with its own special characteristics and
powers. Amitabha (ah-mee-tah-bah) is the Buddha
of “Boundless Light.” He is the ruler of the Western
Paradise, a land of bliss where all mortals can be
reborn if they pray to him. The promise of salvation
for everyone has made the worship of Amitabha very
popular, especially in Japan. During the 13th century
when this sculpture was made, images of worship were
made to appear more human and approachable. This
sculpture of Amitabha with its tender and compassionate
face, sparkling crystal eyes, and flowing drapery would
have appealed to all worshippers. The gentle gestures
of his hands welcome his followers, especially the
dying, who might have had multicolored cords tied
from their fingers to the sculpture so that Amitabha
might personally lead them into paradise.
For younger students:
Write three words you would use to describe this
sculpture.
Can you pose like the Buddha?
For older students:
Compare the Amitabha Buddha with ŚakyamuniBuddha (poster 2) in this packet. Consider the features
and materials of each figure.
How do you think this sculpture was made? (Consider
the materials used in its creation).
18
11
Japanese
Amitabha Buddha, mid-13th century
wood with gold pigment, lacquer, gilding, and crystal insetsheight with pedestal: 44 3/8 inchesMuseum Purchase 132:1966
12
Sakai Hoitsu, Japanese, 1761–1828
Fans Afloat on a Stream, c.1820–1828
sliding door panels (fusuma) mounted as a pair of two-panel screens: ink, color, gold, and silver on silkeach panel: 65 5/8 x 68 3/4 inchesFriends Fund 140:1987a,b
20 21
Hine Taizan created the painting on this hanging scroll
from a large sheet of imported Chinese paper. The
painting shows a mountain landscape just as the rain
is beginning to clear after a storm. At the base of the
mountains a scholar sits watching the passing storm
from a small cottage, while near the bottom of the
painting another man crosses a wooden bridge, sheltered
from the rain by a large umbrella. The impression of
a gentle spring rain falling on the scene is created by a
gray wash made with diluted ink. Taizan’s bold brush-
work provides a range of tone, from the dark, wet
strokes used to show rain-moistened leaves, to the
touches of dry brush that suggest the rough texture
of the rocky landscape. The traditional Japanese idea
of man’s small role in nature is emphasized by the
contrast between the little human figures and the
large jagged mountains rising in the background.
For younger students:
How many people can you find in the hanging scroll?
What do you think they are doing?
Imagine that you are walking through this place and
describe your environment to a friend.
For older students:
Discuss some of the elements you see in the foreground,
middleground, and background.
Describe the different types of brushstrokes the artist
used in the picture. Do more of the brushstrokes
appear thick and dark or light and thin?
13
Hine Taizan, Japanese, 1813–1869
Spring Woods, Passing Rain, 1856
hanging scroll: ink and color on paper76 x 37 inchesMuseum Shop Fund 31:1985
This woodblock print from Utagawa Hiroshige’s last
and best known series, One Hundred Views of Edo,
offers a glimpse of life more than 150 years ago in the
city that is now modern Tokyo. Seven figures on the
Ohashi (oh-hah-shee) Bridge are caught in a sudden
summer rainstorm. In the background is a view of the
Atake (ah-tah-kay) neighborhood. Japanese artists were
famous for prints that illustrated the everyday world.
Their works, known as ukiyo-e (oo-kee-yo-eh) “pictures
of the floating world.” Subjects included theater actors,
workers, landscapes, and other familiar sights. Prints in
this style show brief moments in time, much like a
camera snapshot. Ukiyo-e artists also presented scenes
from unusual angles or points of view. In this print the
bridge is seen from above and diagonal lines dominate
the composition.
For younger students:
How many people do you see? What is each person
doing?
Write a list of words that describe the environment and
words that describe how the people in the picture feel.
For older students:
Discuss the different lines in the print. Are there more
horizontal, vertical, or diagonal lines? How do the
different lines affect your impression of the scene?
This print is an example of ukiyo-e, a scene that
illustrates events in the everyday world. If you were
going to depict a moment from your daily life, what
would you choose?
14
Utagawa Hiroshige, Japanese, 1797–1858
Sudden Shower Over Ohashi Bridge and Atake, 1857
color woodblock printimage: 13 1/4 x 8 1/2 inchesMuseum Purchase 167:1955
23
The soft colors and wavy lines of this late 20th-century
ceramic vase create a sunrise over misty mountains.
The method used here is called saidei (sah-ee-day) or
“colored clays.” Miyashita Zenji applied thin layers
of colored clay, beginning at the top of the vase and
carefully working down, overlapping layers. Darker
colored mountains appear closer while the lighter
ones seem further away. This technique is called
“atmospheric perspective” and is used in paintings
to create the effect of great depth. Glowing Morning
continues the Japanese tradition of portraying beautiful
scenes of nature.
For younger students:
Would you use this vessel for flowers? Why or why not?
If you were depicting a landscape, would you use the
same colors as this artist?
For older students:
How would this work of art be different if it were a
painting instead of a vessel?
What would a Missouri landscape look like if the
artist depicted one? Would it look the same as this one?
Why or why not?
16
Miyashita Zenji, Japanese, born 1939
Glowing Morning (Choka), c.1989
stoneware with applied clay strips colored with oxidesheight: 20 1/16 inchesMuseum Shop Fund 22:1991
22
This large folding screen, which looks like a torn paper
collage, is actually a painting. It illustrates the ancient
legend of the Weaving Princess and the Herdsman.
According to the story, after the two young people
met, they ignored their duties of weaving and tending
cattle, paying attention only to each other. Their actions
angered the Emperor of Heaven, and as punishment
he banished them to opposite ends of the universe.
Separated by the Milky Way, they are allowed to meet
only once a year. In this artist’s version of the legend,
the luminous crescent moon represents the Herdsman.
To meet the Weaving Princess, he must travel across the
Milky Way, shown as a jagged river of deep blue and
silver dust. The Weaving Princess awaits his arrival on
a rocky shore lined with bamboo and patches of green
and red. In Japan, the summer Star Festival or Tanabata
(tah-nah-bah-tah) celebrates their happy reunion.
For younger students:
Which color do you think is the most important in
this picture?
Carefully look at all the elements of the folding screen.
Choose a title that you think best describes this work
of art.
For older students:
Can you name several stories or poems from our
culture that focus on the moon? How would you
illustrate one of those stories on a folding screen?
What do you think the small patches of red and green
in the painting represent?
15
Kayama Matazo, Japanese, 1927–2004
Star Festival (Tanabata), 1968
six-panel folding screen: ink, color, gold, and silver on silk66 7/16 x 147 1/4 inchesGift of Mr. and Mrs. Kayama Matazo, The Japan America Society of St. Louis, and Dr. J. Peggy Adeboi 150:1987
2524
Learning Activities
These activities are written with middle grade students in mind. Many are suitable for all grades with some adaptation.
For your convenience they are keyed to the Missouri Assessment Program (MAP) Show-Me Standards in Fine Arts
(FA), Social Studies (SS), and Communication Arts (CA) and the Show-Me performance standards. The activities also
conform to many of the Grade Level Expectations (GLEs) in Communication Arts and in the U. S. History section of
the Social Studies GLEs for students in grades 5, 8 and 9-12.
Communication Arts
speaking and writing standard English
reading and evaluating fiction, poetry, and drama
reading and evaluating nonfiction works and material
writing formally and informally
participating in formal and informalpresentations and discussions of issuesand ideas
identifying and evaluating relationshipsbetween language and culture
CA1. Using the text on the back of the posters, create alist of spelling words and definitions. Then make drawingsto illustrate your list. 1.8
CA2. Art historians and literary critics know that worksof art and literature share ideas and images. Find poemsfrom China and Japan and read them aloud in a smallgroup. Then choose one of the works of art you thinkillustrates the poem. Discuss with your classmates whatthe literary work and the artwork have in common. 1.4
CA3.Write a newspaper headline and an article about oneor more of the works of art. Your article can be aboutthe subject matter of the artwork, about its creation, orabout how it came to reside in a museum. 2.1
CA4. Asian art is often inspired by nature. Haiku is aform of Japanese poetry that often uses words to createimages of nature. Create a haiku inspired by one of thescrolls or screens in the packet. 2.1
CA6. What if works of art could talk? Choose twoworks from the packet that feature people or animals.Write a conversation between the characters and thenact it out for classmates. 1.10
CA7. Artworks have fascinating stories to tell. Basedon what you can find out through research, write anautobiography of Buddha or create a comic strip basedon the life of the Buddha. 2.4
process and techniques for the production,exhibition, or performance of one or more of thevisual or performed arts
process and techniques for the production,exhibition, or performance of one or more of thevisual or performed arts
the principles and elements of different art forms
the vocabulary to explain perceptions aboutand evaluations of works in dance, music, theater,and visual arts
interrelationships of visual and performing artsand the relationships of the arts to other disciplines
visual and performing arts in historical andcultural contexts
FA1. Artists use special tools to create their work.Research in books and on the internet to determine thetools needed to create one of the paintings or sculpturesin the packet. Then use your research to work withanother student to make a poster showing how the toolswere used. 1.1
FA1. After looking at the Star Festival (poster 15) usepatterned papers to create your own collage to illustratea story from your culture. You could make your collagein the form of a folding screen or hanging scroll. Writeout the story you are illustrating and display it along-side your collage. 2.1
FA2. An art vocabulary is useful to talk about art or towrite about it. Use the text on the back of the postersto find words that are unfamiliar to you or your class-mates. Look up the definitions and make a small sketchthat helps define each term. 1.2
FA3. Venn diagrams are tools for comparing and con-trasting one work of art with another. Select two postersof artworks from the packet and use a Venn diagram tocompare and contrast them. How are the two works ofart similar and how are they different in subject matter,composition, and the use of art elements? 1.9
FA4. One definition of calligraphy is “handwriting asart.” On Chinese and Japanese scrolls and screens,calligraphy inscriptions are often included in the painting.The characters appear very decorative and fit into theoverall composition of the scroll or screen (see posters#9, 13). Review the examples of calligraphy in this packetand use your name or other graphic word to make adesign. You could use ink, paint, or even collage. 1.4
FA5. By looking at more than one work by the sameartist or from the same time period, you can begin todefine style and to recognize other works by that artistor from that period. Choose your favorite work of artin the packet and use the internet or books to find otherpaintings, sculptures, or decorative art objects by thesame artist or from the same time period. Create avisual presentation in which you identify elements ofstyle. 2.7
Fine Arts
2726
continuity and change in the history of Missouri,the United States, and the world
principles and processes of governance systems
economic concepts and principles
the major elements of geographical study and analysis
relationships of the individual and groupsto institutions and cultural traditions
the use of tools of social science inquiry
the use of tools of social science inquiry
SS2. Use the list of historical dates at the back of thisbooklet to construct a graphic timeline that includesmajor events in China and Japan. Add additionalhighlights if you wish. 1.8
SS3. Landscape painting is a particularly good mediumin which to comment on people’s relationship with theirenvironment. Choose one of the works in this packetthat shows human interaction with nature. Write aparagraph that describes what elements in the paintingor sculpture led you to think the relationship is a positiveor negative one. 1.9
SS4. Look at each of the posters in light of what thework of art can show about the economy of its time.Work in a small group to make a list of responses to thefollowing questions: What was the economic status ofthe person this work of art was made for? What doesthis work say about how people made a living at thetime? What do the materials or subject matter of thiswork indicate about priorities of the culture fromwhich it came? 4.6
SS5. Choose one of the landscapes from the packet. Doesthis painting make you want to visit this place? With apartner, write and perform a brief radio commercialthat mentions all the features that might attract touriststo this site. 2.1
SS6. If you had lived in Japan during the Edo periodwhat commodities would have been important to you?Make a list of these items and tell where you wouldhave obtained each. 1.2
SS7. Time lines help examine relationships among eventsthat happened during a specific time period. Use the listof historical events in this teacher’s guide to create a chartthat shows the relationship between works of art in thepacket and major events in Asian history. Illustrate yourtime line with visual images. 2.1
SS7. Several of the poster backs in this packet mentionthe Silk Road. Use a map or computer to locate theroute that was called the Silk Road, then make yourown map showing how you would travel if you tried toretrace the route today through modern China. 1.4
Social Studies Useful Websites
http://www.asia.si.edu/education/chinapacket/chinacover.pdf
Online booklet gives teachers information and teaching suggestions about ancient China.
http://www.asianart.org/index.html
Includes images and information on works from one of the largest Asian collections in the U. S.
http://depts.washington.edu/chinaciv/index.htm
Provides resources on many elements of Chinese art, including sections on bronzes, painting,
and calligraphy. The website includes teacher resources.
http://www.nga.gov/education/chinatp_splash.htm
Has an informative guide to ancient China and a useful pronunciation guide.
Websites for Teachers and Students
http://www.artsmia.org/art-of-asia/
Provides a valuable resource on Chinese and Japanese art. The sections on
Buddhism and the Guide to Chinese Ceramics are particularly helpful.
http://www.asia-art.net/chinese_tech_brush.html
Explains the techniques and materials used in Chinese brush painting, with sections
on brushes and ink, composition, and seals and calligraphy, as well as traditional
“Rules of Painting.”
http://www.ancientchina.co.uk/menu.html
Allows users to explore ancient China through five thematic sections:
Crafts and Artisans, Geography, Time, Tombs and Ancestors, and Writing.
http://library.thinkquest.org/27458/index.html
Allows visitors to explore the many different facets of Japanese art,
including sculpture, painting, gardens, architecture, and origami.
http://www.metmuseum.org/explore/Chinese/html_pages/index.htm
Includes A Look at Chinese Painting, which introduces key concepts of Chinese
painting and calligraphy by examining seven works from the Metropolitan Museum
of Art’s collection.
2928
General
Grades 8-12
Hutt, Julia. Understanding Far Eastern Art: A Complete
Guide to the Arts of China, Japan, and Korea—
Ceramics, Sculpture, Painting, Prints, Lacquer, Textiles
and Metalwork. New York: E.P. Dutton, 1987.
A good introduction to the arts of China, Japan, and
Korea for the general reader. Discusses the principal
materials and techniques used by artists.
McArthur, Meher. Reading Buddhist Art: An Illustrated
Guide to Buddhist Signs and Symbols. New York:
Thames and Hudson, 2002.
Provides an overview of all the major Buddhas and
Bodhisattvas, as well as illustrations and explanations
of the most common Buddhist signs and symbols.
Hewitt, Catherine. Buddhism. New York: Raintree
Steck-Vaughn, 1995.
Introduces the origins and rise of Buddhist philosophy
throughout Asia and beyond. Other topics include
the basic principles, practices, festivals, and texts
associated with Buddhism.
Grades 4-7
Merill, Yvonne. Hands-On Asia. Salt Lake City:
Kits Publishing, 1999.
Presents a collection of hands-on projects to help
children learn about the distinctive arts and traditions
of East Asian countries, including China, Japan,
Tibet, and Korea.
Demi. Buddha. New York: Henry Holt & Co., 1996.
Gives an accessible account of the Buddha’s life and
outlines the basic principles of Buddhism. Features
some of the more popular parables of Buddhism.
Grades PK-3
Stewart, Whitney. Becoming Buddha: The Story of
Siddhartha. Torrance, CA: Heian, 2005.
Provides a retelling of the traditional story of the life
of Prince Siddhartha with an easy narrative and rich
illustrations.
Suggested Resources
China
Grades 8-12
Clunas, Craig. Art in China. New York: Oxford
University Press, 1997.
Approaches the history of Chinese art thematically.
Examines major materials and techniques and offers
explanations of unfamiliar terms.
Qu, Lei Lei. The Simple Art of Chinese Calligraphy:
Create Your Own Characters and Symbols for Good
Fortune and Prosperity. New York: Watson-Guptill
Publications, 2002.
A concise and informative guide to Chinese calligraphy
designed for a beginner. Features step-by-step guides,
definitions, basic characters, and explanations of
tools and techniques.
Silbergeld, Jerome. Chinese Painting Style: Media,
Methods, and Principles of Form. Seattle: University
of Washington Press, 1982.
Presents a good introduction to Chinese painting,
with descriptions of the major techniques and materials
used by Chinese artists and stylistic trends in Chinese
painting.
Grades 4-7
Hollihan-Elliot, Sheila. Art and Architecture of
China. Philadelphia: Mason Crest Publishers, 2006.
Offers a survey of Chinese art, from ancient times to
today. Presents art forms, as well as traditional archi-
tecture. Works of art are examined in relation to
society, culture, and politics.
Self, Caroline. Chinese Brush Painting: A Hands-On
Introduction to the Traditional Art. Butland: Tuttle
Publishers, 2007.
Provides an introduction to techniques and principles
of Chinese brush painting. Features 35 activities for
children.
Williams, Suzanne.Made in China: Ideas and Inventions
from China, Berkeley: Pacific View Press, 1996.
Explores Chinese history and culture focusing on
bronze casting, papermaking, silk production, and
porcelain. Religion, agriculture, and medicine are
also discussed.
Grades PK-3
Compestine, Ying Chang. The Story of Paper. New
York: Holiday House, 2003.
Tells the story of three brothers living in ancient
China who get into trouble at school and discover
how to make paper.
Krebs, Laurie. We’re Riding on a Caravan: An
Adventure on the Silk Road. Cambridge: Barefoot
Books, 2005.
Explores the sites of the Silk Road through the eyes
of a family of silk traders who discover many cities
and peoples in the course of their travels.
Louis, Catherine. Liu and the Bird: A Journey in
Chinese Calligraphy. New York: North-South Books,
2006.
Follows a young Chinese girl as she journeys to meet
her grandfather. Introduces the reader to Chinese
characters, tracking their evolution from picture, to
pictograph, to modern character.
Japan
Grades 8-12
Addiss, Stephen. How to Look at Japanese Art. New
York: Harry N. Abrams, 1996.
Provides an introduction to the aesthetics of Japanese
art, exploring themes such as nature, use of space, and
foreign influences on art. Chapters pose questions
meant to engage the reader in thoughtful observation.
Mason, Penelope. History of Japanse Art. Upper
Saddle River, NJ: Prentice Hall, 2004.
Gives a detailed and richly illustrated overview of the
history of Japanese art, from ancient times to the 20th
century through the major forms of artistic production.
Grades 4-7
Finley, Carol. Art of Japan: Wood-Block Color
Prints. Minneapolis: Lerner Publications Co., 1998.
Gives an introduction to the art of Japanese ukiyo-e
prints. Places prints in the context of Japanese history
and explains the printing process.
Khanduri, Kamini. Japanese Art and Culture.
Chicago: Raintree, 2004.
Explores Japanese art from painting on screens and
scrolls to calligraphy, woodblock prints, sculpture,
metalwork, pottery, lacquer ware, architecture, gardens,
and theater.
Grades PK-3
Krasno, Rena and Toru Sugita. Floating Lanterns and
Golden Shrines: Celebrating Japanese Festivals.
Berkeley: Pacific View Press, 2000.
Describes important Japanese celebrations and
includes related folktales, songs, games, crafts and
recipes to involve younger students in fun activities.
Littlefield, Holly and Helen Byers, Colors of Japan.
Minneapolis: Carolrhoda Books, 1997.
Introduces each color, its Japanese name, symbol,
and pronunciation, and provides a short description
of one thing the color symbolizes in Japanese culture.
3130
List of Historical Events
China
China: Neolithic period (c.8000–2000 BC)
——Bronze Age begins in China around 2000 BC
Xia dynasty (c.2100–1600 BC) (unconfirmed)
China: Shang dynasty (c.1650–1050 BC)
——Continued production of bronze vessels for
rituals. Characteristics of bronzes produced at
this time include the taotie motif
China: Western Zhou dynasty (1050–771 BC)
——Wine Vessel, late 11th century BC
China: Eastern Zhou dynasty (c.771–221 BC)
——Construction of the Great Wall begins in 7th
century; building continues through the 17th
century and the reign of the Ming Dynasty
——Birth of Śakyamuni Buddha (Siddhartha
Gautama) in India in 563 BC
China: Qin dynasty (221–206 BC)
——First Emperor of Qin establishes Qin Dynasty
and unites China; Emperor dies in 206 BC and
is buried in an elaborate tomb, complete with
approximately 8,000 terracotta soldiers—tomb
was not rediscovered until 1974
China: Han dynasty (206 BC–AD 220)
——Introduction of Buddhism to China during the
1st century AD
China: Six Dynasties period (220–589)
——Śakyamuni Buddha, c.575 (produced during the
Northern Qi dynasty, 550-577)
China: Sui dynasty (581–618)
China: Tang dynasty (618–907)
——Bactrian Camel, 8th century
——Trade routes such as the Silk Road achieve a
period of stability across Asia and Europe
China: Five Dynasties period (907–960)
China: Northern Song dynasty (960–1127)
——Guanyin, 11th century
——Attributed to Liu Cai, Fish Swimming Amid
Falling Flowers, late 11th century
China: Southern Song dynasty (1127–1279)
China: Yuan dynasty (1279–1368)
——Prunus Vase (meiping), early 14th century
China: Ming dynasty (1368–1644)
——Ming capital of Beijing is established in 1407
——Hu Wenming, Censer with Cover, 17th century
China: Qing dynasty (1644–1911)
——Emperor’s Semiformal Court Robe, early
18th century
——Attributed to the Qianlong Emperor, Calligraphy
of a Five-Character Old-Style Poem in Running
Script, 18th century
China: Modern period (1911–present)
——Dynastic system of rule ends in 1911
——Wang Wending, Gathering of the Immortals,
1919
——The People’s Republic of China is established
in 1949
Japan
Japan: Jomon period (c.10,500 BC–c.300 BC)
——Period marked by the production of unique
ceramics that are decorated with marks made
from cords. Potters formed vessels by building
up coils of clay.
Japan: Yayoi period (300 BC–AD 300)
Japan: Kofun period (300–538)
Japan: Asuka period (538–710)
——Introduction of Buddhism to Japan in 552
Japan: Nara period (710–794)
Japan: Heian period (794–1185)
——New capital established in Heian-kyo; today it is
known as Kyoto
——Tale of Genji written around 1000, attributed to
the noblewoman Murasaki Shikubu
Japan: Kamakara period (1185–1333)
——During the second half of the 12th century,
governmental power gradually changes to the
shoguns, military men who owned land, and
the daimyo, powerful families living in different
regions. Japan begins a long period of different
shogun rulers that lasted until the Meiji
Restoration in 1868
——Amitabha Buddha, mid-13th century
Japan: Nanbokucho period (1336–1392)
Japan: Muromachi period (1392–1573)
Japan: Momoyama period (1573–1615)
——Woodcut prints are imported from Germany
and northern Europe by this time
Japan: Edo period (1615–1868)
——Japan begins period of isolation under Tokugawa
Ieyasu (1543–1616)
——Suzuki Harunobu produces the first full-color
woodblocks prints in 1765
——Sakai Hoitsu, Fans Afloat on a Stream,
c.1820-28
——Commodore Matthew Perry of the United States
Navy sails into Tokyo Harbor with four ships in
1853; period of isolation ends and ports of Japan
are opened to foreign trade
——Hine Taizan, Spring Woods, Passing Rain, 1856
——Utagawa Hiroshige, Sudden Shower Over the
Ohashi Bridge and Atake, 1857
——Japanese woodblock prints, ceramics, and many
other objects are exported to Europe and greatly
influenced artists such as Vincent van Gogh
during the last quarter of the 19th century
Japan: Meiji period (1868–1912)
——The Meiji emperor is restored to power
ending shogun rule; capital moved from Kyoto
to Tokyo
Japan: Taisho period (1912–1926)
Japan: Showa period (1926–1989)
——Kayama Matazo, Star Festival (Tanabata), 1968
Japan: Heisei period (1989–present)
——Miyashita Zenji, Glowing Morning (Choka),
1989
This list of Chinese and Japanese historical events shows two ways of dividing history. The historic eras of China are
dynasties, named for the imperial rulers of China, until 1911 when dynastic rule ended. Japanese history is divided
by periods named for various sources. Some periods are named for the art produced during that time; an example
is the Jomon period, which refers to a type of pottery. Other periods such as the Nara period are identified by the
region in which the capital was located. After the 12th century, historic eras in Japan, such as the Kamakura period,
are known by the name of the reigning shogun family. Once shogun rule ended in 1868, periods are named after
the emperor.
33
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