The University of South Florida History of Visual Arts Paper

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oernqnaqohggreybire

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The University of South Florida

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Your rough draft should include, at minimum:

Three full pages of organized, coherent text--use formal, college-level writing
Your topic proposal will become your paper's introduction, the first paragraph of your paper/rough draft
A 2-prong thesis statement (your research questions become statements: "Why did the ancient Chinese use bells in graves" becomes "This research will show why the ancient Chinese used bells in graves")
Your thesis statement should be located at the end of your first paragraph/introduction
Underline your thesis statement
A picture of your artwork with label: artist (if known), title, date, culture or location (from your topic proposal)
Bibliography (from your topic proposal)
chicago style

Rough draft upload requirements:

Word doc with 1" margins
12 point font
Text should be double-spaced with no additional spaces between paragraphs
First sentence of paragraph should be indented
Chicago Manual of Style for citations and bibliography
Your paper should constitute your original ideas/arguments associated with your work of art

Be sure your thesis statement is underlined.

Student will create a 1500-word research paper based on the art object or monument selected from one of the global (non-Western) chapters in the Gardner’s textbook relevant to the time period covered in this class (30,000 BCE to 1300 CE).

This final, revised paper will represent the second revised and expanded version of the paper you have been working on over the past several modules. As such, this paper should be well written using college-level English and nearly error free. See grading rubric below for criteria regarding grammar, spelling, word use, rhetorical style and paper format. The research questions submitted with the topic proposal for this project should be commuted here to a well-researched thesis statement. Papers should address questions formulated from information gaps in Gardner’s or provide a reexamination of existing, possibly conflicting, published data on the topic. Students will be expected to critically apply concepts, vocabulary, content, themes and methodologies relevant to global art history, as assimilated in class lectures. This final project should reflect the culmination of critical communication, process writing, global concepts, art history methodologies and information and data literacy techniques acquired by the student over the course of the semester.

Avoid numerous or long direct quotes. If you do quote or paraphrase, be sure to cite your source. You should always cite your sources for anything you write, every time. To not do so constitutes plagiarism. Your bibliography should include credible, authoritative sources, as vetted in the earlier bibliography assignment keyed to this project. Whenever relevant, critically compare and contrast opposing claims by other authors who have published research on your topic. Includes footnote or endnotes and a bibliography. Follow the Chicago Style Guide, provided. Your paper should be formatted in a clear way with introduction, body and conclusion. As an art history paper, include photographs of art works discussed, properly labeled with artist, title and date. Photographs should be labeled figure 1, figure 2, etc. and referenced as such in the body of your paper: eg., “As seen in figure 2, . . . “

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SHKEN 1 ft. 15-11 Interior of the chaitya hall, Karle, India, ca. 50 CE. 15-10 Yakshi, detail of the east torana (FIG. 15-9) of the Great Stupa (FIG. 15-1), Sanchi, India, mid-first century BCE to early first century CE. Sandstone, 5' high. Chaitya halls in Buddhist monasteries house stupas. The rock-cut cave at Karle imitates earlier timber halls. The massive interior (45 feet tall, 125 feet long) has excellent acoustics for devotional chanting. Yakshis are nearly nude women who personify fertility and vegetation. The Sanchi yakshis make mango trees flower. Artists later used the motif for Queen Maya giving birth to the Buddha (FIG. 15-14). Ambulatory Stupa 0 10 20 30 40 50 feet 0 5 10 15 meters Relief sculptures cover every surface of the toranas, front, back, and sides. According to an inscription, they are the work of a local guild of ivory carvers. The reliefs depict episodes from the Bud- dha's life and tales of his past lives (jatakas), but the Sanchi sculptors never represented the Buddha himself. Symbols of his presence—for example, footprints, the seat of his enlightenment, a stupa-appear instead. The rich decoration of the toranas stands in sharp contrast to the austerity of the hemispherical stupa they frame. Also carved on the east torana and serving as a bracket linking the lowest architrave with piers is a yakshi (FIG. 15-10). These sensu- ous, nearly nude goddesses were worshiped throughout India. They personify fertility and vegetation and were long-established statuary types (FIG. 15-7A) in the repertoire of South Asian sculptors. The Sanchi yakshi reaches up to hold a mango tree branch while press- ing her left foot against the trunk, which causes the tree to flower. Buddhist artists later adopted this pose, with its rich associations of procreation and abundance, for representing the Buddha's mother, Maya, giving birth (FIG. 15-14, top left). Thus South Asian artists adopted pan-Indian symbolism, such as the woman under the tree, when formulating Buddhist iconography. WE 15-12 Plan (top) and section (bottom) of the chaitya hall, Karle, India, ca. 50 CE. KARLE The chaitya hall (FIGS. 15-11 and 15-12) carved out of the living rock at Karle in imitation of earlier timber halls is the best An early example of Buddhist architecture, the chaitya hall at Karle is carved out of the rock. It has a pillared ambulatory enabling worshipers to circumam- bulate the stupa in the apse of the cave. 42 1 ft. 15-14 The life and death of the Buddha, frieze from Gandhara, Pakistan, second century CE. Top: the Buddha's birth and enlightenment at Bodh Gaya; bottom: first sermon at Sarnath and death at Kushinagara. Schist, 2' 23" X 9' 65". Freer Gallery of Art, Washington, D.C. This Gandharan frieze is one of the earliest pictorial narrative cycles in which the Buddha appears in human form. It recounts the Buddha's life story from his birth at Lumbini to his death at Kushinagara. M right shoulder bare) and lack the yakshas' jewelry and other signs of wealth. The robe appears almost transparent, revealing the full, fleshy body beneath. In the example illustrated here, the Buddha sits in a yogic posture on a lion throne under the Bodhi tree, attended by fly-whisk bearers. He raises his right hand palm-out in the abhaya gesture, indicating to worshipers that they need have no fear. His hands and feet bear the mark of the Wheel of the Law, one of the Buddha's 32 lakshanas (see "The Buddha” page 439). The inscrip- tion reveals that a Buddhist nun named Amoha-asi dedicated the sculpture "to the welfare and happiness of all sentient beings.” The Gupta and Post-Gupta Periods Around 320* a new empire arose in north-central India. The Gupta emperors chose Pataliputra as their capital, deliberately associating themselves with the prestige of the former Maurya Empire. The hey- day of this dynasty was under Chandragupta II (r. 375-415), whose very name recalled the first Maurya emperor. The Guptas were great patrons of art and literature. 1 ft *From this point on, all dates in this chapter are ce unless otherwise stated. L'wiki 15-15 Buddha seated on lion throne, from Mathura, India, second century CE. Red sandstone, 2' 31" high. Archaeological Museum, Mathura. Stylistically distinct from the Gandharan Buddhas are those of Mathura. In this statue depicting the Buddha under the Bodhi tree, the Buddha has the body type of a yaksha, but wears a monk's robe. 1 ft. 15-17 Interior of cave 19, Ajanta, India, second half of fifth century. The popularity of Gupta Buddha statues led to a transformation in Indian religious architecture. Cave 19 at Ajanta is a chaitya hall with an image of the Buddha carved on the front of its stupa. 15-16 Seated Buddha preaching first sermon, from Sarnath, India, second half of fifth century. Tan sandstone, 5' 3" high. Archaeological Museum, Sarnath. Gupta artists formulated the canonical sculpted image of the Buddha, combin- ing the Gandharan monastic-robe type with the Mathuran soft, full-bodied figure attired in clinging garments. to the Guptas by marriage, added more than 20 new caves in the second half of the fifth century. The typological similarity of the fifth-century Ajanta chaitya halls to the earlier example at Karle (FIG. 15-11) is immediately clear and is consistent with the con- servative nature of religious architecture in all cultures. At Ajanta, however, sculptors carved on the front of the stupa an image of the Buddha standing between columns. But Ajanta's fame stems more from the many caves at the site that retain painted wall (FIG. 15-18) and ceiling decoration (see “The Painted Caves of Ajanta,” page 447). SARNATH Under the Guptas, artists formulated what became the canonical image of the Buddha, combining the Gandharan monas- tic robe covering both shoulders (FIGS. 15-13, 15-13A, and 15-14) with the soft, full-bodied Buddha figures with clinging garments of Mathuran sculpture (FIG. 15-15). These disparate styles beauti- fully merge in a fifth-century statue (FIG. 15-16) of the Buddha from Sarnath. The statue's smooth, unadorned surfaces conform to the Indian notion of perfect body form and emphasize the figure's spiri- tuality. The Buddha's eyes are downcast in meditation, and he holds his hands in front of his body in the Wheel-turning gesture, preach- ing his first sermon. Below the Buddha is a scene with the Wheel of the Law at the center between two (now partially broken) deer symbolizing the Deer Park at Sarnath. Buddha images such as this one became so popular that temples housing Buddha statues largely superseded the stupa as the norm in Buddhist sacred architecture. HINDUISM Buddhism and Hinduism are not monotheistic reli- gions, as are, for example, Judaism, Christianity, and Islam. Instead, Buddhists and Hindus approach the spiritual through many gods and varying paths, which permits mutually tolerated differences. In fact, in Hinduism, the Buddha was one of the 10 incarnations of Vishnu, one of the three principal Hindu deities (see "Hinduism and Hindu Iconography," page 448). BUDDHIST AJANTA The new popularity of Buddha imagery is evident in the interior of a chaitya hall (FIG. 15-17) carved out of the mountainside at Ajanta, northeast of Bombay, at about the same time that a Gupta sculptor created the classic seated Buddha at Sar- nath. Ajanta had been the site of a small Buddhist monastery for centuries, but royal patrons of the local Vakataka dynasty, allied UDAYAGIRI More early Buddhist than Hindu art has survived in India because the Buddhists constructed their monasteries with durable materials such as stone and brick. But in the Gupta period, Hindu stone sculpture and architecture began to rival the great Bud- dhist monuments of South Asia. The oldest Hindu cave temples are at Udayagiri, near Sanchi. They date to the early fifth century, some 600 years after the first Buddhist examples. Although the Udaya- giri temples are architecturally simple and small, the site boasts monumental relief sculptures showing an already fully developed
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3 pages

Tags: history of visual arts visual arts in India connection with religion science and education artistic heritage

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Running Head: HISTORY OF VISUAL ARTS

HISTORY OF VISUAL ARTS
By
[Name of Student]
Institute
Dated

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HISTORY OF VISUAL ARTS

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HISTORY OF VISUAL ARTS
Introduction:
The history of visual arts in India is quite rich and full of architecture, sculptures,
paintings, carvings, handicrafts and much more. The arts have always remained a part of human
lives, and there have been great artists in every era, beautifying human history. The history of
visual arts in India dated back to the start of human life on Earth. It has been found that the
visual arts have got importance in Indians lives because they reflect the strong connection with
religion, science and education. The history of visual arts has given extraordinary momentums
to Indians and Chaitya Hall, reflecting the country's rich culture and vast artistic heritage.
Body:
Religion has a significant impact on the lives of Indians, and they have always felt
enough devoted to it. They have tried to give a rich touch to religion and introduced it in every
aspect. It has been found that religion is one of the essential factors that remained part of visual
arts. The visual arts means the art that is visible t...