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{{short description|History of Asian art or Eastern art}} |
{{short description|History of Asian art or Eastern art}} |
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{{Use mdy dates|date=April 2012}} |
{{Use mdy dates|date=April 2012}} |
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{{About|the history of '''visual arts''' in Asia|other Asian art related topics|Culture of Asia}} |
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{{History of art sidebar}} |
{{History of art sidebar}} |
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The '''history of Asian art''' includes a vast range of arts from various cultures, regions and religions across the continent of Asia. |
The '''history of Asian art''' includes a vast range of arts from various cultures, regions and religions across the continent of Asia. The major regions of Asia include [[Central Asia|Central]], [[East Asia|East]], [[South Asia|South]], [[Southeast Asia|Southeast]], and [[Western Asia|Western]] Asia. |
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by Siegfried Wichmann# Publisher: Thames & Hudson; New Ed edition (November 19, 1999), {{ISBN|0-500-28163-7}}, {{ISBN|978-0-500-28163-5}}</ref>) had significant influence on Western art, and vice versa.<ref>''The Meeting of Eastern and Western Art'', Revised and Expanded edition (Hardcover) by [[Michael Sullivan (art historian)|Michael Sullivan]], Publisher: University of California Press; Rev Exp Su edition (June 1, 1989), {{ISBN|0-520-05902-6}}, {{ISBN|978-0-520-05902-3}}</ref> |
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[[Near Eastern]] art and South Asian art ([[Indian art]]<ref>[https://query.nytimes.com/gst/fullpage.html?res=9C05EED91E3CF933A25754C0A962958260&sec=&spon=&pagewanted=2] NY Times, Holland Cotter, accessed online October 27, 2007</ref>) also had a significant influence on Western art.<ref>[http://www.metmuseum.org/about-the-museum/museum-departments/curatorial-departments/ancient-near-eastern-art Metropolitan Museum of Art, Ancient Near Eastern Art]</ref> Excluding [[prehistoric art]], the [[art of Mesopotamia]] represents the oldest forms of art in Asia. |
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Central Asian art primarily consists of works by the [[Turkic peoples]] of the [[Eurasian Steppe]], while East Asian art includes works from China, Japan, and Korea. South Asian art encompasses the arts of the [[Indian subcontinent]], with Southeast Asian art including the art of Thailand, Laos, Vietnam, Indonesia, and the Philippines. Western Asian art encompasses the arts of the [[Near East]], including the ancient art of [[Mesopotamia]], and more recently becoming dominated by [[Islamic art]]. |
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{{Main|Central Asian art}}The [[Central Asian art|Central Asian Art]] has gained much fame. The literary, visual and performing arts altogether form the Central Asian contemporary art. Undoubtedly, the superiority of the Central Asian Art has allowed it to become part of international art forums.<ref>{{Cite journal|last=A. A. Hakimov, E. Novgorodova and A. H. Dani|first=|date=1996|title=ARTS AND CRAFTS|url=https://en.unesco.org/silkroad/sites/silkroad/files/knowledge-bank-article/vol_IVb%20silk%20road_arts%20and%20crafts%20BIS.pdf|journal=UNESCO|volume=|pages=|via=}}</ref> |
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In many ways, the history of art in Asia parallels the development of [[Western art]].<ref name="Sullivan">{{cite book |isbn=9780520212367 |id=ISBN 0520212363|year=1997 |type=Paperback |publisher=[[University of California Press]]|title=The Meeting of Eastern and Western Art |edition=Revised and Expanded|first1=Michael |last1=Sullivan |authorlink=Michael Sullivan (art historian)}}</ref><ref>Japonisme: The Japanese Influence on Western Art Since 1858 (Paperback) |
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The Central Asian Art majorly comes from [[Turkic peoples|Turkic]] population descending from [[Tajikistan]], [[Kazakhstan]], [[Turkmenistan]], [[Afghanistan]] and other regions of [[Central Asia]]. Significantly, the region of Central Asia is known for its diversified backgrounds in linguistics and cultures. This certainly makes it the land giving birth to a wide variety of styles in contemporary arts.<ref>{{Cite web|url=https://www.artgallery.nsw.gov.au/collection/asian-art/central-asia/|title=Central Asia :: The Collection :: Art Gallery NSW|website=www.artgallery.nsw.gov.au|access-date=2019-10-03}}</ref> |
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by Siegfried Wichmann# Publisher: Thames & Hudson; New Ed edition (November 19, 1999), {{ISBN|0-500-28163-7}}, {{ISBN|978-0-500-28163-5}}</ref> The art histories of Asia and Europe are greatly intertwined, with Asian art greatly influencing European art, and vice versa; the cultures mixed through methods such as the [[Silk Road transmission of art]], the cultural exchange of the [[Age of Discovery]] and [[Western imperialism in Asia|colonization]], and through the internet and modern [[globalization]].<ref>''The Meeting of Eastern and Western Art'', Revised and Expanded edition (Hardcover) by [[Michael Sullivan (art historian)|Michael Sullivan]], Publisher: University of California Press; Rev Exp Su edition (June 1, 1989), {{ISBN|0-520-05902-6}}, {{ISBN|978-0-520-05902-3}}</ref><ref>[https://query.nytimes.com/gst/fullpage.html?res=9C05EED91E3CF933A25754C0A962958260&sec=&spon=&pagewanted=2] NY Times, Holland Cotter, accessed online October 27, 2007</ref><ref>[http://www.metmuseum.org/about-the-museum/museum-departments/curatorial-departments/ancient-near-eastern-art Metropolitan Museum of Art, Ancient Near Eastern Art]</ref> |
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Excluding [[prehistoric art]], the [[art of Mesopotamia]] represents the oldest forms of art in Asia. |
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{{Main|Central Asian art}}Art in [[Central Asia]] is visual art created by the largely [[Turkic peoples]] of modern-day [[Kyrgyzstan]], [[Kazakhstan]], [[Uzbekistan]], [[Turkmenistan]], [[Azerbaijan]], [[Tajikistan]], [[Mongolia]], [[Tibet]], [[Afghanistan]], and [[Pakistan]] as well as parts of China and Russia.<ref>{{Cite web|url=https://www.artgallery.nsw.gov.au/collection/asian-art/central-asia/|title=Central Asia :: The Collection :: Art Gallery NSW|website=www.artgallery.nsw.gov.au|access-date=2019-10-03}}</ref><ref>{{Cite journal|last=A. A. Hakimov, E. Novgorodova and A. H. Dani|first=|date=1996|title=ARTS AND CRAFTS|url=https://en.unesco.org/silkroad/sites/silkroad/files/knowledge-bank-article/vol_IVb%20silk%20road_arts%20and%20crafts%20BIS.pdf|journal=UNESCO|volume=|pages=|via=}}</ref>{{Dead link|date=September 2020}} In recent centuries, art in the region have been greatly influenced by [[Islamic art]]. Earlier Central Asian art was influenced by Chinese, Greek, and Persian art, via the [[Silk Road transmission of art]].<ref name="1c">Encyclopædia Britannica, [http://www.britannica.com/EBchecked/topic/102325/Central-Asian-arts Central Asian Arts]. 2012. Retrieved May 17, 2012. Encyclopædia Britannica.</ref> |
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=== Nomadic folk art === |
=== Nomadic folk art === |
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=== Music and musical instrument === |
=== Music and musical instrument === |
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Central Asia is enriched with the classical music and instruments. Some of the famous classical musical instruments were originated within the Central Asian region. [[Rubab (instrument)|Rubab]], [[Dombra]], and Chang are some of the |
Central Asia is enriched with the classical music and instruments. Some of the famous classical musical instruments were originated within the Central Asian region. [[Rubab (instrument)|Rubab]], [[Dombra]], and Chang are some of the musical instruments used in the musical arts of Central Asia.<ref>{{Cite web|url=http://factsanddetails.com/central-asia/Central_Asian_Topics/sub8_8g/entry-4535.html|title=CULTURE, ART, CRAFTS AND MUSIC FROM IN CENTRAL ASIA {{!}} Facts and Details|last=Hays|first=Jeffrey|website=factsanddetails.com|language=en|access-date=2019-10-03}}</ref> |
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=== The revival of Central Asian art === |
=== The revival of Central Asian art === |
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==East Asian art== |
==East Asian art== |
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[[File:清 汪恭 摹趙孟頫肖像 軸-Copy of a Portrait of Zhao Mengfu MET DP216665.jpg|thumb|Copy of a portrait of [[Zhao Mengfu]] (趙孟頫), [[Metropolitan Museum of Art]]|253x253px]] |
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{{Main|Chinese art|Chinese painting|Chinese ceramics|Chinese jade|Chinese calligraphy}} |
{{Main|Chinese art|Chinese painting|Chinese ceramics|Chinese jade|Chinese calligraphy}} |
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'''Chinese art''' (Chinese: 中國藝術/中国艺术) has varied throughout its [[History of China|ancient history]], divided into periods by the ruling [[dynasties of China]] and changing technology. Different forms of art have been influenced by great philosophers, teachers, religious figures and even political leaders. Chinese art encompasses [[fine art]]s, [[folk art]]s and [[performance art]]s. Chinese art is art, whether modern or ancient, that originated in or is practiced in China or by Chinese artists or performers. |
'''Chinese art''' (Chinese: 中國藝術/中国艺术) has varied throughout its [[History of China|ancient history]], divided into periods by the ruling [[dynasties of China]] and changing technology. Different forms of art have been influenced by great philosophers, teachers, religious figures and even political leaders. Chinese art encompasses [[fine art]]s, [[folk art]]s and [[performance art]]s. Chinese art is art, whether modern or ancient, that originated in or is practiced in China or by Chinese artists or performers. |
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In the [[Song Dynasty]], poetry was marked by a lyric poetry known as [[Ci (poetry)|Ci]] (詞) which expressed feelings of desire, often in an adopted persona. Also in the Song dynasty, paintings of more subtle expression of landscapes appeared, with blurred outlines and mountain contours which conveyed distance through an impressionistic treatment of natural phenomena. It was during this period that in painting, emphasis was placed on spiritual rather than emotional elements, as in the previous period. [[Kunqu]], the oldest extant form of Chinese opera developed during the Song Dynasty in [[Kunshan]], near present-day Shanghai. In the [[Yuan dynasty]], painting by the Chinese painter [[Zhao Mengfu]] (趙孟頫) greatly influenced later Chinese landscape painting, and the Yuan dynasty opera became a variant of Chinese opera which continues today as [[Cantonese opera]]. |
In the [[Song Dynasty]], poetry was marked by a lyric poetry known as [[Ci (poetry)|Ci]] (詞) which expressed feelings of desire, often in an adopted persona. Also in the Song dynasty, paintings of more subtle expression of landscapes appeared, with blurred outlines and mountain contours which conveyed distance through an impressionistic treatment of natural phenomena. It was during this period that in painting, emphasis was placed on spiritual rather than emotional elements, as in the previous period. [[Kunqu]], the oldest extant form of Chinese opera developed during the Song Dynasty in [[Kunshan]], near present-day Shanghai. In the [[Yuan dynasty]], painting by the Chinese painter [[Zhao Mengfu]] (趙孟頫) greatly influenced later Chinese landscape painting, and the Yuan dynasty opera became a variant of Chinese opera which continues today as [[Cantonese opera]]. |
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Gongbi and Xieyi are two painting styles in Chinese painting. |
Gongbi and Xieyi are two painting styles in Chinese painting. |
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Gongbi means "meticulous", the rich colours and details in the picture are its main features, its content mainly depicts portraits or narratives. Xieyi means 'freehand', its form is often exaggerated and unreal, with an emphasis on the author's emotional expression and usually used in depicting landscapes.<ref>Jiang, S., Du, J., Huang, Q., Huang, T., & Gao, W. (2005). Visual Ontology Construction for Digitized Art Image Retrieval. ''Journal Of Computer Science And Technology'', ''20''(6), |
Gongbi means "meticulous", the rich colours and details in the picture are its main features, its content mainly depicts portraits or narratives. Xieyi means 'freehand', its form is often exaggerated and unreal, with an emphasis on the author's emotional expression and usually used in depicting landscapes.<ref>Jiang, S., Du, J., Huang, Q., Huang, T., & Gao, W. (2005). Visual Ontology Construction for Digitized Art Image Retrieval. ''Journal Of Computer Science And Technology'', ''20''(6), 855–860. doi: 10.1007/s11390-005-0855-x</ref> |
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In addition to paper and silk, traditional paintings have also been done on the walls, such as the [[Mogao Caves|Mogao Grottoes]] in Gansu Province. The '''Dunhuang Mogao Grottoes''' were built in the [[Northern Wei|Northern Wei Dynasty]] ( |
In addition to paper and silk, traditional paintings have also been done on the walls, such as the [[Mogao Caves|Mogao Grottoes]] in Gansu Province. The '''Dunhuang Mogao Grottoes''' were built in the [[Northern Wei|Northern Wei Dynasty]] (386–534 AD). It consists of more than 700 caves, of which 492 caves have murals on the walls, totalling more than 45,000 square meters.<ref>The community distribution of bacteria and fungi on ancient wall paintings of the Mogao Grottoes. (2015). Scientific Reports., 5. <nowiki>https://doi.org/10.1038/srep07752</nowiki></ref><ref name="fix1">Kenderdine, S. (2013). “Pure Land”: Inhabiting the Mogao Caves at Dunhuang. ''Curator: The Museum Journal'', ''56''(2), 199–218. doi: 10.1111/cura.12020</ref> The murals are very broad in content, include Buddha statues, paradise, angels, important historical events and even donors. The painting styles in early cave received influence from India and the West. From the [[Tang dynasty|Tang Dynasty]] (618–906 CE), the murals began to reflect the unique Chinese painting style.<ref>{{Cite web|url=https://www.khanacademy.org/humanities/art-asia/imperial-china/tang-dynasty/a/mogao-caves-at-dunhuang|title=Mogao caves at Dunhuang|website=Khan Academy|language=en|access-date=2019-05-31}}</ref>{{wide image|Along the River During the Qingming Festival (Qing Court Version).jpg|6000px|Panorama of ''[[Along the River During the Qingming Festival]]'', an 18th-century reproduction of the 12th century original by Chinese artist [[Zhang Zeduan]]; Note: scroll starts from the right}} |
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'''Chinese Calligraphy'''[[File:This Letter written by Mi Fei.jpg|thumb|234x234px|''On Calligraphy'' by [[Mi Fu]], [[Song Dynasty]]]] |
'''Chinese Calligraphy'''[[File:This Letter written by Mi Fei.jpg|thumb|234x234px|''On Calligraphy'' by [[Mi Fu]], [[Song Dynasty]]]] |
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The Chinese calligraphy can be traced back to the Dazhuan (large seal script) that appeared in the [[Zhou dynasty|Zhou Dynasty]]. After [[Qin Shi Huang|Emperor Qin]] unified China, Prime Minister Li Si collected and compiled Xiaozhuan (small seal) style as a new official text. The small seal script is very elegant but difficult to write quickly. In the [[Han dynasty|Eastern Han Dynasty]], a type of script called the Lishu (Official Script) began to rise. Because it reveals no circles and very few curved lines, it is very suitable for fast writing. After that, the Kaishu style (traditional regular script) has appeared, and its structure is simpler and neater, this script is still widely used today.<ref>Yee, C. (2019). Chinese calligraphy | Description, History, & Facts. Retrieved from <nowiki>https://www.britannica.com/art/Chinese-calligraphy</nowiki></ref><ref>Chiang, Y. (1973). ''Chinese calligraphy'' (Vol. 60). Harvard University Press.</ref> |
The Chinese calligraphy can be traced back to the Dazhuan (large seal script) that appeared in the [[Zhou dynasty|Zhou Dynasty]]. After [[Qin Shi Huang|Emperor Qin]] unified China, Prime Minister Li Si collected and compiled Xiaozhuan (small seal) style as a new official text. The small seal script is very elegant but difficult to write quickly. In the [[Han dynasty|Eastern Han Dynasty]], a type of script called the Lishu (Official Script) began to rise. Because it reveals no circles and very few curved lines, it is very suitable for fast writing. After that, the Kaishu style (traditional regular script) has appeared, and its structure is simpler and neater, this script is still widely used today.<ref>Yee, C. (2019). Chinese calligraphy | Description, History, & Facts. Retrieved from <nowiki>https://www.britannica.com/art/Chinese-calligraphy</nowiki></ref><ref>Chiang, Y. (1973). ''Chinese calligraphy'' (Vol. 60). Harvard University Press.</ref> |
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'''Porcelain''' |
'''Porcelain''' |
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Porcelain is a kind of ceramics made from kaolin at high temperature. The earliest ceramics in China appeared in the [[Shang dynasty|Shang Dynasty]] (c. |
Porcelain is a kind of ceramics made from kaolin at high temperature. The earliest ceramics in China appeared in the [[Shang dynasty|Shang Dynasty]] (c.1600–1046 BCE). And the production of ceramics laid the foundation for the invention of porcelain. The history of Chinese porcelain can be traced back to the [[Han dynasty|Han Dynasty]] (206 BC – 220 AD).<ref>Valenstein, S. G. (1988). ''A handbook of Chinese ceramics''. Metropolitan museum of art.</ref> In the [[Tang dynasty|Tang Dynasty]], porcelain was divided into celadon and white porcelain. In the [[Song dynasty|Song Dynasty]], [[Jingdezhen]] was selected as the royal porcelain production centre and began to produce blue and white porcelain.<ref>{{Cite web|url=https://en.unesco.org/silkroad/content/chinese-porcelain|title=Chinese Porcelain {{!}} SILK ROADS|website=en.unesco.org|access-date=2019-05-31}}</ref> |
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==== Modern Chinese art ==== |
==== Modern Chinese art ==== |
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===Japanese art=== |
===Japanese art=== |
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{{Main|Japanese art|Japanese painting|Ukiyo-e|Japanese sculpture|Ryukyuan lacquerware|Japanese calligraphy|Nihonga|List of National Treasures of Japan (paintings)|List of National Treasures of Japan (sculptures)}} |
{{Main|Japanese art|Japanese painting|Ukiyo-e|Japanese sculpture|Ryukyuan lacquerware|Japanese calligraphy|Nihonga|List of National Treasures of Japan (paintings)|List of National Treasures of Japan (sculptures)}} |
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[[File:Birds and flowers of the four seasons.jpg|thumb|upright=3|left|Four from a set of sixteen sliding room partitions ([https://www.wikiart.org/en/kano-eitoku/birds-and-flowers-of-the-four-seasons-1590 Birds and Flower of the Four Seasons |
[[File:Birds and flowers of the four seasons.jpg|thumb|upright=3|left|Four from a set of sixteen sliding room partitions (''Birds and Flower of the Four Seasons''<ref>[https://www.wikiart.org/en/kano-eitoku/birds-and-flowers-of-the-four-seasons-1590 ''Birds and Flower of the Four Seasons'' at wikiart.org</ref>) made for a 16th-century Japanese abbot. Typically for later Japanese landscapes, the main focus is on a feature in the foreground.]] |
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'''Japanese art''' and architecture is works of art produced in Japan from the beginnings of human habitation there, sometime in the 10th millennium BC, to the present. Japanese art covers a wide range of art styles and media, including ancient pottery, sculpture in wood and bronze, ink painting on silk and paper, and a myriad of other types of works of art; from ancient times until the contemporary 21st century. |
'''Japanese art''' and architecture is works of art produced in Japan from the beginnings of human habitation there, sometime in the 10th millennium BC, to the present. Japanese art covers a wide range of art styles and media, including ancient pottery, sculpture in wood and bronze, ink painting on silk and paper, and a myriad of other types of works of art; from ancient times until the contemporary 21st century. |
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This distinction was often class-based: scholars, particularly in [[Confucian art]] felt that one could see colour in monochromatic paintings within the gradations and felt that the actual use of colour coarsened the paintings, and restricted the imagination. Korean folk art, and painting of architectural frames was seen as brightening certain outside wood frames, and again within the tradition of Chinese architecture, and the early Buddhist influences of profuse rich thalo and primary colours inspired by [[Indian art|Art of India]]. |
This distinction was often class-based: scholars, particularly in [[Confucian art]] felt that one could see colour in monochromatic paintings within the gradations and felt that the actual use of colour coarsened the paintings, and restricted the imagination. Korean folk art, and painting of architectural frames was seen as brightening certain outside wood frames, and again within the tradition of Chinese architecture, and the early Buddhist influences of profuse rich thalo and primary colours inspired by [[Indian art|Art of India]]. |
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'''Contemporary art in Korea:''' The first example of [[Western-style oil painting]] in Korean art was in the self-portraits of Korean artist [[Go Hui-dong|Ko Hu i-dong]] ( |
'''Contemporary art in Korea:''' The first example of [[Western-style oil painting]] in Korean art was in the self-portraits of Korean artist [[Go Hui-dong|Ko Hu i-dong]] (1886–1965). Only three of these works still remain today. these self-portraits impart an understanding of medium that extends well beyond the affirmation of stylistic and cultural difference. by the early twentieth century, the decision to paint using oil and canvas in Korea had two different interpretations. One being a sense of enlightenment due to western ideas and art styles. This enlightenment derived from an intellectual movement of the seventeenth and eighteenth centuries. Ko had been painting with this method during a period of Japan's annexation of Korea. During this time many claimed his art could have been political, however, he himself stated he was an artist and not a politician. Ko stated "While I was in Tokyo, a very curious thing happened. At that time there were fewer than one hundred Korean students in Tokyo. All of us were drinking the new air and embarking on new studies, but there were some who mocked my choice to study art. A close friend said that it was not right for me to study painting in such a time as this." <ref>{{Cite journal|last=Kee|first=Joan|date=April 2013|title=Contemporary Art in Early Colonial Korea: The Self Portraits of Ko Hui-dong|url=|journal=Art History|volume=36|pages=392|via=}}</ref> |
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'''Korean pottery''' was recognized as early as 6000 BCE. This pottery was also referred to as comb-patterned pottery due to the decorative lines carved onto the outside. early Korean societies were mainly dependent on fishing. So, they used the pottery to store fish and other things collected from the ocean such as shellfish. Pottery had two main regional distinctions. Those from the East coast tends to have a flat base, whereas pottery on the South coast had a round base.<ref>{{Cite journal|last=|first=|date=2007|title=Early Korean History|url=|journal=Early Korean history|volume=|pages=1|via=}}</ref> |
'''Korean pottery''' was recognized as early as 6000 BCE. This pottery was also referred to as comb-patterned pottery due to the decorative lines carved onto the outside. early Korean societies were mainly dependent on fishing. So, they used the pottery to store fish and other things collected from the ocean such as shellfish. Pottery had two main regional distinctions. Those from the East coast tends to have a flat base, whereas pottery on the South coast had a round base.<ref>{{Cite journal|last=|first=|date=2007|title=Early Korean History|url=|journal=Early Korean history|volume=|pages=1|via=}}</ref> |
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'''Buddhist art''' originated in the [[Indian subcontinent]] in the centuries following the life of the historical [[Gautama Buddha]] in the 6th to 5th century BCE, before evolving through its contact with other cultures and its diffusion through the rest of Asia and the world. Buddhist art traveled with believers as the dharma spread, adapted, and evolved in each new host country. It developed to the north through Central Asia and into East Asia to form the Northern branch of Buddhist art, and to the east as far as Southeast Asia to form the Southern branch of Buddhist art. In India, Buddhist art flourished and even influenced the development of [[Hinduism|Hindu]] art, until Buddhism nearly disappeared in India around the 10th century CE due in part to the vigorous expansion of Islam alongside [[Hinduism]]. |
'''Buddhist art''' originated in the [[Indian subcontinent]] in the centuries following the life of the historical [[Gautama Buddha]] in the 6th to 5th century BCE, before evolving through its contact with other cultures and its diffusion through the rest of Asia and the world. Buddhist art traveled with believers as the dharma spread, adapted, and evolved in each new host country. It developed to the north through Central Asia and into East Asia to form the Northern branch of Buddhist art, and to the east as far as Southeast Asia to form the Southern branch of Buddhist art. In India, Buddhist art flourished and even influenced the development of [[Hinduism|Hindu]] art, until Buddhism nearly disappeared in India around the 10th century CE due in part to the vigorous expansion of Islam alongside [[Hinduism]]. |
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A common visual device in Buddhist art is the [[mandala]]. From a viewer's perspective, it represents schematically the ideal universe.<ref>{{cite web|last1=Blume|first1=Nancy|title=Exploring the Mandala|url=http://asiasociety.org/exploring-mandala|website=Asia Society|publisher=Asia Society|accessdate=19 November 2017}}</ref><ref>{{cite web|last1=Violatti|first1=Cristian|title=Mandala|url=https://www.ancient.eu/mandala/|website=Ancient History Encyclopedia|publisher=Ancient History Encyclopedia|accessdate=19 November 2017}}</ref> In various spiritual traditions, mandalas may be employed for focusing the attention of aspirants and adepts, a spiritual teaching tool, for establishing a [[temenos|sacred space]] and as an aid to [[meditation]] and [[trance]] induction. Its symbolic nature can help one "to access progressively deeper levels of the unconscious, ultimately assisting the meditator to experience a mystical sense of oneness with the ultimate unity from which the cosmos in all its manifold forms arises."<ref>See David Fontana: "Meditating with Mandalas", p. 10</ref> The [[psychoanalyst]] [[Carl Jung]] saw the mandala as |
A common visual device in Buddhist art is the [[mandala]]. From a viewer's perspective, it represents schematically the ideal universe.<ref>{{cite web|last1=Blume|first1=Nancy|title=Exploring the Mandala|url=http://asiasociety.org/exploring-mandala|website=Asia Society|publisher=Asia Society|accessdate=19 November 2017}}</ref><ref>{{cite web|last1=Violatti|first1=Cristian|title=Mandala|url=https://www.ancient.eu/mandala/|website=Ancient History Encyclopedia|publisher=Ancient History Encyclopedia|accessdate=19 November 2017}}</ref> In various spiritual traditions, mandalas may be employed for focusing the attention of aspirants and adepts, a spiritual teaching tool, for establishing a [[temenos|sacred space]] and as an aid to [[meditation]] and [[trance]] induction. Its symbolic nature can help one "to access progressively deeper levels of the unconscious, ultimately assisting the meditator to experience a mystical sense of oneness with the ultimate unity from which the cosmos in all its manifold forms arises."<ref>See David Fontana: "Meditating with Mandalas", p. 10</ref> The [[psychoanalyst]] [[Carl Jung]] saw the mandala as "a representation of the centre of the unconscious self,"<ref>[http://www.netreach.net/~nhojem/jung.htm Carl Jung and the Mandala] Retrieved January 14, 2010</ref>{{dead link|date=September 2020}} and believed his paintings of mandalas enabled him to identify emotional disorders and work towards wholeness in personality.<ref>See C G Jung: ''Memories, Dreams, Reflections'', pp.186–197</ref> |
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===Bhutanese art=== |
===Bhutanese art=== |
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'''Khmer sculpture''' refers to the stone sculpture of the [[Khmer Empire]], which ruled a territory based on modern Cambodia, but rather larger, from the 9th to the 13th century. The most celebrated examples are found in [[Angkor]], which served as the seat of the empire. |
'''Khmer sculpture''' refers to the stone sculpture of the [[Khmer Empire]], which ruled a territory based on modern Cambodia, but rather larger, from the 9th to the 13th century. The most celebrated examples are found in [[Angkor]], which served as the seat of the empire. |
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By the 7th century, Khmer sculpture begins to drift away from its Hindu influences – pre-Gupta for the Buddhist figures, Pallava for the Hindu figures – and through constant stylistic evolution, it comes to develop its own originality, which by the 10th century can be considered complete and absolute. Khmer sculpture soon goes beyond religious representation, which becomes almost a pretext in order to portray court figures in the guise of gods and goddesses.<ref>{{Cite web|url=https://unesdoc.unesco.org/ark:/48223/pf0000149285|title=Rehabilitation and preservation of Cambodian performing arts|last=|first=|date=|website=unesdoc.unesco.org|url-status=live|archive-url=|archive-date=|access-date=2019-10-03}}</ref> But furthermore, it also comes to constitute a means and end in itself for the execution of stylistic refinement, like a kind of testing ground. We have already seen how the social context of the Khmer kingdom provides a second key to understanding this art. But we can also imagine that on a more exclusive level, small groups of intellectuals and artists were at work, competing among themselves in mastery and refinement as they pursued a hypothetical perfection of style.<ref>{{Cite web|url=https://www.tourismcambodia.com/culture/art-and-culture.htm|title=Khmer Art and Culture |
By the 7th century, Khmer sculpture begins to drift away from its Hindu influences – pre-Gupta for the Buddhist figures, Pallava for the Hindu figures – and through constant stylistic evolution, it comes to develop its own originality, which by the 10th century can be considered complete and absolute. Khmer sculpture soon goes beyond religious representation, which becomes almost a pretext in order to portray court figures in the guise of gods and goddesses.<ref>{{Cite web|url=https://unesdoc.unesco.org/ark:/48223/pf0000149285|title=Rehabilitation and preservation of Cambodian performing arts|last=|first=|date=|website=unesdoc.unesco.org|url-status=live|archive-url=|archive-date=|access-date=2019-10-03}}</ref> But furthermore, it also comes to constitute a means and end in itself for the execution of stylistic refinement, like a kind of testing ground. We have already seen how the social context of the Khmer kingdom provides a second key to understanding this art. But we can also imagine that on a more exclusive level, small groups of intellectuals and artists were at work, competing among themselves in mastery and refinement as they pursued a hypothetical perfection of style.<ref>{{Cite web|url=https://www.tourismcambodia.com/culture/art-and-culture.htm|title=Khmer Art and Culture – Khmer Culture {{!}} Tourism Cambodia|website=www.tourismcambodia.com|language=en|access-date=2019-10-03}}</ref> |
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[[File:Fronton Cambodge Musée Guimet 9971.jpg|thumb|Relief from Angkor]] |
[[File:Fronton Cambodge Musée Guimet 9971.jpg|thumb|Relief from Angkor]] |
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The gods we find in Khmer sculpture are those of the two great religions of India, [[Buddhism]] and [[Hinduism]]. And they are always represented with great iconographic precision, clearly indicating that learned priests supervised the execution of the works.<ref name=":2" /> Nonetheless, unlike those Hindu images which repeat an idealized stereotype, these images are treated with great realism and originality because they depict living models: the king and his court. The true social function of Khmer art was, in fact, the glorification of the [[aristocracy]] through these images of the gods embodied in the princes. In fact, the cult of the “deva-raja” required the development of an eminently aristocratic art in which the people were supposed to see the tangible proof of the sovereign's divinity, while the aristocracy took pleasure in seeing itself – if, it's true, in idealized form – immortalized in the splendour of intricate adornments, elegant dresses and extravagant jewelry.<ref>{{Cite journal|last=Phungtian|first=Charuwan|date=|title=Thai |
The gods we find in Khmer sculpture are those of the two great religions of India, [[Buddhism]] and [[Hinduism]]. And they are always represented with great iconographic precision, clearly indicating that learned priests supervised the execution of the works.<ref name=":2" /> Nonetheless, unlike those Hindu images which repeat an idealized stereotype, these images are treated with great realism and originality because they depict living models: the king and his court. The true social function of Khmer art was, in fact, the glorification of the [[aristocracy]] through these images of the gods embodied in the princes. In fact, the cult of the “deva-raja” required the development of an eminently aristocratic art in which the people were supposed to see the tangible proof of the sovereign's divinity, while the aristocracy took pleasure in seeing itself – if, it's true, in idealized form – immortalized in the splendour of intricate adornments, elegant dresses and extravagant jewelry.<ref>{{Cite journal|last=Phungtian|first=Charuwan|date=|title=Thai – Cambodian Culture Relationship through Arts|url=http://www.buddhanet.net/pdf_file/thai_cambodian_art.pdf|journal=Buddha Dharma Education Association Inc.|volume=|pages=|via=Magadh University}}</ref> |
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The sculptures are admirable images of a gods, royal and imposing presences, though not without feminine sensuality, makes us think of important persons at the courts, persons of considerable power. The artists who sculpted the stones doubtless satisfied the primary objectives and requisites demanded by the persons who commissioned them. The sculptures represent the chosen divinity in the orthodox manner and succeed in portraying, with great skill and expertise, high figures of the courts in all of their splendour, in the attire, adornments and jewelry of a sophisticated beauty.<ref>{{Cite web|url=https://www.insideasiatours.com/southeast-asia/cambodian-culture/art-and-architecture/|title=Art & Architecture in Cambodia {{!}} Inside Asia Tours|website=www.insideasiatours.com|access-date=2019-10-03}}</ref> |
The sculptures are admirable images of a gods, royal and imposing presences, though not without feminine sensuality, makes us think of important persons at the courts, persons of considerable power. The artists who sculpted the stones doubtless satisfied the primary objectives and requisites demanded by the persons who commissioned them. The sculptures represent the chosen divinity in the orthodox manner and succeed in portraying, with great skill and expertise, high figures of the courts in all of their splendour, in the attire, adornments and jewelry of a sophisticated beauty.<ref>{{Cite web|url=https://www.insideasiatours.com/southeast-asia/cambodian-culture/art-and-architecture/|title=Art & Architecture in Cambodia {{!}} Inside Asia Tours|website=www.insideasiatours.com|access-date=2019-10-03}}</ref> |
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====Balinese art==== |
====Balinese art==== |
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{{Main|Balinese art}} |
{{Main|Balinese art}} |
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[[File:Kerta Gosa, Ramayana Scene, Bali 1543.jpg|thumb|right|300px|Balinese painting of [[Ramayana]] scene from Kerta Gosha, depicting Rama versus Dasamukha (Ravana).]] |
[[File:Kerta Gosa, Ramayana Scene, Bali 1543.jpg|thumb|right|300px|Balinese painting of ''[[Ramayana]]'' scene from Kerta Gosha, depicting [[Rama]] versus Dasamukha (Ravana).]] |
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'''Balinese art''' is art of [[Hindu]]-[[Java]]nese origin that grew from the work of artisans of the [[Majapahit|Majapahit Kingdom]], with their expansion to [[Bali]] in the late 13th century. From the 16th until the 20th centuries, the village of Kamasan, Klungkung (East Bali), was the centre of classical Balinese art. During the first part of the 20th century, new varieties of Balinese art developed. Since the late twentieth century, [[Ubud]] and its neighboring villages established a reputation as the center of Balinese art. Ubud and [[Batuan, Bali|Batuan]] are known for their paintings, [[Mas, Indonesia|Mas]] for their woodcarvings, Celuk for gold and silversmiths, and Batubulan for their stone carvings. Covarrubias<ref name="Covarubias"> |
'''Balinese art''' is art of [[Hindu]]-[[Java]]nese origin that grew from the work of artisans of the [[Majapahit|Majapahit Kingdom]], with their expansion to [[Bali]] in the late 13th century. From the 16th until the 20th centuries, the village of Kamasan, Klungkung (East Bali), was the centre of classical Balinese art. During the first part of the 20th century, new varieties of Balinese art developed. Since the late twentieth century, [[Ubud]] and its neighboring villages established a reputation as the center of Balinese art. Ubud and [[Batuan, Bali|Batuan]] are known for their paintings, [[Mas, Indonesia|Mas]] for their woodcarvings, Celuk for gold and silversmiths, and Batubulan for their stone carvings. Covarrubias<ref name="Covarubias"> |
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{{cite book |
{{cite book |
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Despite how highly developed the performing arts (such as imperial court music and dance) became during the Nguyễn dynasty, some view other fields of arts as beginning to decline during the latter part of the Nguyễn dynasty. |
Despite how highly developed the performing arts (such as imperial court music and dance) became during the Nguyễn dynasty, some view other fields of arts as beginning to decline during the latter part of the Nguyễn dynasty. |
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Beginning in the 19th century, [[modern art]] and French artistic influences spread into Vietnam. In the early 20th century, the École Supérieure des Beaux Arts de l’Indochine (Indochina College of Arts) was founded to teach European methods and exercised influence mostly in the larger cities, such as [[Hanoi]] and [[Ho Chi Minh City]].<ref> |
Beginning in the 19th century, [[modern art]] and French artistic influences spread into Vietnam. In the early 20th century, the École Supérieure des Beaux Arts de l’Indochine (Indochina College of Arts) was founded to teach European methods and exercised influence mostly in the larger cities, such as [[Hanoi]] and [[Ho Chi Minh City]].<ref>{{Cite web|url=http://www.vietnamartist.com/ArtHistory/Arthistory5.aspx|archiveurl=https://web.archive.org/web/20100304044904/http://vietnamartist.com/ArtHistory/Arthistory5.aspx|url-status=dead|title=Art History – A Brief History Of Vietnam Fine Art<!-- Bot generated title -->|archivedate=March 4, 2010}}</ref> |
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Travel restrictions imposed on the Vietnamese during France's 80-year rule of Vietnam and the long period of war for national independence meant that very few Vietnamese artists were able to train or work outside of Vietnam.<ref name="vcw">{{cite journal|last=Ngoc|first=Huu|year=2000|title=Modern Painting: Tracing the Roots|journal=Vietnam Cultural Window|publisher=Thế Giới Publishers|volume=29|url=http://www.thegioipublishers.com.vn/en/magazines/detail.php?cat=1&idmagazines=267|accessdate=April 23, 2010|url-status=dead|archiveurl=https://web.archive.org/web/20120306013739/http://www.thegioipublishers.com.vn/en/magazines/detail.php?cat=1&idmagazines=267|archivedate=March 6, 2012|df=mdy-all}} [http://www.particulargallery.com/Articles/Articles5.aspx Full text available here] {{Webarchive|url=https://web.archive.org/web/20100327130249/http://particulargallery.com/Articles/Articles5.aspx |date=March 27, 2010 }}</ref> A small number of artists from well-to-do backgrounds had the opportunity to go to France and make their careers there for the most part.<ref name="vcw"/> Examples include Le Thi Luu, Le Pho, Mai Trung Thu, Le Van De, Le Ba Dang and Pham Tang.<ref name="vcw"/> |
Travel restrictions imposed on the Vietnamese during France's 80-year rule of Vietnam and the long period of war for national independence meant that very few Vietnamese artists were able to train or work outside of Vietnam.<ref name="vcw">{{cite journal|last=Ngoc|first=Huu|year=2000|title=Modern Painting: Tracing the Roots|journal=Vietnam Cultural Window|publisher=Thế Giới Publishers|volume=29|url=http://www.thegioipublishers.com.vn/en/magazines/detail.php?cat=1&idmagazines=267|accessdate=April 23, 2010|url-status=dead|archiveurl=https://web.archive.org/web/20120306013739/http://www.thegioipublishers.com.vn/en/magazines/detail.php?cat=1&idmagazines=267|archivedate=March 6, 2012|df=mdy-all}} [http://www.particulargallery.com/Articles/Articles5.aspx Full text available here] {{Webarchive|url=https://web.archive.org/web/20100327130249/http://particulargallery.com/Articles/Articles5.aspx |date=March 27, 2010 }}</ref>{{dead link|date=September 2020}} A small number of artists from well-to-do backgrounds had the opportunity to go to France and make their careers there for the most part.<ref name="vcw"/> Examples include Le Thi Luu, Le Pho, Mai Trung Thu, Le Van De, Le Ba Dang and Pham Tang.<ref name="vcw"/> |
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Modern Vietnamese artists began to utilize French techniques with many traditional mediums such as silk, lacquer, etc., thus creating a unique blend of eastern and western elements. |
Modern Vietnamese artists began to utilize French techniques with many traditional mediums such as silk, lacquer, etc., thus creating a unique blend of eastern and western elements. |
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[[File:Ceiling Paintings 07 Nuestra Sra. del Santissimo Rosario Parish Church, Lila, Bohol (100 dpi).jpg|thumb|Lila Church ceiling paintings.]] |
[[File:Ceiling Paintings 07 Nuestra Sra. del Santissimo Rosario Parish Church, Lila, Bohol (100 dpi).jpg|thumb|Lila Church ceiling paintings.]] |
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[[File:Miagao Church.jpg|thumb|[[Miagao Church]].]] |
[[File:Miagao Church.jpg|thumb|[[Miagao Church]].]] |
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The earliest known [[Arts in the Philippines|Filipino art]] are the rock arts, where the oldest is the [[Angono Petroglyphs]], made during the Neolithic age, dated between 6000 and 2000 BC. The carvings were possibly used as part of an ancient healing practice for sick children. This was followed by the [[Bontoc, Mountain Province|Alab Petroglyphs]], dated not later than 1500 BC, which exhibited symbols of fertility such as a pudenda. The art rock arts are petrographs, including the charcoal rock art from [[Peñablanca]], charcoal rock art from [[Rizal, Palawan|Singnapan]], red hematite art at [[Anda, Bohol|Anda]],<ref>https://whc.unesco.org/en/tentativelists/5018/</ref> and the recently discovered rock art from [[Monreal, Masbate|Monreal (Ticao)]], depicting monkeys, human faces, worms or snakes, plants, dragonflies, and birds.<ref>https://www.gmanetwork.com/news/lifestyle/artandculture/586490/officials-call-for-protection-preservation-of-cave-art-in-monreal-masbate/story/</ref> Between |
The earliest known [[Arts in the Philippines|Filipino art]] are the rock arts, where the oldest is the [[Angono Petroglyphs]], made during the Neolithic age, dated between 6000 and 2000 BC. The carvings were possibly used as part of an ancient healing practice for sick children. This was followed by the [[Bontoc, Mountain Province|Alab Petroglyphs]], dated not later than 1500 BC, which exhibited symbols of fertility such as a pudenda. The art rock arts are petrographs, including the charcoal rock art from [[Peñablanca]], charcoal rock art from [[Rizal, Palawan|Singnapan]], red hematite art at [[Anda, Bohol|Anda]],<ref>{{Cite web|url=https://whc.unesco.org/en/tentativelists/5018/|title=Petroglyphs and Petrographs of the Philippines|first=UNESCO World Heritage|last=Centre|website=UNESCO World Heritage Centre}}</ref> and the recently discovered rock art from [[Monreal, Masbate|Monreal (Ticao)]], depicting monkeys, human faces, worms or snakes, plants, dragonflies, and birds.<ref>{{Cite web |url=https://www.gmanetwork.com/news/lifestyle/artandculture/586490/officials-call-for-protection-preservation-of-cave-art-in-monreal-masbate/story/ |title=Archived copy |access-date=July 10, 2020 |archive-date=July 7, 2020 |archive-url=https://web.archive.org/web/20200707013726/https://www.gmanetwork.com/news/lifestyle/artandculture/586490/officials-call-for-protection-preservation-of-cave-art-in-monreal-masbate/story/ |url-status=dead }}</ref> Between 890–710 BC, the [[Manunggul Jar]] was made in southern [[Palawan]]. It served as a secondary burial jar, where the top cover depicting the journey of the soul into the afterlife through a boat with a psycopomp.<ref>{{Cite web |url=https://www.nationalmuseum.gov.ph/nationalmuseumbeta/Collections/Archaeo/Manunggul.html |title=Archived copy |access-date=July 10, 2020 |archive-date=January 8, 2020 |archive-url=https://web.archive.org/web/20200108103533/http://www.nationalmuseum.gov.ph/nationalmuseumbeta/Collections/Archaeo/Manunggul.html |url-status=dead }}</ref> In 100 BC, the [[Kabayan Mummies|Kabayan Mummy Burial Caves]] were carved from a mountain. Between 5 BC-225 AD, the [[Maitum anthropomorphic pottery]] were created in Cotabato. The crafts were secondary burial jars, with many depicting human heads, hands, feet, and breast.<ref>{{Cite web |url=https://www.nationalmuseum.gov.ph/nationalmuseumbeta/Collections/Archaeo/Pots.html |title=Archived copy |access-date=July 10, 2020 |archive-date=July 29, 2020 |archive-url=https://web.archive.org/web/20200729050557/http://www.nationalmuseum.gov.ph/nationalmuseumbeta/Collections/Archaeo/Pots.html |url-status=dead }}</ref> |
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By the 4th century AD, and most likely before that, ancient people from the Philippines have been making giant warships, where the earliest known archaeological evidences have been excavated from [[Butuan]], where the ship was identified as a [[balangay]] and dated at 320 AD.<ref>https://web.archive.org/web/20151208192637/http://www.mb.com.ph/malay-ancestors-balangay-declared-phs-national-boat/</ref> The oldest, currently found, artifact with a written script on it is the [[Laguna Copperplate Inscription]], dated 900 AD. The plate discusses the payment of a debt.<ref name="Postma">{{cite journal|url=http://www.philippinestudies.net/ojs/index.php/ps/article/download/1033/1018|title=The Laguna Copper-Plate Inscription: Text and Commentary|jstor=42633308|last=Postma|first=Antoon|journal=Philippine Studies|volume=40|issue=2|pages=182–203|publisher=Ateneo de Manila University|date=April–June 1992}}</ref> The [[Butuan Ivory Seal]] is the earliest known ivory art in the country, dated between the 9th to 12th century AD. The seal contains carvings of an ancient script.<ref>https://www.nationalmuseum.gov.ph/nationalmuseumbeta/Collections/Archaeo/Seal.html</ref> During this period, various artifacts were made, such as the [[Agusan image]], a gold statue of a deity, possibly influenced by Hinduism and Buddhism.<ref>https://opinion.inquirer.net/122195/the-gold-tara-of-agusan</ref> From the 12th to 15th century, the [[Butuan Silver Paleograph]] was made. The script on the silver has yet to be deciphered.<ref>https://www.nationalmuseum.gov.ph/nationalmuseumbeta/Collections/Archaeo/NCT.html</ref> Between the |
By the 4th century AD, and most likely before that, ancient people from the Philippines have been making giant warships, where the earliest known archaeological evidences have been excavated from [[Butuan]], where the ship was identified as a [[balangay]] and dated at 320 AD.<ref>{{Cite web|url=https://web.archive.org/web/20151208192637/http://www.mb.com.ph/malay-ancestors-balangay-declared-phs-national-boat/|title=Malay ancestors’ ‘balangay’ declared PH’s National Boat | mb.com.ph | Philippine News|date=December 8, 2015|website=web.archive.org}}</ref> The oldest, currently found, artifact with a written script on it is the [[Laguna Copperplate Inscription]], dated 900 AD. The plate discusses the payment of a debt.<ref name="Postma">{{cite journal|url=http://www.philippinestudies.net/ojs/index.php/ps/article/download/1033/1018|title=The Laguna Copper-Plate Inscription: Text and Commentary|jstor=42633308|last=Postma|first=Antoon|journal=Philippine Studies|volume=40|issue=2|pages=182–203|publisher=Ateneo de Manila University|date=April–June 1992}}</ref> The [[Butuan Ivory Seal]] is the earliest known ivory art in the country, dated between the 9th to 12th century AD. The seal contains carvings of an ancient script.<ref>{{Cite web |url=https://www.nationalmuseum.gov.ph/nationalmuseumbeta/Collections/Archaeo/Seal.html |title=Archived copy |access-date=July 10, 2020 |archive-date=November 19, 2018 |archive-url=https://web.archive.org/web/20181119091932/http://www.nationalmuseum.gov.ph/nationalmuseumbeta/Collections/Archaeo/Seal.html |url-status=dead }}</ref> During this period, various artifacts were made, such as the [[Agusan image]], a gold statue of a deity, possibly influenced by Hinduism and Buddhism.<ref>{{Cite web|url=https://opinion.inquirer.net/122195/the-gold-tara-of-agusan|title=The Gold Tara of Agusan|first=Ambeth R.|last=Ocampo|date=June 26, 2019|website=INQUIRER.net}}</ref> From the 12th to 15th century, the [[Butuan Silver Paleograph]] was made. The script on the silver has yet to be deciphered.<ref>{{Cite web |url=https://www.nationalmuseum.gov.ph/nationalmuseumbeta/Collections/Archaeo/NCT.html |title=Archived copy |access-date=July 10, 2020 |archive-date=October 18, 2018 |archive-url=https://web.archive.org/web/20181018055500/http://www.nationalmuseum.gov.ph/nationalmuseumbeta/Collections/Archaeo/NCT.html |url-status=dead }}</ref> Between the 13th–14th century, the natives of Banton, Romblon crafted the [[Banton, Romblon|Banton cloth]], the oldest surviving [[ikat]] textile in Southeast Asia. The cloth was used as a death blanket.<ref>{{Cite web|url=https://opinion.inquirer.net/15599/history-and-design-in-death-blankets|title=History and design in Death Blankets|first=Ambeth R.|last=Ocampo|date=October 19, 2011|website=INQUIRER.net}}</ref> By the 16th century, up to the late 19th century, Spanish colonization influenced various forms of art in the country.<ref>[https://ncca.gov.ph/about-ncca-3/subcommissions/subcommission-on-the-arts-sca/visual-arts/the-spanish-colonial-tradition-in-philippine-visual-arts/]{{dead link|date=September 2020}}</ref> |
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From 1565 to 1815, Filipino craftsfolk were making the [[Manila galleons]] used for the trading of Asia to the Americas, where many of the goods go into Europe.<ref>https:// |
From 1565 to 1815, Filipino craftsfolk were making the [[Manila galleons]] used for the trading of Asia to the Americas, where many of the goods go into Europe.<ref>{{Cite web|url=https://rappler.com/voices/ispeak/forgotten-history-polistas-galleon-trade|title=Forgotten history? The polistas of the Galleon Trade|website=Rappler}}</ref> In 1565, the ancient tradition of tattooing in the Philippines was first recorded through the [[Pintados]].<ref>The Project Gutenberg EBook of The Philippine Islands, 1493–1803, Volume II, 1521–1569, by Emma Helen Blair, p. 126</ref> In 1584, [[Fort San Antonio Abad]] was completed, while in 1591, [[Fort Santiago]] was built. By 1600, the [[Rice Terraces of the Philippine Cordilleras]] were made. Five rice terrace clusters have been designated as [[world heritage site]]s.<ref>{{Cite web|url=https://rappler.com/science/society-culture/demystifying-age-ifugao-rice-terraces|title=Demystifying the age of the Ifugao Rice Terraces to decolonize history|website=Rappler}}</ref> In 1607, the [[San Agustin Church (Manila)]] was built. The building has been declared as a [[world heritage site]]. The site is famous for its painted interior.<ref name="whc.unesco.org">{{Cite web|url=https://whc.unesco.org/en/list/677/|title=Baroque Churches of the Philippines|first=UNESCO World Heritage|last=Centre|website=UNESCO World Heritage Centre}}</ref> In 1613, the oldest surviving [[suyat]] writing on paper was written through the [[University of Santo Tomas Baybayin Documents]].<ref name="fix3">{{Cite web|url = http://lifestyle.inquirer.net/169646/ust-documents-in-ancient-baybayin-script-declared-a-national-cultural-treasure|title = UST documents in ancient 'baybayin' script declared a National Cultural Treasure|date = August 25, 2014|accessdate = August 26, 2014|website = |work = Philippine Daily Inquirer|last = Sembrano|first = Edgar Allan M.|archive-url = https://web.archive.org/web/20140825214829/http://lifestyle.inquirer.net/169646/ust-documents-in-ancient-baybayin-script-declared-a-national-cultural-treasure|archive-date = August 25, 2014|url-status = live}}</ref> Following 1621, the [[Monreal Stones]] were created in Ticao, Masbate.<ref>{{cite book |last1=POTET |first1=Jean-Paul G. |title=Baybayin, the Syllabic Alphabet of the Tagalogs |date=2019 |publisher=Lulu.com |isbn=9780244142414 |page=115 |url=https://books.google.com/books/about/Baybayin_the_Syllabic_Alphabet_of_the_Ta.html?id=rHGADwAAQBAJ&redir_esc=y |language=en |quote=but an examination reveals that they cannot be earlier than the 17th century because in the excerpt shown here, the letter ''nga'' (frames 1 and 3) has the /a/-deleter cross that Father LOPEZ introduced in 1621, and this cross is quite different from the diacritic placed under the character ''ya'' to represent the vowel /u/: /yu/ (frame 2).}}</ref> In 1680, the [[Arch of the Centuries]] was made. In 1692, the image of ''[[Our Lady of Porta Vaga|Nuestra Senora de la Soledad de Porta Vaga]]'' was painted.<ref>Panlilio, Erlinda Enriquez (2003). "Consuming passions: Philippine collectibles", pg. 70. Jaime C. Laya. {{ISBN|9712714004}}.</ref> |
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[[Manaoag Church]] was established in 1701. In 1710, the [[world heritage site]] of [[Paoay Church]] was built. The church is known for its giant buttresses, part of the earthquake Baroque architecture.<ref name="whc.unesco.org"/> In 1720, the religious paintings at Camarin de da Virgen in Santa Ana were made.<ref name="ncca.gov.ph">{{cite web|url=http://ncca.gov.ph/wp-content/uploads/2018/02/NCCA-Board-Res-No-2017-330-PRECUP-Guidelines.pdf |title=NCCA guidelines |publisher=ncca.gov.ph |date= |accessdate=2020-02-24}}</ref> In 1725, the historical [[Santa Ana Church]] was built. In 1765, the [[world heritage site]] of [[Santa Maria Church]] was built. The site is notable for its highland structure.<ref name="whc.unesco.org"/> [[Bacarra Church]] was built in 1782. In 1783, the [[idjang]]s, castle-fortresses, of Batanes were first recorded. The exact age of the structures are still unknown.<ref name="Howard T. Fry 1985, pp.3-21">Howard T. Fry, "The Eastern Passage and Its Impact on Spanish Policy in the Philippines, |
[[Manaoag Church]] was established in 1701. In 1710, the [[world heritage site]] of [[Paoay Church]] was built. The church is known for its giant buttresses, part of the earthquake Baroque architecture.<ref name="whc.unesco.org"/> In 1720, the religious paintings at Camarin de da Virgen in Santa Ana were made.<ref name="ncca.gov.ph">{{cite web|url=http://ncca.gov.ph/wp-content/uploads/2018/02/NCCA-Board-Res-No-2017-330-PRECUP-Guidelines.pdf |title=NCCA guidelines |publisher=ncca.gov.ph |date= |accessdate=2020-02-24}}</ref> In 1725, the historical [[Santa Ana Church]] was built. In 1765, the [[world heritage site]] of [[Santa Maria Church]] was built. The site is notable for its highland structure.<ref name="whc.unesco.org"/> [[Bacarra Church]] was built in 1782. In 1783, the [[idjang]]s, castle-fortresses, of Batanes were first recorded. The exact age of the structures are still unknown.<ref name="Howard T. Fry 1985, pp.3-21">Howard T. Fry, "The Eastern Passage and Its Impact on Spanish Policy in the Philippines, 1758–1790", ''Philippine Studies,'' vol.33, First Quarter, 1985, pp.3–21, p.18.</ref> In 1797, the [[world heritage site]] of [[Miagao Church]] was built. The church is famous for its facade carvings.<ref name="whc.unesco.org"/> [[Tayum Church]] was built in 1803. In 1807, the Basi Revolt paintings were made, depicting the Ilocano revolution against Spanish interference on basi production and consumption. In 1822, the historical [[Paco Park]] was established. In 1824, the [[Las Piñas Bamboo Organ]] was created, becoming the first and only organ made of bamboo. By 1852, the ''[[Saint James the Apostle Parish Church (Paete)|Sacred Art paintings of the Parish Church of Santiago Apostol]]'' were finished. In 1884, both the ''Assassination of Governor Bustamante and His Son'' and ''[[Spoliarium]]'' won prizes during at art competition in Spain. In 1890, the painting, ''Feeding the Chicken'', was made. ''[[The Parisian Life (painting)|The Parisian Life]]'' was painted in 1892, while ''[[La Bulaqueña]]'' was painted in 1895. The clay art, ''[[The Triumph of Science over Death]]'', was crafted in 1890.<ref name=Reyes>{{cite book|last=Reyes|first=Raquel A. G.|title=Love, Passion and Patriotism: Sexuality and the Philippine Propaganda Movement, 1882 – 1892|url=https://books.google.com/books?id=W3tjWD-ngC4C&pg=PA181&lpg=PA181&dq=triumph+of+science+over+death+jose+rizal&source=bl&ots=xYrJSx2Vpd&sig=h12nlAc5UKT8qE1HoNgG5GGE-Lc&hl=en&sa=X&ei=nT2SUsCBMKTksASay4H4BQ&sqi=2&ved=0CFUQ6AEwBw#v=onepage&q=triumph%20of%20science%20over%20death%20jose%20rizal&f=false|publisher=NUS Press, National University of Singapore (2008)|accessdate=24 November 2013}}</ref> In 1891, the first and only all-steel church in Asia, [[San Sebastian Church (Manila)]], was built. In 1894, the clay art ''Mother's Revenge'' was made.<ref>{{Cite web |url=https://www.nationalmuseum.gov.ph/nationalmuseumbeta/Collections/Mothers.html |title=Archived copy |access-date=July 10, 2020 |archive-date=May 27, 2020 |archive-url=https://web.archive.org/web/20200527155415/http://www.nationalmuseum.gov.ph/nationalmuseumbeta/Collections/Mothers.html |url-status=dead }}</ref> |
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In the 20th century, or possibly earlier, the Koran of Bayang was written. During the same time, the Stone Agricultural Calendar of Guiday, Besao was discovered by outsiders. In 1913, the [[Rizal Monument]] was completed. In 1927, the [[University of Santo Tomas Main Building]] was rebuilt, while its Central Seminary Building was built in 1933. In 1931, the royal palace [[Darul Jambangan]] of Sulu was destroyed.<ref name="Lacson">{{cite news |last1=Lacson |first1=Nonoy E. |title='Pearl of Sulu Sea' show-cased |url=https://www.pressreader.com/philippines/manila-bulletin/20180704/281818579580104 |accessdate=February 22, 2020 |publisher=Manila Bulletin |date=July 4, 2018}}</ref> On the same year, the [[Manila Metropolitan Theater]] was built. ''[[The Progress of Medicine in the Philippines]]'' paintings were finished in 1953. [[Santo Domingo Church]] was built in 1954. In 1962, the ''International Rice Research Institute'' painting was completed, while the ''Manila Mural'' was made in 1968. In 1993, the [[Bonifacio Monument]] was created.<ref name="ncca.gov.ph"/><ref>{{cite web|url=http://www.nationalmuseum.gov.ph/nationalmuseumbeta/Collections/Archaeo/NCT.html |title=Collections |publisher=www.nationalmuseum.gov.ph |date= |accessdate=2020-02-24}}</ref> |
In the 20th century, or possibly earlier, the Koran of Bayang was written. During the same time, the Stone Agricultural Calendar of Guiday, Besao was discovered by outsiders. In 1913, the [[Rizal Monument]] was completed. In 1927, the [[University of Santo Tomas Main Building]] was rebuilt, while its Central Seminary Building was built in 1933. In 1931, the royal palace [[Darul Jambangan]] of Sulu was destroyed.<ref name="Lacson">{{cite news |last1=Lacson |first1=Nonoy E. |title='Pearl of Sulu Sea' show-cased |url=https://www.pressreader.com/philippines/manila-bulletin/20180704/281818579580104 |accessdate=February 22, 2020 |publisher=Manila Bulletin |date=July 4, 2018}}</ref> On the same year, the [[Manila Metropolitan Theater]] was built. ''[[The Progress of Medicine in the Philippines]]'' paintings were finished in 1953. [[Santo Domingo Church]] was built in 1954. In 1962, the ''International Rice Research Institute'' painting was completed, while the ''Manila Mural'' was made in 1968. In 1993, the [[Bonifacio Monument]] was created.<ref name="ncca.gov.ph"/><ref>{{cite web|url=http://www.nationalmuseum.gov.ph/nationalmuseumbeta/Collections/Archaeo/NCT.html |title=Collections |publisher=www.nationalmuseum.gov.ph |date= |accessdate=2020-02-24}}</ref> |
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==See also== |
==See also== |
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{{Portal|Asia}} |
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*[[:Category:Arts in Asia by country]] |
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*[[History of Chinese art]] |
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*[[Culture of the Song Dynasty]] |
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*[[List of National Treasures of Japan (sculptures)]] |
*[[List of National Treasures of Japan (sculptures)]] |
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===General art topics=== |
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==References== |
==References== |
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*[http://www.asia.si.edu Freer Gallery of Art and Arthur M. Sackler Gallery at the Smithsonian Institution] |
*[http://www.asia.si.edu Freer Gallery of Art and Arthur M. Sackler Gallery at the Smithsonian Institution] |
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*[https://www.rmit.edu.vn/art-collection Contemporary Vietnamese Art Collection] at RMIT University Vietnam |
*[https://www.rmit.edu.vn/art-collection Contemporary Vietnamese Art Collection] at RMIT University Vietnam |
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{{Asia in topic|Art of}} |
{{Asia in topic|Art of}} |
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{{Asia topics}} |
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{{Branches of the visual arts}} |
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{{DEFAULTSORT:Eastern Art History}} |
{{DEFAULTSORT:Eastern Art History}} |