Abstract
Artefacts have been suggested as the primary points of insights into the culture and customs of a civilization and the way they interact with the world around them. Whilst many of the objects in question convey spiritual messages in terms of idols and iconography, it is important to consider the ways in which the objects communicate on an implied level also; for example, jade stone is one particular inclusion within many Eastern Asian ceremonies and ceremonial pieces and had been considered within these cultures’ as a precious stone, but also, for its ability to preserve an individuals spirit. As a result, it is important to note that objects regularly contain a subliminal and inherent understanding within the cultures they exist that transcend the experience of, in this case, the western world expectations; and so, how these objects and curiosities inform our understanding of other cultures as well as our own, including spiritual, religious and customary belief must be considered in context. This assignment shall explore the art of the indigenous Asian cultures’ Japan, Korea, India and China. For this, I shall draw upon a variety of aesthetic examples that indicate spiritual and traditional customs for the selected cultures and provide a brief fact bio-file and crucial information needed to help understand the chosen objects. I will also suggest how such objects may have been perceived in the Western world from an explorer’s perspective.
Object 1
Object title: Shiva as the Lord of Dance
Medium/ materials used to create the object: Copper Alloy
Current location: The Metropolitan Museum, Manchester, England
Image taken from: The Met Museum . (2016, Jan 1st). Shiva as Lord of Dance (Nataraja). Retrieved June 28th, 2016, from The Met: http://www.metmuseum.org/art/collection/search/39328
A 12th century sculptures depicting the Shiva Nataraja and is known to be ne of many designs that date back to the 5th century and feature an array of materials that tend to conform to strict set of poses. Western audiences can appreciate and will perceive a young figure engaged within the art of dance. Although, the object is important to Western understanding of Indian, and more specifically, Hindu spiritual culture and this object highlights some of the main iconography associated with these cultures. ‘Through symbols and dance gestures, Shiva taught the illustrious gathering that he is Creator, Preserver, and Destroyer’ (The Met Museum, 2016).
Object 2
Object title: Śankh
Medium/ materials used to create the object: shell, brass, wax
Current location: The Metropolitan Museum, Manchester, England
Image taken from: The Met Museum. (2016, Jan 1st). Śankh. Retrieved June 28th, 2016, from The Met: http://www.metmuseum.org/art/collection/search/503672
The 19th century Sankh is a trumpet/ similarly played instrument in the form of a highly decorated conch shell. Whilst Western audiences would agree that this object might have had some spiritual significance through the decorative aspects, its function as a practical instrument within ceremonies cannot be so easily noticed from a distance. The object combines numerous mythological symbols such as the lotus and serpents that suggest this as having a use within fertility rituals sacred to Hindu culture (The Met Museum, 2016); as well as divine aspects that suggest connections to the Hindu gods’ Ganesh and Shiva.
Object 3
Object title: Chinese Zhou dynasty ritual bowl
Medium/ materials used to create the object: bronze, copper, jade
Current location: British Museum, London, England
Image taken from: Wardrop, M. (2009, Nov 25). A History Of The World In 100 Objects: priceless treasures from the British Museum. The Independant , pp. 1-2.
Dating back over 3000 years, the Zhou ritual bowl was a spiritual vessel used to hold food/ water in ritual practice. The objects primary function as a food/ drinking vessel would be accepted by Western civilization, its role as a ceremonial object and, later, as a trophy to legitimize leadership cannot be ascertained. ‘Rulers used the old traditions to secure their legitimacy despite the social upheaval’ (Wardrop 2009). Whilst style deviated, this object can be seen as a precursor to the traditional Ding style vessel, also created out of bronze materials that featured the ritual bowl standing on a tripod.
Object 4
Object title: Chinese Ming bank note
Medium/ materials used to create the object: paper
Current location: British Museum, London, England
Image taken from: British Museum. (2016, Jan 1st ). Chinese Ming banknote. Retrieved June 28th, 2016, from British Museum Online: https://www.google.com/culturalinstitute/beta/asset/chinese-ming-banknote/7QEZmpS7JvAuUA
This Ming dynasty Chinese bank note is considered one of the earliest forms of paper currency surviving within China. The Ming dynasty was the first of the Chinese dynasties to attempt to fully replace coins with paper money; despite this, an over production of this paper system and remaining problems with counterfeiting led to a hyperinflation, leading to a dramatic decline and then suspension in 1425AD (BBC, 2014). Whilst Western audiences can appreciate the written significance in terms of the stencilled characters and columns as well as the official seals; the monetary value cannot be ascertained easily, the columns highlight differences between Western and Eastern written culture with the columns reading from up to down rather than left to right.
Object 5
Object title: Suit of armour in haramaki style
Medium/ materials used to create the object: iron, leather
Current location: V&A Museum, London, England
Image taken from: The V&A. (2016, Jan 1st). Japan: Room 45. Retrieved June 28th, 2016, from The V&A Online: https://www.vam.ac.uk/collections/japan#objects
This mid 19th century suit of armour has been designed in the haramaki style. Whilst seemingly more lightweight and intricate than Western counterparts due to a need of being able to fight with both a mount and with a range of weapons including the bow. The armour was designed using interlocking iron chain with interlocking iron plates for enhanced manoeuvrability whilst maximising protection. In order to deal with the humidity and challenging Japanese climate, iron plates were lacquered. This style of armour was common amongst the samurai class and provided a decorative familial emblem that would come to recognise particular clans and their legacy.
Object 6
Object title: Bugaku Mask
Medium/ materials used to create the object: wood
Current location: V&A Museum, London, England
Image taken from: The V&A. (2016, Jan 1st). Japan: Room 45. Retrieved June 28th, 2016, from The V&A Online: https://www.vam.ac.uk/collections/japan#objects
The Bugaku mask was primarily used within Japanese performing arts, especially dance and was considered mostly confined to the upper echelons of society. The masks themselves usually featured detachable parts and were highly decorative. It was important for the masks to remain un-gendered in order to convey the feeling of the other, spiritual or inhuman. Such masks may have been used within theatrical performance for ‘exaggerated realism’ that generally took the form of grotesque features in order to captivate an audience, whilst the uncovered eyeholes may have been used to connect the performer with the audience. (The Met Museum, 2016). Despite western conceptions surrounding masks suggesting that masks were worn to hide ones identity, it can be seen that the Bugaku mask of Japan was to create another identity altogether.
Object 7
Object title: Openwork incense burner
Medium/ materials used to create the object: celadon (ceramic, porcelain and iron)
Current location: National Museum of Korea
Image taken from: Delahunt, M. (2010, Jan 1st). Cb-Cg. Retrieved June 28th, 2016 , from Artlex: http://www.artlex.com/ArtLex/Cb.html
This openwork incense burner hybridizes plant and animal forms with the traditional lotus flower and leg stands that in turn hold the lily pad underneath the flower decoration. The selection of motifs used here would differ from western style and highlight more complex, intricate and abstract forms to give the impression of balance, harmony and the presence of being. This object symbolises Eastern Asian spiritual philosophy and operates as an object that challenges the senses through its primary function as an incense burner, combined with its use of highly regarded symbols including the lotus and the frog.
Object 8
Object title: Silla gold crown
Medium/ materials used to create the object: gold, jade
Current location: Gyeongju National Museum, South Korea
Image taken from: Korea.net. (2013, April 16th). Indulge in beauty: traditional Korean craft. Retrieved June 28th, 2016, from Korea.net: http://www.korea.net/NewsFocus/Culture/view?articleId=107109
The Silla kingdom gold crown is a testament to the intricacy of design within Korean culture. Crafted entirely from gold, this crown bears some similarities to those of Western monarchs. Despite a definite resemblance in terms of physical design to western models, this object moves beyond its primary value as an ornament of power; through the significance of inlaid jade. Considered a native precious stone to Eastern Asia, jade was attributed spiritual significance and was interred in burials and worn due to a belief in its ability to preserve an individuals life (Barnes, 2016, pg.2). Furthermore, the overall elevated design of this crown may have been designed in order to compliment the many pagoda styled temples of built throughout Korean history.
References
Barnes, G. L. (2016). Jade: its tectonic formation, geochemistry, and archaeology in East Asia – in reverse order. HHGS . HHGS .
BBC. (2014, Jan 1st ). A History of the World: Ming Banknote. Retrieved June 28th, 2016, from BBC: http://www.bbc.co.uk/ahistoryoftheworld/objects/F3oFoFDuTx-rzhCkCL9_BA
British Museum. (2016, Jan 1st ). Chinese Ming banknote. Retrieved June 28th, 2016, from British Museum Online: https://www.google.com/culturalinstitute/beta/asset/chinese-ming-banknote/7QEZmpS7JvAuUA
Delahunt, M. (2010, Jan 1st). Cb-Cg. Retrieved June 28th, 2016 , from Artlex: http://www.artlex.com/ArtLex/Cb.html
Korea.net. (2013, April 16th). Indulge in beauty: traditional Korean craft. Retrieved June 28th, 2016, from Korea.net: http://www.korea.net/NewsFocus/Culture/view?articleId=107109
The Met Museum . (2016, Jan 1st). Shiva as Lord of Dance (Nataraja). Retrieved June 28th, 2016, from The Met: http://www.metmuseum.org/art/collection/search/39328
The Met Museum. (2016, Jan 1st). Śankh. Retrieved June 28th, 2016, from The Met: http://www.metmuseum.org/art/collection/search/503672
The Met Museum. (2016, Jan 1st). Bugaku Mask . Retrieved June 28th, 2016, from The Met: http://www.metmuseum.org/art/collection/search/45521
The V&A. (2016, Jan 1st). Japan: Room 45. Retrieved June 28th, 2016, from The V&A Online: https://www.vam.ac.uk/collections/japan#objects
Wardrop, M. (2009, Nov 25). A History Of The World In 100 Objects: priceless treasures from the British Museum. The Independant , pp. 1-2.
