Apah handout ch 25 - Anton Lawrendra Tin Do Chapter 25 Sultans Kings Emperors and Colonists The Art of South and Southeast Asia after 1200 Common

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Anton Lawrendra, Tin Do Chapter 25: Sultans, Kings, Emperors, and Colonists The Art of South and Southeast Asia after 1200 Common Themes The art of South and Southeast Asia after 1200 expressed ideas and beliefs about: -Divine forces that control the universe -Moral behavior -The search for spiritual peace -Cycles of birth, death, and reincarnation -Respect for all living beings -Glorifying gods, kings, and emperors Idealized Human Forms Following the conventions of Indian art, Southeast Asian artists sought to visualize the spiritual perfection of the gods in idealized human form. Although the iconography was imported from India, notable differences are evident in Southeast Asian sculpture. Anatomical Structure The sculpture combines sensual forms with a strong architectonic basis, as if the sensuality of Indian sculpture had been merged with the formal, hieratic qualities of Egyptian sculpture. Although surface flesh seems to be inflated by prana (inner breath), the body is not usually as taut as in Indian sculpture. Beneath the skin surface, whose junctures are subtly indicated, there is the sense of muscle and bone. The sensuality and fecundity expressed in Khmer female figures are not as exaggerated and seem restrained when compared with the voluptuous femininity typical of Indian art. Later Southeast Asian sculptures are even more abstracted, and forms cease to have a direct relationship to the human anatomy. Pose In general, a sense of dignity and restraint is created in the sculpture by an erect posture, frontal pose, and balanced forms. Serene expressions emphasize the compassion, purity, and introspection of transcendent beings. Surfaces In comparison to Indian sculpture, less emphasis is placed on adornment. Smooth areas contrast with the rich patterns of the figure’s hairstyle and the pleats of the garment and the elaborate way in which it is worn. Some images were probably adorned with actual jewelry. Sculpture in the Round and in Relief Unlike Indian sculptural figures, which were rarely more than carvings in very high relief as part of a stela or for display in a niche, Southeast Asian deities were often carved fully in the round. A tradition of low-relief sculpture also flourished. Scale As in South Asian art, to express the power and complexity of the gods or kings, sculptures of them were sometimes represented on a superhuman scale, while lesser spiritual beings were portrayed smaller. Overview: South Asia The civilization of the Indian subcontinent is one of the oldest in the world. Its cultural continuities, and its powerful influence across most of Asia, can be traced from ancient times. India is the home of Hinduism, Buddhism, and the Jain religions. Its contributions to Southeast Asian cultures, transmitted through trade and commercial contact, transformed tribal societies of the region into a series of kingdoms
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in which Indian religions, cosmology, language, notions of kingship, and aesthetic forms flourished. As Buddhism spread to East Asia, Indian iconography and styles of art also had a profound impact on the
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This note was uploaded on 04/15/2010 for the course BIOLOGY 11 taught by Professor Quail,p during the Spring '10 term at University of California, Berkeley.

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Apah handout ch 25 - Anton Lawrendra Tin Do Chapter 25 Sultans Kings Emperors and Colonists The Art of South and Southeast Asia after 1200 Common

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