# data[].attributes.attachment_caption
Slippery stone seals in the Indus Valley Civilization

# data[].attributes.headline
Indus River Valley Civilization of  South Asia

# data[].attributes.subject
Indus River Valley Civilization of  South Asia

# data[].attributes.body
This time period is known as the Indus Valley Civilization. Between 2600 and 1900 B.C., several settlements flourished around the Indus River, which extends from the Tibetan Plateau and flows into the Arabian Sea. These settlements - the Indus cities excavated in Afghanistan, India and Pakistan - are collectively known as the Indus Valley Civilization. The artwork pictured here is from the Indus Valley Civilization of South Asia. This artwork was excavated from the Indus site. The name is a stamp seal and a modern impression: a unicorn and an incense burner. These stamps may have been used for trade and rituals and can be distinguished from unicorns by engraving animals, humans, possibly sacred beings, and sometimes unicorns! They are engraved with images of wild or domestic animals, humans, magical creatures, and possibly deities. In this example, the creature is presented in typical strict profile, standing before what may be an altar. This also indicates that this was a very important work of art in that period in South Asia. Such works were made of different stones. Stamp seals were used in ancient times as a sign of ownership and a badge of identity. It also represents the fact that stone was also an important material for making in South Asia during that period. Images and information from A Brief History of South Asian Art: Prehistory - ca. 500 AD. by DR. ARATHI MENON

# data[].attributes.body
I will begin by describing China in this era. The Neolithic period is characterized by the beginning of a sedentary human way of life. People learned to grow plants and domesticate animals for food rather than relying solely on hunting and gathering. This coincided with the use of more sophisticated stone tools that were useful for agriculture and animal husbandry. In China, this period began around 7000 B.C. and lasted until 1700 B.C. The artifact I am showing is from the Hongshan culture, a pendant in the form of a mask, circa 3500-3000 B.C. (Late Neolithic), and is a jade carving. Jade carving is another advanced craft invented by Neolithic people. It still plays an important role in Chinese culture until today. Neolithic jade objects include personal adornments such as bracelets, earrings and pendants, but most importantly, objects designed for ceremonial or ritual use, such as axes, blades and knives. The Red Mountain Culture of the Northeast (c. 3800-2700 B.C.) produced some of the earliest jade objects used as pendants. This is the reason why I am introducing this artwork, I want you to know that in that era China was the beginning period of jade carving. The main elements of this decorative pendant design are a pair of "eyes" drilled from the front, with perforated slits for "eyebrows," and a series of swirling, slightly undulating curves. Below the eyes are seven paired, pointed, tooth-like protrusions. Extending from the sides are symmetrically curved and hooked elements. This was found placed on the chest of the tomb owner and was a burial object of that period. Neolithic period (c. 7000-1700 B.C.E.), an introduction
by NATIONAL MUSEUM OF ASIAN ART, SMITHSONIAN INSTITUTION

# data[].attributes.body
Let me describe what happened during this period. In this period is also called the Bronze Age of China. It is the Zhou dynasty, which belongs to this period, that I would like to introduce. In its first years, known as the Western Zhou (c. 1050-771 B.C.) because its capital was located in western China, the Zhou dynasty mirrored the rule of the Shang dynasty as a centralized empire. Because of the Zhou's vast territory, early Zhou kings developed a form of feudalism in which their regions were ruled by designated kin and other nobles. The art of the early Zhou was particularly excellent in bronze casting and jade working. The artwork I will present is a square lidded ceremonial wine vessel with attached dao iron, snake, and bird, early Western Zhou, ca. 1050-975 B.C., bronze, China, Henan Province, Luoyang. It is a ceremonial instrument with a lid, of the square ritual type. Although it is beautifully decorated with elaborate tauti motifs and animal designs in varying degrees of relief, the vessel is notable for its lengthy 187-character cast inscription. The text is one of the longest from the early Zhou period and is repeated within the vessel and lid. The weakening of central Zhou authority is reflected in the visual arts. Bronze vessels were no longer used only for state and religious ceremonies. Local rulers could commission and purchase bronze vessels to demonstrate their status and wealth. This is evident in bronze inscriptions. Zhou bronze inscriptions (such as those on square-covered sacrificial wine vessels) lengthened and often recorded some honor or achievement of the living nobility, reflecting the elite's desire to record their status and prestige. Derived from Zhou Dynasty (c. 1050-221 B.C.E.), an introduction by NATIONAL MUSEUM OF ASIAN ART, SMITHSONIAN INSTITUTION

# data[].attributes.headline
Seleucid Empire and Maurya dynasty of South Asia

# data[].attributes.subject
Seleucid Empire and Maurya dynasty of South Asia

# data[].attributes.body
I'll start by describing what happened in this thing South Asia. In c. 326 B.C.E, Alexander of Macedon invaded the Indian subcontinent. Alexander's invasion had a lasting impact on the history of South Asia. One of his generals, Seleucus Nicator, would become ruler of the Seleucid Empire, which stretched from Anatolia to Afghanistan and Pakistan, including parts of the Indus Valley. However, Seleucus' ambitions for more territory were curbed by the Maurya dynasty's Chandragupta. This is roughly what happened in that period. The artwork I want to show belongs to the Peacock Dynasty. Pillar capital of Pataliputra, the Maurya dynasty capital of Bihar, c. 3rd century B.C. Patna Museum. Made of unpolished light yellow sandstone. Few artifacts have survived from the Maurya dynasty period. So this is the artwork that can prove that the culture of that era was important. The capital is decorated with classical Greek designs such as rows of repeated rosette knots, ovoid, bead and scroll forms, wavy scrolls and a central flaming palm tree and snail shell with a central rosette knot. The capital of Pataliputra may reflect the influence of the Seleucid Empire on early Indian sculptural art. Derived from A brief history of the art of South Asia: Prehistory-c. 500 C.E. by DR. ARATHI MENON

# data[].attributes.headline
King Kanishka & Buddhist Figurative Sculpture of South Asia

# data[].attributes.subject
King Kanishka & Buddhist Figurative Sculpture of South Asia

# data[].attributes.body
I would like to introduce this period. It is about the 1st - 3rd centuries. Hundreds of pieces of ivory and bone furniture, figurines, and a large number of utilitarian and luxury wares were found in Begram, Afghanistan, produced from South Asia and as far away as China, Rome, and Roman-Egypt, dating back to the Kushan period. These items tell us about the kinds of goods that traveled the Silk Road in the first and second centuries. By the second century AD, Buddhism had also spread eastward to Central Asia and China via these same routes. The earliest known Chinese translations of Buddhist scriptures date to the second century AD. This was also the beginning of trade between South Asia and the rest of Asia, and there was cultural trade between South Asia and China. At the same time Buddhism was passed on. The artifact I want to present is the ivory statue, Bagram, Afghanistan, 1st century. Bagram ivory is a series of over a thousand decorative inlays carved into ivory and bone. These are rare and important examples of first- or second-century Afghan and Indian art, attesting to the international taste and patronage of the local dynasties, the refinement of the artifacts, and the ancient luxury trade. It is also made of a different material than the previous artwork, no longer stone, but ivory. From A brief history of the art of South Asia: Prehistory-c. 500 C.E. by DR. ARATHI MENON

# data[].attributes.body
The period I want to describe is the Han Dynasty (206 B.C.-220 A.D.). It was divided into two periods: the Former Han (or Western Han), when Changan (present-day Xian) was its capital; and the Later Han (or Eastern Han), which ruled from Luoyang - 230 miles east of Xian. The Han Dynasty was a pivotal period in Chinese history. During its long reign of nearly four hundred years, many foundations were laid for lasting aspects of Chinese society. From 114 B.C. to 127 A.D., this western road of communication between China and Central Asia, China and India, mediated by the silk trade, was named the "Silk Road. Trade. Imagine a carpet that was as valuable as gold. A place on the ancient global trade network known as the Silk Road in western China, high-quality carpets made of wool became a luxury trade item. The artifact I would like to present is a knotted carpet with figures and Brahmi/Yutian inscriptions, 5th to 6th century AD, Shampura Township, Ü-Tian District, Xinjiang Uygur Autonomous Region, China. A brightly colored 5th to 6th century knotted carpet made of wool was used to cover beds or floors. The carpet depicts figures, trees, and includes inscriptions woven in between. The borders offer decorative motifs, programmed animal forms, and wave patterns. Carpets like these reveal how diverse cultural ideas, artistic traditions, and aesthetic tastes from India, Bactria, the Hellenistic world, the early Roman Empire, and Persia) informed the objects made and traded along the ancient Silk Road. Derived from Cultural exchange and integration, a Khotanese carpet on the Silk Road by DR. HE ZHANG

# data[].attributes.body
The period I would like to describe is the Siddha period (c. 320 - 647 A.D., named after the Siddha dynasty), when great advances were made in poetry, prose and drama, as well as important discoveries in mathematics and astronomy. This was the era of some of the most famous creative minds in Indian history. The Gupta period has been called the "golden age of Indian culture" by some early observers, who attribute the vast and complex artistic quality of the period to the patronage of the Gupta people. The term "golden age" was based on the desire of these writers for an ideal or classical style of art. The artwork I will present is from Varaha, 5th century AD, Ilam, Madhya Pradesh. The article presents scholars who believe that the Gupta people may have been particularly attached to the Varaha incarnation of Vishnu. An extraordinary sculpture - this time in the form of a wild boar showing the Varaha avatar - is found at another site in Madhya Pradesh, Eran. Eran has many temples dating back to the Gupta period, and its connection with the Gupta people is well established through inscriptions. The Varaha of Eran is enormous - nearly twelve feet high - and again shows the goddess grasping his ivory tusks. The artists have skillfully placed the witness to the miracle on Varaha's body, which is almost completely covered by rows of spectators. Other figures are carved on his ears and trunk. Varaha is a Hindu god, one of ten incarnations of Vishnu. It also represents that Hinduism was still a very important religious element in that era. Source from The Gupta Period. by DR. ARATHI MENON

# data[].attributes.attachment_caption
Artworks resulting from cultural exchange

# data[].attributes.body
The period I will describe, the Tang Dynasty (618-907), is considered the Golden Age of Chinese history. The dynasty reunited China after nearly four hundred years of division. The Tang dynasty benefited from the foundations laid by the Sui dynasty as they built a more durable state on the political and governmental institutions established by the Sui emperors. Known for its great military power, successful diplomatic relations, economic prosperity, and cosmopolitan culture, the Tang Dynasty was without a doubt one of the greatest empires of the medieval world. The artwork I would like to present is a tomb statue of a traveler from Suthep or Central Asia, Tang Dynasty, c. 700- c. 750, ceramics and paint, China. During the Tang Dynasty, China's territory extended from the Korean Peninsula in the east, to the Mongolian steppes in the north, to present-day Afghanistan in the west, and to northern Vietnam in the south. The Tang Dynasty ensured the peace and security of the overland trade route, the Silk Road, which stretched as far as Rome. Merchants, diplomats and pilgrims came from all over East Asia and Central Asia. They brought with them new religions, ideas and cultural practices that were eagerly accepted by the elite circles of the Tang Dynasty. The two capitals of Chang'an and Luoyang were flooded with foreigners from all over the world. The constant exchange of goods along the Silk Road, such as textiles, metalwork, and glassware, inspired Tang artisans to experiment with novel techniques, shapes, and designs. Derived from Tang dynasty (618-907), an introduction. by NATIONAL MUSEUM OF ASIAN ART, SMITHSONIAN INSTITUTION

# data[].attributes.body
I would like to introduce Entrance into the Rajarajesvara temple complex, c. 1004-1010. To see the Hindu god Shiva in the Rajarajesvara temple complex in Tanjavur, we must enter two impressive portals, walk into an isolated courtyard, pass a huge stone bull, climb the stairs of the largest temple, and pass through a hall filled with beautifully carved pillars. The Rajarajesvara temple was built by Rajaraja Chola I, one of the most successful rulers of the medieval period. Tanjavur was the capital of the Chola dynasty, an empire that ruled most of present-day South India from about 848 to 1279. But the family of Chola rulers that emerged in the ninth century would leave an indelible mark on the history of art and architecture. The Juros owed much of their prosperity to their investment in harnessing the waters of the Kaveri River basin for agricultural and irrigation projects, and turning large areas into arable land. This, along with their increased commercial efforts and active participation in the Indian Ocean maritime trade, contributed to a prosperous empire. the Rajarajesvara temple symbolizes the power and prosperity of the Jura at the turn of the eleventh century. the Rajarajesvara temple is located within a royal and sacred complex. The nearby palace of the king has not survived. The temple's impressive height (it was the largest of its kind at the time) and wealth must have impressed the citizens of Tanjavur. The temple's economic influence was considerable - many people looked after the land owned by the temple, and the temple employed hundreds of dancers, priests, accountants and administrative staff. the Rajarajesvara temple was also an influential cultural center, with dance and music performances, and a place of spiritual education and discourse. Source from Rajarajesvara temple, Tanjavur by DR. ARATHI MENON

# data[].attributes.body
The period I want to introduce is the Song dynasty divided into two periods: the Northern Song (960-1126), the physically larger empire, and the Southern Song (1127-1279). In general, it was a period of stability and economic, cultural and artistic prosperity. The relative military weakness of the Song government troubled many Chinese intellectuals. They developed a defensive, inward-looking strategy and became less open to adopting foreign styles and ideas. For example, Buddhism was rejected in part because of its foreign origins, and the indigenous philosophies of Confucianism and Taoism experienced a strong revival. With the revival of Confucianism came a new interest in ancient cultures or archaeology. The Song dynasty is often referred to as the age of primitive archaeology. And the artwork I would like to introduce is Travelers by Streams and Mountains by Fan Kuan. This period is also the origin of Chinese landscape painting. Taoist mountain man, hermit, countryman, wine lover - Fan Kuan had a veritable reputation for being unconventional. We know very little about this great artist, but he painted some of the most majestic landscapes of the early Song Dynasty. The Traveler by the Mountain of Streams, probably the only surviving work by Fan Kuan, is an orderly statement reflecting the artist's worldview. The development of monumental landscape painting coincided with the development of Neo-Confucianism - a reinterpretation of Chinese moral philosophy. Derived from Song dynasty (960-1279), an introduction by NATIONAL MUSEUM OF ASIAN ART, SMITHSONIAN INSTITUTION, ＆ derived from Neo-Confucianism and Fan Kuan , Travelers by Streams and Mountains by DR. JENNIFER N. MCINTIRE.