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Vessel, Jomon 10,500-300 BCE, Bowl, Banpo, 5th millennium BCE

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Vessel, Jomon 10,500-300 BCE, Bowl, Banpo, 5th millennium BCE

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The Jomōn Period, at the time these two pieces took place, in Japan was a time where semi-sedentary people lived. These were people that were primarily hunter gatherers and had very little reliance on agriculture for sustainability. The Jomōn period experienced multiple cooling/warming events and as a result migrated back and forth from inland to coast side. When we take a look at the pottery that was crafted in this time period, specifically these two pieces, the first thing we would typically think about is function. What could this item potentially be used for? Because the items were constructed so purposefully and intentionally, there is most likely a function or a reason behind its making. For the vessel I attached in the picture above, the first thing I noticed were the carefully. crafted flame-like waves above the pot at the bottom. They rise up in all sorts of different directions that flames would. When we think of the uses that traditional mpots may have, we don't normally stop and think of something like this. The way this was constructed was in a way that is very non-practical. This along with the symbolism might suggest that its purpose would have potentially been something atypical. When we expand our gaze outside of just this singular pottery item, and into the Jomon period as a whole, we would find that there were a lot of sicknesses and illnesses going around and when we apply this to our framework when examining this object, we could come up with the outcome that this vessel could have existed as something along the lines of a religious item or a ceremonial item. Comparing this item to the next item, we find that instead of using techniques like the additive technique to build a structural design, we find the coil method largely being used. A very important part of determining the use of something lies in the site that it was found at. This specific item being largely found at grave sites along with the fact that these items are hand made and typically have extreme craftsmanship indicates that they were special to people. Banpo pottery primarily utilizes anthropomorphic geometric designs compared the other item which primarily utilizes abstract styles. Both of these works being from the ancient Jomon period indicates that we will never be completely certain of the functions and uses that these objects might have had but we are able to utilize logic and other knowledge to make informed hypotheses about these pieces of art to ultimately understand history on a deeper level.

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Figurine of a Dancing Girl, Indus Valley Civilization, 2600-1900 BCe

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Figurine of a Dancing Girl, Indus Valley Civilization, 2600-1900 BCe

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The "dancing girl" figurine was crafted using bronze, and from what we can conclude, the artist most likely utilized the lost wax technique. The bronze used to make this piece also signifies that either the artist or who the artist made this for had wealth and/or status. This sculpture makes use of a combination of formal and organic styles. You can notice that she does possess items like jewelry and cuffs but her body type does not indicate that she could potentially be worshiped as a fertility goddess. Previous fertility goddesses of surrounding geographic and time areas were known to have exaggerated feminine features such as their breasts or hip to waist ratio. Since bronze was hard to come by during this part of history, we can most likely come to the conclusion that the person who commissioned this or made it was of high status or wealth. On top of the materials, the work needed to make something like this is very tedious. The artist posed her in the tribhanga position which translates to the three bend pose. What’s so interesting about the tribhanga pose is that it has been around for such a long time. We saw it in this bronze sculpture from around 2000 BC and today it's seen in all sorts of things ranging from yoga to fashion and photography. Being able to notice the potential influence that art like this could have potentially had on today’s day and age is intriguing and makes you wonder what else could have been a result of ancient art like “the dancing girl’’.

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Bronze Axe, Tomb of Fu Hao, Late Shang, 1300-1000BCE, China

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Bronze Axe, Tomb of Fu Hao, Late Shang, 1300-1000BCE, China

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The Bronze Axe from the Tomb of Fu Hao, dating back to the Late Shang period (1300-1000 BCE) in China stands as a reminder of a few things. On one hand it reminds us of the remarkable craftsmanship and the cultural significance of the shang period. On another hand, it stands as reminder of all the lives sacrificed to the ancestors in this time period. This ax blade was used to make human sacrifices in this time period and ended up in Fu Hao's tomb. She wasn't buried with only weird things like this human sacrifice ax, Fu Hao was buried with a lavish array of goods from weapons to bronze vessels, many of which reflected her high status and the importance of military power in Shang society. Back to the axe though, the length of it was over a foot in length, and has a distinctive shang taotie motif on it along with a human head in the middle. While this axe was primarily used for sacrifices, the evidence being in the human blood they found in her tomb, this axe most likely had other practical functions, which gives an emphasis on how the Shang made use of tools/weaponry during the Shang dynasty. And even beyond the utilitarian purpose it primarily represents that the fact that it carries symbolism with it. The axe embodies the prestige and authority of the military might of the Shang within ancient Chinese cultures. The attention to detail the shang had reflected meticulous craftsmanship in this axe. IT truly speaks to how advanced the Shang were in this area for their time. The intricate patterns and inscriptions on the blade not only display their casting proficiency but also convey a deeper, hidden message. One that communicates the power, achievements and wealth of Fu Hao in her time period. It seems to be an important object as it was placed within her tomb, which means that this bronze axe could play a potentially ritualistic role in Fu Hao's afterlife journey. It really makes you think about how bad we are to disturb their tombs and just trample their entire belief system. Stealing their objects and displaying them on pedestals for the world to see just feels wrong even if I'm not the one doing it.

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The bronze vessels of the Western Zhou period around 1000-771 BCE display distinct differences in form, style, and function across their early, middle and late periods. In its early period, the bronze vessels retained characteristics as the Zhou made use of Shang bronze casters. These Zhou vessels contained characteristics relating to the stylized animal face known as the taotie motif. This was common throughout the Shang period where the motif evolved across 5 different styles. Moving onto the middle Zhou period, bronze vessels advanced further into something a bit more elegant. The vessels featured slimmer, more elongated shapes while shifting FROM the original taotie and secondary dragon motifs brought over from the Shang to what was now the new bird motif. The section mold technique also went under some refinement. Flanges were introduced along sections of the molding technique to look more artistic and professional. Vessels with highly stylized flanges most likely had less of a practical application and probably had more of a decorative or royal function. As we transition now into the late Zhou bronze vessels, we notice quite a bit more differences. This style now is where the Zhou started to find their own unique artistic identity. What this style primarily consisted of was the continuous patterns throughout the whole object as well as the addition of rings which were pre-made prior to pouring. As the Zhou progressed in time throughout their dynasty, they eventually found their own unique style before their inevitable downfall.

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Antlered Crane, Tomb of Marquis Yi of Zeng, 433 BCE China

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Antlered Crane, Tomb of Marquis Yi of Zeng, 433 BCE China

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In the year 433 BCE Marquis Yi of Zeng was buried in China. His tomb was filled with all sorts of lavish artifacts. What I'll be focusing on in this padlet is one of the more unique items found, the antlered crane. This eclectic piece of history brings us back through a window of the culture in ancient China. The antlered crane is a bronze figurine crafted with exceptional skill and attention to detail. Standing at about 22 inches tall, it showcases a crane with antlers, a symbol that holds special meaning in Chinese culture. The crane in Chinese culture is often associated with immortality. With the addition of antlers, the piece has an added element and symbolism to the creature. Antlers in ancient China typically stood for rejuvenation and longetivity and along side propserity creates a unique and powerful artifact. This artifact isn't just a representation of artistic finesse though, it has deeply rooted cultural and historical importance. The tomb of Marquis Yi of Zeng gives us a view into the beliefs and practices of ancient China. The antlered crane, with its symbolism of longevity and immortality, might have played a role in the rituals associated with burial practices during the time period. The attention to detail really is a solid demonstration of the craftsmanship and skills of ancient Chinese casters. The bronze casting techniques employed reveal a sophisticated understanding of materials and an ability to bring intricate designs to life. Not only is this artifact from the tomb of Marquis Yi of Zeng a beautiful and well crafted piece of art, it also serves as a captivating artifact that shows off the artistic brilliance of ancient China while giving us a glimpse into the cultural and spiritual dimensions of this time period. Its symbolism, blending the grace of the crane with the longevity associated with antlers, makes it a unique and enduring representation of the rich heritage of China's past.

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First Chinese Emperor 's Tomb c.259 BCE vs. Japanese Emperor Nintoku's Tomb (c.257 CE)

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First Chinese Emperor 's Tomb c.259 BCE vs. Japanese Emperor Nintoku's Tomb (c.257 CE)

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When going back in time to civilizations that existed thousands of years ago, a commonality across many cultures is tombs, specifically those of highly valued individuals like kings or emperors. In ancient Asia, two tombs stand out in extravagance. One being the tomb of the first "illustrious" emperor of the Qin dynasty and the other being the Japanese tomb of Emperor Nintoku. In all reality, the tombs of these two emperors aren't all that different from each other. Both were buried in a more or less centralized structure, one on a mound and the other in a keyhole shaped island surrounded by moats. Both tombs and the assets they encompassed were extremely large and took a massive amount of effort to construct. When we look at the tomb of the Qin Emperor, it is absolutely astonishing. Even just the way its laid out is absolutely mind blowing. The tomb itself consisted of an inner and outer wall surrounding a man made tumulus that was literally 115 meters (377ft) high. Beneath that was the emperor's tomb, which was believed to have taken 700,000 people to heap earth over the tomb. The tomb itself contained high valued items like bronze chariots but also had strange things like 31 rare birds, animals in clay coffins and a burial of 300 sacrificed horses. While that's definitely strange, what's arguably stranger is that about 1.5km west of the site was a pit with 100 skeletons in mass burials. Now considering the time spent to cover the tomb with all that earth, one would definitely think that they wouldn't have any time to do anything else but that person would be massively mistaken. On top of all the things I just listed, they somehow managed to construct over 8,000 terra cotta army soldiers and horses all aligned in battle formation throughout 3 different pits. Pretty extreme if you ask me. Not to play keeping up with the joneses but if we compare this to the Kofun or mounded tomb of the Japanese Emperor Nintoku, it's really nothing crazy. The entire monument consisted of over 450 acres and when comparing that with the size of Japan, it's nothing short of a wonder. Like the previously mentioned tomb, this one also had an insane amount of objects as well. Over 20,000 clay haniwa were distributed over the surface of the mound. House shaped Haniwas seemed to be the most important ones as they were found in the center of the mound, potentially representing the Emperor's home or something like that. Haniwa's differed from the terra cotta soldiers not only in size but also technique of construction. Haniwa produced by the coil technique using clay, Terra cotta soldiers coming from a mold, making them that much more tedious and time consuming. The structure of this tomb was much different from the previous one. What makes this one stand out from the other one is the moats that surround it, making it so people can't get to the tomb.

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Ashoka's pillars are a series of monumental stone columns and pillars that were erected during the reign of Emperor Ashoka, who ruled the Maurya Empire in india. These pillars are significant historical and archaeological artifacts, providing valuable insights into the culture, politics, and beliefs of the Mauryan period. The bottom of the pillar starts with an abacus in the shape of an over inverted bell, as we move up we find the dharma wheel which comes from buddhism, the bull horse coming from Indus Valley civilizations, specifically the seals. Continuing to move up, we find the four lions. The lion is perceived as a sign of royalty and comes from Persian  art as well as stemming from the Shakya Clan which was Siddharta's family. Another observation we can make from these lions is that they are depicted in a more friendly manner than fierce. This indicates a more royalty depiction than one trying to enstill fear upon those under the Emperor. This is credited to the fact that Ashoka was the first emperor to establish Buddhism as a national religion over the Vedic religion. In this he promotes peace and takes a moral high ground over his people, painting himself almost as a hero figure.

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Tomb of Lady Dai, Western Han Dynasty C.200 BCE

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Tomb of Lady Dai, Western Han Dynasty C.200 BCE

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As a general overview, the tomb of Lady Dai was built in a series of 4 nesting coffins and consisted of a wooden burial structure made of interlocking parts. Her tomb was buried using a technique that was unique to her culture. Lady Dai's tomb was buried using a Chu technique which drastically improves the preservation of the tomb and its possessions. The method they used was stacking layers of pounded earth, white clay and charcoal at the very closest to the tomb. The inside of the tomb consisted of many different objects, some like the nesting coffins in the picture above are considred mingqi which means spirit objects. These objects are made specifically for the tomb and the afterlife. Another mingqi object in the tomb was a replica set of musicians that serve as a spirit copy of surrogate figures to provide music for her in the afterlife. The picture above shows 3 of the 4 mingqi nesting coffins, the 4th and outermost did not consist of any sort of pattern. These three nesting coffins all consisted of similar but different art work. All three were coated in lacquer, which increased the value of the coffins since lacquer is a toxic substance, worth more than bronze, and extremely difficult to work with. There were a range of different motifs, some of the motifs used were Tigers, dragons, phoenix, rams, deer, and immortals. The designs imprinted on these 3 mingqi coffins are absolutely incredible. Not only is the craftsmanship remarkable, some of the designs/motifs come out of the coffin, as in they're layered to rise up and stand out. This on top of the fact that they used lacquer means that the value of these well preserved immaculate mingqi coffins had an incredible amount of value. The Han were relatively advanced for their time and the reasons behind drawing that conclusion is that upon the recent opening her tomb, Lady Dai's corpse was very lightly decayed, her skin still moved back into place when it was squeezed and her joints all moved like a normal human being. It could have been because she was wrapped in layers of silk. Her full body was wrapped in a whole 20 layers of silk. 20 LAYERS! That's insane to think about, the value of silk was insanely high at this time period, so the fact that she was covered in 20 layers of silk speaks even more to the material abundance she had at her time. On top of the 20 layers of silk that she was covered in, they tied up the layers with 9 chords. 9 was a significant number because it sounds like character they used for longetivity. Her immaculate preservation could have been chalked up to the mehtod they used to bury her but it's hard to say for certain if it's one thing or the other. The one thing that is apparent though, it's how immaculately preserved she was, the. 9 individual cords they wrapped her in ended up working because she was the best preserved human in known history.

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The Kushan Empire, which existed from the 1st to the 4th century CE, encompassed parts of modern-day Pakistan, Afghanistan, and Northern India. The empire's geographic location at the crossroads of various trade routes facilitated cultural exchange between East and West. This exchange had a profound impact on the art of the region, resulting in the development of the distinctive Gandhara style. This sculpture is made of schist and exhibits a more formal style with the folds in the Buddha's Robes and the wavy hair on the cranial protuberance. The Buddha has his eyes closed, and has his hands in a meditation mudra. In addition to this, it's important to take note of the scene at the bottom of the statue. It appears to be monks either praising or worshipping the Buddha and at either end there are men holding up the buddha statue which was most likely influenced by the greeks. Overall, the style of this sculpture of the seated buddha reflects an intriguing interplay of cultures and artistic traditions while demonstrating the adaptation of Western aesthetics to convey Buddhist religious concepts. This sculpture serves as an example of the rich historical and artistic heritage of the Gandhara region during the time of the Kushan Empire.

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This statue of the Buddha is depicted in the Gupta Mathura Style. This style is characterized by the folds in the robes and the way it fits/conforms to the buddha's body. The statue was made out of red sandstone, from the hand being either eroded off or ripped off, you can tell that this specific material isn't the strongest or best at holding up over time. This style, the Gupta Mathura, developed during the Gupta Empire, which began around the 4th century CE and continued into the 6th century CE. Much like this statue, sculptors using the Gupta Mathura style primarily made use of red sandstone, because of it's workability and durability. Red sandstone was commonly used in the Kushan Mathura region as well however they were more influenced by indigenous Indian traditions as they put more of an emphasis on the idealized aspects of Indian art, things like the nature of deities like Lord Krishna and Bodhisattvas with elaborate depictions. In contrast to this, the Kushan Gandharan style, which dates back to the 1st through the 4th century CE, utilized a more naturalistic style with their idealized and often partially nude figures. They primarily used gray or white schist in their carvings and sculptures instead of the Red Sandstone that was utilized by the Kushan Mathura and Gupta Mathura styles. Each indivdiual style represents important phases in the evolution of Indian sculptures, art and history. Each reflects their own individual cultural and artistic influences from their time periods and regions.

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Maitreya Buddha, Dunhuang, China, Cave 275, 5th Century CE 

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Maitreya Buddha, Dunhuang, China, Cave 275, 5th Century CE 

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The location Dunhuang, China, also known as the gateway to China, was one of the most important and earliest buddhist cave sites in china with around 500 caves cut into the cliffs. These caves were painted and decorated extremely well. From plaster sculptures to to fresco paintings, many people put time and effort into making these caves look lavish and extravagant and that they did. The site was dedicated in 366 CE but the earliest caves date from late 5th century CE. What's really interesting about this site is that it developed over the 1,000 years until it fell out of use. The location may have been one reason for it going out of use, as it was located in the north desert. Now lets get into specifics because this site is an absolutely stunning piece of art. The main subject, Maitreya Buddha, or buddha of the future, was who the site was dedicated. Maitreya Buddha exists in his own heaven, known as the Tushita heaven. The story goes that after the age of Mofa, or the age of pessimism, despair and suffering, Maitreya Buddha would return to earth as a bodhisattva and bring back the word and teachigns of the Buddha to help others escape suffering. The first age, zhengfa, is the age where the Buddhist law flourishes, the second one, xiangfa, is an age of the decline of the Buddhist law and finally mofa, is the age where the law disappears. It is believed that we are currently in the age of Mofa. Something that's interesting to note about the Maitreya buddha sculpture is that it's filled with organic matter like straw and dirt. Cave 275 has a beautiful combination of the colors red and blue on its walls. At this time in age, it's important to note that blue was starting to become popular and since it came from a very expensive mineral, we're able to draw the conclusion that this area at Dunhuang pooled together an abundant amount of financial resources as people were able to make use of these valuable pigments. These caves are still around today and what's interesting is that this location is protected under national law in China and will hopefully be around for years to come.

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One of the Bamiyan Buddhas before its destruction in 2001. 

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Bamiyan Buddhas, Hindu Kush, Afghanistan, 5th century CE

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Bamiyan Buddhas, Hindu Kush, Afghanistan, 5th century CE

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The Bamiyan Buddhas, a pair of colossal statues that once graced the Bamiyan Valley in central Afghanistan, were living proof of the fusion of cultures, artistic expression, and spiritual devotion in the ancient world. These monumental sculptures, that were tragically destroyed in 2001 by inconoclasts known as the Taliban, once stood as towering symbols of human achievement and religious reverence. To those living here, the buddhas once stood as a signal of status, of power, cultural diversity and history but today they signal something different. Before the Taliban destroyed these statues, they were once visited by tourists across the globe! These buddhas stood as an indicator of the importance and acceptance of global diversity and religion. These two majestic statues once supported and maintained the very small economic freedom that this small nation initially had. The local economy was primarily reliant on the tourism that the two statues brought in so after their destruction, the locals were devastated. The significance of these statues was enhanced through the feelings of sorrow these people had for statues that weren't even representative of their own religion. The statues that once represented power, status and innovation, the buddhas that were once shimmering with gold in representation of a beautiful religion, were tragically blown to pieces by iconoclasts known as the Taliban. Despite the loss that was felt by many across the globe, and although they are no longer being restored, the Bamiyan Buddhas will live forever in our hearts and our history as a collective.