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Jar (Hu), Western Zhou dynasty, Bronze, China Chicago Institute of art, 927–850 B.C. 

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Jar (Hu), Western Zhou dynasty, Bronze, China Chicago Institute of art, 927–850 B.C. 

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Title: Jar(hu)

Material: Bronze

Period: Western Zhou

Country: China

Date: 927-850 BCE

Museum: Art Institute of Chicago

I have chosen this vessel because of the design of the birds. I find it interesting how in the middle western zhou period they begin to split from the influence of the shang and the taotie with developing their own motifs. It marks a period of reinvention and movement towards the future. Also the geometric bird is just super cool!!

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Head of a male Figure,  Kushan Empire, Pottery MET, 4th-5th BCE 

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Head of a male Figure,  Kushan Empire, Pottery MET, 4th-5th BCE 

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Title: Winged Beast (Tomb Figure)

Material: Pottery

Period: Kushan Empire

Country: Afghanistan

Date: 4th-5th BCE

Museum: MET

This piece was created around 4th-5th BCE in the Kushan empire. The face is in organic style. It is proportional and doesn't have any unrealistic designs or patterns. I believe this artifact is a product of greek art influence spreading to the east. The hair, eyes, expression and conventionally attractive features all remind me of greek art. If the head had a body I wouldn't be surprised if it was wearing a flowing linen toga with one shoulder exposed. I believe the figure has a mustache but it is hard to tell with the shadows.

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Head of a male figure - Kushan - Kushan - The Metropolitan Museum of Art

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Winged Beast (Tomb Figure), Western Han dynasty, Earthenware, Art institute of Chicago, (206 B.C.–9 A.D.) 

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Winged Beast (Tomb Figure), Western Han dynasty, Earthenware, Art institute of Chicago, (206 B.C.–9 A.D.) 

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Title: Winged Beast (Tomb Figure)

Material: Gray earthenware, slip-coated with polychrome pigments

Period: Han Dynasty (206 B.C.–9 A.D.)

Country: China

Date: 200 BCE–101 BCE

Museum: Art institute of Chicago

This Piece is an example of a funerary object from the han dynasty. It is an unidentifiable beast or dragon creature. What inspired me to chose this piece was the expressiveness in the eyes of the beast. I feel it holds a sort of inquisitive and somber expression, through this you're able to get a glimpse into the time in which the beast was made. Being a funerary item I picture this being made as a wise guardian for someone who was brave in their lifetime, such as a soldier or traveler.

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Bi disc, Neolithic period, Jade, China, MIA, 1st century CE

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Bi disc, Neolithic period, Jade, China, MIA, 1st century CE

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Title: Bi disk

Material: Jade

Culture: Hongshan

Period: 3000-4000 CE

Country: China

Date: 1st century CE

Museum: Minneapolis institute of art

I chose this piece because I find the concept of Bi discs rather fascinating. It suggests that this one holds symbols of fertility. However, I know from what I've read in the book these were often buried with the dead. I like the dragon motif on this disk, I believe it is a powerful imagery to see dragons as the guardians of heaven. I believe the laborious process that goes into creating jade with slowly grinding the stone into shape makes it a lot more impactful.

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Bi disc, China ^ Minneapolis Institute of Art

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Originating in the Hongshan culture of the Neolithic period, around 4000 to 3000 BCE, the bi disk is emblematic of heaven. The bi disks from the later Han dynasty tend to be more elaborate. The outer band of this bi is decorated with openwork designs of four dragons. Dragons were believed to have the power to control heaven, suggested here by the dragons fully surrounding the disk. The raised bosses toward the center of this bi (known as guwen or “grain pattern”) are simpler in comparison to earlier Western Han examples, which were accompanied by incised spirals signifying sprouting grain—perhaps a symbol of fertility. By the late Han dynasty, the curving tails of the grains became less obvious or disappeared completely, as seen here.

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Venn Diagram japanese haniwa, terracotta army & Tomb of first Emperor & nintoku

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Venn Diagram japanese haniwa, terracotta army & Tomb of first Emperor & nintoku

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Splashed Ware Dish with Sgraffito Decoration, Pottery, Afghanistan, M.I.A,  late 12th– early 13th century

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Splashed Ware Dish with Sgraffito Decoration, Pottery, Afghanistan, M.I.A,  late 12th– early 13th century

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Title:Splashed Ware Dish with Sgraffito Decoration

Material: Pottery

Period: Indus Valley Civilization

Country: Afghanistan

Date: late 12th– early 13th century

Museum: MIA

I chose this to look at this piece because I am from Minneapolis and am impartial to the M.I.A., the museum itself is a gem. I believe this dish held more of a decorative purpose rather than ever actually been used to eat off of. It being found at a trading center could be evidence of that. possibly it was being sold by the artist, or a similar novelties stand. I believe it connects to what we are learning in class when you see the technique used to make it. Most of the subjects we've seen so far have a very intricate design with an element of elegance and precision.

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Splashed Ware Dish with Sgraffito Decoration, Afghanistan ^ Minneapolis Institute of Art

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Reportedly found at the ancient trading center of Bamiyan in present-day Afghanistan, this type of dish, with incised design (Sgraffito) and “splashed” with glazes intended to run freely during the firing process became popular in eastern Iran during the Samanid dynasty (819-1005CE). Produced slightly later, this example demonstrates both the precision and spontaneity with which the potter approached their craft. Set within a border of arcaded panels, the central medallion takes the form of an endless knot, a motif found on clay panels from the Indus Valley Civilization (3200-2500 BCE), and whose infinite movement may still have contained mystical symbolism.

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Seeing the destruction of the Buddahs by the Taliban is a jarring reminder of the incessant violence of humanity on itself. There was no reason to destroy these Buddahs other than to prevent further worship and washing away ancient culture. It is sad to see the buddahs go, but human greed and destruction is not new. Art has come to pass while people move on and create new works. It would be amazing to see a world where no art had ever been destroyed in an act of war. That being said, I feel the damaged Buddah sculptures have become a new exhibit and statement of human history. They depict a war torn region and provide a sentimental example of cruelty and power. Something that people can look back on and remember the truth of the era just as the buddahs in prime condition were an example of. We cannot rewrite history but at least we can acknowledge the impact it has and create a stronger future.