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Arab, North Africa, or Near East Abbasid c. eighth to ninth century C.E.Ink, color, and gold on parchment 

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Facts

Meant to be read aloud, possibly by multiple people

Written on parchment (animal skin), which was a common material before paper was widespread

Reflects aniconism in Islamic art (avoidance of human/animal figures in religious contexts), which emphasized the importance of the written word

Calligraphy was not only functional but also a spiritual and artistic expression in Islam

Part of a manuscript

Form

Kufic script (calligraphic form), geometric layout for clarity, and minimal decoration

Content

Sacred text from the Qur'an (holy book of Islam) which has a divine message (conveys spiritual guidance and moral instruction)

Context

From the early Islamic period (Abbasid dynasty), when calligraphy was a highly developed art form and the transcription of the Qur'an was a sacred act (literal world of God/Allah)

Function

Sacred text for worship/recitation (probably used in a mosque or Islamic school) and helped preserve/transmit the words of the Qur'an, especially in an oral/written culture that valued accuracy and beauty in scripture.

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Islamic; Persian, il’khanid c. 1330 -1340 C.E. Ink and opaque watercolor, gold, and silver on paper

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Leia 189. Bahram Fights the Karg, folio from the great ill-khanid Shannama

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Leia 189. Bahram Fights the Karg, folio from the great ill-khanid Shannama

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Facts

Artist is unknown, but likely created under Illkhanid Mongol patronage (shows how Mongol rulers embraced Persian culture to legitimize their rule)

Shahnama was written by Ferdowsi

Helps visualize the power and virtule of a ruler (political and artistic statement)

Bahram Gur is depicted in royal clothing with a halo (shows his status and blends Persian, Islamic, and even Buddhist iconography)

Form

Persian miniature style (small-scale characterized by delicate brushwork, vibrant colors, and detailed patterns) and is arranged in a flat, linear manner

Content

Scene from the Shahnama, a Persian epic, where King Bahrum Gur defeats the Karg (mythical, wolf-like creature) and represents the triumph of good over evil in Persian mythology

Context

Created in the Ill-khanid period, which reflects the blending of Persian and Mongol influences after the Mongol conquest of Persia and the Shahnama ("Book of Kings") preserved pre-Islamic legends/celebrates royal authority

Function

Part of an illuminated manuscript of the Shahnama, which was created for royal or aristocratic patrons, serving as entertainment, education, and cultural pride

Glorification of kingship (heroic leadership and divine authority)

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From Shah Tamasp's Shahnama. Sultan Muhammad. c.1522-1525 C.E. Ink, opaque watercolor and gold on paper. 

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Context:

Persian story from 1010 C.E.

It is part of the Book of Kings, a collection of Persian epic tales

Whole departments of the king's palace would have worked on the book

There are Chinese influences from trade connections via the Silk Road

It is one of the first pieces of art to be spoken about by a historian of the time

Form:

There is harmony between the figures and the landscape

The vegetation spills out of the frame onto the page

It has a large, richly painted surface area

Content

King Gayumars sits on a mountain with his son on his left and his grandson on his right

His advisors and wild animals are arranged in a arc beneath him

He is being told about his death by the angel Shurush

The landscape is lush, as it is a paradise

Function

Part of the Shahnameh (Book of Kings)

A neohistory of fifty of Persia's kings

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Katsushika Hokusai. 1830-1833 C.E. Polychrome wood block, ink and color on paper.

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Under the Great Wave off Kanagawa (The Great Wave)

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Under the Great Wave off Kanagawa (The Great Wave)

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Context:

One of the most famous Japanese artworks

Easily printed, thousands of copies were made

A collaboration of a designer, engraver, printer, and publisher

Mount Fuji is sacred to the Japanese

Form:

Personification of nature, the wave seems intent on drowning the boats

Mount Fuji seems to be one with the waves, will also be swallowed

Content:

The foreground has a massive cresting wave over three fishing boats

Mount Fuji is in the background, but in clear view

The color, Prussian Blue, was imported and was considered prized

Function:

Part of a series of prints titled Thirty-Six Views of Mount Fuji

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Kamakura Period, Japan, c. 1250-1300 C.E., handscroll (ink and color on paper)

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Form:

Bird's eye view of action moving right to left

Yamato-style painting

16 inches tall by 275 inches wide

Vibrant outline w/ washes of color

Content:

Story unfolds sequentially

Reccuring figures/objects such as Fujiwara no Nobuyori, an ox carraige, and Minamoto Yoshitomo

Minamoto wears distinctive horned helmet

Lots of civilians fleeing and being slaughtered

Context:

Kamakura period in Japan

Tells the story of the Heiji Inssurection from 1159-60

Sanjo palace home to Emperor Go-Shirakawa and his son, who he had recently abdicated to, Nejo

Taira and the Minamoto clans rivals

Fujiwara no Nobuyori’s attempt to seize power by abducting Nijô and Go-Shirakawa, putting them in a cart, and setting the palace on fire

Function:

Designed to be unrolled in sections for close-up viewing

Two other surviving scrolls

Celebrate Japan’s shift from royal to samurai rule

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Imperial Bureau of Painting, c. 15th century C.E.,  hanging scroll (ink and color on silk)

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Form:

Sin Sukju with official robes and a black silk hat on his head

Crisp, angular lines and graduations of color

Hands folded neatly under sleeves

Rank badge worn on chest

Sitting in a folding chair

Content:

Depicted as a meritorious subject

Rank badge shows 2 peacocks amid flowering plants and clouds

Careful attention to facial details like wrinkles served Korean belief that the face could reveal important clues about the subject

Visage portrays wisdom and dignity

Context:

Joseon Dynasty Korea

Sitter awarded title “meritorious subject”, which was an official honored for service to the king

Sin Sukju was a scholar and a powerful politician who became Prime Minister of Korea

Retained court favor even during King Sejo’s coup

Confucianism important; emphasized honor to elders and ancestors

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Ellis 201. Travelers by Streams and Mountains

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Ellis 201. Travelers by Streams and Mountains

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Context:

Five Dynasties Period

transition between Tang and Song dynasties

marked by upheaval & political turmoil

many scholars isolated themselves from civilization and became recluses

Neo-Confucianism

confucian ethics reframed within Buddhist and Daoist ideals (seeking absolute truth in nature and self cultivation.)

Concepts of Li and Qi

Li - principles, underlying

pattern of reality

Qi - vital force, energy that occupies space

Form:

9ft tall hanging scroll.

Seal signified the ownership of the work.

Different brush techniques used to create a variety of textures, mist made using light ink washes, while trees were created using shorter, layered strokes.

Compositionally balanced

Content:

Temple hidden in the trees and travelers with donkeys.

Waterfall accentuated by vertical lines of the mountain, while a stream creates a perpendicular line through the bottom of the painting

Symbolism: Mountains represent the abode of immortals, and the Pine trees represent virtuous man.

Function:

Not representing an objective reality,

but rather aims to capture the essence of a scene.

Drawing parallels between Li and Qi and the sublime through imagery.

Imagines mankind as a small component of the cosmic order of nature

Connections:

The Gare Saint-Lazare Station by Claude Monet similarly is aiming to depict the essence of a scene rather than recreate an objective view as seen from human eyes.

The Oxbow by Thomas Cole is also evoking a sense of sublime and the vastness of nature

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Ellis 208. Jahangir Preferring a Sufi Shaikh to Kings

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Ellis 208. Jahangir Preferring a Sufi Shaikh to Kings

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https://www.canva.com/design/DAGmT_osswg/-659TB03o0aU8AmHc3rsTA/view?utm_content=DAGmT_osswg&utm_campaign=designshare&utm_medium=link2&utm_source=uniquelinks&utlId=h9cfc6568f6

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Jahangir Preferring a Sufi Shaikh to kings