Asian Art by Dorinda Neave, Lara Blanchard, Marika Sardar

15–27 • Kenzo Tange YOYOGI STADIUM Shimamoto, at the Second Gutai Art Exhibition in 1956, created a
Showa period, 1961–1964. Concrete and steel cable. Tokyo. work called Hurling Colors, by smashing bottles of paint onto can-
vases placed on the floor (FIG. 15–28).The physical act of creating
Japanese magazine. Tange’s Olympic swimming pool and gymna- eclipsed the importance of the final material product.
sium are a daring modernist blend of Japanese architectural forms
with what were the latest developments in structural engineering. Another Gutai artist, Atsuko Tanaka (1932–2005), who
The roofs of the buildings are suspended from steel cables, elimi- joined the group in 1955, explored the porous boundaries
nating the need for supporting interior pillars that would interfere between performance and the visual arts in works such as Electric
with the flow of space and block views. Qualities valued in tradi-
tional Japanese architecture—flexible interiors plus integration of 15–28 • Shozo Shimamoto HURLING COLORS
the building with its environment—are ingeniously Showa period, 1956. Performance at the Second Gutai Art
incorporated into a modern concrete structure.The Exhibition, Tokyo. Courtesy Takashi Shimamoto.
sweeping rooflines, almost “tentlike” in appearance,
simultaneously reflect Japan’s vitality as a modern
nation and invoke ancient Shinto shrines with their
pointed finials.

THE GUTAI GROUP
Gutai, meaning “embodiment” or “concrete,” was
the name chosen by a group of postwar artists for
their collective, which included founding members
Jiro Yoshihara (1905–1972) and Shozo Shimamoto
(1928–2013). They challenged preconceptions as
to what constitutes art. Formed in 1954, the group
produced a range of avant-garde paintings, instal-
lations, and performances, which pre-dated many
experimental developments in European and
American art. One aim of Gutai was to “pursue
the possibilities of pure and creative activity with
great energy.” Reflecting this philosophy, Shozo

FROM ISOLATION TO INTERNATIONALISM: EDO PERIOD TO PRESENT CHAPTER 15 375

Dress (1956; FIG. 15–29). Engulfed in a flashing garment com- as did Japan’s legacy of aggressive nationalism. Contemporary
posed of about 200 lightbulbs painted in bright colors, Tanaka Japanese artists, emerging during this time of open debate, rapid
appeared as a dynamic entity but also vulnerable, much like change, and global influences, produced a wide range of works,
postwar Japan. As Japan’s economy boomed, so did the cul- reflecting both political and personal concerns. Artists such as
ture of advertising. Tanaka’s inspiration for the dress came from Yanagi Yukinori (b.  1959) and the performance group Dumb
the blinking neon signs encouraging citizens to become avid Type, formed in 1984, created powerful artworks that frequently
consumers. Although her performance can be interpreted as a exposed flaws in Japanese society.
celebration of Japan’s technological progress, Electric Dress also
highlights technology’s destructive potential. The lightbulb YANAGI YUKINORI
dress, with its trailing electrical wires, is a dangerous outfit, Yanagi Yukinori, a resident of Hiroshima, addressed the ugliness
threatening the wearer with electrocution. of blind nationalism in an aesthetically pleasing installation titled
Hinomaru Illumination (Amaterasu and Haniwa) (1993) (FIG. 15–30).
FROM 1989 TO THE PRESENT Rows of haniwa figures inspired by ancient ceramic tomb sculp-
tures (see Chapter 12, pp. 286–287) stand at attention in front of
Emperor Hirohito’s death in 1989 marked the end of the Showa a billboard-size steel panel displaying an hypnotic neon version
period. Shortly afterward the Japanese economy spiraled down- of Japan’s national flag, the hinomaru (“circle of the sun”).The sun
ward. Hirohito’s involvement in Japan’s militaristic expansion in is closely linked to the imperial family, who, according to Shinto
the first half of the twentieth century came under public scrutiny, belief, descended from the sun goddess,Amaterasu.After Japan was
defeated in World War II, Emperor Hirohito formally renounced
15–29 • Atsuko Tanaka ELECTRIC DRESS his divine status. The haniwa symbolize the unthinking masses
2nd Gutai Art Exhibition, 1956 (modeled by artist). Enamel paint on duped by those in power, whether that is the imperial regime or
lightbulbs, electric cords, and control console, 649⁄10 × 312⁄5 × 312⁄5″ corporate Japan. The haniwa’s slavish worship of the flag is also a
(165 × 80 × 80 cm). Original dress no longer extant, reconstructed criticism of ultranationalist groups that discriminate against ethnic
in 1986. Photo © The former members of the Gutai Art Association. minorities within Japan, such as Koreans and the Ainu.

DUMB TYPE
Dumb Type is an interdisciplinary collective of approximately 15
members, ranging from musicians, architects, visual artists, and
choreographers to computer programmers. Under the direction of
the late Teiji Furuhashi (1960–1995), Dumb Type emerged from
Kyoto Art University with a desire to challenge the complacency
of the art world. The name Dumb Type alludes to the problems
of a society saturated with information but cognizant of nothing.
Dumb Type’s internationally acclaimed performances such as pH
(1990–1991), mesmerize audiences with their richly layered mul-
timedia explorations of current issues (FIG. 15–31). In pH, Dumb
Type critically examines contemporary Japanese society, in par-
ticular the pressures of living in a high-tech environment and a
rampant consumer culture. Furuhashi explained the meaning of
pH in relation to the performance:“pH is a science term and pH7
is the center, where things are balanced. It’s like heaven, limbo, and
hell. Japanese society now, especially Tokyo, is like limbo. People
think it’s heaven but it’s not. It’s really destructive.”

The stage designed for the performance resembled an oblong
squash court with seating perched precariously on scaffolding
above the set. The spectators looked down on the action below.
The floor functioned simultaneously as a stage and as a screen
for visual images of urban life projected from above. At one
point, a man lying face down on a skateboard swirled onto the
stage with arms flailing. The floor featured a projected slide of
a gray metropolis seen from the air. One was given the impres-
sion of a man in free fall, descending like a fallen angel into

376 CHAPTER 15 FROM ISOLATION TO INTERNATIONALISM: EDO PERIOD TO PRESENT

15–30 • Yanagi Yukinori
HINOMARU ILLUMINATION
(AMATERASU AND
HANIWA)
1993. Neon, neon transformer,
programming circuit, painted steel,
and haniwa figures; each haniwa
figure approximately 39″ (99 cm)
high. Installation at the Museum of
Art, Kochi. Courtesy Miyake Fine
Art, Tokyo and Yanagi Studio.

the unforgiving landscape below. At carefully timed intervals,
a large computer-controlled bar the width of the entire stage
swept dangerously close to the audience as it crossed from one
side of the space to the other. A second computerized bar moved
relentlessly to and fro, only 16 inches (40 centimeters) above the
stage floor. Five performers, two men and three mannequinlike
women moving within what appeared to be a giant photo-
copying machine, were forced to anticipate the movements of
the truss or be knocked down. In one “scene,” the actors were
mindlessly engaged in supermarket shopping. Suddenly, the
space was overrun with battery-powered pink fuzzy piglets. The
action intensified as the shoppers stuffed as many piglets as pos-
sible into their shopping carts before the truss forced their exit.

MORIMURA YASUMASA
A graduate of Kyoto City University of Arts, Morimura Yasumasa
(b.  1951) is an appropriation artist who constructs complex
self-portraits modeled on images from art history, pop culture,
and mass media, using photography, video, and performance. He
caught the attention of the international art world in the 1980s
with his digitally manipulated photographs of iconic paintings

15–31 • Dumb Type PH
1990–1991. Performance at Art in the Anchorage,
New York. First performance Artspace Mumonkan /
Kyoto, JAPAN, 1990, directed by Teiji Furuhashi.

FROM ISOLATION TO INTERNATIONALISM: EDO PERIOD TO PRESENT CHAPTER 15 377

15–32 • Morimura
Yasumasa A REQUIEM:
SPINNING A THREAD
BETWEEN THE
LIGHT AND THE
EARTH/1946, INDIA
2010. Gelatin silver print,
3′111⁄4″ × 4′11″ (1.2 ×
1.5 m). Art Gallery of
New South Wales,
Sydney. Courtesy of
the artist and Luhring
Augustine, New York.

by European artists (see Compare, opposite). Morimura typically 15–33 • Margaret Bourke-White MAHATMA GANDHI
inserts himself into the pictures, displacing existing characters, AT HIS SPINNING WHEEL, POONA, INDIA
thereby generating a host of interesting questions about cultural 1946. Photograph.
appropriation, globalization, racial prejudice, identity, and gender.

In Morimura’s more recent self-portraits, the artist transforms
chameleonlike into representations of Hollywood celebri-
ties such as Marilyn Monroe and Michael Jackson, or political
figures like Mao Zedong and Mahatma Gandhi (FIG. 15–32).
Morimura’s photograph of 2010 entitled A Requiem: Spinning a
Thread between the Light and the Earth/1946, India pays homage
to Margaret Bourke-White’s 1946 photograph of Gandhi, fea-
tured in Life magazine (FIG. 15–33). In Morimura’s self-portrait
he masquerades as Gandhi, leader of the Indian independence
movement and symbol of nonviolent resistance. Notice how
“Gandhi” is looking at images of the Vietnam War (ended
1975), a conflict that happened years after Bourke-White took
Gandhi’s photograph. How does Morimura’s portrayal of
Gandhi alter the way we perceive India’s national hero? What
does the photograph’s large scale imply? Morimura’s multilay-
ered works invite us to question both the “Big Picture” and
seemingly insignificant details that expose the complexity and
fallibility of being human.

378 CHAPTER 15 FROM ISOLATION TO INTERNATIONALISM: EDO PERIOD TO PRESENT

COMPARE | Two Nudes

At first glance these two nudes, created about a century
apart, appear strikingly similar. However, Manet’s painting
of Olympia (FIG. 15–34) is an oil painting and Morimura’s
image (FIG. 15–35) is a combination of photography and
acrylic paint.

Both works raised eyebrows when first exhibited.
Manet’s Olympia was especially controversial in the
late nineteenth century because he boldly depicted
a confident-looking prostitute of his day rather than
a submissive, anonymous figure disguised as a
mythological goddess, Venus. Morimura pays homage
to Manet’s painting, now a classic, by inserting himself
into the artwork as both the prostitute and the black
servant who brings flowers from an admirer. In doing
so, he generates important questions about sexuality,
identity, and race.

15–34 • Édouard Manet

OLYMPIA
1863. Oil on canvas, 4′3″
× 6′21⁄4″ (1.31 × 1.91 m).
Musée d’Orsay, Paris.

15–35 • Morimura Yasumasa
PORTRAIT (FUTAGO)
1988. Photograph,
chromogenic print with
acrylic paint and gel, edition
of 3: 941⁄2 × 135″ (240 ×
342.9 cm). Courtesy of
the artist and Luhring
Augustine, New York.

THINK ABOUT IT

1. Compare the working methods of both artists. How did 4. Morimura’s Portrait (Futago) is often viewed as a critique
Morimura create Portrait (Futago)? of Japan’s love–hate relationship with Western culture.
Discuss the validity of this observation with reference
2. What do these two images have in common? How are to Manet’s Olympia.
they different?
5. Compare issues of sexuality and race in both images.
3. Why was Manet’s Olympia considered so shocking in
nineteenth-century France? Morimura’s Portrait (Futago)
(Futago means “twin”) also provokes the modern viewer. Why?

FROM ISOLATION TO INTERNATIONALISM: EDO PERIOD TO PRESENT CHAPTER 15 379

15–36 • Takashi Murakami

TAN TAN BO PUKING—A.K.A. GERO TAN
2002. Acrylic on canvas mounted on board, 1413⁄4 × 2831⁄2 × 25⁄8″ (360
× 720 × 6.7 cm). Courtesy Galerie Emmanuel Perrotin, Paris & Miami.

TAK ASHI MURAK AMI 15–37 • Yayoi Kusama MIRROR ROOM—PUMPKIN
Artist, writer, cultural entrepreneur, Takashi Murakami (b.  1962) 1991. Mirror-encased wooden cubicle, filled with soft sculptures
is one of Japan’s most versatile, prolific, and successful contem- of pumpkins, 6′63⁄4″ × 6′63⁄4″ × 6′63⁄4″ (2 × 2 × 2 m). Hara Museum
porary artists. In addition to producing paintings and sculptures, of Contemporary Art, Tokyo. Courtesy Yayoi Kusama Studio Inc.,
he is also an installation artist and filmmaker. Murakami is well Ota Fine Arts, Tokyo and Victoria Miro, London.
versed in art history and contemporary culture. Drawing inspira-
tion from the bold patterns of ukiyo-e woodblock prints as well as
Japan’s popular world of manga (comics) and anime (animated car-
toons), Murakami’s brightly colored, glossy, cartoonlike paintings,
described as “superflat” by the artist, and life-size figurines depict-
ing anime characters eliminate distinctions between fine art and
popular culture. In his painting entitled Tan Tan Bo Puking—a.k.a.
Gero Tan (2002), Murakami explores Japan’s infatuation with fan-
tasy by creating his own cartoonish universe filled with exploding
colors, while alluding to the darker aspects of the otaku (pop cul-
ture fanatics) lifestyle (FIG. 15–36). Saccharine cuteness—note the
smiling flowers and colorful mushrooms—is combined with gro-
tesque elements such as Tan Tan Bo, who resembles a deranged
Mickey Mouse, vomiting.

In 2001, Murakami founded the art production company
Kaikai Kiki, which lists among its goals “the production and
promotion of artwork, the management and support of select
young artists, general management of events and projects, and
the production and promotion of merchandise.”

380 CHAPTER 15 FROM ISOLATION TO INTERNATIONALISM: EDO PERIOD TO PRESENT

YAYOI KUSAMA pumpkin sculptures, duplicated endlessly in the mirror-lined
In 2006,Yayoi Kusama (b. 1929) became the first woman in Japan walls. The pumpkin signifies a type of self-portrait, and through
to be awarded the Praemium Imperiale, one of Japan’s top prizes this disorienting artwork the spectator is offered a glimpse into
for artists of global distinction. Her outstanding artistic career spans Kusama’s hallucinatory world.
many decades in both Japan and America, and her astonishing rep-
ertoire of work includes painting, sculpture, performance art, film, In addition to suffering from mental illness, Kusama has
and installation. Kusama has struggled with mental illness since also faced challenges as a female artist in a predominantly male
childhood, and in 1977 she became a voluntary resident in a Tokyo art world, and as a Japanese woman living in America. These
psychiatric institution, where she still lives today. She continues to struggles both generate and inform her art, which at times can
create art in her studio, close to the facility. be achingly beautiful, as illustrated in the 2011 environmental
installation Infinity Mirrored Room Filled with the Brilliance of Life
Kusama once stated that she wished to obliterate the world (FIG. 15–38). The visitor entered a mirrored space filled with a
with polka dots. Her trademark dots have covered canvases, galaxy of twinkling LED lights illuminating endless reflected
sculptures, fabrics, and even naked bodies. Obsessively repeated forms, an invocation perhaps of Gutai artist Kazuo Shiraga’s
round motifs also appear in her mirrored installations, such as spirited call to nurture individuality and originality as a safe-
Mirror Room—Pumpkin, created in 1991 (FIG. 15–37). The viewer guard against totalitarianism:
looks into a carefully constructed room filled with spotted
Each person should develop their own way of feeling, talking
15–38 • Yayoi Kusama INFINITY MIRRORED ROOM and painting….The stronger a person’s will, the more the
FILLED WITH THE BRILLIANCE OF LIFE person can resist external forces. Contemporary intellect is
Installation Yayoi Kusama at Tate Modern, London, 2012. Room fleeing from the darkness of the first half of the twentieth
with mirror, LED lights, water pool. 9’10 1/8 x 20’2 7/8” x 20’2 century and longing for a brighter world.
7/8” (300 x 617.5 x 617.5 cm). Courtesy Yayoi Kusama Studio
Inc., Ota Fine Arts, Tokyo and Victoria Miro, London.

CROSS-CULTURAL EXPLORATIONS

15.1 Discuss the impact of Japanese wood-
block prints (ukiyo-e) on nineteenth-century
European art.

15.2 Korean gisaeng and Japanese geisha are
often described as female entertainers. How
accurate is this description? How are they
portrayed in art? Do you see any gaps
between how they are portrayed and the reali-
ties of their lives?

15.3 Discuss a selection of works by the Gutai
Group and assess to what degree their
avant-garde art pre-dated experimental devel-
opments in European and American art.

15.4 Japanese artist Morimura Yasumasa criticized
contemporary Japanese art as “dancing to the
tune of mass media, a handmaiden of fads and
fashion, drunk on global strategies and com-
mercialism and selling itself out; economic
gain is now the only value, we are spiritually
bankrupt.” Do you think this is an accurate
assessment of not just current developments
in Japanese art but also contemporary art in
other Asian countries?

FROM ISOLATION TO INTERNATIONALISM: EDO PERIOD TO PRESENT CHAPTER 15 381

Glossary

A arcuate having the form of an arch; a building with Bunjinga Japanese form of Chinese wenrenhua
arches. (literati painting). See also literati.
abstract a style of representation that rejects the
accurate representation of reality or nature. arhat one category of enlightened being in burial substitute a symbolic object buried in a
Buddhism; in some traditions, one of the original tomb, usually created expressly for that purpose, that
Abstract Expressionism an art movement that disciples of the historic Buddha, said to remain in is intended to serve the tomb’s occupant, as in the
originated in America in the mid-twentieth century. the world until the appearance of the Buddha of burial of figures of servants rather than living people.
Abstract Expressionist artists communicated ideas the Future.
and emotions through non-traditional methods that bushido “the way of the warrior”;A code of conduct
emphasized spontaneity and improvisation, and non- artifact man-made object. and moral principles developed by the Japanese
representational compositions. samurai. Bushido stresses self-discipline, courage, and
Aryan a people thought to have settled around loyalty to one’s lord.
adept a person who has been initiated into a system 1500 bce in ancient Iran and the northern
of spiritual knowledge. Indian subcontinent. Some scholars dispute the C
idea that that the Sanskrit term arya (“noble” or
aedicule a decorative architectural frame, usually “distinguished”), from which the English term calligraphy the art of writing; in China it is
found around a niche, door, or window.An aedicule derives, referred to a specific ethnic group; the term considered the highest art form.
is made up of a pediment and entablature supported may have instead described a group of people of a
by columns or pilasters. special social status. canon body of works traditionally regarded as the
most important or significant within a discipline or
aisle a long, narrow space in the interior of a atelier the studio or workshop of a master artist set of disciplines, such as the arts.
building, usually defined by a row of columns and or craftsmaker, often including junior associates and
a wall. apprentices. capital the sculpted block that tops a column.

album leaf a small painting included as a leaf in avatar an incarnation or manifestation of a deity on carnelian a semiprecious stone consisting of an
an album of paintings; an important painting format the earth in bodily form. orange or orange-red variety of chalcedony.
in China.
axe-cut strokes in Chinese painting, a triangular cartouche a pictorial device in which a section is
allegory in a work of art, an image (or images) that brushstroke that suggests the texture of wood set off by a frame from the overall composition. It is
symbolizes an idea, concept, or principle, often moral chopped by an axe. most often used for inscriptions, but can also be used
or religious. to divide up individual images or scenes.
azurite a blue stone used to make mineral
Altaic a language family that includes the Turkic, pigments. castes the division of a society into distinct and
Mongolian, and Tungusic language groups. hierarchically-organized social groupings; caste status
B is often hereditary.
altar a table or stand used in religious ritual for
offerings or sacrifices and/or for the location of barrel vault an elongated or continuous casting a process of shaping molten metal.
religious icons. semicircular ceiling vault, shaped like a half-cylinder.
celadon a term used to describe a wide variety of
alum lumps rock formations in landscape bay a unit of measurement consisting of the space stoneware or porcelain wares with glazes that have
paintings of the Dong-Ju tradition that resemble between two columns. some green in them. Chinese potters invented the
lumps of potassium aluminum sulphate. first celadon glaze as early as the third century ce,
bindi a decorative mark or jewel usually worn in and typically the glaze is a high-firing, transparent
amulet an ornament or small piece of jewelry the middle of the forehead, traditionally by married one whose principal coloring agent is an oxide of
thought to give protection against evil, danger, Hindu women. iron. Celadon glazes spread throughout Asia where
or disease. they continue to be highly-prized today. Perhaps the
blue-green landscape a style of Chinese most famous celadon wares were made in China and
aniconic (“without image”) term referring to the landscape painting characterized by the prominent Korea from the twelfth to fourteenth centuries.
absence of a direct graphic representation of a deity, use of blue and green mineral pigments derived from
as in early Buddhist art. azurite and malachite. cenotaph a funerary monument commemorating
an individual or group buried elsewhere.
animism the belief that everyone/everything has bodhisattva in Buddhism, a being who has attained
a soul or spirit, even inanimate objects and natural enlightenment but chooses to remain in this world in chaitya a type of Buddhist temple in the form of
phenomena. order to help others advance spiritually.Also defined a hall with a rounded end, housing a sacred shrine
as a potential Buddha. or stupa.
anthropomorphism the attribution of human
characteristics or behavior to a god, animal, or object. boneless a Chinese painting technique of laying chattri literally meaning “umbrella,” a term in Indian
down areas of wet ink or pigment without outlining architecture for domed, unwalled pavilions or kiosks.
appropriation the practice by some artists them first.
of adopting images in their entirety from other chiaroscuro an Italian word designating the
works of art or from visual culture for use in their boteh a stylized tear-drop shaped motif in Indian contrast of dark and light in a painting, drawing,
own creations.The act of recontextualizing the art, often found in textile decoration; also known in or print. Chiaroscuro creates spatial depth and
appropriated image allows the artist to critique both English as paisley. volumetric forms through gradations in the intensity
it and the time and place in which it was created. of light and shadow.
bracket a structural element, typically appearing
apsara a beautiful, female, celestial being in Hindu at the tops of columns, that provides support for the circumambulation the ritual of walking around a
and Buddhist mythology. weight of a roof. holy object, such as a Buddhist stupa.

apsidal see apse Brahma/Brahman in earlyVedic tradition the citadel a fortress, typically on high ground,
name for the “supreme universal spirit” and in later protecting or dominating a city.
apse a large semicircular or polygonal (and usually Hindusim the name of the god of creation.
vaulted) recess on an end wall of a building.Apsidal cloud pattern spiral motifs that appear on ancient
is the adjective describing the condition of having brahmin the term inVedic and Hindu traditions for Chinese artifacts, particularly bronze vessels.Also
such a space. the priestly caste. known as thunder pattern.

aquatint a print resembling a watercolor, produced brocade a rich fabric, usually silk, woven with a cobalt a mineral that yields an intensely blue
from a copper plate etched with nitric acid. raised pattern. pigment.

382 GLOSSARY

coffer a recessed decorative panel used to decorate G I
flat or vaulted ceilings.The use of coffers is called
coffering. gabled (roof) a roof with two rectangular sections iconography identifying and studying the subject
sloping outward and down from a ridgepole at the matter and conventional symbols in works of art.
colonnade a row of columns, supporting a straight top, creating gables, or triangular areas of wall, at
lintel (as in a porch or portico) or a series of arches either end of the building. ikat type of fabric originating in India and which
(an arcade). became popular in Southeast Asia. It is made using a
Ganesh the elephant-headed son of Shiva and decorative technique in which warp or weft threads,
colophon in China, an inscription mounted after a Parvati; he is the god of beginnings and the remover or both, are tie-dyed before weaving.
painting. of obstacles.
illustrated manuscript a manuscript decorated
continuous narrative a method of telling a story garbhagriha from the Sanskrit word meaning with paintings that are illustrations of the text.
visually in which one episode flows into the next. “womb chamber,” a small room or shrine in a Hindu
temple containing a holy image. Indo-Saracenic an architecrural term for buildings
contrapposto Italian term meaning “set against,” that combine native Indian traditions with those of
used to describe the convention of representing a genre a subject category in art. Islamic and neo-Gothic styles.
figure standing with most of its weight on one foot
so that it seems to sway gently sideways at the hips, genre painting a term used to loosely categorize inlay to set pieces of a material or materials into a
giving a sense of movement. paintings depicting scenes of everyday life, including surface to form a design.
(among others) domestic interiors, parties, inn scenes,
corbel, corbelled an early roofing and arching and street scenes. installation contemporary art created at a specific
technique in which each course of stone projects site, especially a gallery or outdoor area, that has a
slightly beyond the previous layer (a corbel) until the glaze a liquid suspension of minerals that is applied complete and controlled environment.
uppermost corbels meet. to a ceramic object after a first firing in order to
impart a smooth and glossy finish, and, in the case of International Style a functional style of
courtesy name a name adopted by a Chinese vessels, to make them watertight. twentieth-century architecture that is characterized
person in adulthood and used in place of a given chiefly by regular, unadorned geometric forms, open
name. gopura the towering gateway to an Indian Hindu interiors, and the use of glass, steel, and reinforced
temple complex. concrete.
cupola a small dome adorning a roof or ceiling.
grave goods objects buried with a body for its iwakura in Shinto, the site at which a kami has taken
cusped arches an arch made up of lobed or sustenance in the afterlife. up residence.The iwakura is usually represented by a
scalloped shapes. wooden shrine within an enclosure.The enclosure is
Great Goddess term for the entity of which all accessed through a torii gate.
D female Hindu deities are manifestations.
daimyo literally “great name”; Japanese feudal lord. J
groin vault a vault created by the intersection of
devaraja literally “god king”; concept of kingship two barrel vaults of equal size which creates four jamb in architecture, the vertical element found on
in Southeast Asia where the ruler is considered a side compartments of identical size and shape. both sides of an opening in a wall, and supporting an
manifestation of a deity (such as the Hindu Shiva). arch or lintel.
guru a Hindu spiritual teacher or head of a religious
divination the practice of foretelling the future. sect. jataka in Buddhism, stories associated with the
previous lives of Shakyamuni, the historical Buddha.
Dong-Ju tradition a landscape painting style Gyo a Korean school of Buddhism that emphasizes
named for the painters DongYuan (d. 962) and scriptural teaching. Jeongto a Korean term for Pure Land (Buddhist
Juran (fl. 960-985), typically featuring some of these “paradise”). Jeongto, presided over by the Buddha
elements: hemp-fiber strokes, alum lumps, H Amitabha (Korean:Amita), is a transcendent blissful
dotting to indicate vegetation, and tree trunks realm. Devotees who reach this paradise after death
exposed from root to tip. handscroll a horizontally organized composition are able to attain Enlightenment without the burden
on paper or silk, designed to be gradually unrolled of earthly troubles.
E and viewed from right to left; an important painting
earthenware a clay body that is fired at low format in China. Jina literally “victor”; title given to Mahavira or to
temperatures and is porous. any of the twenty-four founding prophets of Jainism,
hanging scroll a vertically oriented composition who have successfully crossed the stream of time and
emaki Japanese term for a handscroll. meant to be displayed on a wall; an important made a path for others to follow.
painting format in China.
F joined-block technique developed in Japan,
façade the front of a building. hangul the Korean phonetic alphabet, and Korea’s the joined-block wood sculpture technique (yosegi
official writing system since the late nineteenth zukuri) is a method of constructing large-scale
fengshui Chinese term literally meaning “wind and century. wooden sculpture.The entire work is constructed
water,” the art of choosing an auspicious site for new from individually-carved blocks of wood that are
construction. Sometimes translated as geomancy. haniwa pottery forms, including cylinders, buildings, then joined together.
and human figures, that were placed on top of
finial an architectural ornament at the top of a roof. Japanese tombs or burial mounds during the Kofun Jomon Japanese prehistoric period with dates
period (300-552 ce). from ca.14,000-300 BCE.Archaeologists named
flanged architectural term for a structure that the period Jomon (“cord markings”) after the era’s
has projecting ridges or ribs, often running hardstone a word that in the decorative arts ceramic vessels that feature distinctive cord patterns.
longitudinally—as in a column. or archaeology is used as a general term for
semiprecious and precious gemstones. K
Fudo Japanese name for a Buddhist deity known
as the “Immovable One”. He is one of the Kings of hemp-fiber strokes long, ropy brushstrokes used Kabuki theatre a fusion of dance, drama, and
Light, who bring light and wisdom into the world. to indicate texture in landscape paintings of the music that developed during the fifteenth, sixteenth,
Fudo defeats evil with his dragon sword of wisdom Dong-Ju tradition. and early seventeenth centuries in Japan. Still
and coils of rope, and is often shown seated on bare popular today, actors wearing sumptuous costumes
rocks against a fiery background. Flames signifying hieratic scale the practice of depicting elements as and dramatic makeup entertain audiences with
wisdom burn up hindrances and evils. large or small depending on their relative importance. melodramatic plays based upon ancient legends,
Also called hierarchical perspective. historical events, traditional stories, or sensational
contemporary tales. Larger-than-life acting and lavish
hipped (roof) a roof with four trapezoidal sections sets contribute to the spectacle.
sloping outward and down from a ridgepole at the
top. kagura Shinto ritual dance and music.

hipped-and-gabled (roof) a roof that is gabled
at the top with hipping extending below it on all
four sides.

GLOSSARY 383

kami Shinto spirits or deities. landscape an important subject in East Asian art, material culture objects suggestive of the culture
typically including the elements of mountains and of a particular group.
kamikaze Japanese term that translates literally as water (Ch. shanshui).
“divine wind.” During World War II Japanese suicide Manchu a member of a people originally living in
pilots (the kamikaze) crashed their bomb-filled planes leather-hard in making ceramic objects, the state Manchuria (now part of Northeast China).
into enemy targets, frequently ships. in which the clay has dried to the stiffness of leather,
still retaining some dampness. masjid Arabic term meaning literally “place of
kana two syllabaries—hiragana and katakana prostration”; a mosque.
developed at the end of the eighth century to linga a phallus shape that symbolizes the power of
represent the syllable sounds of the Japanese language. the Hindu god Shiva. medium (plural media) the material from which a
work of art is made.
kanji Chinese characters that form the earliest and lintel a horizontal element of any material carried
still integral part of Japan’s written language. by two or more vertical supports to form an opening. megalith a large stone that forms a prehistoric
monument.
Kannon the Bodhisattva of Compassion. Li-Guo tradition a landscape painting style named
for the painters Li Cheng (919-967) and Guo Xi mendicant one who practices begging.
kara-e an early Japanese term for Chinese painting (ca. 1001-1090), typically featuring these elements:
styles popular in Japan. See also yamato-e. serpentine mountain ridges, trees with crab-claw Mi family style a landscape painting style named
branches, and representations of level distance. for the painters Mi Fu (1051-1107) and MiYouren
karma in Hinduism and Buddhism, the sum of (1074-1151), typically featuring some of these
a person’s actions in this and previous states of literary name a name adopted by Chinese writers elements: conical mountains, daubs or dots of wet
existence, and which determines one’s destiny in the for literary endeavors. ink, the use of ink wash, and negative space to
next life. suggest mist.
literati classically educated scholars who typically
Kegon (Chinese: Huayan) a school of Buddhism belonged to the official class of men who served mihrab a recess or niche that distinguishes the wall
founded in China around 600 by Fazang and in the Chinese political bureaucracy. Sometimes oriented toward Mecca (qibla) in a mosque.
transmitted to Japan ca. 740. Kegon emphasizes the described as scholar-officials.
inter-connectedness of all living things, with the minaret a tower on or near a mosque from which
BuddhaVairochana at the center of this intermingling loggia Italian term for a gallery. Often used as a Muslims are called to prayer.
universe. corridor between buildings or around a courtyard, a
loggia usually features an arcade or colonnade. mineral pigment colored media that derive from
kimono literally “thing to wear”; a term for the mineral sources, such as lead, azurite, malachite,
traditional full-length Japanese robe. lost-wax casting a method of casting metal, such cinnabar, or similar.
as bronze.A wax mold is covered with clay and
kirikane a decorative technique using cut pieces of plaster, then fired, thus melting the wax and leaving Miroku Bosatsu according to Buddhist tradition,
gold leaf, sometimes elaborately shaped, on paintings, a hollow form. Molten metal is then poured into the Miroku Bosatsu (Sanskrit: Maitreya) is a bodhisattva
sculptures, ceramics, and lacquerware. hollow space and slowly cooled.When the hardened who will appear on earth in the future to teach
clay-and-plaster exterior shell is removed, a solid the dharma (Buddhist law). His appearance will
koan questions or exchanges with a Zen master that metal form remains to be smoothed and polished. coincide with a time when the teachings of the
cannot be understood or answered with rational current Buddha (Gautama) have been neglected and
thought. M forgotten.The prophecy is found in the canonical
literature of all branches of Buddhism and some texts
Kofun name of an early Japanese period from ca. Ma-Xia school a group of painters working in predict a series of dramatic events marking his arrival,
300-552 that is named after the many large tombs the landscape styles of MaYuan (fl. ca. 1190-1230) such as oceans decreasing in size so Miroku can easily
(ko = old, fun = grave mound) that were built during and Xia Gui (fl. ca. 1180-1224), typically featuring cross the waters.
this era. some of these elements: one-corner composition,
the use of ink wash, axe-cut strokes, and angular mithuna an amorous male and female couple in
kondo the main hall inside a Japanese Buddhist branches. Indian sculpture, usually found at the entrance to a
temple where the image(s) of the Buddha is housed. sacred building.The mithuna symbolizes the harmony
mace a heavy club. and fertility of life.
Kongo Rikishi guardians of the Buddha.
madrasa an Islamic institution of higher learning, molding a shaped or sculpted strip with varying
kosode literally “small sleeves”; a modern term for where teaching is focused on theology and law. contours and patterns. Used as decoration on
all full-length robes made before the Meiji period architecture, furniture, frames, and other objects.
(1868-1911). maebyeong a Korean term used to describe a type
of vessel with a small mouth, broad shoulders, and monolithic formed of a single large block of stone.
Krishna one of Vishnu’s principal avatars, and narrow base.
a popular and prominent figure in Hindu belief mortise-and-tenon a method of joining two
portrayed variously as a mischievous infant, a model magatama a curved jewel made from stone, often elements;A projecting pin (tenon) on one element
lover, and a divine hero. jade. Magatama are an important component of the fits snugly into a hole designed for it (mortise) on the
regalia of Japan’s rulers.An object of high status and other. Such joints are very strong and flexible.
kyogen a short, witty comedy performed in adornment they are also found in other early Asian
between Noh plays. Masks worn by kyogen actors cultures, in particular that of Korea. motif a design element in a work of art, including
often have cheerful, silly, and ugly faces to encourage compositional features or images.
laughter. malachite a green stone used to make mineral
pigments. mudra a symbolic hand gesture in Buddhist art that
L denotes certain behaviors, actions, or feelings.
mandala an image of the cosmos represented by
lacquer a medium made from the addition of an arrangement of circles or concentric geometric mural a wall painting.
pigments to the heated sap of the lacquer tree, native shapes containing diagrams or images. Used for
to southern and central China, and used to paint meditation and contemplation by Buddhists. N
objects made of wood, cloth, or paper.
mandapa in a Hindu temple, an open hall dedicated naturalism a style of representation that strives for
lakshanas a group of symbols in images of to ritual worship. the accurate representation of reality or nature.The
the Buddha that indicate his attainment of adjectival form is naturalistic.
enlightenment, including the urna, ushnisha, and the mandate of heaven an ancient Chinese concept
webbing between the fingers and toes. in which Heaven grants the ruler the right to rule. nave an open central area in the interior of
However, the right to rule is dependent upon the a building, usually defined by columns on the
Lakshmi in Hinduism, the consort of Vishnu and ruler’s virtuous conduct. periphery.
one of the manifestations of the Great Goddess.
She is the goddess of wealth, prosperity, and the mandorla an almond-shaped halo, typically neo-Gothic a revival or adaptation of the medieval
embodiment of beauty. extending around the body rather than just the head. European Gothic architectural style.

nimbus the halo-like element framing the head of
an image that indicates their divinity or sanctity.

384 GLOSSARY

nirvana the state achieved, in both Buddhism and Q seppuku (also known as hara-kiri) a method of
Hindusim, once one has attained full enlightenment committing ritual suicide through disembowelment.
and extinguished all ignorance and desire. qibla the mosque wall oriented toward Mecca; Seppuku was also practiced as a form of capital
indicated by the mihrab. punishment.
Nyoirin Kannon the bodhisattva who grants
wishes (a form of Kannon, the Bodhisattva of R shamanism a belief system focused on the shaman,
Compassion). He is usually portrayed with six arms a person believed to communicate with the spirit
holding various attributes such as the wish-granting raigo the welcome to the Western paradise by Amida world (via an altered state) in order to heal the sick,
jewel, lotus flower, and the wheel of Buddha’s Law. Buddha, and possibly one or more bodhisattvas, of a practice divination, and control future events, among
When depicted as a deity with two arms he does devotee after death. other tasks.
not hold a jewel. Instead he may be portrayed in a
distinctive seated posture with his crossed right leg reducing atmosphere in firing ceramics, a shamisen a Japanese musical instrument like a lute
resting at the ankle over his left leg. kiln atmosphere with reduced oxygen due to the that was introduced from China.
O introduction of smoke into the kiln.
shaykh an Islamic religious official or leader.
obi a broad sash worn with a Japanese kimono. register vertical level.
Shingon an Esoteric Buddhist sect in Japan that
oculus in architecture, a circular opening. Usually relic venerated object or body part associated with a emphasizes the mystical abilities of priests who
found either as a window or at the apex of a dome. holy figure, such as the Buddha. conduct arcane rituals, perform mudras, recite
mantras, and meditate on mandalas to ensure the
one-corner composition in Chinese painting, relief design elements that project forward from the spiritual and material well-being of the laity.
a composition weighted heavily toward one of the surface.
bottom corners, typically leaving negative space in Shinto Japan’s indigenous belief system rooted in
the opposite corner that is ideal for an inscription. renga a collaborative form of poetry in Japan shamanism but later known as Shinto (Way of the
involving two or more poets who contribute verses Gods). Shinto, which evolved out of the needs of an
orthodox according with received tradition; in turn to compose one long poem. early agrarian culture, initially functioned without
conventional. scriptures, dogmas, devotional images, famous
repoussé a technique for working metal that teachers, or elaborate structures.
overglaze decoration applied to a ceramic object involves hammering a sheet of metal in order to
over the glaze, using enamel. create a raised design on the opposite side. Shiva one of the principal gods of Hinduism; he
is the father of Ganesh, the consort of Parvati; he is
oxidation exposure to oxygen. Rinzai in Japan’s medieval period, Zen was both creator of life and destroyer of evil.
transmitted to Japan in two main forms: Rinzai and
oxidizing atmosphere in firing ceramics, a kiln Soto. Rinzai, with its belief in the possibility of shogunate in Japan, the government, office, or rule
atmosphere with an excess of oxygen. sudden Enlightenment, the effectiveness of the koan of a shogun.
as teaching tool, and the ritual drinking of tea was
P especially well received by the daimyo (feudal lords) shoji in Japan, white translucent paper screens with
and shogun. wooden lattice frameworks.
pagoda the East Asian form of a stupa.
rosary Buddhist rosaries contain 108 beads believed single-point perspective represented
patina a crusty surface. to symbolize the 108 delusions that people can suffer objects appear to recede in space by being drawn
from. progressively smaller and closer together towards a
patron someone who commissions, funds, or single point at the horizon line.
sponsors a work of art.The act is referred to as roundel any ornamental element with a circular
patronage. format. slip a mixture of clay and water used to join clay
elements or to decorate ceramics before they are
picturesque used to describe the “picturelike” ruled-line style a method of using a straight-edge glazed and fired.
qualities of landscape scenes popular in the to depict buildings in paintings.
eighteenth and nineteenth centuries in Europe. Socialist Realism a state-approved artistic style,
running-grass script style of calligraphy in developed in the Soviet Union and adopted in other
piece-mold casting a method of casting metal, which elements of the character are abbreviated or countries with communist regimes, which promotes
such as bronze.The process involves making a clay disappear in favor of a smooth and quick execution, and glorifies the political and social ideals of
mold in pieces that can be connected. appearing much like blades of grass or straw. communism. Hard working laborers and communist
leaders are typically portrayed in a heroic or idealized
pilgrim a person who journeys to a sacred place for S manner.
religious reasons.
sala Indian architectural term indicating the barrel- Soto in Japan’s medieval period, Zen was transmitted
plain-outline style a painting style originating vaulted roof of a temple in the southern Indian to Japan in two main forms: Rinzai and Soto. Soto,
with Li Gonglin (ca. 1041-1106), in which elements temple tradition. in advocating a balance of meditation and physical
are depicted with simple, unmodulated outlines and activity leading to moments of understanding and a
typically no use of color. samsara term in Buddhism and Hinduism for the more gradual Enlightenment, appealed in particular
eternal cycle of birth, suffering, death, and rebirth to the peasantry and the samurai of the provinces.
porcelain a type of extremely hard and fine white that can only be broken by extinction of all desire
ceramic first made by Chinese potters in the eighth and ignorance. space-cell a cell-shaped enclosure containing
century ce. Made from a mixture of kaolin and pictorial elements, apparently set on a different plane
petuntse, porcelain is fired at a very high temperature, samurai a member of the Japanese warrior class. of recession from the surrounding elements.
and the final product has a translucent surface.
saptamatrika the “seven goddesses” who are each spandrel the area of wall between two arches, as in
portico a projecting roof or porch supported by manifestations of the Great Goddess and are also an arcade.
columns, often marking an entrance. the consorts of the seven principal gods of Hinduism.
spatial recession the indication of objects
post-and-beam a technique of constructing seal an object of stone (such as steatite), metal, or receding from a foreground into a background.
buildings using vertical posts and horizontal beams, wood carved at one end with an insignia or name
usually in wood and plaster. that when stamped in ink or paste and then onto a splashed-ink style a painting method, strongly
surface (or when stamped into soft wax) leaves an associated in East Asia with Chan or Zen
pottery vessels or objects made out of clay; impression of the insignia. In East Asian art, a seal is Buddhism, that involves dripping or splashing ink
ceramics. an artist’s or collector’s mark stamped on a painting, and creating a composition around the resulting
usually with vermilion paste. forms.
provenance an artwork’s history of ownership.
Seon a Korean school of Buddhism that emphasizes steatite also known as soapstone, it is a talc/schist
putto (plural putti) a plump, naked little boy, often meditation. Seon is often known in the West by the rock that is relatively soft and can be easily shaped
winged; common in European art. name of its Japanese equivalent: Zen. and modeled.

GLOSSARY 385

stele (plural stelae) an upright stone slab carved tatami a Japanese woven grass mat filled with straw. Vishnu one of the principal gods of Hinduism who
with inscriptions and images. Usually erected for In Japan, a room’s size is still measured by the number embodies the qualities of mercy and goodness; he is
commemorative purposes or as a grave marker. of tatami mats: for example, a six tatami room.A the creator of the universe and the (repeated) savior
standard tatami mat is roughly six feet long, three feet of mankind in the form of his ten avatars.
stoneware a clay body that can be fired to a higher wide and two inches thick (182 x 92 x 5.25 cm).
temperature than earthenware and is harder and votive offering an object left as a ritual gift in a
nonporous. Stoneware occurs in a range of earth- Tenjukoku a Buddhist paradise that includes sacred place.
toned colors, from white and tan to gray and black, components drawn from Chinese and Japanese folk
with light gray predominating. traditions and cosmology. W
waka a Japanese poem of thirty-one syllables in five
stucco a mixture of lime, sand, and other terra-cotta unglazed pottery. lines.
ingredients made into a material that can easily be
molded or modeled.When dry, it produces a durable thunder pattern see cloud pattern. woodblock print a print made from one or more
surface used for covering walls or for architectural carved wooden blocks. In Japan, woodblock prints
sculpture and decoration. torii entrance gate to a Shinto shrine. were made using multiple blocks carved in relief,
usually with a block for each color in the finished
stupa in Buddhist architecture, a dome-shaped trope term for a recurrent theme or convention in a print.
structure erected as a shrine and containing sacred genre or discipline of art.
relics. Wu School a group of painters working in the
tumulus funerary mound. Suzhou area in the Ming dynasty (1368–1644).
Sudhana an Indian youth who searched for
enlightenment, and in his quest he learned from 53 U Y
spiritual masters, including Guanyin (the Bodhisattva underglaze decoration, typically in slip, applied to yamato-e early Japanese term for Japanese-style
of Compassion). a ceramic object before glazing. painting. See also kara-e.

Sueki ware a type of elegant grey-green pottery unorthodox contrary to what is usual, traditional, yoga ancient system of religious practice in India
first developed in Korea. Popular with the ruling or accepted. predicated on bodily control and meditation.
classes, Sueki ware was introduced into Japan by
Korean craftsmen during the fifth century.This high urna the curl of hair on the forehead that is a yoroi suit of Japanese armor.
quality pottery, often used for ceremonial purposes, characteristic mark of the Buddha.The urna is a
was turned on the wheel and fired at very high symbol of divine wisdom. Z
temperatures (over 1000 degrees centigrade).As a zazen Zen meditation.
result, Sueki ware acquires an ash glaze due to the ushnisha a rounded shape at the top of the head that
vitrification of matter from the kiln walls. is a characteristic mark of the Buddha.The ushnisha is Zen Buddhism known as Chan in China, Zen
a symbol of enlightenment. Buddhism is a Japanese form of Buddhism that
sutras sacred scriptures of Buddhism. emphasizes meditation, intuition, and strict self-
V discipline.
syncretism a process whereby artists assimilate and vahana Sanskrit term meaning “vehicle” and
combine images and ideas from different cultural indicating the animal or entity associated with a Zhe School a loose affiliation of professional
traditions, beliefs, and practices, giving them new particular deity and on which they are often shown painters working in Zhejiang during the Ming
meanings. riding. dynasty (1368–1644).The painter Dai Jin (1368–
1462) is credited as its founder.
T Vedas earliest known body of beliefs in the Indian
subcontinent, believed to have been directly revealed
tableau a group of figures representing a scene from by Brahman.
a story.
vermilion a red pigment made from the mineral
taotie a mask motif that appears on early Chinese cinnabar.
artifacts, particularly in the Neolithic era and the
Shang dynasty. vihara a Sanskrit term meaning literally “for
wanderers.”A vihara is, in general, a Buddhist
tarashikomi (the «dripping in» technique) a Japanese monastery. It also signifies monks’ cells and gathering
technique whereby ink and/or colors are applied to a places in such a monastery.
previously painted surface that is still wet.This results
in an atmospheric pooling of colors and mottled
effects.

386 GLOSSARY

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Credits

Pearson Education, the authors, and the picture researchers wish to thank the institutions
and individuals who have kindly provided photographic material for use in this book.
Museum and gallery locations are given in the captions; other sources and copyright
information is given below.While every effort has been made to trace the present
copyright holders we apologize in advance for any unintentional omission or error and
will be pleased to insert the appropriate acknowledgements in any subsequent edition.

Introduction: I-1 © 2013 Image copyright The Metropolitan Museum of Art/Art Images; 4-19 © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris/F.L.C. Photo
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Ashmolean Museum, University of Oxford/The Bridgeman Art Library; 1-20 Photograph Image Museum Associates/LACMA/Art Resource NY/Scala, Florence; 5-27 Werner For-
© 2014 Museum of Fine Arts, Boston; 1-22 Interfoto/akg-images; 1-23 Nikhilesh Haval/ man Archive/Private Collection, London; 5-Closer Look © Victoria and Albert Museum,
age fotostock/SuperStock; 1-24 © Frederic Soltan/Corbis; 1-25 © Luca Tettoni; 1-26 © London/V&A Images -All rights reserved.
Christine Osborne Pictures/Alamy; 1-27 Photo Scala, Florence; 1-30 © RMN-Grand Palais
(musée Guimet, Paris)/Thierry Ollivier. Part Two Opener:The Nelson-Atkins Museum of Art, Kansas City.

Chapter 2: 2-1 Werner Forman Archive, London; 2-2, 2-4, 2-6, 2-15, 2-Closer Look, 2-33 Chapter 6: 6-1 © James Montgomery/AWL Images/Getty Images; 6-2, 6-3, 6-5, 6-8, 6-10,
© 2013 Image copyright The Metropolitan Museum of Art/Art Resource/Scala, Florence; 6-11, 6-14, 6-Closer Look, 6-25, 6-26, 6-28 Cultural Relics Publishing House, Beijing; 6-9
2-3 Brooklyn Museum photograph, 2009; 2-5, 2-16, 2-21 © The Trustees of the British © The Trustees of the British Museum; 6-Technique Reproduction after Marilyn Stokstad
Museum; 2-7, 2-10, 2-13, 2-20, 2-25 © Dinodia; 2-8, 2-27 Rick Asher; 2-9 Jean-Louis and Michael W. Cothren, Art History, 5th ed.(Upper Saddle River, NJ, Pearson, 2014); 6-13
Nou/akg-images; 2-11 © Jon Hicks/Corbis; 2-12 © 2008 Saurabh Chatterjee/Getty Imag- © 2013 Image copyright The Metropolitan Museum of Art/Art Resource/Scala, Florence;
es; 2-14 © Ocean/Corbis; 2-17 age fotostock/SuperStock; 2-18 © PhotosIndia.com/Getty 6-16 The Nelson-Atkins Museum of Art, Kansas City. Photo John Lamberton; 6-18 ©
Images; 2-19 © PhotosIndia com/Dinodia; 2-22 © Luca Tettoni; 2-23 © Balan Madhavan/ Ramon Manent/Corbis; 6-20 © Keren Su/China Span/Alamy; 6-22 PanoramaStock/
SOUVENIRS/Alamy; 2-24 John Henry Claude Wilson/Robert Harding; 2-26 © Paul Robert Harding; 6-23 O. Louis Mazzatenta/National Geographic/Getty Images; 6-27 ©
Panayiotou/Corbis; 2-28 © Wilmar Photography/Alamy; 2-32 © Jaro Poncar. Asian Art & Archaeology, Inc./Corbis; 6-29, 6-30 Photo Bruce M.White© 2013. Princeton
University Art Museum/Art Resource NY/Scala, Florence.
Chapter 3: 3-2 Ashok Sukumaran © Dorling Kindersley; 3-3 © Dan Saunders Photogra-
phy/Alamy; 3-4 © Massimo Borchi/Atlantide Phototravel/Corbis; 3-5, 3-7, 3-20 Gerard Chapter 7: 7-1 © Aflo Co. Ltd./Alamy; 7-2, 7-28 © The Trustees of the British Museum;
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3-10, 3-45 © The British Library Board/Robana; 3-13 © Shashank Mehendale/epho- Cultural Relics Publishing House, Beijing; 7-6 © Chu Yong/Best View Stock/Alamy; 7-7,
tocorp/Alamy; 3-15, 3-29, 3-30, 3-Techniques, 3-34, 3-42 © 2013 Image copyright The 7-Closer Look, 7-11, 7-31 © 2013 Image copyright The Metropolitan Museum of Art/
Metropolitan Museum of Art/Art Resource/Scala, Florence; 3-16 Photographer Pernille Art Resource/Scala, Florence; 7-8 Werner Forman Archive, London; 7-12 Werner Forman
Klemp; 3-17, 3-33, 3-37 © Victoria and Albert Museum, London/V&A Images -All rights Archive/National Palace Museum,Taipei; 7-13, 7-Techniques Reproduction after Robert L.
reserved; 3-18 Pixtal/SuperStock; 3-22, 3-25 © Christophe Boisvieux/Corbis; 3-23 ©Jere- Thorp and Richard Ellis Vinograd, Chinese Art & Culture (New York, Prentice Hall, 2001);
my Graham/dbimages/Alamy; 3-24 R. & S. Michaud/akg-images; 3-26 © Joao Figueiredo/ 7-15 Reproduction after Nancy S. Steinhardt, ed., Chinese Architecture (New Haven,Yale
Getty Images; 3-27 © Philippe Lissac/Godong/Corbis; 3-28 Photo Scala, Florence/BPK, University Press, 2002); 7-16 © Chu Yong/Getty Images; 7-17 © Robin Hanbury Tenison;
Bildagentur für Kunst, Kultur und Geschichte, Berlin/Dietmar Katz; 3-31 Photograph 7-19 Photograph © 2014 Museum of Fine Arts, Boston; 7-20 Photo Malcolm Varon.
© 2014 Museum of Fine Arts, Boston; 3-36 The Royal Collection © 2011 Her Majesty © 2013 Image copyright The Metropolitan Museum of Art/Art Resource/Scala, Florence;
Queen Elizabeth II/The Bridgeman Art Library; 3-38 © The Trustees of the Chester Beatty 7-21 Photo Courtesy of the East Asian Library and the Visual Resources Center, the
Library, Dublin/The Bridgeman Art Library; 3-39 © Maharana of Mewar Charitable Foun- University of Chicago; 7-22 The Nelson-Atkins Museum of Art, Kansas City. Photo John
dation, Udaipur; 3-40 Sebastian Wasek/age fotostock/SuperStock; 3-41 © Danny Lehman/ Lamberton; 7-23 © Carl & Ann Purcell/Corbis; 7-24 Tao/Robert Harding; 7-27 Chen
Corbis; 3-43 © Photo Rainer Wolfsberger; 3-44 © 2012 Sourav Ghosh/Getty Images. Zhao/livepine; 7-32 Photograph © 2014 Museum of Fine Arts, Boston.

Chapter 4: 4-3, 4-4, 4-Closer Look, 4-8, 4-9 © Victoria and Albert Museum, Lon- Chapter 8: 8-1, 8-8 Photograph © 2014 Museum of Fine Arts, Boston; 8-5, 8-18 The Nel-
don/V&A Images -All rights reserved; 4-5 © The Trustees of the British Museum; 4-7 son-Atkins Museum of Art, Kansas City. Photo John Lamberton; 8-11 © The Trustees of the
© Fine Arts Museums of San Francisco; 4-10 © 2013 Image copyright The Metropolitan British Museum; 8-12, 8-14, 8-16, 8-17, 8-25 © 2013 Image copyright The Metropolitan
Museum of Art/Art Resource/Scala, Florence; 4-11 © The British Library Board/Robana; Museum of Art/Art Resource/Scala, Florence; 8-13 Pictures from History; 8-Closer Look
4-12 National Army Museum, London/The Bridgeman Art Library; 4-13 Photononstop/ a&b Photograph © 2014 Museum of Fine Arts, Boston; 8-21 © Henry Westheim Photogra-
SuperStock; 4-14 © Jeremy Horner/Corbis; 4-15 © Akash Banerjee Photography/Getty phy/Alamy; 8-22 © Dennis Cox/Alamy.

398 CREDITS

Chapter 9: 9-2 View Stock/Getty Images; 9-3 Neale Clark/Robert Harding; 9-4 Repro- Art Archive; 12-8 Photo Nonakado,Akita; 12-9 Photo DNP Art Communications Co.
duction after Nancy S. Steinhardt, ed., Chinese Architecture (New Haven and London,Yale Ltd; 12-12 Tokyo National Museum, Japan/De Agostini Picture Library/The Bridgeman
University Press, 2002); 9-5 Gavin Hellier/Robert Harding; 9-6 Thinkstock; 9-7 Chris Art Library; 12-13 © MIXA/Getty Images; 12-14 © The Trustees of the British Museum;
Greenwood; 9-9, 9-17, 9-25, 9-31 © 2013 Image copyright The Metropolitan Muse- 12-15 © Yoichi Tsukioka/amana images/Getty Images; 12-16, 12-17, 12-19 Photo DNP
um of Art/Art Resource/Scala, Florence/Photo Sheldan Collins; 9-Closer Look Foto Art Communications Co. Ltd; 12-21 © DAJ/Getty Images; 12-22 Reproduction after
©Rheinisches Bildarchiv Köln; 9-16, 9-32 The Nelson-Atkins Museum of Art, Kansas Penelope Mason, History of Japanese Art, 2nd ed. (Upper Saddle River, NJ, Pearson, 2005);
City. Photo John Lamberton; 9-18 The Nelson-Atkins Museum of Art, Kansas City. Photo 12-23 © Ivan Vdovin/Alamy; 12-24 Gary Cross © Dorling Kindersley; 12-25 © Cultural-
Jamieson Miller; 9-19 The Nelson-Atkins Museum of Art, Kansas City. Photo Robert Eyes-AusGS/Alamy; 12-26, 12-Closer Look a&b, 12-29, 12-30 Photo Benrido Inc., Kyoto;
Newcombe; 9-22 Photograph courtesy of the Herbert F. Johnson Museum, Cornell Uni- 12-27 © G.Sioen/DeAgostini/Universal Images Group/Alamy; 12-28 Photo Askaen Co.,
versity.Acquired through the generosity of Judith Stoikov, Class of 1963, supplemented by Ltd, Nara.
the George and Mary Rockwell Fund, and gift of Warner L. Overton, by exchange; 9-24
© Asian Art Museum, San Francisco. Used by permission; 9-27 Museum Rietberg, Zürich Chapter 13: 13-1, 13-4 Photo Askaen Co., Ltd, Nara; 13-2, 13-Technique, 13-13, 13-24
© Photo Rainer Wolfsberger; 9-28 Photo Imaging Department © President and Fellows of Reproduction after Penelope Mason, History of Japanese Art, 2nd ed. (Upper Saddle River,
Harvard College. NJ, Pearson, 2005); 13-3 Photo Imperial Household Agency; 13-5 Demetrio Carrasco
© Dorling Kindersley; 13-6 © Luca Tettoni; 13-7 © Sankei/Getty Images; 13-10, 13-14a&b,
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Metropolitan Museum of Art/Art Resource/Scala, Florence; 10-11 Cultural Relics Pub- Shinichi Waki; 13-19 © Asia Images Group Pte Ltd/Alamy; 13-21 © Sakamoto Photo
lishing House, Beijing; 10-12 © estate of Li Keran; 10-13 © Victoria and Albert Museum, Research Laboratory/Corbis; 13-22, 13-26, 13-27 a&b Photo DNP Art Communications
London/V&A Images -All rights reserved; 10-15 © Luo Zhongli; 10-16 © Wu Guanzhong Co. Ltd.
estate, reproduced by permission of Sothebys; 10-21 © Centre Pompidou, MNAM-CCI,
Dist. RMN-Grand Palais/Philippe Migeat. Photo © 2013 Artists Rights Society (ARS), Chapter 14: 14-1 Photograph © 2014 Museum of Fine Arts, Boston; 14-2, 14-9, 14-16,
New York/ProLitteris, Zurich; 10-22 © estate of Chang Dai-chien; 10.24 Photo by Masa- 14-24, 14-26, 14-31, 14-33, 14-36, 14-37 Photo DNP Art Communications Co. Ltd; 14-3,
nobu Moriyama, courtesy Cai Studio; 10-25 a, b & c Photo Ai Weiwei; 10-26 Photo Kith 14-22 © 2013 Image copyright The Metropolitan Museum of Art/Art Resource/Scala,
Tak Ping Tsang. Florence; 14-4, 14-8 Photo Nara National Museum; 14-5, 14-7 Photo Askaen Co., Ltd,
Nara; 14-6 Photo Imaging Department © President and Fellows of Harvard College; 14-11,
Part Three Opener: © The Trustees of the British Museum. 14-32, 14-34 a&b Photo Imperial Household Agency; 14-12, 14-14, 14-38 Photo Benrido
Inc., Kyoto; 14-18 © Burstein Collection/Corbis; 14-19 © Catherine Karnow/Corbis;
Chapter 11: 11-1 DeAgostini Picture Library/The Art Archive; 11-2 Hanyang University 14-20 © Michael S.Yamashita/Corbis; 14-23 © Ishikawa Prefecture Tourist Association
Museum, South Korea/The Bridgeman Art Library; 11-3 Lawinc82 (Creative Commons and Kanazawa Convention Bureau/© JNTO; 14-27 Gavin Hellier/Robert Harding; 14-28
Attribution-Share Alike 3.0); 11-4 Samsung Foundation of Culture, Korea; 11-5 Pictures Eurasia/Robert Harding; 14-29 Gary Cross © Dorling Kindersley; 14-30 Reproduction
from History; 11-7, 11-12 Photo Imaging Department © President and Fellows of Harvard after Marilyn Stokstad and Michael W. Cothren, Art History, 5th ed.(Upper Saddle River,
College; 11-8 DeAgostini Picture Library/Scala, Florence; 11-9 © Steven Vidler/Eurasia NJ: Pearson, 2014); 14-Closer Look Photo Minao Tabata. Courtesy Urasenke Tankokai
Press/Corbis; 11-10 © Topic Photo Agency/Corbis; 11-11 Photo Professor Ro Myoungho; Foundation, International Affairs Department; 14-39 Reproduced from Kazuo Nishi and
11-13 Eye Ubiquitous/SuperStock ; 11-14 © Victoria and Albert Museum, London/V&A Kazuo Hozumi, Nihon Kenchiku no Katachi (Shokokusha Publishing Co., Ltd., 1983); 14-42
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Agostini Picture Library/akg-images; 11-17 Photononstop/SuperStock; 11-18 Richard
Nebesky/Lonely Planet Images/Getty Images; 11-19 Photo Dale Quarrington; 11-20 Chapter 15: 15-1 Werner Forman Archive/Burke Collection, New York; 15-2 Gary Cross
Daderot (Creative Commons); 11-21 Photo Barry Shell ; 11-24 © 2013 Image copyright © Dorling Kindersley; 15-3, 15-4 Photo Imperial Household Agency; 15-5, 15-9, 15-19
The Metropolitan Museum of Art/Art Resource/Scala, Florence; 11-26 © 2013 Digital Photo DNP Art Communications Co. Ltd; 15-6 Photo Seiji Shirono, National Institute
Image Museum Associates/LACMA/Art Resource NY/Scala, Florence; 11-Closer Look for Cultural Properties,Tokyo; 15-10, 15-17 © 2013. Image copyright The Metropolitan
akg-images/VISIOARS; 11-33 © Glyn Thomas/Alamy; 11-34 Max Desfor/AP/Press Museum of Art/Art Resource/Scala, Florence; 51-11 DeAgostini Picture Library/The Art
Association Images; 11-36 Mark Harris/The Image Bank/Getty Images; 11-37 Photo Jim Archive; 15-12 © 2013 Digital Image Museum Associates/LACMA/Art Resource NY/
Hoare; 11-38 © Philippe Agret/AFP/Getty Images; 11-39 © Park Seo-bo; 11-41, 11-42 © Scala, Florence; 15-Techniques Reproduction after Penelope Mason, History of Japanese Art,
The Trustees of the British Museum; 11-42 © estate of Oh Yun, courtesy Mrs Oh Young-A 2nd ed. (Upper Saddle River, NJ, Pearson, 2005); 15-14, 15-16 Photography © The Art
and Gana Art Centre; 11-43 © estate of Paik Nam June; 11-44 © 2013 Photo Smithsonian Institute of Chicago; 15-15, 15-Closer Look © The Trustees of the British Museum; 15-20
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Lee Bull. Photo Watanabe Osamu. Courtesy Mori Art Museum. stone/Getty Images; 15-27 Photo Japan/Robert Harding; 15-29 © Ryoji Ito; 15-31 Photo:
Shiro Takatani + dumb type; 15-33 © Margaret Bourke-White/Time Life Pictures/Getty
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12-6 JTB Photo/SuperStock; 12-7 Tokyo National Museum/Granger Collection/The

CREDITS 399

Index

Figures in italics refer to illustrations. 280 (Jomon), 283–4 (Yayoi), 287–8 (Kofun/21st century), 196, 196–8; Hall of Supreme Harmony 167, 197, 197;
289, 290–92 (Asuka), 301—2 (Nara), 311, 313, 318 Temple of Heaven 197, 197–8, 198;Tiananmen Square
A (Heian), 342 (Muromachi), 343–4, 349 (Momoyama), 225–7, 227;White Stupa (Anige) 185, 185
xxi–xxii, 356–7 (Edo), 374–5 (20th–21st century); Korea Bengal, India 74, 82, 84, 113
‘Abd alSamad 68 (Joseon) 256, 257–9 Bhagavad Gita 28, 96
Abu, Mount (Rajasthan):Vimala temple 40, 40, 53, 56 arhats 151, 218; The Arhat Deoksewi (Joseon scroll) 261, 261 bhiksu 18
Abu’lFazl: History of Akbar (Akbarnama) xvii–xviii, xviii Ariwara no Narihira: Tales of Ise xii, xiii Bhima I, of Gujarat 39–40
Abu’l Hasan 69; Jahangir Embracing Shah ‘Abbas xix, xix–xx Arjun, Guru 78 Bhubaneshwar, India: Lingaraja temple 39, 39
Account of a TenFootSquare Hut,An (Kamo no Chomei) Arjuna 28; Arjuna with Chariot (Husain) 96–7, 97; Bhutan xxiv
Arjuna’s Penance (relief) 33, 33 bi (jade disc) 130, 136, 136
333, 352 Arrival of the Portuguese (Kano Naizen) 347, 347 Bi Sheng 253
Adi Granth 78 art history xxii–xxiii Bidar, India 59
‘Adil Shahi sultans 59, 61 Aryans 9 bidri metalwork 61–2, 62
Admonitions of the Court Instructress to the Palace Ladies Asaf Jahis 81 Bigelow,William 374
Asai Ryoi 364 bihari (script) 58
(after Gu Kaizhi) 148–9, 149 Ashikaga period see Muromachi period Bijapur, India 59; tomb of Ibrahim ‘Adil Shah II 59, 61, 61
Afghanistan xxiv, 3, 15, 20–21, 22–3, 45, 51 Ashikaga shogunate 339, 343 bindi 100
Agra, India 71, 75;Anguri Bagh 77;The Musamman Burg Ashikaga Tadayoshi 331 Biographies of Lian Po and Lin Xiangru (Huang Tingjian)
Ashikaga Takauji 334 181, 181
(“Octagonal Tower”) 66–7, 67;Taj Mahal xxiv–1, 1, 67, AshikagaYoshiaki 343 Blossoming Plum (Jin Nong) 217, 217
67; see also Fatehpur Sikri AshikagaYoshimasa 349 Boat Bridge (Hon’ami Koetsu) 358, 358
Ahmad Shah 56 AshikagaYoshimitsu 334, 340, 342 bodhisattvas 13, 17, 18, 38, 44, 45, 113, 151; Bodhisattva
Ahmadabad, India 56; mosques 56, 56–7, 57 AshikagaYoshimochi 335, 342 Guide of Souls (Tang scroll painting) 166, 166; Bodhisattva
Ahmadnagar, India 59 Ashoka, Emperor 9, 10, 38; columns of 10, 10–11, 91 Maitreya (Kushan) 17, 17; Bodhisattva Samantabhadra
Ahmedabad, India: Husain Gallery (Doshi) 94, 95; Indian Ashtasahasrika Prajnaparamita (Buddhist sutra) 44, 44–5, 45 (Nepalese) 45, 45; Bodhisattva Seated in Meditation (Silla)
Institute of Management (Kahn) 94, 94 Asmat, the (New Guinea): totemic poles 109 248, 249, 296; see also Avalokiteshvara
Aihole, India: Durga temple 32, 32 Assad ibn Kariba Launches a Night Attack... (attrib. Basavana, Bombay see Mumbai
Ainu, the 370; ceremonial robe 370, 370 Shravana, and Tara) 68, 68–9 Bonnet, Rudolf 123
Ai Weiwei 236; Dropping a Han Dynasty Urn 236, 236 Asuka, Japan 289 Book from the Sky,A (Xu Bing) 220, 221, 235, 235
Ajanta caves, India 18, 18–19, 19, 46 Asuka period, Japan 289–90; see also Horyuji book arts: Sikh 78–9, 79; see also manuscripts, illustrated
Akbar, Emperor xvii–xviii, 64, 65, 66, 68, 69, 70, 71, 74, 75 Aurangzeb see ‘Alamgir Book of Changes,The 140
Akbarnama (Abu’lFazl) xvii–xviii, xviii Autobiographical Essay (Huaisu) 156, 157 Book of Songs 182
‘Ala alDin Khalji 54 Ava, the 106, 121 Borneo: stone post inscriptions 110
‘Alamgir (Aurangzeb), Emperor 64, 65, 78, 81 Avalokiteshvara (bodhisattva) 38, 111, 111–12, 112, 166, Borobudur, Java 103; Great Stupa 112, 112–13; reliefs 108,
album leaves 157 211; Juichimen Kannon (Elevenheaded Avalokiteshvara) 113, 113, 114
Alexander the Great 15 304, 304; see also Nyoirin Kannon Bourke-White, Margaret: Mahatma Gandhi at his Spinning
Ali Pasha, Mehboob, Nizam of Hyderabad 88 avatars 26 Wheel 378, 378
Amaravati, India: Great Stupa 11, 13, 13, 14 Awadh, Nawabs of 81 Bourne, Samuel 87; View near Rusala, Kulu 87, 87–8
Amaterasu (goddess) 278, 285, 287, 288, 374 Ayutthaya,Thailand 121; gold cap 121, 121 Brahma/Brahman (god) 9, 31
Amber (Amer), Rajasthan, India 76—7; Jai Mandir 77; brahmins 9
Jess Mandir 77, 77 B British, the 74, 82–3, 84, 90, 91, 92, 93, 121, 123; artists
Amida Buddha 312, 313, 342; Amida Buddha (Jocho) and photographers 84, 86, 87—8; see also East India
313, 313–14, 314; The Descent of Amida Buddha... Babur, Emperor 64, 68, 69 Company, British
(Kamakura scroll) 332, 332 Bada Shanren see Zhu Da bronzes: Avalokiteshvara (Srivijaya school) 112; Baekje
Amitabha Buddha 111, 155, 166 Baekje kingdom, Korea 245, 246, 249, 289; incense burner kingdom (Korea) 246–7; Buddha Roshana (Todaiji) 302–3;
Amritsar, India: Golden Temple 78, 79 Buddha Seated in Bhumisparsha Mudra 119; casting 44,
“An Amusing Day in a Field in Spring” (SinYunbok) 265, 265 246–7, 247 133, 133; Chinese 131—4, 137 (Shang), 133, 134—5,
An Gyeon 266; Dream Journey to the Peach Blossom Land Bahmani dynasty, India 59 137 (Zhou), 135—6 (Warring States), 142 (Han), 167—8
262, 262 Bai Juyi:“Song of the Pipa” 203 (Tang); Chola 43, 44; dancing girl (from Mohenjo
Anahobe no Hashihito, Empress 297 Baker, Herbert 91 Daro) 7–8; Dong Son 105–6; dotaku 282–3; Sa Huynh
Analects of Confucius 144 Bali, Indonesia 120, 123; bronze drums 106; ikats (tyedied (Vietnam) 106–7; Sri Lankan 38; Tara 38;Walking
Anawrahta, Burman king 118 Buddhas (Sukothai) 119–20;Wang Geon (Korean) 251;
ancestor figure, South Molucca 109, 109 cloth) 109; puppet theater 121 Warring States (China) wine vessels 135–6; Yakushi
ancestor worship xiii, 109, 127, 131, 151 Balwant Singh, of Jasrota 78; Balwant Singh Relaxing at Buddha 300
Angkor empire (Cambodia) 114–15 Buddha, the 9, 10, 11, 13, 14–15, 18–19, 21; Buddha 35,
Angkor Thom, Cambodia 116;The Bayon 116–17, 117; a Fireplace (attrib. Nainsukh) 78, 78 35 (Sarnath), 111, 111 (Dvaravati); Buddha Preaching
Buddha/Jayavarman VII 117, 117–18 Bamboo Groves in Mist and Rain (Guan Daosheng) 189, 189 the First Sermon (Sarnath) xx, xxi; Buddha Seated in
Angkor Wat, Cambodia 103, 116, 116; reliefs xvi, xvi, Bamiyan,Afghanistan: statues 20, 20–21 Bhumisparsha Mudra 119, 119; Colossal Attendants of the
116, 116 Ban Chiang,Thailand: pottery 105, 105 Buddha (Longmen Grottoes) 146; Colossal Shakyamuni
Anige 185, 214;White Stupa, Beijing 185, 185 Ban Zhao: Instructions forWomen 148 and Smaller Buddha (Yungang Grottoes) 151, 151–2; Great
Anuradhapura, Sri Lanka 38 Bangladesh xxiv, 93, 94 Departure of the Buddha (Sanchi) 12, 12; Nagarjunakonda
Anyang, China: bronzes 131, 137 Banpo, China: Neolithic pottery 128, 129 relief 17, 17; Seated Buddha (at Seokguram cave temple)
Aparajitapriccha of Bhuvanadeva 3 Baroda, Gujarat 98 250, 250; Seated Buddha with Two Attendants (Kushan) 2;
apsaras 116, 116 Basavana: (attrib.) Hamzanama folio 68, 68–9 Standing Buddha 20, 20–21 (Bamiyan), 34, 34 (Mathura);
Aravidu dynasty, India 62 Batak, the (Sumatra): sculpture 109 Standing Figure of Buddha (Gandhara) 15, 15, 17;
architecture xvii, xviii, xxi; China 163–4, 166, 167 batiks 109, 120, 120 Walking Buddha (Sukothai) 119, 119–20; Yakushi
(Tang), 184 (Southern Song), 185, 186 (Yuan), 195–8 Beato, Felice 89; The Secundra Bagh after the Slaughter of Buddha 300, 301; see also Amida Buddha;Amitabha
(Ming); Harappan/Mohenjo Daro 4–5; India 9–10, Buddha and below
11, 13 (Buddhist), 21, 40 (Jain), 29–34, 36–7, 38–9, 2,000 Rebels... 89, 89
40–41 (Hindu), 53–4 (Ghurid), 1, 65–7 (Mughal), 76–7 Beggars and Street Characters (Zhou Chen) 203–4, 204
(Rajput), 93–4 (International Style); Japan 278 (Shinto), Begram,Afghanistan: ivory plaques 22–3, 23
Beijing, China 125, 171, 195, 196, 222; Forbidden City

400 INDEX

Buddha Roshana 308, 309; bronze (Todaiji) 302, 302–3 Chang Daichien (Zhang Daqian) 234–5; Mountains Clearing Cracked Ice (Maruyama Okyo) 240–41, 241
Buddha Shakyamuni 151, 307, 308; Colossal Shakyamuni... after Rain 234, 235 crown, Silla kingdom (Korea) 242, 247
Cultural Revolution 228, 230, 231
151, 151–2; Shakyamuni and Attendants 152, 153 Chang’an (Xi’an), China 127, 147, 157, 158, 158, 167, 196, Curzon, George, Lord 89
BuddhaVairochana 164, 308; ColossalVairochana and 300; Great Goose Pagoda 163–4, 164 CypressTree (Kano Eitoku) 345, 345, 362

Attendants 164, 164–5 chanoyu see tea ceremony, Japanese D
Buddhism xiii, xiii, xxiv, 3, 18, 25; Chan 184–5; in China Chen Chun 208, 209; Hills and Streams after Rain 208, 208–9
Chen dynasty, China 147, 161 dagger (from Bijapur?) 61, 61
xiii, 147, 163, 184–5; Hinayana see Theravada; in India Chen Hengke (Shizeng) 222; Viewing Paintings at an Dai Jin 203; The Hermit XuYou Resting by a Stream 202, 203
9, 11, 13; in Japan xiii, 240, 288–9, 297, 301, 322—3, daimyo 325, 334, 355
see also Zen Buddhism; in Korea 243, 245, 246, 248–9, Exhibition 222, 222 Dancing Ganesh (sculpture) 27, 27
250, 251–2, 253, 256, 261; Mahayana xiii, 13, 17, 20, 37, Chen Hongshou 205; Lady Xuanwenjun Giving Instructions Dancing girl (Mohenjo Daro bronze) 7, 7–8
112, 113, 150, 153, 184; in Sri Lanka 38; symbols and DancingWoman (Tagore) 93, 93
mudras 15, on the Classics 205, 205 Daniell,Thomas 87; Hindu Temples at Brindaban 88, 88
16, 16, 17;Theravada (Hinayana) xiii, 17, 110–11, 118, 119; Chen Shu 213; Flowers 212, 213 Daniell,William 87
see also Buddha; Buddhist art and architecture; Esoteric Cheomseongdae Astronomical Observatory, Gyeongju, Dao de jing 140
Buddhism; Pure Land Buddhism Daoism xiii, xiv, 127, 140, 142, 143, 144, 147, 148, 149,
Buddhist art and architecture:Ashokan columns 10–11; Korea 249, 249
Borobudur 103, 108, 112–13, 114; cave temples and Chiengmai,Thailand 119, 121 151, 186
monasteries 18–20; Chinese (Tang) 163–6, 167; lion China 104, 107, 124–5, 127, 219, 221, 256; ancestor worship Daoji see Shitao
ornaments 110; manuscripts 44–5; reliefs 12, 13–14, darshan 29
150–53; rockcut caves 28, 36, 37–8; Sanchi Stupa 11; 131; architecture 163–6, 167 (Tang), 184 (Southern Daruma (monk) 334; Daruma (attrib. Sesshu) 336, 336, 337
sculpture 110, see also Buddha, the; Shwe Dagon pagoda Song), 185, 186 (Yuan), 195–8 (Ming); art history xxii; Das, Bhawani 84
103; stupas 9–10, 13, 14; see also bodhisattvas bronzes 131–4, 137 (Shang), 134–5, 137 (Zhou), 135–6 Das, Ram 84
Buddhist Retreat by Stream and Mountain (attrib. Juran) (Warring States); Buddhism 147, 163, 184–5; Buddhist Dasam Granth (Gobind Singh) 78–9, 79
174, 174 cave sites 150–53; calligraphy xxii, 155, 157, 183; ceramics Datong, China:Yungang Grottoes 151, 151–2
Bull,The (Lee Joongsup) 267, 267 128–9 (Neolithic), 168–9 (Tang), 177–8 (Northern Deccan, the (India) 59, 61—4, 81; metalwork 61; temples 28,
Bull and Puppy (Nagasawa Rosetsu) 362, 362–3 Song), 200, 202 (Ming/Qing); Communist Party 221,
buncheong ware 259, 259 225, 226; cosmology and zodiac 148; Cultural Revolution 29, 31–2; textiles 62; see also Ajanta; Ellora
Bunjinga (literati painting) 363 228, 230, 231; Daoism 147, 148, 149; engravings 149–50; Deen Dayal, Raja Lala 88; OneTree Hill, Secunderabad
Bunraku 368 funerary arts (Han) 140–43; garden design 198–9; Great
Burma (Myanmar) xxiv, 104, 121, 123; Buddhism xiii; Karen Wall 198; ink painting xx, xxii, 174, 179, 181; installations 88–9, 89
drums 106; Shwe Dagon pagoda 102, 103; yun ware 235–9; lacquerware 137–8; language and writing xiv, xv; Deer Scroll (Hon’ami Koetsu and Tawaraya Sotatsu) 358, 359
(lacquerware) 121–2, 122; see also Pagan; Pyu people literati xvii, xviii, 149, 172, 178–9, 181, 182, 187–9, 193, Delhi/New Delhi 53, 54, 64, 65, 75, 82, 84, 91; Qutb
Busshi see Tori Busshi 195, 363; metalwork 167–8; movable type 253; names
Byodoin, nr Kyoto 313; Phoenix Hall 312, 313–14 xiv, xvi; Neolithic artifacts 127, 128–31; painting 148–9 Mosque 52, 53, 53–4, 54; Red Fort 51;Viceroy’s House
(Eastern Jin), 160–63, 166 (Tang), 172–4 (Southern Tang), (Lutyens) 91, 91
C 174–7, 180 (Northern Song), 178–81 (Song), “Delhi order” capitals 91
182–4 (Southern Song), 186–93 (Yuan), xvi–xvii, 202—13 Deogarh, India: temple 30, 30–31, 31, 36
Cage, John 272 (Ming), 124, 213–19 (Qing), 221–5, 227–9, 230–32, 234– Deposition from the Cross,The (Mughal) 74–5, 75
Cai GuoQiang 235; Project to Extend the Great Wall of China 5 (20th century); posters 230; Qin tombs and terracotta Descent of the Ganges,The (relief) 33, 33
army xvi, 127, 138–9, 286; reliefs 144–5 (Han); sculpture devarajas 115, 118
by 10,000 Meters 235–6, 236 151–3, 164–5, 233; tombs/tomb art 143–5, 158–60; Dhaka, Bangladesh 94
Calcutta 74, 82, 84, 87, 90, 91, 93 wall paintings 149, 150 (Six Dynasties), 153 (Northern dharma 10, 16
calligraphy xiv, xvii, xviii, 70; Chinese xxii, 155, 156, 157, Zhou), 159–60, 165 (Tang); writing xiv, xv, 317; see also Dharmaraja Shrine, Mamallapuram, India 33–4, 34
Confucianism; Daoism; Han, Ming and Qing dynasty; Digambara, the 21
157, 183, 183; Japanese 317, 317, 318, 320, 358 Six Dynasties; Song,Tang,Yuan and Zhou dynasty ding (bronze cauldron) 135, 135
calligraphy xiv, xviii;Arabic 120; Chinese xvii, xxii, 155, 157, Chinese Lions (Kano Eitoku) 345, 345–6 Ding ware 177, 177–8
Chinggis Khan 64, 69, 171 Ding Cong: Images of Present Times 225, 225
169, 177, 179, 181, 183, 187, 188, 205, 206, 213, 217, 238; Chiossone, Edoardo: Empress Jingu 284, 284 Dogen (Zen master) 334
and Indian architecture 1, 57, 67; Japanese 265, 315, 317, Chitarman II 70–71; (attrib.) Muhammad Shah in a Palanquin Dokyo (monk) 306
318, 319, 320, 333, 335, 358, 371; Mughal 70 70, 71 DongJu tradition 173–4, 191, 192, 193, 206, 207, 210
Cambodia xxiv, 123; bronzes 107; Buddhism xiii; see also Chitor, Mewar, India: fort 55, 55–6, 76 Dong Qichang 210, 213, 223, 363; Qingbian Mountains
Angkor Thom;Angkor Wat; Phnom Da Chitrasutra xxiii 210, 211
carpets, Mughal 71–2, 72 Chojiro 351; Yugure (Twilight) tea bowl 351, 351 Dong Son culture,Vietnam 105; Ngoc Lu drums 105,
castes, Indian 9 Chola dynasty, India 42; bronzes 43, 43, 44; temples 42, 105–6, 108
Castiglione, Giuseppe see Lang Shining 42, 44, 63 DongYuan 173, 210; (attrib.) Wintry Groves and Layered
casting bronze 44, 133, 133 Christanto, Dadang: Java 123, 123 Banks 173, 173–4
Catching a Catfish with a Gourd (Josetsu) 335, 335–6 Christianity xiii, 52; see also Jesuits Doshi, B.V.: M. F. Husain Gallery,Ahmedabad, India 94, 95
celadon ware: Chinese 178, 178, 200; Goryeo (Korea) Chrysanthemums and Bamboo (Xue Wu) 212, 212–13 dotaku 282, 282–3
252, 254–5, 255; Sukothai (Thailand) 120, 120 Chu region, China 132, 135–6, 137, 140 Dragon Boat Festival (attrib.Wang Zhenpeng) 187, 187
cenotaphs 67 Chuguji, Nara, Japan 246, 295, 297; Miroku Bosatsu 295–6, Dravida temples 29, 39
ceramics xviii, xx–xxi; Ban Chiang (Thailand) 105; 296;Tenjukoku Embroidery 296, 296–7 Dream Journey to the Peach Blossom Land (An Gyeon)
Chinese 128–9 (Neolithic), 168–9 (Tang), 177–8 cinema 95–6 262, 262
(Northern Song), 200, 202 (Ming/Qing); Harappan 4; Cities on the Move... (Kimsooja) 274, 274 Dropping a Han Dynasty Urn (Ai Weiwei) 236, 236
Japanese 244, 278, 279–80 (Jomon), 283 (Yayoi), 351–2, Cloudy Mountains (MiYouren) 181, 181, 208 Dumb Type 376; pH 376–7, 377
353, 360–61 (Edo); Korean 244 (Neolithic), 248 (Silla), coffin, wood and lacquer (Han) 142, 142 Dunhuang, China: Mogao Grottoes 153, 153, 165, 165,
252, 254–5 (Goryeo), 259–61, 353 (Joseon); Sukothai Collin, Raphael 372 166, 166
(Thailand) 120 Communism: in China 221, 225, 226, see also Cultural Durga 27, 30, 33; Durga Killing the Buffalo Demon Mahisha 27,
Chabi, Empress 185, 187 Revolution, Mao Zedong; in Korea 268 27; temple to (Aihole, India) 32, 32
chaityas 17, 18, 18, 20 “Company Painting” 84 Dutch, the 74, 83, 121, 123
chakras 11, 15, 16, 16 Confucianism: in China xiii, xiv, 127, 140, 143–4, 147, Dvaravati culture 106, 110–11; Buddha 111, 111
Chalukya dynasty, India 32, 33 151, 182, 199; in Japan 289, 306, 334; in Korea 250, Dwelling in Reclusion in the Qingbian Mountains (Wang Meng)
Cham culture,Vietnam 114, 116; sculpture 114, 115 251, 261, 265 192, 192, 210
Chan Buddhism 184–5, 209, 210; see Zen Buddhism Confucius 144 Dwelling in the Fuchun Mountains (Huang Gongwang)
Chand, Mihr 86; Nawab Shuja alDaula... 86, 86 cong (Liangzhu culture) 130, 130–31 189–91, 190–91
Chandella kings 40, 41 Corbusier, Le (CharlesEdouard Jeanneret) 94; Chandigarh
Chandigarh, India 93;Assembly Hall (Le Corbusier) 93–4, 94 93–4, 94
Chandragupta II 30 Couple in an Upstairs Room (Kitagawa Utamaro) 365, 365–6

INDEX 401

E Fujiwara no Michitsuna, mother of 318; Gossamer Diary Guo Zhongshu 210; (after Wang Wei) Wangchuan Villa 162,
318 162–3
Early Spring (Guo Xi) 175, 175–6
East India Company: British (English) 65, 74, 82, 84, 86, 90; Fujiwara no Takanobu: (attrib.) MinamotoYoritomo 330–31, Guomindang, the 221
331 Gupta, Subodh 100
Dutch 74 Gupta period, India: sculpture xx, 21–2, 26, 34–6; temples
Eastern Jin dynasty, China 147; art 148–9, 149, 155, 156 Fujiwara noYorimichi 313
Eastern Wei dynasty, China 147; Buddhist stele 154, 154; Fukurai: (attrib.) Noh mask 341, 341 28, 29, 30–31
Funan culture 106, 111—12 gurudwara 78
Stele with Shakyamuni... 165, 165 Furuhashi,Teiji 376 Gurus 78, 79
Edo (Tokyo) 355–6, 364 Gutai group 375, 375–6, 376, 381
Edo period 355–72; architecture 356–7; ceramics 353, G Gwanggaeto, king of Goguryeo 245; Stele of 245, 245
Gyeongju, Silla kingdom, Korea 247, 248, 250;
360–61; ink painting 371, 372; Kabuki theater 369, 370; Gaesong, North Korea 251, 254
painting 357–65; textiles 360, 368, 370; women artists Gaitonde,Vasudeo S. 94; Untitled 94, 95 Cheomseongdae Astronomical Observatory 249, 249;
370–72; woodblock prints 364, 365–7, 370 Gaki Zoshi (Hungry Ghosts Scroll) 321–2, 322 Great Tomb 247; Seokguram cave temple 250, 250
Eight Immortals, the 148 Gama,Vasco da 74
Eight Views of the Miao and Miang Rivers (Fachang Muqi) Gandharan sculpture 15, 15, 17, 17 H
184–5, 185 Ganesh (god) 27, 30, 31, 78, 79; Dancing Ganesh 27
Eisai (Zen master) 333, 334 Ganjin (monk) 304, 304–5, 328 Hakuin Ekaku 372; Hotei Meditating 372, 372
Electric Dress (Atsuko Tanaka) 375–6, 376 Gaozong, Emperor 158, 159, 164, 182 Hamam Khana (Khakhar) 98, 98
Electronic Superhighway... (Paik) 272, 272 garbhagriha 29, 29, 30 Hamzanama 68, 68–9
Elephant Hunt,An (attrib. Niji) 75, 75 gardens: Chinese 198–9; Garden of the Master of the Han dynasty, China 107, 125, 127, 187; funerary arts 140–45
Elephanta caves, India 31–2; reliefs 24, 25, 32, 32, 33 Han Gan 179; (attrib.) NightShiningWhite 162, 162
Ellichpur, India 59 Fishing Nets, Suzhou 199, 199; Huwon (Secret Garden), Han Junbin: We’re the Happiest in the World 268, 268
Ellora, India: rockcut temples 36, 36–8, 37 Changdeok Palace 258, 258; Han Xizai 172–3
En Mémoire de Mai (Zao Wouki) 234, 234 Ryoanji rock garden, Kyoto 338, 338–9;Tea garden, HanYu 147, 163, 199
Eo Sukgwon: Miscellany from a Storyteller 266 Urasenke, Kyoto 350, 350; Zen dry gardens 337—9 handscrolls, Chinese 148
Esoteric Buddhism xiii, 185, 307–12, 335 Garuda 26, 114 hanging scrolls 157
Europeans Bring Gifts to Shah Jahan (from Padshahnama) 74, 74 geisha 366 hangul xiv, 256, 265
Evening Bell from MistShrouded Temple (Fachang Muqi) Genji Monogatari Sennenki (TV series) 319 Hangzhou, China 195, 199, 203
184–5, 185 Genpei Civil War (Japan) 323, 325, 327 haniwa 286, 286–7, 287, 376, 377
Everlasting Happiness Palace, Ruicheng, China 186, 186 GeorgeV 91 Hannyabo: (attrib.) Noh mask 341, 341
Ghaznavid sultans 51–2, 53 Hanshan and Shide (Luo Ping) 218, 218
F Ghiyath Shahi 58 Hanuman 28, 63
Ghurid sultans 51–2, 53 Harappa/Harappan civilization (Pakistan) 3–8, 9, 14;
Fachang Muqi 335; Evening Bell from MistShrouded Temple gisaeng 265
184–5, 185 Glass Palace Chronicles (Konbaung) 118 sculpture 7–8; seals 4, 6–7; sump pots 5; see also
glazes, ceramic 168, 169 Mohenjo Daro
Family Tree (Zhang Huan) 237, 237 GoShirakawa, Emperor 326 Harishena, king 18
Fan Kuan 192; Travelers among Mountains and Streams 192, 19 Goa, India 74, 81 Harivamsa 69, 69—70
FanYuqi, General 144 Gobind Singh, Guru 78; Dasam Granth 78–9, 79 Harunobu see Suzuki Harunobu
Fang Lijun 231–2; Series 2 232, 232 Godai Myoo 310 Hasegawa Tohaku 345, 346; Pine Forest 346, 346
Farrukh Husain: Ibrahim ‘Adil Shah II Hawking 59, 60, 60 Goddess see Great Goddess Heian period (Japan) 306–23; architecture 318; Buddhism/
Fatehpur Sikri, India xviii, xviii, 71, 74; audience hall 65, Goguryeo kingdom, Korea 245, 246, 249, 297; Buddhist art 307–11; Buddhist temples 311–12, 313,
Muyongchong Tomb 246, 246 322–3; court life 314–18, 319, 323; lacquerwork 315,
65–6; Panch Mahal 65, 65; tomb of Shaykh Salim Golconda, India 59 315; literature 317–20, 323; painting 319–22; sculpture
Chishti 65, 66, 66 Golden Temple,Amritsar 78, 79 311, 313–14, 328, 329; Shinto shrines 322–3; writing
Father (Luo Zhongli) 230–31, 231 goldwork:Ayutthaya gold cap 121, 121; Korean 242; systems 317
Faxian (monk) 151 Tang mirror 167–8, 168 Heiji Monogatari emaki (Tale of Heiji scrolls) 324, 325–6, 327
female artists see women artists Gong Xian 214–15, 222; A Thousand Peaks and Hell Scrolls (Kamakura period) 332, 332–3
Fengfeng, China: Xiangtangshan Caves 155, 155 Myriad Ravines 215, 215 Hermit XuYou Resting by a Stream,The (Dai Jin) 202, 203
Fenollosa, Ernest xxiii, 373, 374 gopuras 63, 63, 64, 64 Hiei, Mount (Japan) 307, 311
Fighting in Northern Shaanxi (Shi Lu) 228, 228 Goryeo dynasty, Korea 250–51, 252, 255; Buddhism 251–2, hieratic scale xix, 153, 160
film 95–6 253; ceramics 252, 254–5, 260; SeatedWillow Branch Hills and Streams after Rain (Chen Chun) 208, 208–9
Fishnets Drying in the Sun (KaihoYusho) 346, 347 Gwanse’eum Bosal (scroll) 252, 252 Himeji castle, Japan 343, 343–4, 344
FiveColored Parakeet on a Blossoming Apricot Tree Gossamer Diary (mother of Fujiwara no Michitsuna) 318 Himiko, Queen 284
(Emperor Huizong) 176, 177 Grandmother (OhYoun) 271, 271 Hindu art and architecture: bronzes 43, 44; cave temples
Five Dynasties period, China 171, 172, 193 Great Goddess (Hindu) 25, 26–7; temples to 29, 40 25, 28, 30, 31–2, 36–7; literature see Mahabharata,
Five Hundred Luohans 184, 184 Great Goose Pagoda, Chang’an (Mi’an) 163–4, 164 Ramayana,Vedas; reliefs 27, 30, 31, 32, 33; sculpture
Five Tribute Horses (Li Gonglin) 179, 179 Great Wall of China 198, 198, 235–6 15, 26–7, 31–2, 35, 43, 110; temples 29–34, 38–9, 40–42,
Floating Lights (Yokoyama Taikan) 373, 373–4 GreatWave off Kanagawa,The (Katsushika Hokusai) 367, 367 63–4, 112, 114
floating world pictures and prints see ukiyoe Gu Hongzhong: Night Revels of Han Xizai 172–3, 172–3, Hindu Temples at Brindaban... (Daniell) 88, 88
Flowers (Chen Shu) 212, 213 203, 235 Hinduism xiii, xiv, xvi, xxiii, xxiv, 1, 3, 25, 120; gods
Flowers of Beauty in the Floating World...,The (Suzuki Gu Kaizhi 148; (copy after) Admonitions of the Instructress and goddesses 9, 25–7
Harunobu) 365, 365 to the Palace Ladies 148–9, 149 hinggi (man’s cloth) 110, 110
Fluxus 272 Gu,Wenda: United Nations 238, 238 Hinomaru Illumination... (Yukinori) 376, 377
Fong,Wen C. 210 Guan Daosheng 189; Bamboo Groves in Mist and Rain hiragana xiv, 317, 317, 318, 319
Former Song dynasty, China 147, 149; engraving 149, 189, 189 Hirohito, Emperor 374, 376
149–50 Guan Tong 210 Hiroshima, bombing of 374, 374
Fraser, James 84 Guan Zilan (Violet Kwan) 222–3; Portrait of Miss L 222, 223 Hokusai see Katsushika Hokusai
Fraser,William 84 guang (wine vessel) 137, 137 Hon’ami Koetsu 351, 358; Boat Bridge 358, 358; Deer Scroll
Fraser Album 84, 84 Guanyin, Portraits of (Qiu Zhu) 211, 211–12 358, 359; Shichiri tea bowl 351, 351–2
French, the 74, 81–2, 121, 123 Gujarat, India 39, 56, 74, 98; mosques 56–7; motherofpearl Honen (monk) 312, 332
Frois, Luis 343, 352 writing box 73; Sun temple 39–40, 56; textiles 47–9 Hong Kong 125, 236
From Point (Lee Ufan) 270, 270 Guo Xi 174, 175, 192; Early Spring 175, 175–6; The Lofty Hong Sokchang 270
fuda 288, 288 Message of Forests and Streams 176 Hongshan culture, China 128; earthenware head 128–9, 129;
Fudo/Fudo Myoo (Red Fudo) 310, 310–11, 326 jade artifacts 130, 130
Fujiwara, the 307, 319, 323
Fujiwara no Michinaga 313

402 INDEX

Horyuji, Nara, Japan 246, 290, 290–92, 291, 306; ivory work: Begram plaques 22–3, 23; from Orissa 48–9, 59; Jingu, Empress 284, 284
dragon posts 293, 293; Kannon 293, 295, 295; veneer over haldu (fromVishakhapatnam) 83, 83 JiroYoshihara 375
kondo 292, 292; Shaka Triad 292–3, 293; Jito, Empress 299, 300
Tamamushi Shrine 294, 294 iwakura 278 Jizo Bosatsu (Kaikei) 330, 330
Jocho 328; Amida Buddha 313, 313–14, 314
Hotei Meditating (Hakuin) 372, 372 J joinedblock wood sculpture 314, 314, 327–8, 328, 329, 329
hu (wine vessel) 136, 136 Jokei 351
HuYichuan: To the Front! 223, 223 jade artifacts: bi disc (Warring States period) 130, 136, Jomon period, Japan 278–81; ceramics 244, 278, 279–80;
Huaisu: Autobiographical Essay 156, 157 136; Han dynasty funeral suit 142–3, 143; ling lingo
Huang Binhong 223–4; Sketches of Twelve Strange Mountain 107, 107–8; Mughal wine cup 72, 72–3; Neolithic Monakado stone circle 281; pit houses 280
Chinese 130, 130–31 Jonin: (attrib.) Myoe Shonin 333, 333
Peaks 224, 224 Joseon dynasty, Korea 256, 266; architecture 256, 257–9;
Huang Gongwang 189, 191, 193; Dwelling in the Fuchun Jade Field,The (Lu Zhi) 207, 207–8
Jahangir, Emperor 64, 65, 66, 69, 70, 75, 78, 85; Jahangir ceramics 259–61; painting 261–5; women artists 265–6
Mountains 189–91, 190–91 Josetsu 335, 336; Catching a Catfish with a Gourd 335, 335–6
Huang Tingjian 178, 179, 181; Biographies of Lian Po and Embracing Shah ‘Abbas (Abu’l Hasan) xix, xix–xx; Judaism 52
Jahangir Preferring a Sufi Shaykh to Kings 50, 70, 75 Juichimen Kannon 304, 304
Lin Xiangru 181, 181 Jahangirnama 69 Juran 173, 174, 210; Buddhist Retreat by Stream and
Huizong, Emperor 176–7, 178, 179, 182, 187; Five Colored Jai Singh I, of Amber 77
Jai Singh II, of Amber 77 Mountain 174, 174
Parakeet on a Blossoming Apricot Tree 176, 177 “Jainesque” Shahnama 57, 57–8 Jurchens, the 171, 186, 195
Humayun, Emperor 64, 65, 68, 90; Humayun and His Brothers Jains/Jainism xiii, 3, 9, 15, 21, 25, 38; caves 36, 37;
manuscripts 45–6; sculpture 21–2, 35; temples 21, 39–40 K
in a Landscape (attrib. Dust Muhammad) 68, 68 Japan 221, 222, 223, 240, 256, 266–7, 277, 307, 331;
Humphrey, Ozias 86 architecture 278 (Shinto), 280 (Jomon), 283–4 (Yayoi), Kabuki theater 365, 366, 367, 368, 369, 369
Hungry Ghosts Scroll 321–2, 322 287–8 (Kofun/21st century), 289, 290–92 (Asuka), Kacchwaha kings 76–7
Hurling Colors (Shimamoto) 375, 375 301–2 (Nara), 311, 313, 318 (Heian), 342 (Muromachi), Kahn, Louis 94; Indian Institute of Management,
Husain, M. F. 94, 95, 96; Arjuna with Chariot 96–7, 97 343–4, 349 (Momoyama), xxi–xxii, 356–7 (Edo), 374–5
Hyderabad 88, 93 (20th–21st century); 374–5; armor and weapons 326–7; Ahmedabad 94, 94
Hyonjong, king of Goryeo (Korea) 253 art history xxiii; Buddhism 288–9, 301, 322–3, see also KaihoYusho 345, 346; Fishnets Drying in the Sun 346, 347
Pure Land and Zen Buddhism; ceramics xx–xxi (Raku), Kaikai Kiki (production company) 380
I 244, 278, 279–80 (Jomon), 283 (Yayoi), 285–6 (Kofun Kaikei 328; Jizo Bosatsu 330, 330; Kongo Rikishi 328, 328,
Sueki ware), 353, 360–61 (Edo period); Edo period
I Ching (The Book of Changes) 140 353, 355–72; haniwa 286–7; Heian period 306–23; 329, 329
Ibn Khordadhbeh 243 installations 375, 381; Jomon period 278–81; Kamakura Kailasa, Mount 26, 38
Ibrahim ‘Adil Shah II 59; tomb 59, 60, 60, 61, 61 period 325–34; kamikaze suicide pilots 327, 331; Kofun Kailashanath temple, Ellora, India 36, 36–7
iconography xvii, 6, 75 period 284–8; lacquerwork 74, 314, 326; literati xviii, 363; Kalachuri dynasty, India 28, 31
ikats 109, 110, 110 literature xii, xiii, 317–19, 325–6, 333, 342; Meiji period Kalaka (monk) 45
Ike Taiga xviii, 363; True View of Kojima Bay 363, 363–4 372–4; Momoyama period 343–53; Muromachi Kalakacharyakatha 45, 45–6
Illustrated History of the Mongol Invasion 331, 331–2 period 334–43; names xiv, xvi; Nara period 299–307; kalamkari textiles 62, 62, 71, 71, 73
Iltutmish, Sultan 54 Noh masks 351–2; painting 319–22 (Heian), 330–33 Kalan Khan, Mir 86–7
Images of Present Times (Ding Cong) 225, 225 (Kamakura), 339 (Muromachi), xii–xiii, xviii, 356, 357–64 Kalyan Das see Chitarman II
Impey, Sir Elijah 82, 83, 85 (Edo), 372–3 (Meiji), 380 (21st century), see also screen Kamakura period, Japan: Kenchoji 334; military
Impey, Lady Mary 82, 83, 84, 85; Lady Impey Supervising painting; performance art 375–8; photography 377–8,
379; samurai 323, 325; screen painting 241, 345—7, culture 325–7; painting 330–33; sculpture 327–30;
her Household (attrib. Zayn alDin) 82, 82–3 358—9, 360, 362—3; sculpture 292–3, 295–6 (Asuka), temples 335
In Front of Tiananmen (Sun Zixi) 227, 227 304–5 (Nara), 314, 322–3, 329 (Heian), xxiii, 327–8, 329, kami 278, 288
incense burners: Baekje 246–7, 247; Han 142, 143 330 (Kamakura), 340 (Muromachi); shamanism 277, 279; Kamisama religion 279
Indhra Sabha, Ellora, India 37, 37 Showa period 374–6;Taika Reforms 299;Taisho period Kammu, Emperor 306
India xxiv, 1, 3, 89, 93, 107; architecture 9–10, 11, 13 374; tea ceremony 349–53; textiles 296–7, 348, 360, 368, Kamo no Chomei 333, 352; An Account of a Ten Foot
370; women artists xviii, 370–72; woodblock prints 364, Square Hut 333, 352
(Buddhist), 21, 39–40, 55 (Jain), 52–4, 55–6 (Islamic), 365–8, 369; writing xv, xiv, 317;Yayoi period 281–4; kana xiv, 317, 319
76–7 (Rajput), 93–4 (International Style); art history see also Shinto Kan’ami 340
xxiii;Aryans 9; Buddhism and Buddhist art 9–19; Islam jataka tales 11, 13, 18, 153 Kandariya temple see Khajuraho
51–2; literature 1, 9, 21, 25, 28, see also jataka tales, Java, Indonesia 108, 120; batiks 109; bronze drums 106; Kangxi emperor 202, 213, 214
Mahabharata, Ramayana,Vedas; manuscripts 44–6; painting Hindu temples 112; man’s head cloth 120; metal sculpture kanji xiv, 317, 318
57–8, 60, 75, 76, 94, 97–8, 99; reliefs 12, 13–15, 17; scripts 114; puppet theater 121; see also Borobudur Kannon (Bodhisattva of Compassion) 293, 295, 295
xiv; sculpture 15, 17 (Buddhist), 21–2 (Jain); textiles 46–9; Java (Dadang Christanto) 123, 123 Kano Eitoku 345; Chinese Lions 345, 345–6; (attrib.)
see also Hindu art and architecture; Hinduism; Mughal Jayavarman II, Khmer king 114–15 CypressTree 345, 345, 362
dynasty JayavarmanVII, Khmer king 116, 117, 117–18 Kano Naizen: Arrival of the Portuguese 347, 347
Indonesia xxiv, 82, 104, 123; Buddhism xiii; contemporary Jeong Seon 263; Panoramic View of the Diamond Mountains Kano School 345, 346, 357–8, 361
art 123; see also Bali; Java; Sulawesi; Sumba 263, 263 Kano Tan’yu 356
Indra (god) 13, 21 Jesuits 213–14, 215, 343, 352 karma 25
Indra’s Net Mirror (Kher) 100, 101 jia (wine vessel) 131, 131 Kashmir shawls 83, 83
IndusValley civilization 3, 6, 9 Jiajing emperor 197 katakana xiv, 317, 318
Infinity Mirrored Room... (Kusama) 381, 381 Jian ware 178, 178 Katsura ImperialVilla (Katsura Detached Palace),
Informel movement (Korea) 269 Jiang Qing 230 Kyoto xxi–xxii, xxii, 356–7, 357
ink paintings: Chinese xx, xxii, 157, 162, 174, 179, 181, 183, Jianping, Prince 153 Katsushika Hokusai 366–7, 371; The Great Wave off
184, 189, 191—3, 203, 209—12, 215–17; Japanese 240, Jianzhen see Ganjin Kanagawa 367, 367
303, 335–7, 372; Korean 270 Jigoku zoshi (Hell Scrolls) 332, 332–3 Katsushika Oi 370, 371; Yoshiwara at Night 371, 371–2
Insects and Plants (Qi Baishi) 225, 225 Jikji (Buljo Jikji SimcheYojeol) 253 kawaramono 339
installations xviii; Chinese 235–7, 238, 239; Japanese Jin Nong 217; Blossoming Plum 217, 217 Kei School sculptors xxiii, 328
375, 381 Jinas 21–2, 22, 37, 45, 55 Kenzan see Ogata Kenzan
International Style architecture 93–4 Jindeok, Queen of Silla 249 Kettle,Tilly 86; Shuja alDaula, Nawab of Awadh... 86, 86
Ippen (priest) 332 Jing Hao 210 Khajuraho, India: Kandariya temple 39, 40–42, 41
Irises atYatsuhashi (EightPlank Bridge) (Korin) xii, xii–xiii Jing Ke 144 Khakhar, Bhupen 98; Hamam Khana 98, 98
Ise, Lady 318–19; poetry 319, 319 Jingdezhen kilns, Jiangxi, China: porcelain 200, 200 Khalji sultans 54
IseJingu shrine, Japan 278, 278, 287–8, 306 Kher, Bharti 100; Indra’s Net Mirror 100, 101
IseShima National Park, Japan 276, 277 Khitans, the 171
Ishiyamagire (ThirtySix Immortal Poets) 317, 317 Khmer culture 114–18, 119
Islam xiii, xxiv, 52, 120; architecture 52–4, 55–6
Ito Jakuchu 363

INDEX 403

Khubilai Khan, Mongol ruler 171, 185, 186, 331; L M
Khubilai Khan Hunting (Liu Guandao) 186, 187
lacquerwork: Burmese 121–2; Chinese 130, 137–8, 142; Ma Hezhi: Odes of the State of Bin 182, 182
Ki no Tsurayuki: poetry 317, 317 Japanese 305, 315, 326, 340 Ma Lin 183
Kichijoten 298, 300–1 MaYuan 182, 183, 203, 210; Viewing Plum Blossoms
Kien,Yanagisawa xviii Lady Carrying a Pipa (Wu Wei) 203, 203
Kim Daeseong 250 Lady of Dai 140; coffin 142, 142; funerary banner 140, 140, by Moonlight 182–3, 183
Kim Hongdo 263;“Roof Tiling” 263, 263, 265 MaXia School 182–3
Kim IlSung 267, 268–9; bronze statue (Mansudae Studio) 141, 141 Macau 125
Lady Wenji’s Return to China (handscroll) 170, 171, 180, 180 Maciunas, George 272
268, 268 Lady Xuanwenjun Giving Instructions on the Classics (Chen madrasas 54
Kim Jongil 269 Madurai, India 54; Minakshi temple 64, 64; Nayakas 59, 64
Kim Jongun 269 Hongshou) 205, 205 Maebyeong bottle (Goryeo dyasty, Korea) 254, 255
Kimmei, Emperor 289 Lahore, India 71, 75, 78 magatama 286, 286
Kimsooja 273–4; Cities on the Move... 274, 274 Lai’s bell 134–5, 135 Mahabharata 28, 33, 56, 69, 96, 100
Kitagawa Utamaro 365; Couple in an Upstairs Room 365, lakshanas 16, 28 Mahasattva Jataka (cave mural) 153, 153
Lakshmi (goddess) 29, 31 Mahavira, the 21, 40
365–6; Night Rain 366, 366 Lang Shining (Castiglione) 214; Inauguration Portraits of the Mahmud, Ghaznavid ruler 53
Kitchen,The (Yun Suk Nam) 273, 273 Maitreya (bodhisattva) 17, 17, 151, 248, 249, 295
koan 334 Qianlong Emperor... 214, 214 Malacca 122–3
Kofun period, Japan 284–8; ceramics 285, 285–6; tombs 285, languages,Asian xiv, xv, 1; Pali 110–11, 120; Persian 52; Malaya/Malaysia xxiv, 123; puppet theater 121
285, 286 Maldive Islands 42
Kogaku Soko: (attrib.) garden at Daisenin, Daitokuji, Kyoto) Sanskrit xiv, 28, 112; Urdu 58; see also writing systems Mamallapuram, India 48; temples 32–4, 33, 34
Laos xxiv, 123; Buddhism xiii; Plain of Jars 104, 104 Man, Phoebe Chingying: 97 Reunification, I Am Very
337–8, 338 Laozi 140, 148
Kojiki 300 LauriyaNandangarh, India:Ashokan column 10, 10 Happy... 236–7, 237
KokenShotoku, Empress 303, 305–6 Lee Bul 274; The Secret Sharer 274, 274–5 Man Singh, Raja 76–7
Kollwitz, Käthe 223 Lee Joongsup 267; The Bull 267, 267 Manaku 77, 78; (attrib.) Rama Releases the Demon Spies
Komyo, Empress 301, 303–4, 305; (attrib.) Izumo edition Lee Ufan 269, 270; From Point 270, 270
Lelang, Korea 244 Shuka and Sarana 77, 77
of Daihoshakkyo Sutra 303, 303 Let Philosophy Be Transformed into a Sharp Weapon in the Mancheng tombs, Hebei, China 142; funeral suit 142–3,
Konbaung dynasty, Burma 118
Kongo Rikishi (Unkei and Kaikei) 328, 328, 329, 329 Hands of the Masses (poster) 230, 230 143; incense burner 142, 143
Korea 240, 243, 244, 256, 266–7, 268–9, 284, 353, 355; Letter about a Coral Tree (Mi Fu) xxii, xxiii Manchus, the 195, 213, 214, 221, 256
Li Cheng 174, 192; A Solitary Temple amid Clearing Peaks mandalas 28, 113, 307; Ryokai Mandala 308, 308–10, 309
architecture 250 (Silla), 256, 257–9 (Joseon); Baekje mandapas 29, 29, 31, 42
kingdom 246–8, 249; Bronze Age 244; bronzes 246–7, 174–5, 175 Mandhata Jakata crossbar medallion 13, 13–14
249, 251, 268; Buddhism 243, 245, 246, 248–9, 250, Li Gonglin 178, 179, 205, 212; FiveTribute Horses 179, 179 mandorlas 152
251–2, 256, 261; ceramics 244 (Neolithic), 248 (Silla), LiGuo tradition 174–6 Manet, Edouard: Olympia 379, 379
252, 254–5 (Goryeo), 259–61 (Joseon); Confucianism Li Keran 228–9; Spring in Jiangnan 229, 229 Manjushri 154, 166; silver sculpture 114, 115
250, 251, 256, 261, Li Sixun 160, 210 Mansudae Studio: Kim IlSung 268, 268
265; Daoism 248; Goguryeo kingdom 245–6, 249; goldwork LiYu, Southern Tang ruler 172 manuscripts, illustrated 44; Buddhist palmleaf 44–5;
247; Goryeo dynasty 250–55; Joseon dynasty 256–66; Li Zhaodao 160, 210
map 244; names xiv, xvi; Neolithic artifacts 244; painting/ Liangzhu culture, China 128, 131; jade artifacts 130, Indian 57–8; Jain 45–6; see also book arts
ink panting 252 (Goryeo), 261–6 (Joseon), 267, 268, Mao Zedong 226, 227, 227, 228, 230, 268; Chairman
270–71 (20th century); shamanism 243–4, 247, 248; Silla 130–31
kingdom/period 244, 245, 247–51;Three Kingdoms Lin Tianmiao 237, 239; Mother’s!!! 239, 239 Mao Goes to Anyuan (Liu Chunhua) 230, 230;
period 245–8; 20th–21st century art 268–75; wall Lin Tinggui 184 Mao/Marilyn (YuYouhan) 232, 232
paintings 245, 246 (Goguryeo); women artists 267, 273, Lingaraja temple, Orissa, India 39, 39 Mappo 312, 313
274; woodblock printing 253, lingas 26, 26, 29, 39, 41, 41, 42 maps:Asia and spread of Buddhism xiii; China 128;
271; writing xiv, xv, 256, 265 Lintong, China: tumulus 138, 138 Japan 278; Korea 244; South Asia 4; Southeast Asia 103
Korean War 267, 268 lion capital (Ashokan) 10, 11 Marathas, the 82
Korin see Ogata Korin Lion Grove Garden (Wu Guanzhong) 231, 231 Martin, Claude 86
kosode 368, 368; kosode with fall flowers and grasses Literary Gathering in the Apricot Garden (after Xie Huan) Maruyama Okyo 361–2; Cracked Ice 240–41, 241;
(Ogata Korin) 360, 361 Pine Trees in the Snow 362, 362
Kota drawings 75 xvi–xvii, xvii Mary, Queen Consort 91
Kotara (gardener) 339 literati: Chinese xvii, xviii, 149, 172, 178–9, 181, 182, 187–9, masjids 52
Kotoku, Emperor 299 Mathura, India 53; sculpture 15, 34, 34, 35
Koya, Mount (Japan) 307 193, 195, 206–10, 363; Japanese xviii Matisse, Henri 223
Krishna 26, 28; Krishna Holds up Mount Govardhan 69, 69–70; literature: Indian 35, see also Mahabharata, Ramayana,Vedas; Maugham,W. Somerset 103
Krishna Killing the Horse Demon Keshi 26, 27 Mauryan empire 10, 15
Krishna, Rashtrakuta king 36 Japanese xxi–xxii, xxiii, 11, 13, 317–19, 325–6, 333, 342; Mawangdui tombs, Hunan, China 140, 142; coffin with
Krishnadevaraya, king 63–4 Mughal xvii–xviii cloud patterns 142, 142; funeral banner 140, 140, 141,
Kukai 307, 317; Catalogue of Imported Items xxiii Liu Chunhua: Chairman Mao Goes to Anyuan 230, 230 141; mittens 142, 142
kundan 73 Liu Guandao 187; Khubilai Khan Hunting 186, 187 Mecca 52
Kuomintang, the 221 Liu Lin 206, 207 megaliths 104
Kuroda Seiki 372; Wisdom, Impression, Sentiment 372–3, 373 Liu Shang 171 Mehta,Tyeb 96, 97; SantiniketanTriptych 80, 81, 97, 97
Kusama,Yayoi 381; Infinity Mirrored Room... 381, 381; Mirror Liu Sheng, Prince 142; funeral suit of 142–3, 143 Meiji period, Japan 372–4
Room–Pumpkin 380, 381 Living Aloft (Wen Zhengming) 206–7, 207 Meisho, Empress 306
Kushan sculpture 2, 3, 15, 17, 17 Lodi sultans 54 Mencius 199
Kwan,Violet see Guan Zilan Longmen Grottoes, Luoyang, China 146, 152, 152–3, Meru, Mount 38, 113, 115, 116
Kyoto, Japan 306–7, 307, 317, 325, 334, 335, 343, 364; 164, 164–5 metalwork: bidri 61–2, 62; see also bronzes; goldwork;
Daitokuji 339, 349; garden at Daisenin, Daitokuji (attrib. Longquan workshops, Zhejiang, China 252 silverwork
Kogaku Soko) 337–8, 338; Golden Pavilion (Kinkaku) Longshan culture, China 128, 131; earthenware vessel Mewar, India 54–5, 76
342, 342; Katsura ImperialVilla xxi–xxii, xxii, 356–7, 357; 129, 129 Mi family style 208
Kenninji 334; Nijo Castle 354, 356, 356; Ryoanji rock lostwax casting process 44 Mi Fu 178, 181, 210; Letter about a Coral Tree xxii, xxiii
garden 338, 338–9; Shogunal procession 354; Shokokuji Lu Xun 223 MiYouren 181, 208, 210; Cloudy Mountains 181, 181, 208
335, 336, 342;Taian teahouse (Sen no Rikyu) 349, 349, Lu Zhi 207; The Jade Field 207, 207–8 Mice Nibbling at a Watermelon (Sin Saimdang) 266, 266
350 Lucknow, India 86, 89 mihrabs 52
Luo Ping (Luo Pin) 218; Hanshan and Shide 218, 218 Min Qiji: publishes Story of theWestern Wing 201, 201
Luo Zhongli: Father 230–31, 231 Minamoto, the 325, 326
Luoyang, China 127, 199; Colossal Attendants of Buddha
146; Longmen Grottoes 152, 152–3, 164, 164–6
Lutyens, Edwin:Viceroy’s House, New Delhi 91, 91

404 INDEX

Minamoto Hitoshi: poem 358 Nagasaki, Japan 355, 363, 374 Oriental Scenery (T. and W. Daniell) 87
MinamotoYoritomo 325, 327; portrait (attrib.) Fujiwara Nagasawa Rosetsu 362; Bull and Puppy 362, 362–3 Oriental Ink movement (Korea) 270–71
Nainsukh 77, 89; (attrib.) Balwant Singh Relaxing at Orissa, India: ivory work 58–9, 59; temples 39, 39
no Takanobu) 330–31, 331; portrait statue (Kamakura) Osafune Nagamitsu: Dai Hannya Nagamitsu 326, 326
330, 330 a Fireplace 78, 78 Osaka, Japan 356, 364
MinamotoYoshinaka 327 Najarjunakonda, India: sculpture 17, 17 Osamu, Dezaki 319
minarets 52, 52, 54, 54 Namban screen paintings 346–7, 347 Ota Shokusanjin 366
Ming dynasty, China 195, 334; ceramics 200, 202; naming conventions xiv, xvi Otani Oniji III asYakko Edobei... (Toshusai Sharaku) 366, 367
garden design 198–9; painting xvi—xvii, 202–5 Nanak 78, 79 Oyu, Japan: Nonakado stone circle 281, 281
(professional), 206–10 (literati), 210–13 (female); Nanchan Temple,Wutaishan, China 166, 166, 167
woodblock printing 201 Nandi 26, 36, 44, 114 P
Minjung Misul (People’s Art) (Korea) 270, 271 Nanjing, China 172, 195, 196, 203, 214, 216, 218; courtesan
Miroku Bosatsu, Chuguji, Nara, Japan 295–6, 296 Padshahnama 74, 74
Mirror Room–Pumpkin (Kusama) 381, 381 district 212; tomb engraving 149 Pagan, Burma 106, 118, 121; stupas and temples 118, 118–19
mithunas 38, 39 Nara/Nara period, Japan 299–307, 325; Muroji 311, 311; Pahari courts: painting 77, 77–8, 78
Modhera, India: Sun temple 39, 39–40, 56 Pahari Hills, India 75
Mogao Grottoes, Dunhuang, China 153, 153, 165, 165, Saidaiji 306;Toshodaiji 305; see also Horyuji;Todaiji Paik, Nam June 271–2; Electronic Superhighway... 272, 272;
166, 166 Narasimhavarman I, Pallava king 33
Mohenjo Daro (Pakistan) 4, 4–5; bronze figurine 7–8; Nayakas of Madurai 59, 64 TV Buddha 272, 272
Great Bath 5; jewelry 6; mother goddess 7, 14; Nehru, Jawaharlal 81, 93 paintings xviii, xix; Chinese 148–9 (Eastern Jin), 160–63, 166
“priestking” 8; seal 6—7 NeoConfucianism 256, 260, 266, 355, 370
Moko Shurai Ekotoba (Illustrated History of the Mongol Neolithic period: Chinese artifacts 127, 128–31; Korean (Tang), 172–4 (Southern Tang), 174–7 (Northern Song),
Invasions) 331, 331–2 178–81, 333 (Song), 186–93 (Yuan), xvi–xvii, 202–13
Molucca islands 123; ancestor figure 109, 109 ceramics 244 (Ming), 124, 213–19 (Qing), 221–5, 227–9, 230–32,
Momoyama period (Japan) 343–53; castles 343–4; Nepal xxiv; Buddhism xiii; illustrated manuscripts 45 234–5 (20th century); Indian 75 (Kota), 76 (Mewar),
painted screens 345–7; shoinstyle residences 344; Newman, Barnett 97 76 (Rajput School), 94, 97–8, 99 (20th–21st century));
tea ceremony 349–53; textiles 348 Ngoc Lu drums (bronze) 105, 105–6, 108 Japanese 319–22 (Heian), 330–33 (Kamakura), 339
Mon culture 106, 110 Ni Zan 189, 191, 193; Six Gentlemen 193, 193 (Muromachi), xii–xiii, xviii, 356, 357–64 (Edo), 372–3
Mongolia, Inner 125 Nias, island of: stone monuments 104 (Meiji), 380 (21st
Mongols 171, 198, 252, 253; in Japan 331, 332, 334; Night Rain (Kitagawa Utamaro) 365, 365–6 century); Korean 261–6 (Joseon); Mughal xvii–xviii, xix–xx,
in Korea 255; see alsoYuan dynasty Night Revels of Han Xizai (Gu Hongzhong) 172–3, 172–3, 51, 68–71, 74–5, 84; see also wall paintings
Monochrome movement (Korea) 270, 271 Pak Chiwon 262–3
Moon and Melon (zhu Da) 215–16, 216 203, 235 Pakistan xxiv, 3, 4, 15, 89, 93; photography 100
MorimuraYasumasa 377–8; Portrait (Futago) 379, 379; NightShiningWhite (attrib. Han Gan) 162, 162 Palace Ladies Tuning the Lute (after Zhou Fang) 163, 163
A Requiem... 378, 378 Nihon Shoki (“Chronicle of Japan”) 289, 300 Pallava dynasty, India 28, 32, 33
mosques 52, 52, 53, 53–4 Nihonga (Japanesestyle painting) 373–4 Pampa (goddess) 63, 64
Mother India (film) 95, 95 Niji: (attrib.) An Elephant Hunt 75, 75 Pandit Seu 77
Mother’s!!! No. 6, Sitting (Lin Tianmiao) 239, 239 Nijo Castle, Kyoto 354, 356, 356 Pangolin (Sa Huynh bronze) 106, 106–7
Mountains Clearing after Rain (Chang Daichien) 234, 235 Ni’matnama 58, 58 Panoramic View of the Diamond Mountains (Jeong Seon)
mudras 16, 16, 36 97 Reunification, I Am Very Happy... (Man) 236–7, 237 263, 263
Mughal dynasty, India 51, 59, 64–5, 75, 81; architecture 1, Ningbo, China: Huianyuan temple 184 Park Seobo 269; Work No. 18–59 269–70, 270
65–7; carpets and textiles 71–2; Islam xiii; jade wine Ningzon, Emperor 182 Parshvanatha (Jina) 21
cup of Shah Jahan 72–3; painting xvii–xviii, xix–xx, 51, Nintoku, Emperor: tomb, Osaka 285, 285, 286 Parvati (goddess) 27, 29, 32, 44
68–71, 74–5, 84; rock crystal flask 73 Noh theater 340, 340–42, 368; masks 341, 341–2; Patna, India 10, 84
Muhammad, Prophet 52 patolu cloth 46, 47, 47
Muhammad Ghuri 53 robes 348, 348 patrons/patronage xvi, xvii, 18, 25, 81, 84, 86; Chinese
Muhammad Shah in a Palanquin (attrib. Chitarman II) Nonomura Ninsei 360 171–2, 182, 183–4, 193
70, 71, 76 Northern Qi dynasty, China 147; Buddhist cave sites 155; Peace Reigns along the River (attrib. Zhang Zeduan) 176, 176
Mu’izzi dynasty, India 54 Peach Blossom Idyll (Gyokuran) xviii, xviii
Mumbai (Bombay) 90, 93, 98, 99; photographic tomb murals 150 Peach Blossom Spring (Zha Shibiao) 124, 124–5
society 87; Progressive Artists’ Group of Bombay 96; Northern Song dynasty, China 171, 182; ceramics 177–8; performance art xviii; in China 235—7; in Japan 375—7,
Victoria Terminus (Stevens) 90, 90 381; in Korea 273–4
Munjeong, Queen Dowager (Korea) 261 painting 171, 174–7, 180, 181, 192 Perry, Commodore Matthew 372
Murakami,Takashi 380; Tan Tan Bo Puking–a.k.a. Gero Northern Wei dynasty, China 147, 151; Buddhist sculpture pH (Dumb Type) 376–7, 377
Tan 380, 380 Philippines, the xxiv, 104, 123
murals see wall paintings 151–2; engraving 150 Phnom Da, Cambodia 111; Avalokiteshvara 111, 111–12
Murasaki Shikibu, Lady 318, 319; diary 323; The Tale of Genji Northern Zhou dynasty, China 147, 148; Buddhist cave photography: in China 235, 236, 237; in India 81, 87–9, 98;
xxii, 315, 319–21, 320, 321, 356 Japanese 377–8, 379; Pakistani 100
Murata Shuko 349 murals 153 Picturesque, the 87, 88
Muromachi period (Japan) 334–43; architecture 342; nuihaku technique 348, 348 piecemold casting 133, 133
Noh theater 340–42; painting 339; Zen convents 339; Nyoirin Kannon 310, 311 Pillow Book,The (Sei Shonagon) xxii–xxiii, 315, 316, 323
Zen dry gardens 337–9; Zen ink paintings 335–7; Pine Forest (Hasegawa Tohaku) 346, 346
Zen statuary 240 O Pine Trees in the Snow (Maruyama Okyo) 362, 362
Murshidabad, India 84 Pleasure Pillars (Sikander) 99, 99
Musamman Burj,Agra 66–7, 67 Oc Eo,Vietnam 106, 111 Pocket Western Art History About Mao...,A (YuYouhan)
My Son,Vietnam106, 114 Oda Nobunaga 334, 343, 345, 346, 349, 352 232, 232
Myanmar see Burma Odes of the State of Bin (Ma Hezhi) 182, 182 “Poet on a Mountaintop” (Shen Zhou) 206, 206
Myoe Shonin, abbot 333; portrait (attrib. Jonin) 333, 333 Ogata Kenzan 359, 360–61; tea bowl 360–61, 361 Poetic Feeling in a Thatched Pavilion (Wu Zhen) 190–91, 191
Mysore, sultans of 81 Ogata Korin xviii, 358, 359–60, 361; Irises atYatsuhashi Polier,Antoine 86
Pollock, Jackson 234
N (EightPlank Bridge) xii, xii–xiii; Red and White Plum Pondicherry, India 74, 82
Blossoms 360, 360 porcelain: Chinese 177, 200, 200, 202, 202; Japanese 353;
Nabeshima ware 353, 353 Ögedei, Mongol ruler 171 Korean 260–61
Nadir Shah of Persia 65 Oh Jaesun 261–2, 262 Portrait of Miss L (Guan Zilan) 222, 223
Nagara temples 29, 39 OhYoun 271; Grandmother 271, 271 Portuguese, the 74, 81, 121, 122–3, 343, 346–7, 352
Okakura Kakuzo xxiii, 373 posters, Chinese 230
Okinawa, Japan 279
Okuni (priest) 368
Olympia (Manet) 379, 379
OneTree Hill, Secunderabad (Deen Dayal) 88–9, 89
Onin War (Japan) 334
Ono,Yoko 272
Ono no Komachi 318
Orchids and Rock with Calligraphy (Tokuyama Gyokuran)
371, 371

INDEX 405

pottery see ceramics “Roof Tiling” (Kim Hongdo) 263, 263, 265 Shahnama,“Jainesque” 57, 57–8
Prajnaparamita 44, 44–5, 45 Ru ware 178, 178 ShakaTriad (Tori Busshi) 292–3, 293
Prambanan, Java: temple complex 106, 114, 114 Ruizong, Emperor 159 Shakra (god) 13–14, 21
Preface to the Gathering at the Orchid Pavilion (attrib.Wang Shakyamuni see Buddha Shakyamuni
S shamanism xiii; Korean 243–4, 247, 248
Xizhi) 155, 156, 157 Shang dynasty, China 127; bronzes 131, 131–4, 132,
Project to Extend the Great Wall... (Cai GuoQiang) 235–6, 236 Sa Huynh culture,Vietnam 104, 106, 107; Pangolin (bronze)
Pulicat, India 48, 82 106, 106–7 134, 137, 137
puppet theater 121, 121 Shanghai, China 125, 195
Pure Land Buddhism xiii, 155, 165, 166, 312–14, 332, sabi 342–3, 351, 352 shastras 28
Saicho (monk) 307, 311 Shawl Goat,A (Zayn alDin) 84, 85, 85
334, 335 Sailendra dynasty, Java 112, 113 Sheep and Goat (Zhao Mengfu) 188, 189
Pyongyang, North Korea: May Day display 269, 269 Saimdang, Lady see Sin Saimdang Shen Gua 175
Pyu people 106, 110, 118 Salim Chishti, Shaykh 65; tomb, Fatehpur Sikri 65, 66, 66 Shen Zhou 206, 222;“Poet on a Mountaintop” 206, 206
Saluva dynasty, India 62 Shenzong, Emperor 175, 181
Q Samantabhadra 166 SherGil,Amrita 92; SelfPortrait 92, 92
samavasarana 21, 37 Shi Lu 228; Fighting in Northern Shaanxi 228, 228
Qi Baishi 225, 228; Insects and Plants 225, 225 samsara 25 shibui 342–3
Qian Xuan 188; Wang Xizhi Watching Geese xvii, xvii, samurai 323, 325, 326–7 Shichiri tea bowl (Hon’ami Koetsu) 351, 351–2
Sanchi, India: Stupa 11, 11, 12, 12, 14, 14 shilpashastras 28, 42
188, 188–9 Sangama dynasty, India 62, 63 Shimamoto, Shozo 375; Hurling Colors 375, 375
Qianling, China: tombs 158, 159, 159–60, 160 Sangram Singh II, Maharana of Mewar 76; Maharana Sangram shindenstyle mansions (Japan) 318, 318
Qianlong emperor 191, 213, 214, 214 Shingon sect 307, 308, 310–11
qibla walls 52 Singh II...Watching Jethi Wrestlers... 76, 76, 78 Shinnyo (nun) 297
Qin dynasty, China 125, 138 Sanjaya dynasty, Java 114 Shinran (priest) 332
Qin Shihuangdi, Emperor 127, 138, 144–5, 198; terracotta Sanskrit xiv, 28, 112 Shinto religion xiii, xxii, 243, 277–8, 287–8, 297, 322,
Santiniketan, India: arts school 81, 93, 96; SantiniketanTriptych
army xvi, 126, 127, 138–9, 139, 286; tomb 138, 138 372, 374, 376; Shinto Goddess 322–3, 323
Qing dynasty, China 195, 221; ceramics 200, 202; garden (Mehta) 80, 81, 97, 97 Shiraga, Kazuo 381
Sanxingdui, China: bronzes 132–4, 134 Shitao (Zhu Ruoji; Daoji) 216, 222, 231; Reminiscences
design 198–9; painting 124, 213–19 saptamatrika 27
Qingbian Mountains (Dong Qichang) 210, 211 Sarasvati (goddess) 21, 78, 79 of Qinhuai River 216, 216–17
QiuYing 204, 206, 210, 211; Zhao Mengfu Writing the Sarnath, India: sculpture 34, 35, 35 Shiva (god) 24, 25–6, 26, 27, 33; Shiva as the Lord of Dance
sarvatobhadra 37
Heart Sutra... 194, 195, 204, 204–5 Sasanian empire 167, 168 (Nataraja) 43, 43; temples to 26, 29, 32, 33–4, 36,
Qiu Zhu 211; Portraits of Guanyin 211, 211–12 Sayyid ‘Ali, Mir 68 36–7, 40, 41, 42, 42, 44, 63, 63–4, 115
QuYuan 187 Sayyid sultans 54 shoin 344, 344
QuYuancun 199 screen painting, Japanese 240–41, 241, 345–7, 345–7, 354, Shoku Nihongi 303, 305
Qur’an, the 52, 57, 58, 58 Shomu, Emperor 301, 302, 303, 304, 305
Qutb alDin Aybak 53, 54 358–9, 359, 360, 360, 362, 362–3 Shotoku, Empress see KokenShotoku, Empress
Qutb Mosque, Delhi 52, 53, 53–4, 54 sculpture xvii, xviii; Buddhist 110–12, 114, 151–3, 164–5, Shotoku, Prince 289, 290, 296
Showa period, Japan 374–6
R 313–14, see also Buddha, the; Cham 114; Chinese 151–3, Shravana: (attrib.) Hamzanama folio 68, 68–9
164–5, 233; Dvaravati 110–11; Funan 111–12; Harappan shrivasta 21, 26
Rajaraja, king 42 7–8; Hindu 26–7, 31–2, 43, 110; Indian 2, 25, 17 Shu Culture (China) 132
Rajarajeshwara temple,Thanjavur 42, 42, 44 (Kushan), 15, 17 (Ghandaran), xx, 21–2, 26, 34–6, 111 Shuja alDaula, Nawab of Awadh 86; portrait (Kettle)
Rajasthan, India 75; Chitor Fort 55, 55–6; temples 40, 40 (Gupta); Jain 21–2, 35; Japanese 304–5 (Nara), 314, 86, 86
Rajput dynasty 53; architecture 76, 76–7, 77; courts 75; 322–3, 329 (Heian), xxiii, 327–8, 330 (Kamakura), 340 Shukongojin 305, 305
(Muromachi); Javanese 114; South Moluccas 109; see also Shunjobo Chogen 327–8, 328
painting 76, 76 bronzes; relief sculpture Shun’okuSoei (Tosa Mitsumochi) 339, 339
Raku Ichinyu: tea bowl xx–xxi, xxi seals, Harappan 4, 6, 6–7, 7 Shvetambara, the 21
Raku tea bowls xx–xxi, xxi, 351, 351–2 Secret Sharer,The (Lee Bul) 274, 274–5 Shwe Dagon Pagoda, Myanmar 102, 103
Ram, Sita 87; View of a Mosque...at Motijhil 88, 88 Secundra Bagh after the Slaughter of 2,000 Rebels...,The (Beato) Si Satchanalai,Thailand: ceramics 120
Rama 26, 28, 54, 56, 63; Rama Releases the Demon Spies 89, 89 Siddhartha Gautama 9, see Buddha, the
Sei Shonagon 316, 318; The Pillow Book xxii–xxiii, 315, Sikander, Shazia 99; Pleasure Pillars 99, 99
Shuka and Sarana (attrib. Manaku) 77, 77 316, 323 Sikhs/Sikhism 78; book arts 78—9; Eight Sikh Courtiers...
Ramayana 1, 28, 56, 63, 69, 77, 77, 114 Seijiro (gardener) 339 84, 84; Golden Temple 78
Ramkhamhaeng, king of Sukhothai 119 Sejong, King (Korea) 256 Silence (Wang Keping) 233, 233
Rana, Rashid 100; Veil VI 100, 100 SelfPortrait (Ren Xiong) 219, 219 silk 142; funerary banner 140, 140, 141, 141; mittens
Rana Kumbha, king 55, 56 SelfPortrait (SherGil) 92, 92 142, 142
Ranjit Singh, Maharaja of Lahore 78 Sengu 287–8 Silk Road, the xiii, 19–20, 147, 153, 158
Rawdon, Francis 87 Sen no Rikyu 349, 350, 351, 352, 353;Taian teahouse Silla kingdom, Korea 245, 246, 247, 249–51, 289; gold
Ray, Satyajit 95–6; documentary on Ravi Shankar 96, 96 349, 349 and jade crown 242, 247; vessel with snake decoration
Red and White Plum Blossoms (Ogata Korin) 360, 360 Seondeok, Queen of Silla 249 248, 248; women 249
Reflection (Suh Doho) 275, 275 Seonjo, King (Korea) 257 silverwork: Javanese 114, 115;Tang 168, 168
relief sculpture xx; at Amaravati 13–14; at Angkor Thom xvi, Seoul, South Korea 257, 267; Changdeok Palace 256, Sima Qian 127, 181; Records of the Grand Historian 181
257–8; Gyeongbok Palace 256, 257; Huwon (Secret Sin Saimdang (Lady Saimdang) 256, 265–6, 266; Mice
116–17; at Angkor Wat xvi, 116; at Borobudur 108, 113, Garden) Changdeok Palace 258, 258; Injeongjeon Nibbling at a Watermelon 266, 266
114; Chinese 144–5, 152, 154, 155, 158–9; at Elephanta (Throne Hall) 257, 257–8; Jongmyo (shrine) 258, SinYunbok 263, 265;“An Amusing Day in a Field in Spring”
Cave 25; Hindu 27, 30, 31, 32, 33; at Nagarjunakonda 258–9; Sunghnyemun 256, 256 265, 265;“Women on Tano Day” 264, 264
17; at Sanchi 12, 14; Stele with Shakyamuni... 165; at Wat Series 2 (Fang Lijun) 232, 232 Singapore xxiv, 123
Trapang Thong Lang 120 Sesshu Toyo 336; (attrib.) Daruma 336, 336, 337; Singh, Raghubir 98; Zaveri Bazaar, Mumbai 98, 99
Reminiscences of Qinhuai River (Shitao) 216, 216–17 Winter Landscape 336, 336–7 Siraj udDaula, Nawab 82
Rent Collection Courtyard (anon) 233, 233 Sesson Shukei 337; Wind andWaves 337, 337 Six Dynasties, China 147, 195, 290; Buddhist cave sites
Ren Xiong 217; SelfPortrait 219, 219 Seven Sages 149; Seven Sages of the Bamboo Grove and 150–53, 155; calligraphy 155, 156, 157; pictorial arts
Rhee, Syngman 267 Rong Qiqi (Former Song) 149, 149–50 148–50
Ri Sampei 353 Shah Jahan, Emperor 64, 65, 66, 67, 70, 77, 78; Europeans Six Gentlemen (Ni Zan) 193, 193
Rinpa School 358–61 Bring Gifts to Shah Jahan 74, 74; wine cup of 72, 72–3 Sixteen Luohans,The (Wu Bin) 218, 218
Rinzai sect 334–5
Rishabhanatha (Jina) 21
Rock bridge at Mt.Tiantai,The (Zhou Jichang) 184, 184
rock crystal 73; Mughal flask 73, 73
Rong Qiqi 149, 149

406 INDEX

Sketches of Twelve Strange Mountain Peaks (Huang Binhong) Tale of Genji,The (Murasaki) xxi–xxii, xxiii, 315, 319–21, True View of Kojima Bay (Ike Taiga) 363, 363–4
224, 224 320, 321, 356 Tughluq Qur’an 58, 58
Tughluq sultans 54, 59
Socialist Realism 231, 268 Tale of the Heike (Heike Monogatari) 327 Tuluva dynasty, India 62
Soga Shohaku 363 Tales of Ise (Ariwara no Narihira) xii, xiii TV Buddha (Paik) 272, 272
Sogdian culture/merchants 167, 168 Tan Tan Bo Puking–a.k.a. Gero Tan (Murakami) 380, 380 Twelve Plants and Twelve Calligraphies (Xu Wei) 209, 209
Solanki dynasty, India 39, 56 Tanaka,Atsuko 375; Electric Dress 375–6, 376 Twelve Views of Landscape (Xia Gui) 183, 183
Solitary Temple amid Clearing Peaks,A (attrib. Li Cheng) 174–5, Tang dynasty, China 147, 148, 171, 250, 300, 307; TwentyEight Constellations (Chinese tomb mural) 150, 150
Twilight tea bowl (chojiro) 351, 351
175 Buddhist architecture 163–4, 166, 167; calligraphy
Solo Man, Java 104 155, 157; cave mural 165; ceramics 168–9; Daoism 148; U
Song dynasty, China 171, 193, 195, 251, 325, 330; lute 300; metalwork 167–8; painting 160–63, 166; tomb
complexes 158–60 Udaipur, India 76: City Palace 76, 76
paintings 333; see also Northern Song; Southern Song Tange, Kenzo 374–5; Olympic stadiums,Tokyo 374, 375, 375 Udayagiri, India: cave temples 28, 30, 30
Song Sunam 270; SummerTrees 270–71, 271 Tanguts, the 171 Uesugi Kenshin 325
Song Zonghuan 199 Tanyao (monk) 151, 184 Uijong, king of Goryeo (Korea) 255
Soto sect 334, 335 Tao Qian (Yuanming) xviii, 262;“Drinking Wine” 213; ukiyo 364
Southern Song dynasty, China 171, 182, 183; painting “The Peach Blossom Spring” 208 ukiyo-e woodblock prints 365–8
Taoism see Daoism United Nations (Gu) 238, 238
181, 182–3, 184–5 taotie (motif) 131, 131, 132 Unkei: Kongo Rikishi 328, 328, 329, 329
Southern Tang dynasty, China 172, 174; painting 172, Tara (goddess) 38, 38, 44 Untitled (Gaitonde) 94, 95
Tara: (attrib.) Hamzanama folio 68, 68–9 urban development, early 3–5
173, 173–4 tarashikomi 359 urna 15, 16, 16, 152
Spies,Walter 123 tau tau (effigies) 109 ushnisha 15, 16, 16, 152
Spring in Jiangnan (Li Keran) 229, 229 Tawaraya Sotatsu 358; Deer Scroll 358, 359; Waves at Utagawa Toyokuni I: Interior of a Kabuki Theater 369, 369
Spring Outing (attrib. Zhan Ziqian) 160, 161 Matsushima 358–9, 359 Utamaro see Kitagawa Utamaro
Sri Lanka xxiv, 1, 42; Buddhism xiii, 38 tea ceremony, Japanese 349—53
Srivijaya school 112; bronze 112, 112 Temmu, Emperor 300 V
steatite seals 6, 6–7, 7 Tendai sect 307, 311–12
Stevens, Frederick:Victoria Terminus, Mumbai 90, 90 Tenjukoku Embroidery, Chuguji, Nara, Japan 296, 296–7 Vairochana see BuddhaVairochana
stoneware 168–9, 169 tenmoku ware 178 Vajrapani (bodhisattva) 38
Story of the Western Wing 201, 201 Tensho Shubun 336 Varma, Raja Ravi 92; Woman Holding a Piece of Fruit 92, 92
stupas 9–10, 10, 17; Borobudur 112, 112–13; terra-cottas: Harappan figurines 4, 7, 7, 14; Indian plaques 14, Vedas, the 9, 21, 25, 28
14, 26, 26; Japanese 283, 283 (Yayoi vessel), 286, 286—7, Vesantara temples, India 29, 39
Pagan 118–19; Sukothai 119 287 (haniwa); Qin army xvi, 126, 127, 138—9, 139, 286 Vessantara, king 18–19
Su Shi 178, 181, 195 textiles: Chinese 140, 141, 142; Indian 46–9, 62, 74, 83; Victoria, Queen 90
Sueki ware 285, 285–6 Indonesian 110; Japanese 296–7, 348, 360, 368, 370; video art, Korean 271–2, 272, 273–4, 274
Suh Doho 274, 275; Reflection 275, 275 Javanese 120; Mughal 71, 74; with protective motifs 109 Vidhadhara, king 40
Sui dynasty, China 147, 148, 157, 161; painting 160 Thailand xxiv, 104, 110, 117, 123; Ban Chiang ceramics 105; Vietnam xxiv, 104, 107, 123; Buddhism xiii; Cham culture
Suiko, Empress 289–90, 292, 296 Buddhism xiii; see also Ayutthaya; Sukothai
Suiko period, Japan see Asuka period theater see Kabuki theater; Noh theater; puppet theater 114, 116; Dong Son culture 105–6; language xiv
Sujun see Xue Wu Thirteen Emperors,The (attrib.Yan Liben) 160–61, 161 View near Rusala, Kulu (Bourne) 87, 87–8
Sukhothai,Thailand 119, 121; bronzes 119, 119–20; ThirtySix Immortal Poets 317, 317 View of a Mosque...at Motijhil (Sita Ram) 88, 88
Thousand Miles of Rivers and Mountains,A (Wang Ximeng) Viewing Paintings at an Exhibition (Chen Hengke) 222, 222
ceramics 120, 120; stupas 119 177, 177 Viewing Plum Blossoms by Moonlight (MaYuan) 182–3, 183
Sukiya style 356–7 Thousand Peaks and Myriad Ravines,A (Gong Xian) 215, 215 viharas 18, 19, 20
Sukjong, King (Korea) 258, 266 Three Kingdoms, China 147, 149 Vijay Stambha, Chitor, India 55, 55–6
Sulawesi, Indonesia:Torajan houses 108, 108–9 Three Kingdoms period, Korea 244, 245—8, 290 Vijayanagara, India 59, 62–3, 64; Elephant Stables 62, 63;
Sumatra, Indonesia: cloths 120 Three Pure Ones 148
Sumba, Indonesia: hinggi (man’s cloth) 110, 110; Tibet xiii, 124, 125, 159—60; Buddhism 185; language xiv, Virupaksha temple 63, 63–4
106 Vimala temple, Mount Abu, Rajasthan 40, 40
stone monuments 104 Timur 54, 64, 69 Vimalakirti and the Doctrine of Nonduality (Wang Zhenpeng)
Summer Trees (Song Sunam) 270–71, 271 To the Front! (HuYichuan) 223, 223
Sumstek Lhakhang (Ladakh) ceiling panels 46, 46–7 Todaiji, Nara, Japan 301, 301–2, 305, 327; Buddha Roshana xx, xx
SunYatsen 221 302, 302–3; Jizo Bosatsu (Kaikei) 330, 330; Kongo Rikishi Vimalakirti Sutra 154
Sun Zixi: In Front of Tiananmen 227, 227 (Unkei and Kaikei) 328, 328, 329, 329; Shukongojin 305, Vishakhapatnam, India: haldu veneered with ivory 83, 83
surihaku technique 348, 348 305 Vishnu (god) xvi, 25, 26, 26, 30, 32, 33, 36, 44; temples to
Surya (god) 32; temples to 32, 39, 40 Tokugawa Ieyasu 343, 348, 353, 355, 356
Suryavarman II, Khmer king xvi, xvi, 116 Tokugawa period, Japan 343, 353, 355, 361 29, 30, 30–31, 40, 114, 115, 116; Vishnu Reclining on the
Susu see Xue Wu Tokuyama Gyokuran xviii, 370, 371; Orchids and Rock Serpent Ananta 31, 31
sutras 44 with Calligraphy 371, 371; Peach Blossom Idyll xviii, xviii Vishnu Anantasayana (Cham) 114, 115
Suzhou, China 195, 198–9, 204, 207; Garden of the Tokyo 372; Olympic stadiums (Tange) 374, 375, 375; Vishnu Samhita 25
see also Edo; Edo period Vishnudharmottarapurana 35
Master of the Fishing Nets 199, 199 Tomoe Gozen 326–7
Suzuki Harunobu 365; The Flowers of Beauty in the Toraja, the (Sulawesi): houses 108, 108–9; tau tau (effigies) W
109
Floating World... 365, 365 toranas 9, 10, 11 wabi 342–3, 349, 351
Tori Busshi: ShakaTriad 292–3, 293 waka poems xviii, 317, 318, 319
T Tosa Mitsumochi: Shun’okuSoei 339, 339 wall paintings xvii;Ajanta, India 18–19, 46; Chinese 149,
Toshihito, Prince 356
Tabgatch, the 147, 151 Toshusai Sharaku 366; Otani Oniji III asYakko Edobei... 150 (Six Dynasties), 153 (Northern Zhou), 159–60, 162,
Taejo, King (Korea) 256, 258–9 366, 367 165 (Tang), 186 (Southern Song/Yuan); Chola 42, 44;
Taejong, King (Korea) 257 Toyotomi Hideyoshi 256, 259, 343, 345, 346, 347, 348, 349, Japanese 345, 352, 356, 361; Korean 148, 245—6, 252;
Tagore,Abanindranath 93 351, 352, 353 Pagan 118
Tagore, Gaganedranath 93 Travelers among Mountains and Streams (Fan Kuan) 192, 192 Wang Geon 251, 252, 253; bronze statue of 251, 251
Tagore, Rabindranath 93, 96; DancingWoman 93, 93 Treatise on Superfluous Things,A xxii Wang Hui 213
Taian teahouse, Myokian temple (Sen no Rikyu) Wang Jian 213
Wang Keping: Silence 233, 233
349, 349, 350 Wang Laibin 207
Taiping Laoren 254
Taira, the 325, 326, 327
Taisho period, Japan 374
Taiwan 104, 232, 374; ling lingo (jade) 107, 107–8
Taj Mahal,Agra xxiv–1, 1, 67, 67
Takezaki Suenaga 331–2

INDEX 407

Wang Meng 189, 192; Dwelling in Reclusion in the Qingbian X Yoshiwara at Night (Katsushika Oi) 371, 371–2
Mountains 192, 192, 210 Yu, Emperor 135
Xia dynasty, China 127, 135 Yu Gong Removes the Mountain (Xu Beihong) 224, 224–5
Wang Shimin 213 Xia Gui 182, 183, 203, 210; Twelve Views of Landscape YuYouhan 232; Mao/Marilyn 232, 232
Wang Shimou 205 Yuan dynasty (Mongols), China 171, 183, 195; architecture
Wang Wei 210, 213; Wangchuan Villa 162 183, 183
Wang Ximeng: A Thousand Miles of Rivers and Mountains Xi’an see Chang’an 185, 186; paintings 186–93
Xianbei, the 147, 195 Yuan Gu 150, 150
177, 177 XiangYu, General 139 Yugure (Twilight) tea bowl (Chojiro) 351, 351
Wang Xizhi 155, 190, 195; Preface to the Gathering at the XiangYuanbian 211 Yukio Mishima: The Temple of the Golden Pavilion 342
Xiangtangshan Caves, Fengfeng, China 155, 155 Yun Suk Nam 273; The Kitchen 273, 273
Orchid Pavilion 155, 156, 157; Wang XizhiWatching Xiaowen, Emperor 151; Emperor Xiaowen as Donor 152, 152 yun ware (lacquerware) 121–2, 122
Geese (Qian Xuan) xvii, xvii, 188, 188–9 Xie Daoqing, Empress 183 Yungang Grottoes, Datong, China 151, 151–2
WangYuanqi 213; Wangchuan Villa 213, 213 Xie He 148
Wang Zhenpeng 187; (attrib.) Dragon Boat Festival 187, 187; Xie Huan xvi; (after) Literary Gathering in the Apricot Garden Z
Vimalakirti and the Doctrine of Nonduality xx, xx
Wangchuan Villa (attrib. Guo Zhongshu after Wang Wei) xvi–xvii, xvii Zafar Khan 56
162, 162–3 Xie Zhiliu 210 Zao Wouki (Zhao Wuji) 234; En Mémoire de Mai 234, 234
Wangchuan Villa (WangYuanqi) 213, 213 Xishanqiao, China: tomb painting 149, 149–50 Zaveri Bazaar, Mumbai (Raghubir Singh) 98, 99
Wangshi 199 Xu Beihong 224; Yu Gong Removes the Mountain 224, 224–5 Zayn alDin, Shaykh 84; (attrib.) Lady Impey Supervising
Warring States period (China) 127, 130, 138, 281; bronze Xu Bing 221; A Book from the Sky 220, 235, 235
wine vessels 135–6; cosmology 148; jade bi disc 130, 136; Xu Wei 208–9, 213; Twelve Plants and Twelve Calligraphies her Household 82, 82–3; A Shawl Goat 84, 85, 85
lacquer bowl 137–8 Zeami 340, 342; Atsumori 341
Wat Trapang Thong Lang, Sukhothai 120 209, 209 Zen Buddhism xxi, 241, 325, 333–4, 342, 343, 374;
Waves at Matsushima (Tawaraya Sotatsu) 358–9, 359 Xuanwenjuan, Lady 205
Wen, Emperor 157–8 Xuanwu, Emperor 151, 152 convents 339; dry gardens 337–9; ink paintings 335–7,
Wen Peng 195 Xuanzang (monk) 163, 164 372; statuary 340
Wen Zhengming 205, 206; Living Aloft 206–7, 207 Xuanzong, Emperor 160, 162, 163 Zha Shibiao: Peach Blossom Spring 124, 124–5
Wen Zhenheng: A Treatise on SuperfluousThings xxii Xue Wu 212; Chrysanthemums and Bamboo 212, 212–13 Zhan Ziqian: (attrib.) Spring Outing 160, 161
Wenji, Lady 170, 171, 180, 180 Zhang Daqian see Chang Daichien
We’re the Happiest in the World (Han Junbin) 268, 268 Y Zhang Hua: Admonitions of the Instructress to the Palace
Western Jin dynasty, China 147, 149 Ladies 148
Western Pure Land (Tang mural) 165, 165 yakshas and yakshis 38 Zhang Huan 237; FamilyTree 237, 237
White Stupa (Anige) 185, 185 Yakushi Buddha 300, 301 Zhang Xuan 163
Wierix,Anton: View of Thessaly... 215 Yakushiji, Nara, Japan 300 ZhangYanyuan 148; Record of Famous Painters of All the
Wind and Waves (Sesson) 337, 337 Yamamoto Soken 360 Dynasties xxii
wine vessels: Shang 131, 131–3, 132, 137, 137;Warring yamatoe 314, 320–21, 345, 358 Zhang Zao 210
States period 135, 135–6, 136; Zhou 137, 137 Yan Liben: (attrib.) TheThirteen Emperors 160–61, 161 Zhang Zeduan: Peace Reigns along the River 176, 176
Winter Landscape (Sesshu Toyo) 336, 336–7 Yanagi Soetsu 349 Zhanghuai, Prince: tomb 159, 159–60
Wintry Groves and Layered Banks (attrib. DongYuan) YanagiYukinori: Hinomaru Illumination... 376, 377 Zhao Bosu 210
173, 173–4 Yang Guifei 163, 166 Zhao Gan 210
Wisdom, Impression, Sentiment (Kuroda Seiki) 372–3, 373 Yang Meizi, Empress 182; calligraphy 183, 183 Zhao Mengfu 189, 192, 210; Sheep and Goat 188, 189;
Woman Holding a Piece of Fruit (Varma) 92, 92 Yang Rong xvi, xvii Zhao MengfuWriting the Heart Sutra... (QiuYing) 194,
women, Japanese 306, 314–15, 317, 334; geisha 366; Yang Shiqi xvi, xvii 195, 204, 204–5
nuns 311–12, 339; and tea ceremony 352–3; see also Yangon, Myanmar: Shwe Dagon Pagoda 102, 103 Zhao Wuji see Zao Wouki
women artists Yangshao culture, China 128; pottery 128, 129 Zhaoling, China: tomb of Emperor Taizong 158, 158–9
women artists: Chinese 210–13; Japanese xviii, 370–72; Yangzhou, China 195, 199, 217 Zhe School of painting 203
Korean 265–6, 267, 273–4 Yashovarman, king 40 Zhengde emperor 200, 204
“Women on Tano Day” (SinYunbok) 264, 264 Yasui Sotaro 223 Zhongzong, Emperor 159
woodblock printing/prints xviii; Chinese 201, 223; Yayoi culture, Japan 281–4; architecture 283–4; ceramics Zhou Chen 203, 204; Beggars and Street Characters 203–4, 204
Japanese 223, 364, 365–8, 369; Korean 253, 271 Zhou dynasty, China 125, 127, 140, 158; bronzes 133, 134–5,
Work No. 18–59 (Park) 269–70, 270 283; dotaku 282–3 135, 137, 137
writing systems: Chinese xiv, xv, 317; Japanese xiv, xv, 317; Yi I 266 Zhou Fang 163; (after) Palace LadiesTuning the Lute 163, 163
Korean xiv, xv, 256, 265; Muslim 58; Persian 58 Yi Ik: Trivial Discourses of Seongho 265 Zhou Fenglai 204–5
Wu Bin 218; The Sixteen Luohans 218, 218 Yi Jing (monk) 112 Zhou Jichang 184; The Rock Bridge at Mt.Tiantai 184, 184
Wu Family Shrines, Shandong, China 144, 144–5, 145 Yi Myeonggi: (attrib.) Portrait of Oh Jaesun 261–2, 262 Zhu Da (Bada Shanren) 215; Moon and Melon 215–16, 216
Wu Guanzhong 231; Lion Grove Garden 231, 231 Yi Seonggye, General see Taejo, King Zhu Ruoji see Shitao
Wu Kuan 206 Yide, Prince: tomb 159, 159–60 Zhuang Zhou 140
Wu School 206, 208 yin and yang 140, 141, 148, 199, 258 Zochoten 328, 329, 329
Wu Wei 203; Lady Carrying a Pipa 203, 203 Yishao (priest) 184 Zoffany, Johann 86
Wu Zetian, Empress 158, 159, 164 yoga 26 zun (wine vessel) 131–2, 132, 137, 137
Wu Zhen 189, 191; Poetic Feeling in a Thatched Pavilion Yoga (Westernstyle painting) 372–3
190–91, 191 Yokoyama Taikan 373; Floating Lights 373, 373–4
Wutaishan, China: Foguang Temple 167, 167; Nanchan Yongle emperor 196
Temple 166, 166, 167 Yongtai, Princess: tomb 159, 160, 160
Wuzong, Emperor 163 Yongzheng emperor 214
Yosa Buson 363
Yoshinogari settlement, Saga, Japan 283–4, 284

408 INDEX