East Asian Art

• 1- Organization of cultures- similar material culture with the same group of people, larger settlements with labor organization and social hierarchy 
• 2- Less mobile settlements- animal farming, agriculture, domestication of animals, eggs- the landscape is transformed 
• 3- Movement of people- silk road, network of exchange with the world

• 1- old stone age 
• 2- social organization- small social groups, nomadic culture, hunting/gathering economy 
• 3- mobile society- following access to resources 
• 4- chipped stone tools- manipulation of resources and desire to transform land

• 1- 5,000-1,500 BCE 
• 2- 20,000 square meters, surrounded by a moat (moat = need for protection) 
• 3- 5 different periods of occupation
• 4- population- about 500 people 
• 5- spatial organization of village- houses organized in clusters, wood structures for different functions indicate labor division, square and round houses, society organized in clans, daily and spiritual life takes place in clusters, there are designated spiritual spaces  
• 6- 5 adult cemeteries outside the village, children are buried inside the village (ritual connection to the afterlife, difference in death as an adult vs as a child) 
• 7- adult tombs- bodies surrounded by ceramic vessels- secondary burial, the body is re-buried a different space

Yangshao pottery- broad strokes and abstract patterns, human/animal like forms, small handles/holes on the bottom for rope

• objects made with porous clay
• dried/fired at a low temperature 
• simplest form of production
• decoration- human like forms, thick/thin lines of moving brush, freehand creation, knowledge of material

• pottery with rounded forms and broad shoulders 
• feet are smaller than the diameter of the vessel 
• polish/smooth outsides 
• clay used in large quantities- clay is found near water, material is local, versatile and accessible 
• simple but effective technology

• black ink 
• same as used in paint and calligraphy 
• brushed onto pottery to create precise, calculated designs

• near the coast 
• advanced Neolithic culture 
• elaborate social structure
• rich material culture (silk, jade, lacquer...) 
• vast cultural influence

• 3600-2000 BCE 
• tiny object made of stone (jade) 
• symmetrical organization of patterns 
• repetition & balance of geometric structures 
• circle surrounded by a square- 2 geometric shapes combined 
• function of hole- connects inside with outside 
• deep incisions- carved with wood and sand (a long process) 
• materiality- stone, heavy weight and density, difficult to carve (a major accomplishment to complete), light interacts with patterns on the surface
• carving- different kinds of incisions, small incisions and impressions, rounder shapes, reliefs and outlines, things push/pull on surface environment
• lower figure- 2 eyes, mouth, nose, body created through spirals, joints, cloud-like substance, animal like figure 
• upper figure- enigmatic expression, headgear/hat band, body represented by spirals, hands holding onto animal
• purpose- ritual object, exact function unclear, some are short and others are long, all have a circular and square shape, found in tombs and positioned alongside bodies
• found- Liangzhu, in a tomb, near coast, advanced neolithic culture, elaborate social structure 
• Liangzhu jades are found 600 miles inland at Anyang

• green, blue-green, pink, lavender
• found in large pebbles, then broken into and polished

• yellow, white, brown, black 
• found in large pebbles, then broken into and polished

• discovered 6,000 miles inland 
• second capital of Shang dynasty 
• 1350-1046 BCE 
• important cemetery discovered (large archaeology site) 
• location of Tomb of Lady Hao

Second capital of the Shang Dynasty

In use 1350-1046 BCE

322.9 square feet

Rammed-earth foundation sites of palaces, Temples, shrines

• 1600-1046 BCE 
• complex society and belief system- social structure, military and economy 
• organized around a divine ruler 
• large territory 
• extended network of trade and agricultural production 
• Bronze ritual vessels- made of copper, tin and lead 
• Bronze- less brittle & lower melting point than iron- durable, sturdy, heavy, malleable
• Bronze ritual vessels- symmetry, surface decorations organized in self-contained bands, have taotie motif, used in rituals to ancestors/deities involving a relatively small group of people exchanging offerings (mostly wine) 
• Taotie motif- continuity & consistency expresses strictly regulated circulation in a strictly hierarchical society

• date - 1200 BCE
• discovered in Royal Cemetary of Anyang 
• burial chamber- rectangle with high walls 
• jade surrounding body 
• 775 jade objects found- neolithic jades (made before her death- possessing ancient objects- possibly passed down through generations/part of a private collection, sense of history)
• possible status/meaning of jade in the afterlife? 
• 468 bronze objects found- very rich tomb
• 63 Stone objects
• 5 Ivories
• 564 Bone objects [500 hairpins and 20
• arrowheads]
• 11 Pottery vessels
• 6,900 cowry shells [currency of the time]

• Possible meanings of excavated jades- Sense of continuity and legitimacy
• From earlier political power to a new one?
• • Personal taste of Lady Hao who wanted
• To be buried in the tomb with her precious
• Collection?
• • Something associated to the power
• Of jade as a material for post-mortem
• Preservation (documented in later periods?

• bones of oxen or turtles 
• inscribed with questions asked during divination rituals 
• discarded in pits after use

• date- 12th century BCE (1200-1101 BCE) 
• place- Anyang 
• oracle bones mention Lady Hao 
• conversation inscribed on bone 
• script- pictographic characters, conceptual rendering of idea, simplified, abstract characters 
• inscriptions connect ritual identity to objects for her specifically
• used in the practice of divination- the practice of seeking knowledge of the future or the unknown by supernatural means

• beliefs concerned with communication with spirits 
• shaman- intermediary between human and spirit world 
• trance like state- dance, ritual, invocation, intoxication 
• living set of practices

• mask-like figure often pictures on bronze vessels 
• horns, ears, open mouth, tongues, body 
• some elements protrude, others retreat 
• distinguishes Shang vessels from other vessels 
• eyes- vessel looks at you (surveillance- the menacing/confrontational form is at the center)
• no textual mention- too powerful to name? 
• ancestor/spirit embodying the vessel
• no images embodied physically 
• no representation of top figures/people of high status

• Western Sichuan province 
• excavations began in 1986 
• large settlement 
• protected by high walls 
• 2800-1000 BCE 
• palace
• sacrificial area- not tombs, other objects are thrown in (some are specific)- bronze standing figures, missing elements made of wood or another organic material, bronze masks
• monumental bronze altar- human and animal forms, abstract patterns, entertainer with large hands is a powerful confrontation of the viewer, objects meant to be used only once, very particular to this region, gold leaf applied to bronze masks, eyes are a pattern across civilization

supreme diety

King

Shaman/priest

• clay model -> hardens -> wet clay -> impression on wet clay 
• remove mold from replica -> assemble mold together 
• insert small cones of bronze -> pour bronze into mold 
• bronze enters empty spaces -> melts cones 
• bronze hardens -> break mold -> polish vessel 
• creases on bronze vessel- place where two molds meet, vertical cuts are used as part of the design, some designs are scratched on after the fact 
• bubbling- make sure all air is extracted 
• certain molds are reused for certain patterns
• resources- firewood, metals, clay, labor 
• organization of labor- specialized skills needed to make vessels, outsourcing materials, final product was only meant for the elites in society- very time consuming and labor intensive process, same technology used for centuries

• model made of beeswax
• apply wet clay around model 
• pour bronze into passages -> wax melts -> remove clay

Zhou competes with Shang -> imitates Shang -> Zhou take power

• Innovation of the Zhou
• 1. Heaven (tian) bestows the right
• to rule on a particular leader
• 2. The right to rule is based on the
• ruler’s virtuous behavior and just
• control
• 3. The ruler can lose the Mandate of
• Heaven
• 4. As there is only one Heaven,
• there is only one ruler

• How does the notion of the Mandate of Heaven change the idea and practice
• of rulership from Shang to Zhou?

How does it change the status of the ruler?

How does the ruler maintain the right to rule?

What are the signs of Heaven’s withdrawal of the Mandate of Heaven?

• form of writing 
• invented by the Shang dynasty 
• made with tightly controlled movements 
• straight & curved lines- uniform thickness 
• symmetry

• 11th century BCE 
• early Western Zhou
• metal platform 
• inscription inside vessel 
• record of a historical event- King Wu conquers Shang dynasty 
• circulation of bronze- highly valued, had to be given (no market, made only in very specific workshops), symbol of loyalty, very controlled material, received from the king 
• significance of bronze- power of king, connecting mankind to the divine, alliances between the king and the military

• Disappearance of the taotie motif
• Decline of wine vessels in favor of food vessels
• Greater variety of forms and decorative motifs (regionalism? Some form of
• market?)
• Greater size and more elaborate décor

RITUAL REFORM: larger, more spectacular rituals required larger, more spectacular vessels. The focus shifts from the family, involved in celebrating Its ancestors, to clans, involved in celebrating themselves.

• NEW FUNCTIONS TO BRONZE RITUAL VESSELS BEYOND THE STRICTLY RELIGIOUS (consequence of Mandate of Heaven and new idea of
• political authority)

• 12th–11th century BCE - Shang dynasty 
• tripod for meat
• Bronze ritual vessels had a limited set of shapes and consistent design

• Vessel dedicated to Mother Wu- 
• mid 12th century BCE 
• Anyang 
• 1836 pounds 
• shows the extreme amount of labor & natural resources used in creation

• late 11th century BCE
• beaker for wine
• bronze- poisonous because of lead content, living people could not eat or drink out of these vessels
• symmetrical surfaces 
• parallel organization of pictorial motifs in bands 
• social status- hierarchy, limited circulation, large amount of labor and resources required to make 
• used in rituals to ancestors & deities- relatively small group of people exchanging offerings

• ewer-like vessel for wine
• Shang dynasty

bowl shaped vessel with handles for grain

water basin

• gourd-shaped vessel for water
• 6th century BCE

Round vessel for grain

• set of 64 ritual bells discovered in Tomb of the Marquis Yi of Zeng
• 433 BCE

10,000-2,000 BCE

2,000-200 BCE

7,000-1,000 BCE

1,000-300 BCE

8,000-300 BCE

300-250 BCE

10,000-3,300 BCE

3,300-1,200 BCE

7,000-3,000 BCE

3,200-600 BCE

• 8,000-1,500 BCE 
• particular type of pottery & decoration discovered 
• geography of Korea- bridge between Japan & continental East and North Asia, central role in cultural and economic exchange

• close to present-day Seoul 
• ca. 5,000 BCE 
• semi subterranean pits- ceramics discovered, communal spaces (not tombs, possibly used for prayer) 
• pottery- earthenware with combed-on decoration, captures light and creates contrast, pointed foot (can't stand on their own), hand shaped, coil-built

• half god, half bear 
• "founder" of Korea in 2333 BCE (demonstrates migration patterns from inner Asia to Korea- monoliths discovered in Korea are similar to those found in Western Mongolia)

• large stones assembled together- 2 slabs of rock with a large rock on top
• used as burial sites for important people 
• chamber underneath- a very shallow pit 
• demonstrates how Korea was a site of exchange- no geographic barriers between North Asia and Korea 
• technology and labor organization- transforming landscape and moving giant stones

a South Korean island in the estuary of the Han River

• giant clay containers 
• coiling process 
• top and bottom lock a body inside 
• capsule-like structure 
• people are placed in the clay container with their possessions then placed in the ground 
• secondary burial- the body decomposes and then is moved to another space (the body has to be "purified," cleaned and decorated before being placed in a permanent tomb) 
• 2 different burial practices in Korea- jar burials and megaliths (relationship between body and environment, social/ethnic distinctions, layered society with multiple populations coexisting)

• Northern Japan 
• Ancestors of Ainu people 
• technology of ceramic production- pressing rope onto wet clay (leaves impression on body of vessel), simple bottom and elaborate top, hand-shaped with coils of clay and dried 
• heavy and sturdy 
• found inside burial pits

• 1500 BCE 
• made of earthenware
• soil figurine 
• human-resembling, combines elements of anatomy and abstraction (incorporating/removing certain elements) 
• identified joints 
• insistence on showing large/exaggerated eyes 
• clothing patterns- resemble those on Ainu robes 
• many are broken on purpose- medicine and magic, fertility cult, gendered figures, broken for curing illnesses 
• found in pits, not tombs

Indigenous group of people in Northern Japan

• Southern Japan
• cultivation of rice- technology and labor organization 
• metallurgy- bronze and iron 
• interaction with other populations (nor always peaceful) 
• closer exchange with continent- China and Korea

• multi-neighborhood settlement surrounded by walls 
• transforming landscape- sedentary settlement 
• large, well organized society 
• elevated granaries- storing food 
• watch towers surrounding settlement- system of protection
• pottery- earthenware, similar to Jeulman pottery, dynamic patterns by incisions, simple/effective technology, consistent use of a pottery wheel 
• jar burials

• Bronze bell
• tall, conical bronze sculpture
• symbolic objects that mimic shape but not function

• emperor of Japan 
• descended from Amaterasu (sun goddess)- has divine power 
• divinity of emperor is given up in 1946 after WW2, the emperor is no longer considered god-like

the sun goddess, her son is the first emperor of Japan

• 660-585 BCE 
• son of sun goddess (Amarterasu) 
• migration- leading people west to east

• 2300-2050 BCE
• found in a cemetery of the Jaingzhi village (surrounded by a moat = near water) 
• example of Yangshao pottery 
• Earthenware with painted decorations- Earthenware: objects made with porous clay that are usually dried or fired at low temperature
• clay is found near water- material is local and accessible, versatile material 
• made with the coiling technique- feet are smaller than the diameter of the vessel 
• painted using inkstone- broad strokes, abstract figures, humanlike forms, thick/think lines indicate the movement of the brush, freeland creation
• function- storage of grains, liquids and goods to be placed in tombs, support for the afterlife 
• what does this tell us about the social context- agricultural accumulation of a surplus to provide to the dead, implication that the dead eat the same things we do, the afterlife is a continuity of this life, devotion to ancestors, strict social hierarchy- distinction between commissioners and producers

• 1200 BCE
• found inside tomb of Lady Hao - Anyang
• made of jade 
• Sense of continuity and legitimacy from earlier political power to a new one?
• Personal taste of Lady Hao who wanted to be buried in the tomb with her precious collection?
• Something associated to the power of jade as a material for post-mortem preservation

the practice of seeking knowledge of the future or the unknown by supernatural means

• 1300-1100 BCE
• found in a pit in Sanxingdui- excavated in the 1980's, not found in a tomb, sacrificial area with many objects thrown in 
• Missing elements probably made of organic materials like wood or ivory

• 1300-1100 BCE
• Pit in Sanxingdui
• unknown reason why they were thrown in the pit- were objects meant to be used only once 
• gold leaf applied across bronze masks
• eyes- pattern across civilizations

• 10th century bce (1000 BC to 901 BC) 
• ** changes between Shang & Western Zhou

• ca. 400's BCE 
• retention of complex technique 
• access to workforce and labor 
• could be mobilized 
• did not need to develop a more efficient system 
• consistent population 
• cities had no interest in workers 
• scarcity- few people owned bronze vessels, ensures vessels are not massed produced and remain exclusive 
• found in Tomb of Marquis Yi of Zeng, Leigudun, Hubei

• 6th century BCE 
• bronze inlaid with copper
• late spring & autumn period- Spring and Autumn Period 春秋 [771-476 BCE]
• Shapes consistent with ancient models- Great variations in decoration
• regionalist model- multiple centers of production & circulation

771-221 BCE 

elite lineages- ruling class (kings, priests, feudal shis) -> scholars (experts/specialists responsible for maintenance of society) -> farmers -> craftsmen -> traders 

• Tianxia- "all under heaven" 
• everyone is protected under heaven, there is a cosmic social order where everyone has a place 

• Spring and autumn period- 771-476 BCE 
• Warring states period- 476-221 BCE

• semi independent kingdoms from central court 
• ruled by different military clans 
• constant war & competition for the mandate of heaven 
• political instability -> artistic experimentation 
• regionalism- different types of vessels based on technology in region 
• multiple centers of production

• Chu dynasty 
• 433 BCE 
• Tomb Marquis Yi of Zeng, Leigudun, Hubei Province
• elongated horns to hold a mirror 
• transitions in body of deer 
• sense of weight, proportion and position 
• accurate representation body 
• exaggerated representation of horns- tension between formalization and observation 
• deer/antler motif- animals with horns are a powerful symbol

• modern day Hunan/Hubei 
• distinct material culture 
• deer motif 
• lacquer 
• tomb of Marquis Yi of Zeng

• rhus verniciflua tree 
• made from sap extracted from a tree 
• lacquer applied to a wooden object- thin layers layered on, creates a shiny 2nd skin 
• poisonous- material require knowledge of use 
• rare and very expensive 
• time consuming and risky production

• ca 433 BCE 
• Leigudun, Suizhou, Hubei Province
• excavated in 1970's 
• ruler of territory- military figure 
• 3 rectangles covered by a ceiling of wood panels 
• massive structure with very high walls 
• perfectly preserved and organized 
• house buried underground- servants quarters, armory chamber, audience/living room chamber, tomb chamber 
• wet/moist territory- buried things are preserved well 
• huge amount of objects 
• armory- defense was needed in the afterlife, it would not be completely peaceful 
• enormous amount of bronze vessels- huge and complex objects, new patterns and decor, giant basin- water container, symbolism & power of advanced technique, lost wax technique 
• coffin is full of jades- placed on top of body for protection

archaeological site of Tomb of Marquis Yi of Zeng

• 3rd century BCE 
• ink on silk- painted on with a brush  
• Zhangjiadashan, Changsha, Hunan Province
• female figure- garments and accessories 
• bird and dragon- symbolic representation of ascention/celestial journey 
• representation of the deceased 
• used in funeral rituals 
• guides souls into the afterlife

• 5th century BCE 
• Tomb of Maqruis Yi of Zeng 
• production of jade continues in this period 
• complex shapes and forms 
• revival of object- connecting to the past 
• jades placed on top of body for protection

• red and black lacquer 
• 433 BCE 
• larger patterns 
• decorations organized in different bands 
• abstract geometric patterns and depictions of real forms 
• fantastical animals- naturalistic and abstract forms 
• painted with a brush 
• enigmatic figures- hybrid animal and human figures- horns (recurring theme), mask like faces, wings, insect-like arms, protectors carrying weapons (corresponds to real weapons found in tombs, combining imagined/real world)
• hybrid creatures- 2D+3D forms, serve a function as guardians and protect the person in the afterlife 
• breaks and passages- geometric dividers, opening passage between inside and outside, "open" space to leave coffins and go to different spaces of the tomb, environment meant to be inhabited by the spirit of the person 
• having everything they need in one place 
• afterlife is still similar to life on earth
• changing beliefs about the afterlife- complex architecture, designated separate spaces, more similar to homes, neutralizing and domesticating the afterlife to rationalize death and bring the known to the unknown

• 4000 BCE 
• Amsa-dong- Close to modern-day Seoul, Neolithic Settlement, Excavated in 1925
• Jeulmen pottery period 
• Semi-subterranean pits where ceramic vessels were discovered? Prayer hall?
• Hand-shaped vessels with impressed or pinched décor, fired or dried
• earthenware with combed decoration

• Late Yayoi period 
• 1st or 2nd century CE

• late Jomon period 
• 2500 BCE 
• Earthernware with incised and applied decoration

• 800 BCE 
• Earthenware with impressed decoration
• Meaning and function unknown: fertility cult? Broken for curing illnesses?
• patterns similar to Ainu robe 
• Dogū not found in graves but scattered around or in pits

• among 8,000 other terracotta soldiers and horses
• servants/attendants in the afterlife 
• made using the same technology as drainage pipes- hollow tubes 
• emphasizes physical qualities associated with the person's role/type 
• variety within repetition

• rapid development from the 7th century BCE 
• military reforms & social organization 
• 247 BCE: Prince Ying Zheng elected King of Qin
• 224 BCE: Conquest of Chu
• 221 BCE: Unification of Zhou territory and formal deposition of Zhou king

Reorganization of the empire in commanderies and counties supervised by officials, appointed by the court - contrast to  hereditary privileges of the Zhou elite lineages

The First August and Divine Emperor- Ying Zheng

• celebrates unification 
• order- variety within order 
• organization and standardization of production 
• importance of the military 
• relocation of workforce- collaboration of unified empire 
• letting people feel part of the political entity- participating in the symbol, unified cultural identity 
• different styles brought together 
• presence by absence

• constructed 246-210 BCE- after death of emporer
• presence by absence- empty space for emperor

figurines/representations of humans in tombs

• found in the cemetery of the Dai family 
• 186-168 BCE 
• very deep underground 
• shape recalls ancient bronze vessels 
• reminiscent of Chu culture

• early 2nd century BCE 
• painted ink on silk 
• Dai family cemetery 
• Different opinions on the use of the banner: 1) used in funerary rituals to “summon the soul?”
• 2) As ”Name Banner” (representation of the otherworldly life of Lady Dai”*
• placed on top of body 
• limited spatial depth 
• contrast of different patterns 
• monster figures 
• ritual scenes 
• mythical creatures- half woman, half snake 
• sun and bird 
• 3 legged crane 
• bronze vessel shape 
• scenes in the human and celestial realms 
• early Chu dynasty

• wood with painted lacquer decoration
• steps leading down into the tomb
• box covered with different types of soil and sealed underground 
• many levels of protection 
• compartments for items- strictly demarcated space, body is at the center- similar to Tomb of Marquis Yi- living room/entertainment space, food, trays, communal activity, musicians 
• lacquer decorations 
• black with cloud patterns 
• turns tomb into a bubble of air 
• raises the question- is the soul in the tomb or is the soul on a journey- representation of syncretic beliefs
• some continuity with Chu culture
• found in Mawangdui*

• 206 BCE-220 AD
• indirect interaction between East Asia, Central Asia and Rome 
• complex network of trade routes 
• unification- propoganda (reality- regionalization) 
• centralized structure 
• standardization 
• Confucianism- state ideology

• North 
• ca. 113 BCE 
• Tomb of Prince Liu Sheng and Princess Don* 
• cliff of a mountain- covered with a roof-like structure 
• 2,700 burial goods (bronze, silver, jade, lacquer)

• found in Tomb of Prince Liu Sheng and Princess Don 
• ca. 113 BCE 
• ceremonial objects 
• semi divine figures 
• mass of things

• shroud sewn with gold wire 
• jade- preservation of the dead 
• hole- movement in/out 
• tomb- eternal home -> underground palace

• late 1st century BCE 
• earthenware tiles with color 
• bar to support door 
• brick- white plaster and paint 
• representation of historical event- resistance against coup, role of history and virtue in the imagination of the afterlife 
• shift away from mythology/religion 
• representations of virtuous women- having good virtues on earth

• capital of Western Han 
• fortress with very high walls- 15 miles of walls 
• interconnected palaces- segregated and controlled environment 
• markets 
• armory- weapons and military

• Han government structure 
• selection by recommendation- virtuous subjects 
• training at imperial academy- Confucian classes 
• men only- women not allowed 
• not chosen through birth/bloodline- chosen and trained
• more records kept- bamboo slips, administrative legal documents 
• identifying as different from nobility

• Jining, Shangdong Province 
• 151-170 CE 
• underground tomb with an above ground structure 
• New Year's rituals performed by sons- women not allowed 
• small houses and simple structures- 3 walls, simple roof, shrine and offerings, low relief carvings in walls, natural properties of stones, organized in bands

• perfect replica of surface 
• wet rice paper -> tapping with ink 
• white- what is carved out 
• black- surface if the stone

• From Biographies of Eminent Women by Liu Xiang
• Found in Wu Shrine 
• date- 1st century BCE 
• Story- Aunt who saves her son, rather than her nephew, from a burning building - then runs back into the building rather than face the shame of choosing her own child over her brother's 
• requires a higher degree of literacy/understanding of the story 
• simple, not ornate- the solely "beautiful" and ornate objects were favored by the aristocracy

• inner Mongolia 
• vertical pit 
• sealed entrance upon completion 
• high ceiling 
• tomb murals- wall paintings cover the entire surface of the walls, dragons and celestial beings, virtuous ladies, wise ministers, Confucius & disciples

• 16 kingdoms period 
• "Middle Age" and period of division 
• 304-439 CE 
• group of people in Northeast Asia
• Buyou- golden hair ornaments 
• bodily ornaments- gold, silver, bronze 
• gold leaves make sound when moving

• 435 CE 
• occupant- Lady Poduolou 
• murals (pictured- southern wall) 
• passageway, brick chamber 
• organization of mural- emphasis on separation, divide in the middle, adds dimension, contrast in left vs right, divide but coexistence of different lifestyles

• 477 CE 
• House shaped stone sarcophagus 
• built after unification 
• reasons for difference- date, different levels of sinicization, personal choices 
• occupants- Song Shaozu couple 
• husband- immigrant from northwest china, wealthy/high status 
• epitaph- name and status, date of birth, death and burial, birthplace, short biography of achievements, praise

• 571 CE 
• life sized figures in the tomb 
• Northern dynasty 
• murals extend to tomb passageway 
• murals in tomb chamber- portrait of the couple centered in the middle, fixed depiction, feast with many dishes, attendants, musical performances 
• raises the question- are the deceased in the tomb or on a journey?

• Book by Zhang Hua* 
• written in 292- an educational text for women 
• part of a handscroll- scene painted by Gu Kaizhi

• painted the long handscroll- Admonitions to the Court Instructress 
• 345-406 CE 
• high ranking figure in Jin court- poet, painter, historian, art critic 
• 1st artist with surviving historical records and paintings 
• "founding father" of painting

• paintings in portable format 
• distinct materiality and viewing experience 
• viewed mostly horizontally 
• rarely completely unrolled 
• continuous composition 
• durational viewing- viewed piece by piece 
• optical, tactical experience 
• exploratory composition 
• hand eye coordination 
• long "pan" shot of a film 
• series of compositions woven together 
• social/communal viewing experience 
• colophons- comments by the artist and viewers on separate pieces of paper or silk, then attached on at the end, it is never a finished work, the painting is expected to evolve and change over time

• 484 CE 
• high ranking figure- related to Jin imperial household 
• painting of lady ban- how does this compare to Gu Kaizhi's style?