List of East Asian art history topics
After this early period Chinese art, like Chinese history, ..
In Korea, the period between fifth and eight centuries represents a good case study of the early development and subsequent flourishing of Buddhism and Buddhist art. In particular, the development of Buddhist sculpture illuminates the changes in philosophy and taste. Early examples (from fifth and sixth centuries) of statues of the Buddha and other deities of the Buddhist pantheon evidence close iconographic and stylistic ties to their Chinese models: the elongated face, harsh facial features, sharp linear folds of the garment, stiff, central poses. This adoption of Chinese models was inevitable given both the early stage in the development of Buddhism/ Buddhist icons in Korea and also the nature of religious statuary, which dictates adherence to existing archetypes. By the seventh and eight centuries, however, Korean Buddhist sculpture had matured both conceptually and stylistically. The famous “Paekche smile” on the small Buddha statues of the Paekche kingdom, the elegant and individualistic representations of meditating (or pensive) Buddhas from the seventh century, and the technically and stylistically unsurpassed sculptures in the eighth century cave temple of Sokkuram are some of the most striking examples of the breadth of native development of Buddhist sculpture. Sokkuram and its sculptures, in particular, exemplify Korean ingeniousness and the essence of Korean style in Buddhist art. The cave, built as a dedication to the ancestors of a prominent politician of mid-eight century, embodied complex mathematical calculations and architectural genius. The statue of the main Buddha and the wall-carvings of Buddha's attendants manifest the ideal combination of the divine and the human—one that was rarely matched in Buddhist statuary of contemporary China or Japan.
Art History Paper Topics - 10 Ideas With Example Essays
Another reason that landscape painting became the superior art form in Korea was the dominance of Confucianism and neo-Confucianism, adopted from China. This philosophy prescribed, among other things, the cultivation of the intellect and humility. Translated into art, it meant that pictures of the human figure—the physical body, the mundane activities of humans, even historical episodes that focus on human activity or achievement—were secondary. Instead, landscape painting emerged as the means for exploration and expression of the intellect and of the larger world beyond human beings. Not until the eighteenth century, with the growth of genre painting, does figural painting become important in Korean art history.