SOUTHERN AND SOUTHEASTERN ASIAN ART – PART II (1200 – PRESENT) EUGENIA LANGAN MATER ACADEMY CHARTER HIGH SCHOOL HIALEAH GARDENS, FLORIDA WITH APOLOGIES.

SOUTHERN AND SOUTHEASTERN ASIAN ART – PART II (1200 – PRESENT)

EUGENIA LANGANMATER ACADEMY CHARTER HIGH SCHOOLHIALEAH GARDENS, FLORIDAWITH APOLOGIES TO FRED KLEINER

DELHI SULTANATE/ VIJAYANAGAR EMPIRE

DELHI SULTANATE (MAMLUK – TIMURID – TURKIC) AT ITS GREATEST EXTENT – NOTE RAJPUT (HINDU) STATE IN N. CENTRAL INDIA

YELLOW = DELHI SULTANATE, SALMON = VIJAYANAR EMPIRE

QUTB MINAR, BEGUN EARLY 13TH CENTURY, AND ALAI DARVAZA, 1311, DELHI, INDIA.

ON QUWATT-AL-ISLAM MOSQUE , BEGUN 1193. PATRON = QUTB AL-DIN AYBAK, FIRST DELHI SULTAN – FIRST MOSQUE IN INDIA

MINAR (MINARET) = 238’ TALL – PURELY SYMBOLIC

SACRED SPACE, POWER AND AUTHORITY

LOTUS MAHAL, VIJAYANAGARA, INDIA, 15TH OR EARLY 16TH CENTURY. FUNCTION UNKNOWN – COMBINES HINDU AND MUSLIM ELEMENTS

MUGHAL PAINTING AND ARCHITECTURE

MUGHAL EMPIRE: NOTE RAJPUT STATE (NOW PART OF EMPIRE)

BASAWAN AND CHATAR MUNI, AKBAR AND THE ELEPHANT HAWAI, FOLIO 22 FROM THE AKBARNAMA (HISTORY OF AKBAR) BY ABUL FAZL, © 1590. OPAQUE WATERCOLOR ON PAPER, 1' 1 7/8" X 8 3/4". VICTORIA AND ALBERT MUSEUM, LONDON.

PATRON = AKBAR THE GREATMINIATURE -- BUT POWER AND AUTHORITY, NARRATIVE

NOTE RUDIMENATARY PERSPECTIVE, DIAGONAL COMPOSITION DRAMANOTE REPRESENTATION OF

HUMAN FIGURE IN MUSLIM ART!

BICHITR, JAHANGIR PREFERRING A SUFI SHAYKH TO KINGS, © 1615–1618. OPAQUE WATERCOLOR ON PAPER, 1' 6 7/8" X 1' 1". FREER GALLERY, WASHINGTON, D.C.

NOTE PERSIAN AND WESTERN INFLUENCES

THEMES: PATRONAGE, PIETY, POWER AND AUTHORITY, POLITICAL

RECALL PERSIAN PAINTING – EXAMPLE =SULTAN-MUHAMMAD . COURT OF THE GAYUMARS, FOLIO 20 VERSO OF THE SHAHNAMA OF SHAH TAMASP, FROM TABRIZ, IRAN © 1525 – 35. INK, WATERCOLOR AND GOLD ON PAPER. 1’ 1" x 9".

DETAIL, JAHANGIR PREFERRING A SUFI SHAYKH

TAJ MAHAL, AGRA, INDIA, 1632 – 1647

PRECISE PROPORTIONS, CLEAR PERSIAN INFLUENCE

PATRONAGE, POWER AND AUTHORITY, SACRED SPACE

DETAIL OF FAÇADE, TAJ MAHAL

RAJPUT AND NAYAK ART

KRISHNA AND RADHA IN A PAVILION, © 1760. OPAQUE WATERCOLOR ON PAPER, 11 1/8" X 7 ¾". NATIONAL MUSEUM, NEW DELHI.

RAJPUT

NOTE USE OF DARKNESS, LIGHT (LIGHTNING) CONTRAST

PIETY, HUMAN BODY

OUTERMOST GOPURAS OF THE GREAT TEMPLE, MADURAI, INDIA, COMPLETED 17TH CENTURY.

NAYAK

150' HIGH, COVERED WITH PAINTED STUCCO SCULPTURES

PAINTED EVERY 12 YEARS:

SACRED SPACE, RITUAL, POWER AND AUTHORITY

DETAIL, TOP SECTION, GOPURAM, GREAT TEMPLE, MADURAI

WALL SCULPTURE OF HANUMAN, GREAT TEMPLE, MADURAI

BRITISH RAJ AND CONTEMPORARY

FREDERICK W. STEVENS, VICTORIA TERMINUS (CHHATRAPATI SHIVAJI TERMINUS), MUMBAI (BOMBAY), INDIA, 1878-1887. MONGREL. POWER AND AUTHORITY!

MAHARAJA JASWANT SINGH OF MARWAR, ©1880. OPAQUE WATER-COLOR ON PAPER, 1' 3 ½" X 11 5/8". BROOKLYN MUSEUM.

ADOPTION OF WESTERN STYLE, ARTISTIC AND SOCIAL

MEERA MUKHERJEE, ASHOKA AT KALINGA, 1972. BRONZE, 11' 6 3/4" HIGH. MAURYA SHERATON HOTEL, NEW DELHI

SOUTHEAST ASIA

WALKING BUDDHA, FROM SUKHOTHAI, THAILAND, 14TH CENTURY. BRONZE, 7' 2 ½" HIGH. WAT BECHAMABOPIT, BANGKOK.

NON-HUMAN BODY

STYLE UNIQUE TO THAILAND

EMERALD BUDDHA, EMERALD TEMPLE, BANGKOK, THAILAND, 15TH CENTURY. JADE OR JASPER, 2' 6" HIGH.

BUDDHA – CHAKRAVARTIN = GOD OF THE WORLD, RAINMAKER

IN ROYAL TEMPLE: POWER AND AUTHORITY

SCHWEDAGON PAGODA, RANGOON, BURMA, 14TH CENTURY OR EARLIER (REBUILT SEVERAL TIMES).

STUPA

POWER AND AUTHORITY, PIETY, SACRED SPACE

COMPARE WITH CHINESE PAGODA (LIUHE PAGODA, HANGZHOU, BEGUN 1165)

DISH WITH TWO MYNAH BIRDS ON A FLOWERING BRANCH, FROMVIETNAM, 16TH CENTURY. S TONEWARE PAINTED WITH UNDERGLAZE COBALT, 121" DIAMETER. PACIFIC ASIA MUSEUM, PASADENA. YUAN CHINESE STYLE