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Course title |
Introduction to the Arts of China, Japan, Korea |
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Semester |
104-2 |
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Designated for |
Art and Design Program |
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Instructor |
CHUN-YI JOYCE TSAI |
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Curriculum Number |
LibEdu1063 |
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Curriculum Identity Number |
H01E06300 |
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Class |
02 |
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Credits |
3 |
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Full/Half
Yr. |
Half |
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Required/
Elective |
Elective |
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Time |
Tuesday 3,4,5(10:20~13:10) |
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Remarks |
The upper limit of the number of students: 40. |
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Ceiba Web Server |
http://ceiba.ntu.edu.tw/1042LibEdu1063_02 |
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Course introduction video |
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Table of Core Capabilities and Curriculum Planning |
Association has not been established |
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Course Syllabus
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Please respect the intellectual property rights of others and do not copy any of the course information without permission
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Course Description |
COURSE DESCRIPTION
East Asian art is one of the most vibrant and rapidly developing areas of the global art market today. Through a series of lectures, weekly discussions, and museum visits, this course introduces the distinctive yet intimately related pre-modern aesthetic traditions of China, Japan, and Korea through representative objects and recurring themes to help students develop the skills of looking, thinking, and writing about the visual arts of East Asia. Organized roughly in a chronological manner, the course will be divided into ten segments, each focusing on a major type of material, format, genre, or theme of the visual arts in East Asia. No prior knowledge of East Asian art, culture, and languages is required, although such knowledge would be useful.
Each week, students will attend a two-hour background lecture given by the instructor or occasional guest speakers, and a one-hour discussion section on critical issues pertaining to the works of art introduced in the lecture led by a TA.
IMPORTANT: There will be two mandatory guided museum trips. The first will be guided by the instructor to the National Palace Museum (NPM) on a Friday or Saturday evening around midterm week. The second will ask students to serve as museum guides to their classmates at the National History Museum (NHM) during regular class hours. These trips give students the opportunity to observe and practice how to apply their knowledge in class to the examination of actual works and displays of art. In addition to the guided museum trips above, students need to make 1-2 additional trips on their own to the NHM to complete a short paper assignment. Students are responsible for their own transportation and admission fees (free with student ID at NPM; $15 with student ID at NHM) for all trips to the museum.
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Course Objective |
1.To offer a sampling of the diverse forms of visual arts in East Asia;
2.To introduce the socio-historical context within which these representative works were created and received;
3.To give students a basic understanding of the technical properties of the works;
4.To introduce some of the key English-language research that has been done in the field;
5.To introduce some of the important art historical issues raised by the works of art featured;
6.To give students the basic vocabulary, knowledge, and skills for looking at, thinking about, and writing about East Asian art.
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Course Requirement |
See Evaluation and Grading. |
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Student Workload (expected study time outside of class per week) |
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Office Hours |
Appointment required. |
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Designated reading |
A. TEXTBOOKS
For new-comers to East Asian art and culture, the following textbooks provide good background knowledge for the lectures. The hardcopies will be on reserve in the NTU Main Library; relevant passages are assigned each week and available digitally via CEIBA.
• Thorp, Robert L. and Richard Ellis Vinograd. Chinese Art and Culture. Upper
Saddle River, NJ: Prentice Hall; New York: H.N. Abrams, 2001.
• Mason, Penelope E. History of Japanese Art, New York: Abrams, 1993.
• Portal, Jane. Korea: Art and Archaeology. London: British Museum Press, 2000.
B. 文章選讀 WEEKLY READINGS
Readings listed under “Discussion” are REQUIRED; reading guides will be distributed in class to help students focus on important issues.
Readings listed under “Background” are OPTIONAL but extremely helpful for understanding lectures.
Week 1 (2/23): INTRODUCTION
Week 2 (3/1): NEOLITHIC POTTERY—FRAGMENTS OF PREHISTORIC LIFE
Background
• Thorp & Vinograd: ch1: Prehistoric Roots: Late Neolithic Cultures
(focus on Village Societies 27-34, Yangshao Cultures 38-42, Longshan Culture 44-
46)
• Mason: ch1: Birth of Japan: 13-22 (up to Yayoi)
• Portal: ch1: Prehistoric Period: 23-29 (up to Bronze Age)
Discussion (pick 1)
• Macaulay, David. Motel of the Mysteries. Boston: Houghton Mifflin, 1979. [*mostly pictures]
• Shapton, Leanne. Important Artifacts and Personal Property from the Collection of Lenore Doolan and Harold Morris…NY: Sarah Crichton Books, 2009. [*mostly pictures]
Week 3 (3/8): LATER CERAMICS—PLAYING WITH EARTH & FIRE
**LIBRARY TOUR IN THE LAST HOUR OF CLASS.
Background
• Thorp & Vinograd: ch7: Technologies and Cultures of the Song (focus on ceramic production & style and taste, 233-239)
• Mason 231-233 (Chanoyu), 247-251 (Momoyama Ceramics)
• Portal: ch3: Koryo Period: focus on ceramics 100-106.
Week 4 (3/15): BRONZES—VESSELS OF POWER & PRESTIGE
**PICK GALLERY TALK TOPICS; SAMPLES / TUTORIALS DISTRIBUTED
Background
• Thorp & Vinograd: ch2: The Early Bronze Age: Shang and Western Zhou
(focus on Shang royal cult 59-62, Craft Production for the Elite 64-81, Piece-Mold Casting 67).
• Mason, 22-29 (Yayoi Period).
• Portal, 29–37 (Bronze Age).
Discussion (pick 1)
• Whitfield, Roderick ed., The Problem of Meaning in Early Chinese Ritual Bronzes. London: School of Oriental and African Studies, 1992. (Read Sarah Allen’s “Art and Meaning” 9-33; and Robert W. Bagley’s “Meaning and Explanation,” 34-55)
Week 5 (3/22): BUDDHIST ART—POLITICS & PIETY
Background
• Thorp & Vinograd: ch5: Period of Division (focus on Northern Wei patrons & Court patronage at Luoyang 163-169)
• Mason, 58-60 (Buddhism’s introduction to Japan), 62-65 (Hōryūji), 70-74 (Tori Busshi)
Discussion
• Harrell, Mark. “Sŏkkuram: Buddhist Monument and Political Statement in Korea,” World Archaeology 27.2 (1995): 318-335.
Week 6 (3/29): RULING CLASS TOMBS—STAGING AFTERLIFE
**GALLERY TALK PAPERS RETURNED
Background
• Thorp & Vinograd: ch4: The First Empires: Qin and Han
(focus on Tomb of the First Emperor 139-142, Soul & Afterlife 144-147)
• Mason: ch1: Kofun Period (focus on Haniwa 29-34).
• Portal: ch2: Three Kingdoms and Unified Silla (focus on Silla 58–65)
Discussion
• Ledderose, Lothar. Ten Thousand Things: Module and Mass Production in Chinese Art. Princeton University Press, 2000 (Read chapter on First Emperor’s Terra Cotta Soldiers)
Week 7 (4/5): HOLIDAY
Week 8 (4/15 FRI or 4/16 SAT): INSTRUCTOR-LED TOUR—NATIONAL PALACE MUSEUM (故宮博物院@士林)
**GALLERY TALK PAPERS RETURNED; PEER EVALUATION SHEETS / SPEAKER LIST DISTRIBUTED
**No class on 4/12. Meet directly at the museum that Friday or Saturday (4/15-16) evening for a guided tour of the permanent collections. Exact date and time to be announced.
**Review websites for the following exhibitions:
“Chinese Bronzes Through the Ages” (permanent)
“A History of Chinese Ceramics” (permanent)
“Celadons in the Qing Court Collection” (until 4/18/2016)
“Religious Sculptural Arts” (permanent)
Week 9 (4/19): STUDENT GALLERY TALK (I)—NATIONAL MUSEUM OF HISTORY (國立歷史博物館@植物園)
**Meet directly at the museum during regular class hour for a student guided tour of the permanent collections. Details TBA.
**ATTN: DO NOT CONFUSE THIS MUSEUM WITH THE NAT. PALACE MUSEUM!
Review the following websites:
http://www.nmh.gov.tw/zh/exhibition_2_4_1.htm
http://www.nmh.gov.tw/zh/exhibition_2_4_2.htm
Week 10 (4/26): STUDENT GALLERY TALK (II)—NATIONAL MUSEUM OF HISTORY (國立歷史博物館@植物園)
** See above.
Week 11 (5/3): CALLIGRAPHY—WRITING AS HIGH ART
**FORM GROUPS FOR STUDENT REPORTS
Background
• Thorp & Vinograd, ch5: 174-176, ch6: 215-218.
• Mason, 109-112 (Heian Literature and Calligraphy)
• National Museum of Korea (collections catalogue). Seoul: Cultural Foundation of National Museum of Korea, 2007. (focus on chapters on calligraphy, 154-161; and hangul, 92-99)
Discussion
• Murase, Miyeko. “The Deer Scroll by Kōetsu and Sōtatsu Reappraised.” Masterpieces of Japanese Painting: A Symposium. Seattle: Seattle Art Museum, 2007. (13 pages)
Week 12 (5/10): LANDSCAPE PAINTING—NATURE AS METAPHOR
**GALLERY TALK PAPER REVISIONS DUE (only for authors of top papers)
Background
• Thorp & Vinograd, ch7: Constructing Landscapes, 242-251.
• Bambling, Michele. “The Kongo-ji Screens: Illuminating the Tradition of Yamato-e ‘Sun and Moon’ Screens.” Orientations 27 (8) (Sept. 1996): 70-82.
• Yi, Song-mi. "The Screen of the Five Peaks of the Choson Dynasty." Oriental Art 42:4 (Winter 1996): 13-24.
Discussion
• Foong, Ping. Efficacious Landscape: On the Authorities of Painting at the Northern Song Court (Harvard University Asia Center, 2015). (read introduction and conclusion)
Week 13 (5/17): FIGURE PAINTING—TELLING STORIES WITH IMAGES
**POST APPROVED PRESENTATION TOPICS AND OUTLINES ON CEIBA
Background
• Wu, Hung. “Night Revels of Han Xizai,” in The double screen: medium and representation in Chinese painting, 57-68. Chicago: University of Chicago Press, 1996.
• Chung, Saehyang P. “Sin Yunbok’s Women on Tano Day and the Iconography of Common Women Washing Clothes by a Stream.” Oriental Art 47.5 (2001): 55-70.
Discussion
• Soper, Alexander C. “The Illustrative Methods of the Tokugawa Genji Pictures,” The Art Bulletin 37.1 (1955): 1-16.
Week 14 (5/24): PRINTS AND FOLK ART—ART FOR THE MASSES
Background
• Thorp & Vinograd, ch7: Measuring Everyday Life, 227-232.
• Mason, 280-292.
• Portal, 132, 143–55.
Discussion
• Screech, Timon. “The Meaning of Western Perspective in Edo Popular Culture,” Archives of Asian Art 47 (1994): 58-69.
Week 15 (5/31): GROUP PRESENTATION (I)
Week 16 (6/7): GROUP PRESENTATION (II)
Week 17 (6/14): GROUP PRESENTATION (III) or FINAL REVIEW
Week 18 (6/21): NO FINALS - READING PERIOD or FINAL REVIEW
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References |
For new-comers to art history, the following books offer useful introductions to how to analyze and interpret of works of art. They will come in handy for the paper assignment.
•Joshua C. Taylor, Learning to Look: A Handbook for the Visual Arts (Chicago,1981)
•Sylvan Barnet, A Short Guide to Writing About Art (Boston, 1981) |
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Grading |
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No. |
Item |
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Explanations for the conditions |
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1. |
Attendance and Class Participation |
20% |
Attendance and active participation in class is expected of every student in this course. Students earn this grade by completing readings and by speaking up in class. In the case of illness, family emergency, or other legitimate incidents, students can be excused from class when a formal notice and necessary documentation (eg. doctor’s note), is submitted to the instructor within a week of the incidence. More than four absences starting from Week 4 will seriously hurt your attendance and class participation grades. |
2. |
Museum Project: Gallery Talk and Paper |
30% |
Students will (1) prepare a 3-5 min gallery talk on an object (picked on week 4) from one of the permanent collections to be visited at the NPM during one of the two museum trips (week 9-10); (2) submit a 1-2 page paper on the object discussed (by week 6). The grade will depend upon how well the student describes visual properties of the object, grounds it within the historical context under which the object was created and received, relates it to lectures and assigned readings, and pays attention to how it relates to other works in the gallery. Students who receive top grades on the gallery talk papers (top 5%) will be invited to revise their papers to be included into a student-edited museum guide (week 12). |
3. |
Group Presentation |
40% |
For the group presentation, students should form 4-5 person teams to present a 20-minute oral report on an approved topic. Students must form groups by week 11, post approved presentation topics and outlines on the course website by week 13, and submit scripted powerpoint slides plus a short group paper based on the oral presentation on the day of their class presentation scheduled from week 15. |
4. |
Student profile sheet and short reflection paper |
10% |
To help us know your background and better customize the class to your interests, you will submit a 1-page student profile sheet by week 4. You will submit a 2-page reflection paper to summarize your experiences and learnings in the class by week 18. |
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Week |
Date |
Topic |
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Week 1 |
02/23 |
INTRODUCTION |
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Week 2 |
03/01 |
NEOLITHIC POTTERY—ARCHAEOLOGY & THE DAWN OF CIVILIZATION
China: Pottery from Yangshao and Longshan Cultures
Japan and Korea: Jōmon Flame-Pots and Korean Burial Urns
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Week 3 |
03/08 |
LATER CERAMICS—DIVERSE TECHNIQUES & AESTHETICS China: Song Dynasty Ru Ware and Yuan Dynasty Blue-and-White Porcelains Japan and Korea: Tea Wares and Celadons |
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Week 4 |
03/15 |
BRONZE VESSELS—THE DEVELOPMENT OF CASTING TECHNOLOGY
China: Bronze Objects from Anyang and Sanxingdui
Japan and Korea: Dōtaku Bells and Bronze Mirrors
** Pick gallery talk topics; samples/ tutorials distributed |
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Week 5 |
03/22 |
BUDDHIST ART— POLITICS & PIETY
China: Cave-Temples at Yungang and Longmen
Japan and Korea: Hōryūji Temple and Sŏkkuram Grotto
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Week 6 |
03/29 |
RULING CLASS TOMBS—FURNISHING THE AFTERLIFE
China: The First Emperor’s Terra Cotta Soldiers and Mawangdui Silk Banners
Japan and Korea: Haniwa Figurines and Silla’s Golden Crowns
**Gallery Talk papers returned
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Week 7 |
04/05 |
Holiday |
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Week 8 |
04/12 |
CALLIGRAPHY— WRITING AS HIGH ART
China: Stele-Carving and Letter-Writing Traditions
Japan: Zen Calligraphy
**FORM GROUPS FOR STUDENT REPORTS |
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Week 9 |
04/19 |
Bonus Calligraphy Trip to 何創時書法藝術基金會 |
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Week 10 |
04/26 |
STUDENT GALLERY TALK (I)--NATIONAL MUSEUM OF HISTORY（國立歷史博物館@植物園）
**Start thinking about possible topics. |
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Week 11 |
05/03 |
STUDENT GALLERY TALK (II)--NATIONAL MUSEUM OF HISTORY（國立歷史博物館@植物園） |
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Week 12 |
05/10 |
CALLIGRAPHY— WRITING AS HIGH ART (II) |
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Week 13 |
05/17 |
LANDSCAPE PAINTING—NATURE AS METAPHOR
China: Masterpieces from the Northern & Southern Song Dynasties
Japan and Korea: Sun-Moon Screens and Paintings of Eight Views of the Xiao-Xiang Rivers
**Last chance to get group presentation topics approved.
**GALLERY TALK PAPER REVISIONS DUE (only for authors of top papers)
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Week 14 |
05/24 |
FIGURE PAINTING—ILLUSTRATED NARRATIVES
China: Night Revels of Han Xizai and Demon Queller Scrolls
Japan: Tale of Genji and Animals Frolicking Scrolls
**Students post approved group presentation outlines, background readings, and questions for discussion online. |
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Week 15 |
05/31 |
GROUP PRESENTATION (I) |
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Week 16 |
06/07 |
STUDENT PRESENTATIONS (II) |
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Week 17 |
06/14 |
STUDENT PRESENTATIONS (III) /READING PERIOD or FINAL REVIEW
**Written component of group presentations due at the beginning of class. |
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Week 18 |
06/21 |
No Final. This lesson was used for the bonus Calligraphy Lesson on Week 8, in which we held two lessons on 4/12 & 4/16. |
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Week 2-1 |
03/01 |
Discussion |
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Week 3-1 |
03/08 |
Library tour in the last hour of class & Gallery Talk object assignment |
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Week 4-1 |
3/15 |
Discussion |
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Week 5-1 |
03/22 |
Discussion |
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Week 6-1 |
03/29 |
Discussion of "Ten Thousand Things" |
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Week 8-1 |
04/12 |
Discussion of "The Deer Scroll" |
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Week 8-2 |
4/16 |
MUSEUM TRIP—NATIONAL PALACE MUSEUM
Meet at the museum. We will visit the following exhibits:
Chinese Bronzes Through the Ages (permanent)
A History of Chinese Ceramics (permanent)
Buddhist Art (ongoing)
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Week 13-1 |
05/17 |
Discussion |
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Week 14-1 |
5/24 |
Discussion |
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