Many textbooks contrast the interest in naturalism and humanism found in Renaissance art with the more abstract style and otherworldly focus of medieval art. At this point in the semester it is helpful to remind students where they have been thus far—especially if you are doing the whole survey in one semester. The Renaissance section sometimes presents difficulties for a couple reasons. Oftentimes we find ourselves a little or a lot behind by this point in the semester and it is hard to quickly move through the Renaissance section because it is usually covered in great detail in traditional survey texts, sometimes two to three chapters are devoted to it! Furthermore, students may recognize these works and want to spend a good amount of time on them.
Nature in Chinese Culture
Abbreviated Map of All the World's Nations, approx. – | Education | Asian Art Museum
Japanese architecture , the built structures of Japan and their context. A pervasive characteristic of Japanese architecture—and, indeed, of all the visual arts of Japan—is an understanding of the natural world as a source of spiritual insight and an instructive mirror of human emotion. An indigenous religious sensibility that long preceded Buddhism perceived that a spiritual realm was manifest in nature. Rock outcroppings, waterfalls, and gnarled old trees were viewed as the abodes of spirits and were understood as their personification.
Nature in Asian art: A guide to symbols, motifs and meanings
Not literary but religious-magical in its purposes, it is mostly a compilation of hymns, dedicated to a number of gods of the Vedic religion. They have the regular structure of an invocation: the attention of the god is evoked; a brief account of some of his feats is given, to hold his attention; and an exhortation for his help concludes the hymn. The poets, of whom little is known, appear to have come at the close of a priestly poetical tradition, rivalling one another in allusions to obscure exploits, in language often opaque and at times intended to mystify.
Central India remains contested by various major powers—each developing a distinctive but related artistic style—until the ascendancy of Turkish—Central Asian dynasties at the end of the period. Buddhism , once a powerful religious and cultural force in the South, disappears in all but Sri Lanka, where it flourishes into the modern period. The Deccan is absorbed into the Muslim cultural sphere under the Delhi Sultanate, and then independent rulers. Vijayanagar remains independent, entering into complex alliances with the various Deccan powers until it is overcome by them in