The Mughal Empire in India evolved Islam further from its Arab roots than any other influence up to that time. Under the empire’s cultural mix, the Mughal painting style evolved as a result of combining elements of both European naturalism and Persian attention to decorative detail. List the differences between European and Islamic civilizations of the 16th century, including forms of government, religion, art, science, and general outlook. List the reasons for the differences.

Prebles’ Artforms, Eleventh Edition Patrick Frank

India

Ancient Indus Valley
Between three–five thousand years ago
Carved male torso compared with classical Greek Spear Bearer
Underlying bone structure difficult to see
Few works survive
Migration of Aryan tribes
Concept of reincarnation
Beliefs written in Vedas and Upanishads

Prebles’ Artforms, Eleventh Edition Patrick Frank

Male Torso. c. 2400–2000 BCE.
Limestone. Height 3-1⁄2″.
Harappa, Indus Valley. National Museum of India, New Delhi, India/The Bridgeman Art Library. [Fig. 18-1]

Prebles’ Artforms, Eleventh Edition Patrick Frank

Historical Map of Asia.
[Fig. 18-2]

Prebles’ Artforms, Eleventh Edition Patrick Frank

India

Spiritual leaders of sixth century BCE
Siddhartha Gautama (Buddhism)
Mahavira (Jainism)
Buddhist art
Belief that to eliminate desire (cause of suffering), one must follow the moral code of Eightfold Path.
Did not initially allow production of images

Prebles’ Artforms, Eleventh Edition Patrick Frank

India

Buddhist art
Needed icons to support contemplation
Artistic and architectural styles influenced by regional cultures
India
Stupa
Domelike structure evolved from earlier burial mounds
Four gates aimed in cardinal directions
Devout walked around its ritual path

Prebles’ Artforms, Eleventh Edition Patrick Frank

The Great Stupa of Sanchi, India. 10 BCE–15 CE.
Photograph: Prithwish Neogy. Courtesy of Duane Preble.
[Fig. 18.3a]

Closer Look: The Great Stupa at Sanchi

Architectural Panorama: Great Stupa, Sanchi

The Great Stupa of Sanchi, India. 10 BCE–15 CE.
Photograph: Prithwish Neogy. Courtesy of Duane Preble. [Fig. 18.3a]

Prebles’ Artforms, Eleventh Edition Patrick Frank

Eastern gate of The Great Stupa. 10 BCE–15 CE.
© Adrian Mayer Edifice/CORBIS. [Fig. 18-3b]

Eastern gate of The Great Stupa. 10 BCE–15 ce.
© Adrian Mayer Edifice/CORBIS. [Fig. 18-3b]

Prebles’ Artforms, Eleventh Edition Patrick Frank

Evolution of Buddhist Architecture.
Early Indian stupa. 3rd century to early 1st century BCE.
[Fig. 18-4a]

Prebles’ Artforms, Eleventh Edition Patrick Frank

Evolution of Buddhist Architecture.
Later Indian stupa. 2nd century CE.
[Fig. 18-4b]

Prebles’ Artforms, Eleventh Edition Patrick Frank

Evolution of Buddhist Architecture.
Chinese pagoda. 5th to 7th centuries CE. [Fig. 18-4c]

Prebles’ Artforms, Eleventh Edition Patrick Frank

Evolution of Buddhist Architecture.
Japanese pagoda. 7th century CE.
[Fig. 18-4d]

Prebles’ Artforms, Eleventh Edition Patrick Frank

India

Buddhist art
Telling the story of the Buddha’s without depicting him directly
Gandhara (now Afghanistan/Pakistan)
Distinctive style gained after Alexander the Great’s conquest
Combination of East and West
Bodhisattva, a person who delays enlightenment to help others achieve it
Depicted with rich garments and jewels

Prebles’ Artforms, Eleventh Edition Patrick Frank

Bodhisattva. Late 2nd century ce, Kushana period.
Gray schist. 43-1⁄8″ × 15″ × 9″.
N.W. Pakistan, Gandhara region. Helen and Alice Colburn Fund. 37.99. Photograph
© 2013 Museum of Fine Arts, Boston. [Fig. 18-5]

Prebles’ Artforms, Eleventh Edition Patrick Frank

India

Buddhist art
Gupta dynasty (c. 320–540)
Carved stone Standing Buddha
Simplified mass of the figure
Wears conventional monk garment
Long earlobes refer to earlier aristocracy
Topknot symbolizes enlightenment
“Beautiful Bodhisattva” Padmapani
Fine linear definition and elegance
Full, rounded shapes

Prebles’ Artforms, Eleventh Edition Patrick Frank

Standing Buddha. 5th century.
Red sandstone. Height 5′ 3″.
Indian Museum, Calcutta. [Fig. 18-6]

Prebles’ Artforms, Eleventh Edition Patrick Frank

“Beautiful Bodhisattva” Padmapani (detail). c.600–650.
Fresco from Cave 1.
Ajanta, India. Photograph: Duane Preble. [Fig. 18-7]

Prebles’ Artforms, Eleventh Edition Patrick Frank

India

Hindu art
Principal gods of Brahmna, Vishnu, and Shiva
Hindu temples
Two parts
Porch for purification of worshipper
Garba griha, sacred Womb Chamber where an image of the god is kept
Kandarya Mahadeva Temple
Garba griha marked by tall tower

Prebles’ Artforms, Eleventh Edition Patrick Frank

Kandarya Mahadeva Temple. 10th–11th centuries. Exterior.
Khajuraho, India. Photograph: Borromeo. Art Resource, NY. [Fig. 18-8a]

Architectural Simulation: Stupas and Temples

Kandarya Mahadeva Temple. 10th–11th centuries. Exterior.
Khajuraho, India. Photograph: Borromeo. Art Resource, NY. [Fig. 18-8a]

Prebles’ Artforms, Eleventh Edition Patrick Frank

India

Hindu art
Hindu temples
Kandarya Mahadeva Temple
Erotic scenes symbolize divine love in human form
Nataraja, Shiva as King of Dance
Purifying fire of destruction and creation
Implication of movement
Multiple arms and gestures

Prebles’ Artforms, Eleventh Edition Patrick Frank

Kandarya Mahadeva Temple scene. 1025–1050, Chandella Dynasty.
Erotic reliefs.
Kandariya Mahadeva Temple, Khajuraho, Madhya Pradesh, India.
Photograph: Copyright Borromeo/Art Resource, NY. [Fig. 18-8b]

Prebles’ Artforms, Eleventh Edition Patrick Frank

Nataraja, Shiva as King of Dance. Chola period, 11th century.
Bronze. Height 3′ 7-7⁄8″.
South India. © 2001 The Cleveland Museum of Art. Purchase from the J. H. Wade Fund. 1930.331. [Fig. 18-9]

Prebles’ Artforms, Eleventh Edition Patrick Frank

India

Hindu art
Muslim techniques to render Hindu subjects
Conquer by Islamic Mughal rulers in sixteenth century
Basohli style
The Approach of Krishna
Erotic desire symbolizing spiritual longing for union with the divine
Bright colors reflect emotional state

Prebles’ Artforms, Eleventh Edition Patrick Frank

The Approach of Krishna. c.1660–1670.
Color, silver, and beetle wings on paper. 6-7⁄8″ × 10-1⁄4″.
Pahari region, India.© The Cleveland Museum of Art. Edward L. Whittemore Fund. 1965.249. [Fig. 18-10]

Prebles’ Artforms, Eleventh Edition Patrick Frank

Southeast Asia

In what is now Vietnam
Under Chinese rule
Cultural influence from India
Buddhism and Hinduism
Borobudur
Elaborate version of a stupa
More than 10 miles of relief sculpture along corridors
Pilgrims walk, contemplate landscape

Prebles’ Artforms, Eleventh Edition Patrick Frank

Borobudur. c.800.
Aerial view.
Java, Indonesia. Photograph: Luca Tettoni/Robert Harding. [Fig. 18-11a]

Video: Borobudur Temple Compounds

Architectural Panorama: Borobudur

Borobudur. c.800.
Aerial view.
Java, Indonesia. Photograph: Luca Tettoni/Robert Harding. [Fig. 18-11a]

Prebles’ Artforms, Eleventh Edition Patrick Frank

Borobudur. c.800.
Corridor at Borobudur, first Gallery.
Java, Indonesia. Photograph: Werner Forman Archive, Ltd. [Fig. 18-11b]

Prebles’ Artforms, Eleventh Edition Patrick Frank

Southeast Asia

Angkor Wat, Cambodia
Influenced by Borobudur
Faces due west
Buddhas, bodhisattvas, and Hindu gods appearing to be portraits of real rulers
Originally surrounded by a moat
Emphasis on fertility
Ruler thought himself descendant of Vishnu

Prebles’ Artforms, Eleventh Edition Patrick Frank

Angkor Wat. c.1120–1150.
West entrance. © John Elk III/Photoshot. [Fig. 18-12a]

Video: Angkor Temple Mountains

Architectural Panorama: Angkor Wat

Angkor Wat. c.1120–1150.
West entrance. © John Elk III/Photoshot. [Fig. 18-12a]

Prebles’ Artforms, Eleventh Edition Patrick Frank

Angkor Wat. c.1120–1150.
Plan. [Fig. 18-12b]

Prebles’ Artforms, Eleventh Edition Patrick Frank

China and Korea

Interaction of traditions of Confucianism, Daoism, and Buddhism prior to the modern period
Bronze objects
Ritual vessel
Intricate composite animal forms
Taotie mask
Honoring ancestors
Beliefs evolving into Confucianism

Prebles’ Artforms, Eleventh Edition Patrick Frank

Ritual Vessel. China. 12th century BCE.
Cast bronze. Height 7-1⁄8″.
Freer Gallery of Art, Smithsonian Institution, Washington, D.C.: Gift of Eugene and Agnes E. Meyer, f1968.29. [Fig. 18-13]

Prebles’ Artforms, Eleventh Edition Patrick Frank

China and Korea

Qin Shihuangdi
Unified China before death in 210 BCE
Intent upon guarding his afterlife
About 6,000 Terra Cotta Warriors to protect him
Han dynasty (206 BCE–221 CE)
Wu Family Shrine
Elaborate relief sculpture
Full of energy, inner life force of qi

Prebles’ Artforms, Eleventh Edition Patrick Frank

Terra Cotta Warriors. Pit No. 1, Museum of the First Emperor of Qin. Qin dynasty, c.210 BCE.
Shaanxi Province, China. National Geographic Image Collection. [Fig. 18-14]

Web Resource: Terra-cotta Soldiers from the Tomb of Emperor Shihuangdi

Terra Cotta Warriors. Pit No. 1, Museum of the First Emperor of Qin. Qin dynasty, c.210 BCE.
Shaanxi Province, China. National Geographic Image Collection. [Fig. 18-14]

Prebles’ Artforms, Eleventh Edition Patrick Frank

Stone Tomb Relief. 2nd century CE.
Rubbing.
Wu Family Shrine, Shandong Province, China. © 2013 The field Museum, A114787d_003. Photo John Weinstein.
[Fig. 18-15]

Closer Look: Rubbing of a Stone Relief in the Wu Family Shrine

Stone Tomb Relief. 2nd century CE.
Rubbing.
Wu Family Shrine, Shandong Province, China. © 2013 The field Museum, A114787d_003. Photo John Weinstein. [Fig. 18-15]

Prebles’ Artforms, Eleventh Edition Patrick Frank

China and Korea

Han dynasty (206 BCE–221 CE)
Daoism
Achieving harmony with life force that animates all beings
Mirror with Xiwangmu
Queen Mother of the West in harmony of the Dao
Opposite Lord Duke of the East
Meeting yearly on 7th day of 7th month
Inscription with fortune for the owner

Prebles’ Artforms, Eleventh Edition Patrick Frank

Mirror with Xiwangmu. Six Dynasties period, 317–581.
Bronze. Diameter 7-1⁄4″.
China. © Cleveland Museum of Art. The Severance and Greta Millikin Purchase Fund, 1983.213. [Fig. 18-16]

Prebles’ Artforms, Eleventh Edition Patrick Frank

China and Korea

Painting
Combines calligraphy and landscape
Painting and writing closely related
Same brushes and ink used for both
Travelers Among Mountains…
Imaginative creation intended to capture the energy of nature, not a real place
Massive cliffs in vertical composition
Textured details from specific brushwork

Prebles’ Artforms, Eleventh Edition Patrick Frank

Fan Kuan. Travelers Among Mountains and Streams. Song dynasty, early 11th century.
Ink on silk hanging scroll. Height 81-1⁄4″.
National Palace Museum, Taipei, Taiwan, Republic of China. © Corbis. [Fig. 18-17]

Closer Look: Fan Kuan, Travelers Among Mountains and Streams

Prebles’ Artforms, Eleventh Edition Patrick Frank

China and Korea

Song court displaced in 1125
New painting style
Southern Hangzhou
Emphasized smaller, intimate landscape
Ma Yuan, Watching the Deer…
Meticulous brushwork fades into mist
Off-balance composition
Literati painting
Amateurs devoted to art and poetry

Prebles’ Artforms, Eleventh Edition Patrick Frank

Ma Yuan. Watching the Deer by a Pine-Shaded Stream. Southern Song dynasty.
Album leaf. Ink on silk. 9-1⁄2″ × 10″.
© Cleveland Museum of Art. Gift of Mrs. A. Dean Perry, 1997.88. [Fig. 18-18]

Prebles’ Artforms, Eleventh Edition Patrick Frank

China and Korea

New painting style
Literati painting
Huang Gongwang, Dwelling…
Handscroll
Meant to be viewed by scrolling from right hand to left hand
Respect for the past
Painters must comprehend tradition before expressing individuality

Prebles’ Artforms, Eleventh Edition Patrick Frank

Huang Gongwang. Dwelling in the Fuchun Mountains (detail). 1350.
Ink on paper handscroll. 13″ × 252″.
The Art Archive/National Palace Museum Taiwan. [Fig. 18-19]

Prebles’ Artforms, Eleventh Edition Patrick Frank

China and Korea

Respect for the past
Qiu Ying’s Fisherman’s Flute in comparison to Fan Kuan’s Travelers
Looming, massive forms offset with fine details
Motif of scholar finding refreshment in nature

Prebles’ Artforms, Eleventh Edition Patrick Frank

Qiu Ying. Fisherman’s Flute Heard Over the Lake. c.1547.
Ink and color on paper hanging scroll. 5′ 2-7⁄8″ × 33-1⁄8″.
The nelson-Atkins Museum of Art, Kansas City, Missouri. Gift of John M. Crawford Jr., in honor of the Fiftieth Anniversary of the Nelson-Atkins Museum of Art, f82-34.
[Fig. 18-20]

Prebles’ Artforms, Eleventh Edition Patrick Frank

China and Korea

Ceramic arts
Held in high regard
Porcelain
Turns white when fired
Initially, only blue color could withstand high temperatures
Plate pictured below
Korean adaptations
Blue-green celadon glaze

Prebles’ Artforms, Eleventh Edition Patrick Frank

Porcelain Plate. Mid-14th century China, Late Yuan dynasty.
Painted in underglaze blue. Diameter 18″.
Metropolitan Museum of Art. Purchase, Mrs. Richard E. Linburn Gift, 1987. Acc.n.: 1987.10. © 2012 Image copyright The Metropolitan Museum of Art/Art Resource/Scala,
Florence. [Fig. 18-21]

Prebles’ Artforms, Eleventh Edition Patrick Frank

China and Korea

Ceramic arts
Korean adaptations
New style of decoration
As seen in Wine Pitcher
Etched shapes filled with white and black slip before a second firing
Elegant shapes

Prebles’ Artforms, Eleventh Edition Patrick Frank

Wine Pitcher. Koryo dynasty. Korea, Mid-12th century.
Stoneware with celadon glaze and inlaid white and black slip. Height 13-1⁄2″.
National Museum of Korea, Seoul. National Treasure no. 116. [Fig. 18-22]

Prebles’ Artforms, Eleventh Edition Patrick Frank

China and Korea

Korea’s original art
Avatamaska Sutra
Meant for Buddhist teachings
Fine strands of silver and gold
Development of Chinese painting in Ming and later dynasties
Academic versus literati styles
Cicada on a Banana Leaf
Free execution with political symbol

Prebles’ Artforms, Eleventh Edition Patrick Frank

Avatamaska Sutra (Hwaomgyong). Vol. 12. 13th–14th century. Korea. Goryeo period.
Folded book with illustrated frontispiece. Gold and silver text on paper. 8″ × 17-1⁄4″.
© The Cleveland Museum of Art. The Severance and Greta Millikin Purchase fund, 1994.25. [Fig. 18-23]

Prebles’ Artforms, Eleventh Edition Patrick Frank

Bada Shanren. Cicada on a Banana Leaf, leaf “f ” from an album Flowers and Birds. Qing dynasty. 1688–1689.
Ink on paper.
Courtesy of the freer Gallery of Art, Smithsonian Institution, Washington, D.C. Purchase, f1955.21e. [Fig. 18-24]

Prebles’ Artforms, Eleventh Edition Patrick Frank

Japan

Art characterized by periods of nationalism alternating with foreign influence
Shinto
Religion of nature and ancestor worship
Ise Shrine
Rebuilt every 20 years
Sacred site within a forest

Prebles’ Artforms, Eleventh Edition Patrick Frank

Main Shrine. Ise, Japan. c.685
Rebuilt every twenty years.
Photograph: Kyoto news. [Fig. 18-25]

Closer Look: Ise Shrine

Main Shrine. Ise, Japan. c.685
Rebuilt every twenty years.
Photograph: Kyoto news. [Fig. 18-25]

Prebles’ Artforms, Eleventh Edition Patrick Frank

Japan

First cultural borrowing
Chinese Buddhism
Chinese script
Confucian teachings
Temple complex of Horyuji
Buddhist monastery
Kondo, Golden Hall where Buddha statues are kept
Elaborate bracketing system

Prebles’ Artforms, Eleventh Edition Patrick Frank

Horyuji Temple, aerial view. c.690.
Nara, Japan. Photograph: Kazuyoshi Miyoshi. Pacific Press Service. [Fig. 18.26a]

Prebles’ Artforms, Eleventh Edition Patrick Frank

Kondo.
Structural diagram.
From The Art and Architecture of Japan, Robert Treat Paine and Alexander Coburn Soper. By permission of Yale University Press. [Fig. 18.26b]

Prebles’ Artforms, Eleventh Edition Patrick Frank

Japan

Kamakura period
Vigorous realism
Wood portrait statue of Muchaku
Paintings
Handscrolls suited for long narratives
Night Attack on the Sanjo Palace
From the Heiji Monogatari Emaki
Clear geometric structures
Horror and excitement of action conveyed

Prebles’ Artforms, Eleventh Edition Patrick Frank

Unkei. Muchaku (detail). c.1212.
Wood. Height 75″.
Kofuku-ji Temple, Nara, Japan. 1212 National Treasure. Photograph courtesy of Duane Preble. [Fig. 18-27]

Prebles’ Artforms, Eleventh Edition Patrick Frank

Night Attack on the Sanjo Palace from the Heiji Monogatari Emaki (illustrated Scrolls of the Events of the Heiji Era). Second half of the 13th century, Kamakura period. Handscroll, ink and colors on paper. 16-1⁄4″ × 275-1⁄2″.
Japan. Museum of Fine Arts, Boston, Fenollosa-Weld Collection, 11.4000. Photograph © 2013. [Fig. 18-28]

Closer Look: Night Attack on the Sanjo Palace

Prebles’ Artforms, Eleventh Edition Patrick Frank

Japan

Zen Buddhism
Enlightenment through meditation
Spontaneous timing
Sesshu Toyo
Simplified explosive style called haboku
Haboku, Splashed Ink Landscape
Inspired by Southern Song masters
Suggestion of lines and forms

Prebles’ Artforms, Eleventh Edition Patrick Frank

Sesshu Toyo. Haboku, Splashed Ink Landscape. 1400s–early 1500s.
Ink on paper hanging scroll. 28-1⁄4″ × 10-1⁄2″.
© The Cleveland Museum of Art. Gift of The Norweb Collection, 1955.43. [Fig. 18-29]

Prebles’ Artforms, Eleventh Edition Patrick Frank

Japan

Folding screens
Functional in homes
Waves at Matsushima
Six screens that can form compositions together or separately
Abstracted shapes and spatial ambiguity
Emphasis on repeated patterns

Prebles’ Artforms, Eleventh Edition Patrick Frank

Tawaraya Sotatsu. Waves at Matsushima. 17th century.
Folding screen. Ink, color, gold, and silver on paper.
59-7⁄8″ × 145-1⁄2″.
Courtesy of the Freer Gallery of Art, Smithsonian Institution, Washington, D.C. Gift of Charles Lang Freer, f1906.231.
[Fig. 18-30]

Closer Look: Tawaraya Sotatsu, Waves at Matsushima

Tawaraya Sotatsu. Waves at Matsushima. 17th century. Japan. Edo period.
Folding screen. Ink, color, gold, and silver on paper. 59-7⁄8″ × 145-1⁄2″.
Courtesy of the Freer Gallery of Art, Smithsonian Institution, Washington, D.C. Gift of Charles Lang Freer, f1906.231. [Fig. 18-30]

Prebles’ Artforms, Eleventh Edition Patrick Frank

Art Forms Us: Delight

Beauty
Anthology with Cranes
Handscroll over 44 feet long
Pleasant subject matter with rich colors
Calligraphy of ancient poetry praising beauty of nature
Beautiful form whether or not the text is understood

Prebles’ Artforms, Eleventh Edition Patrick Frank

Tawaraya Sotatsu and Honami Koetsu.
Anthology with Cranes (detail). Edo period, early 17th century.
Silver and gold paint on paper. 13-3⁄8″ × 44-1⁄2′.
Kyoto National Museum. [Fig. 18-31]

Prebles’ Artforms, Eleventh Edition Patrick Frank

Art Forms Us: Delight

Beauty
Western landscapes as simple beauty
The Judgment of Paris
Tranquil mood
Sunlit trees with an out-of-view horizon
Prominent landscape despite topic
Tragedy of Paris’s decision ignored
Picturesque
Term describing a desirable location

Prebles’ Artforms, Eleventh Edition Patrick Frank

Claude Lorrain. The Judgment of Paris. 1645–1646.
Oil on canvas. 44-1⁄4″ × 58-7⁄8″.
National Gallery of Art, Washington D.C. Ailsa Mellon Bruce Fund 1969.1.1. [Fig. 18-32]

Closer Look: The Sublime, the Beautiful, and the Picturesque

Claude Lorrain. The Judgment of Paris. 1645–1646.
Oil on canvas. 44-1⁄4″ × 58-7⁄8″.
National Gallery of Art, Washington D.C. Ailsa Mellon Bruce Fund 1969.1.1. [Fig. 18-32]

Prebles’ Artforms, Eleventh Edition Patrick Frank

Art Forms Us: Delight

Beauty
Sonia Delaunay-Terk
Modern artist who created brightly colored clothing for fashionable women
Focus of oneself “looking good”
Attractive clothing pleases both wearer and viewer
Painting, Simultaneous Contrasts, reflected in her clothing line

Prebles’ Artforms, Eleventh Edition Patrick Frank

Japan

Ukiyo-e
Popular style of woodcut printing
“Pictures of the floating world”
Scenes of daily life
Landscapes, entertainers, and actors
Kitagawa Utamaru, Reflected Beauty
Ordinary subject into memorable image
Flat shapes with lack of shading
Cropped composition

Prebles’ Artforms, Eleventh Edition Patrick Frank

Kitagawa Utamaro. Reflected Beauty, Seven Beauties Applying Make-Up: Okita. c.1790.
Woodblock print. 14-1⁄4″ × 9-1⁄2″.
Honolulu Museum of Art. Gift of James A. Michener, 1969. (15,490). [Fig. 18-34]

Web Resource: Ukiyo-e Prints

Prebles’ Artforms, Eleventh Edition Patrick Frank

Japan

Architecture
Katsura Detached Palace
Blend of human-made and natural elements
Sliding screens allow indoor–outdoor flow
No grand entrance
Tea house
Constructed of common natural materials
Embodies attitudes of simplicity, naturalness, and humility

Prebles’ Artforms, Eleventh Edition Patrick Frank

Katsura Detached Palace, gardens and tea house. Kyoto, Japan. 17th century.
Photograph: © Ric Ergenbright/Henry Westheim Photography. [Fig. 18.35a]

Prebles’ Artforms, Eleventh Edition Patrick Frank

Katsura Detached Palace, imperial villa and gardens. Kyoto, Japan. 17th century.
Photograph: © Robert Holmes/Corbis. [Fig. 13.35b]

Prebles’ Artforms, Eleventh Edition Patrick Frank

Japan

European commerce in 19th century
Commodore Perry’s 1854 mission
Caused turbulence among aristocracy
Emperor restored 1868
Began period of cultural importation from West
The Battle of Sanno Shrine
Depicts turning point in conflict
Unprecedented journalistic accuracy

Prebles’ Artforms, Eleventh Edition Patrick Frank

Tsukioka Yoshitoshi. The Battle of Sanno Shrine. 1874.
Triptych of woodblock prints. 14-1⁄16″ × 28-3⁄16″.
Los Angeles County Museum of Art (LACMA) Herbert R. Cole Collection (M.84.31.142a-c) Digital Image Museum Associates/Art Resource NY/Scala, Florence. [Fig. 18-36]