JAPANESE ART HISTORY1. PREHISTORY (11,000 BCE – 552 CE)

• Jōmon (c 11,000 - 300 BCE)• Yayoi (c. 350 BCE)• Kofun period (c. 250 – 552 CE)

2. ASUKA & NARA (552-784) 3. HEIAN (794-1185)4. KAMAKURA (1180)5. MUROMACHI (1336-1573)6. MOMOYAMA (1573–1603)7. EDO (1603-1867) 8. “SCREAM AGAINST THE SKY”:

Japanese Art after the Bombs

Tsukioka (Utagawa) Yoshitoshi. Illustrated Biographies of Loyal Righteous Samurai (Seichû gishi meimei gaden), 1869

10TH MILLENNIUM BCE – PRESENTWIDE RANGE OF ART STYLES AND MEDIA INCLUDING:

• pottery/ceramics• tattoos• sculpture• architecture• tea ceremony• ink painting & calligraphy on silk & paper• ukiyo-e paintings & woodblock prints• origami• Zen gardens, ikebana, & bonsai…

OVERVIEW

Katsudō Shashin (“Moving Picture”) (1907). The oldest animated film in Japan.

… & MORE RECENTLY MANGA & ANIME

Manga

JAPAN: • NUMEROUS INVASIONS OF NEW AND ALIEN IDEAS • LONG PERIODS OF ISOLATION• Japanese ability to SELECTIVELY ABSORB, IMITATE, ASSIMILATE

foreign influences

Earliest COMPLEX art: BUDDHIST (7th & 8th centuries)

LATER (9th century): INDIGENOUS forms & SECULAR arts

LATE 15th century: BOTH religious & secular arts

TATTOO Paleolithic period (approximately 10,000 BC): JOMON period

Tattoo patterns on Jomon clay figures

IREZUMI ( 刺青 ) = “skin poke”

Yayoi period (c. 300 BC–300 AD) tattoos:Spiritual & status

Kofun period (300–600 AD) tattoos:Negative connotationsPunish criminals

JAPANESE QUIZ1. The earliest COMPLEX art in Japan was inspired by ______ (religion).

I. PREHISTORIC JAPANJōmon Period (c. 11000 – c. 300 BC)

Jōmon people: 1st settlers of Japan

“Jōmon” = cord markings on clay vessels• Nomadic hunter-gatherers• Later: agriculture & large cities

Jōmon• Simple wood & thatch houses in shallow pits (warmth) • Elaborate pottery• Clay figurines (dogū)• Crystal jewels

Reconstruction of settlement of late Jomon period, Japan, illustration

Jōmon

earrings

Jōmon TATTOOS: spiritual and decorative purposes

Tattoo patterns on Jomon clay figures

Yayoi (c. 350 BCE)Named for Tokyo district (settlement remnants discovered there) • wetland rice cultivation• copper weapons• time of conflict

A heavily fortified Yayoi settlement

YAYOI ART:• bronze bells (dōtaku)• wheel-thrown, fired ceramics

Fired ceramics

Brass bell

YAYOI TATTOOS: spiritual significance & status symbols

KOFUN PERIOD (c. 250 – 552 AD)Named for its numerous “kofun” (megalithic tombs) Political alliances and nation-building

Daisen-kofun, the Emperor’s Nintoku tomb, in Sakai, Osaka: one of the largest tombs in the world

KOFUN BRONZE MIRRORS: symbols of political alliances

Sankakubuchi shinjūkyō[ja], or triangular-edged mirror with divine beast design

KOFUN CLAY HANIWA (for tombs)

KOFUN CLAY HANIWA (for tombs)

GREAT SHRINE AT ISE (SHINTO)

GREAT SHRINE AT ISE (SHINTO)

ISE: every 20 years

GREAT SHRINE AT ISE

Starting in the Kofun period (300–600 AD) TATTOOS began to assume NEGATIVE CONNOTATIONS.

Instead of being used for ritual or status purposes,tattooed marks began to be PLACED ON CRIMINALS as a PUNISHMENT.

2. JŌMON (c 11,000 - 300 BCE):Named after the impressed _______ pottery designs.

3. YAYOI (c. 350 BCE): Known for BRONZE ______ (hint: musical instrument).

4. KOFUN period (c. 250 – 552 CE): "Kofun" means MEGALITHIC ________.

II. ASUKA & NARA (552-784)

First significant INFLUX OF CONTINENTAL ASIAN CULTURE in Japan:TRANSMISSION OF BUDDHISM contacts between China, Korea, & Japan.

Adapted from CHINA:• writing • historiography bureaucracy (government)• new building techniques• advanced methods of bronze casting • new painting techniques & media

Shaka Triad (Shaka Sanzonzō 釈迦三尊像 )Treasure of Hōryūji Temple 法隆寺 (Nara), 632 ADHistorical Buddha (aka Shaka) surrounded byattendants Monju Bosatsu and Fugen Bosatsu.

Shaka Triad (Shaka Sanzonzō 釈迦三尊像 )Treasure of Hōryūji Temple 法隆寺 (Nara), 632 AD

Historical Buddha (aka Shaka) surrounded byattendants Monju Bosatsu and Fugen Bosatsu

FOCUS in contacts between Japan & Asian: BUDDHISMEARLIEST Japanese Buddha sculptures: 6th--7th centuries CE

(brought to Japan by IMMIGRANTS)

The semi-seated MAITREYA FORM was adapted from highly developed ANCIENT GREEK

STYLE

.

Chūgū-ji Siddhartha Kōryū-ji Miroku Bosatsu

KOREA: active transmission of Buddhism to Japan (c. 538 or 552 CE)JAPAN: terminal point of the Silk Road

EXAMPLE of KOREAN INFLUENCE:Development of the iconography of the Japanese Fūjin Wind God (Shinto)

Iconographical evolution of the Wind God:Left: Greek wind god from Hadda, 2nd century.

Middle: wind god from Kızıl, Tarim Basin, 7th century.Right: Japanese wind god Fūjin, 17th century

Niō GuardiansEXAMPLE of KOREAN INFLUENCE:

TRANSMISSION OF THE FLOWER SCROLL PATTERN:

TOP: Gandhara frieze, 2nd centuryMIDDLE LEFT: Chinese vase, 6th century. MIDDLE RIGHT: Japanese temple tile, 7th century, Nara. BOTTOM: Tile detail from a Japanese contemporary house, Tokyo, 2005.

OLDEST WOODEN BUILDINGS IN THE FAR EAST:Hōryū-ji Temple Complex (Buddhist)

Built in early 7th century as private temple of a prince, Hōryū-ji Temple Complex consists of 41 independent buildings.

Hōryū-ji KONDO (“Golden Hall”): Chinese-style

Gojū-no-tō (5-story pagoda)

Inside the Kondō, on a large rectangular platform, are some of the most important sculptures of the period:

Shaka Triad (Shaka Sanzonzō 釈迦三尊像 )Treasure of Hōryūji Temple 法隆寺 (Nara), 632 AD

Historical Buddha (aka Shaka) surrounded byattendants Monju Bosatsu and Fugen Bosa

The central image is a SHAKA Trinity, the HISTORICAL BUDDHA with 2 bodhisattvas, (bronze sculpture Tori Busshi, early 7th century) in homage to the recently deceased Prince.

Shaka Triad

At 4 corners of the platform: Guardian Kings of the Four Directions (wood, c. 650)

Tamamushi Shrine at Hōryū-ji(wooden replica of a Kondō)

On Shrine’s tall wooden base: PAINTINGS: mineral pigments mixed with lacquer

Tōdai-ji in Nara: most ambitious religious complex in early Buddhist worship in Japan.

Layout of the Todaiji complex

Todaiji tcomplex

Todaiji main Buddha hall (Daibutsuden)

INSIDE the main Buddha hall: Rushana Buddha (the essence of Buddhahood)(reconstruction from the Edo period)

Hokke-dō (Lotus Sutra Hall) at Todaiji

INSIDE Hokke-dō (Lotus Sutra Hall):

Fukukenjaku Kannon (the most popular bodhisattva)

Dry lacquer (cloth dipped in lacquer and shaped over a wooden armature)

The Kaidanin ( 戒壇院 , Ordination Hall)

INSIDE the Kaidanin (Ordination Hall):

Clay statues of the Four Guardian Kings

5. What country introduced the 1ST BUDDHIST ART to Japan?

III. HEIAN PERIOD (794-1185)

794 CE: Capital transferred to Heian-kyō (present-day Kyoto).

HEIAN PERIOD (794-1185) KEY EVENTS: • Kamakura SHOGUNATE est. • 806: Buddhist priest Kōbō Daishi

introduced VAJRAYANA BUDDHISM (from China) into Japan

• 894: Diplomatic ties w/ CHINA CUT

This wooden Kongorikishi statue was created during the Kamakura shogunate during 14th century Japan. It originally guarded the gate to Ebara-dera, a temple in Sakai, Osaka.

Kōbō Daishi

Vajrayana Buddhism (“Shingon”) in Japan: Reaction against corruption of organized Buddhism in Nara

Note Tibetan Vajra

Kōbō Daishi

Shingon worship: MANDALAS: Influenced TEMPLE DESIGN

Japanese Buddhist ARCHITECTURE also adoptedCHINESE-STYLE PAGODA (variation of orig. Indian STUPA)

Murō-ji Pagoda (800) Pagoda in wayō ("Japanese") style

Shingon temples built in MOUNTAINS (get away from the Court):Mountain terrain CONSTRUCTION CHALLENGES Use of INDIGENOUS DESIGN ELEMENTS

SHINGON use of INDIGENOUS DESIGN ELEMENTS: • Cypress-bark roofs (instead of ceramic tiles)• Wood plank floors (instead of earthen)• Separate worship area for the laity

Murō-ji (early 9th century)Set deep in a stand of cypress trees on a mountain near Nara

Murō-ji Shakyamuni (historic Buddha) Early Heian style: • heavy-body• thick drapery carved in rolling-wave style • stern facial expression

FUJIWARA ART: PURE LAND BUDDHISM: Easy salvation through Amida (Buddha of the Western Paradise)Named after powerful Fujiwara family: regents for Emperor (civil dictators)

Fujiwara no Michinaga (966–1028)

Amitābha Buddha and his attendant bodhisattvas

Kyoto noble society: refined, elegant Imagined Paradise (“Heaven”) just like their own beautiful world

“AMIDA HALL” (new form of Buddha Hall) Blends secular with religious Resembles mansions Houses one or more Buddha images

Hō-ō-dō (Phoenix Hall, 1053) at Byōdō-in temple Exemplar of Fujiwara Amida halls STRUCTURE: Main rectangular structure flanked by two L-shaped wing

corridors, set at the edge of a large artificial pond

INSIDE Hō-ō-dō: golden Amida (Buddha of the Western Paradise)

By Jōchō: New canon of proportions New technique (yosegi), multiple pieces of wood joined from inside

“APSARA” RELIEF CARVINGS ON WALLS OF THE HALLCelestial beings (bodhisattvas) accompanied Amida when he descended from the Western Paradise to gather the souls of believers at the moment of death and transport them in lotus blossoms to Paradise

Musical APSARAS

Raigō paintings on the wooden doors of the Hō-ō-dō depict the Descent of the

Amida Buddha

“Yamato-e” (Japanese-style painting): scenic Kyoto

E-MAKI (last century of Heian period):Horizontal, illustrated narrative handscrolls, aka "picture scrolls"

Genji Monogatari Emaki (c 1130)Earliest surviving yamato-e (Japanese-style) handscroll

Lady Murasaki Shikibu wrote The Tale of Genji (c. 1000)

WORLD’S 1ST NOVEL!

The 12th-century artists of the E-MAKI VERSION devised a system of pictorial conventions to CONVEY EMOTIONS

EMOTIONS (story)

E-MAKI also includes: ONNA-E (women's pictures) OTOKO-E (men's pictures) painting styles

(different styles & subject matter)

ONNA-E, epitomized by the Tale of Genji handscroll, typically deals with court life, particularly the court ladies, and with romantic themes.

OTOKO-E, often recorded historical events, esp. battles:

Siege of the Sanjō Palace (Heiji Monogatari handscroll, 1160)

6. Lady Murasaki’s Tale of Genji (c. 1000): World’s FIRST ____.

IV. KAMAKURA (1180-1333)1180: 5-year WAR between 2 most powerful warrior clans (Taira & Minamoto)

Minamoto won & established new capital at KAMAKURA

War, famine, hardships: “GAKI” (Hungry Ghosts)

KAMAKURA: Shift in POWER from the nobility to WARRIOR CLASS

Rise of the SAMURAIASUKA & NARA Periods:663 CE: Battles with China & Korea: self-imposed isolation & widespread reform. 646 CE: Taika Reform: bureaucracy, culture, religion, and philosophy702 AD: Taihō Code: census & military draft (1 in 3 adult males drafted)• organized army modeled after the Chinese system ("Gundan-Sei" (軍団制 )

Iron helmet and armor with gilt bronze decoration, Kofun era, 5th century

The Taihō Code classified Imperial BUREAUCRATS into 12 RANKS:6th rank and below = "SAMURAI“

(civilian public servants, dealt with day-to-day affairs)

“SAMURAI” later referred to the WARRIOR CLASS

Through protective agreements and political marriages, SAMURAI gained POLITICAL POWER, eventually surpassing the traditional aristocracy.

Samurai on horseback, wearing ō-yoroi armour,carrying bow (yumi) and arrows in a yebira quiver.

The Samurai’s appearance on the battlefield would strike awe and terror

in the hearts of his enemies. His armour, helmet and banners were all designed to make sure that he stood

out, so his glorious deeds were remembered by the people who

served around him.

His helmet (Kabuto) was heavily customized and decorative, often bearing crests and different colored designs.

Horns and threatening facial masks were also used as part of the helmet, this was more for intimidation rather than protection in contrast to European designs.

The Samurai LIFESTYLE CHANGES to Japanese society during Kamakura

Samurai fashion trend: IKEBANA

Samurai HOBBY: Make IKEBANA arrangements for homes of wealthy townsmen.

IKEBANA: Not “JUST” a flower arrangement, but a short-lived structure

reflecting human MORTALITY.

3 LEVELS SYMBOLIZE UNITY of Spirit, Man, Earth

Like Ikebana Samurai live & die (but their spirit eternal) Ikebana PERFORMED BEFORE BATTLE (concentration exercise)

Connection with nature purify heart & mind

Also a FORM OF MEDITATION for ZEN BUDDHIST PRIESTSCUSTOM: Floral offerings for ALTARS to honor the Buddha and souls of the dead.

1831: WOMEN ALLOWED to create Ikebana

New generation of creativity, NEW IKEBANA STYLES PUSH BOUNDARIES

Kamakura STATUS of the WARRIOR CLASS = NEW AUDIENCE OF ART REALISM: POPULARIZING ART TREND

Kei school of sculptors: new, more REALISTIC style of SCULPTURE

Niō Guardian at the Tōdai-ji, 1203Shitsukongō-shin 執金剛神Clay 塑像 with paint (saishiki 彩色 ), Tōdaiji Temple 東大寺

KAMAKURA REALISM:

Muchaku and Seshin, Indian founders of

the Hossō sect, (polychromed wood)

by UNKEI

Muchaku in Kōfuku-ji, by UNKEI, 1212

Amitabha Triad in Jōdo-ji, Ono, 1195 By Kaikei (Unkei's student)

Kamakura CALLIGRAPHY AND PAINTING: popularizing trend

The Kegon Engi Emaki, the illustrated history of the founding of the Kegon sect.

The Kegon Engi Emaki combines passages of text with illustrations with dialogue (LIKE COMIC STRIPS)

Kosho. Kuya PreachingEarly 13th cent. Wood 46” tall

7. Samurais’ popularizing influence in Kamakura artled to art in a r________ style.

V. MUROMACHI PERIOD (1336-1573)Big changes in Japanese culture: Capital moved back to Kyoto (Muromachi District) Popularizing, realistic trends of Kamakura ENDED New ELITIST trend in art

Zen Buddhism (Chinese Ch'an sect) re-introduced and took root

MUROMACHI PAINTING Influx of CHINESE imports changed: subject matter of painting use of color (Chinese-influenced

monochromes)

Landscape of Fall and Winter by Sesshu

Portrait of Zen Monk Kensu by KAO

(note quick brush strokes, minimal detail)

JOJETSU (priest-painter), Catching a Catfish with a Gourd Early 15th century

NEW STYLE BENCHMARK:Foreground: man catching catfish

Middle-ground: mistBackground: distant mountains

Foremost Muromachi artists: Priest-painters SHŪBUN & SESSHŪ

Shūbun, Reading in a Bamboo Grove (1446)Realistic landscape with deep recession into space

Sesshū, Landscape of the Four Seasons (c. 1486) Continuous landscape through all 4 seasons

(Sesshū studied painting in China)

Landscape of Fall and Winter by Sesshu

ZEN GARDENS

Ryōan-ji (late 15th century) in KyotoMost famous Zen Garden

TEA CEREMONY

8. What form of Buddhism (reintroduced from China) was popular in the Muromachi period?

VI. MOMOYAMA PERIOD (1573–1603)

Chinese lions | Kano Eitoku | Late 16th century

MOMOYAMA PAINTING INNOVATIONKanō Eitoku (the Kanō school): monumental landscapes on sliding doors

Cypress Tree Byōbu, folding screen by Kano Eitoku, 1590

HASEGAWA TOHAKU (contemporary of Eitoku), more decorative style for large-scale screen paintings:

His sixfold screen, Pine Wood ( 松林図 ), is a masterly renderingin monochrome ink of a grove of trees enveloped in mist.

VII. EDO PERIOD (1603-1867)

Tokugawa Shogunate in power 1603-1867

DOMINANT EDO THEME: Repressive policies of the Shogunate and artists’ attempts to escape these strictures.

EXAMPLES OF EDO POLICIES: Closed country to foreigners & foreign cultural influences Mandated strict codes of behavior affecting every aspect of life

(clothes, marriage, leisure activities all strictly regulated)

Criminals of Japan’s Edo Period Were Often Punished by Getting Face Tattoos

PUNISHMENT FOR NON-VIOLENT CRIMES WAS A TATTOO IN CENTER OF FOREHEAD

Called a “TATTOO PENALTY” (IREZUMI KEI) it was handed down to perpetrators of relatively MINOR CRIMES like theft and burglary. It was classified as a type of

“CORPORAL PUNISHMENT” ALONG WITH CANING.

In 1745, tattooing replaced amputation as society became gentler and less blood-thirsty. This continued over the years with the face tattoos changing to the less embarrassing – and quite fashionable

by today’s standards – arm tattoo.

It also had a record keeping purpose: EACH REGION HAD ITS OWN STYLE. This way people could know WHERE the convict was sentenced.

Tattooing in Japan goes back to the JOMON & YAYOI periods (14,000 B.C. – 300 A.D.) when they had SPIRITUAL SIGNIFICANCE.

Afterwards the culture moved away from tattoos well until the Edo Period when it came back in a very different way.

No prisons existed in the Edo period until the development of large cities like Osaka and Edo (Tokyo) which lead to an increase in crime. Before then, amputation of the nose or ear was the punishment of the day.

THE YAKUZAEarly Roots:Originated during the Tokugawa Shogunate (1603 - 1868) with two separate groups of outcasts: 1) TEKIYA, wandering peddlers who

traveled from village to village, selling low-quality goods at festivals and markets. Many tekiya belonged to the burakumin social class, a group of outcasts or "non-humans," which was actually below the four-tiered Japanese feudal social structure. (Soon developed into ORGANIZED CRIME GROUPS.)

2) BAKUTO, gamblers. Gambling was strictly forbidden during Tokugawa times, and remains illegal in Japan to this day.

Between 1735 and 1749, the Shogun's government tried to calm gang wars by appointing OYABUN (officially sanctioned TEKIYA gang “bosses.” They were allowed to carry a sword, an honor previously allowed only to Samurai.

"Oyabun" literally means "foster parent," signifying the bosses' positions as the heads of their TEKIYA families.

The BAKUTO took to the highways, fleecing unsuspecting marks with dice games or with HANAFUDA card games.

They often had colorful tattoos all over their bodies, which led to the custom of full-body tattooing for modern day yakuza.

From their core business as gamblers, the BAKUTO branched out naturally into loan sharking and other illegal activities.

Even today, specific Yakuza gangs may identify themselves as TEKIYA or BAKUTO, depending upon how they make their money.

They also retain rituals used by the earlier groups as part of their initiation ceremonies.

MODERN YAKUZA:Since the end of World War II, yakuza gangs have rebounded in popularity after a lull during the war. abroad, in 2,500 different families.

The Japanese government estimated in 2007 that there were more than 102,000 yakuza members working in Japan (even though outlawed).

Many modern yakuza sport full-body tattoos which are made with traditional bamboo or steel needles, rather than modern tattooing guns.

The tattooed area may even include the genitals, an incredibly painful tradition. The yakuza members usually remove their shirts while playing cards with each other and display their body art, a nod to the bakuto traditions, although they generally cover up with long sleeves in public.

Yakuza members at a festival - note the missing pinkie finger.

Another feature of yakuza culture is the tradition of yubitsume or severing the joint of the little finger. Yubitsume is performed as an apology when a yakuza member defies or otherwise displeases his boss. The guilty party cuts off the top joint of his left pinkie finger and presents it to the boss; additional transgressions lead to the loss of additional finger joints.

Back to more “traditional” Art History”!

Early Edo period not so restrictive yet, so ART:Some of Japan's finest expressions in architecture and painting were produced:

Katsura Palace in Kyoto…

And the paintings of Tawaraya Sōtatsu, pioneer of the Rimpa school.

EDO ARCHITECTURE:

Katsura Detached Palace (built in imitation of Genji's palace)

EDO PAINTING: Sōtatsu evolved a superb decorative style by re-creating themes from classical literature, using brilliantly colored figures and motifs from the natural world set against gold-leaf backgrounds.

The Waves at Matsushima

EDO SCULPTURE

The Buddhist monk Enkū carved 120,000 Buddhasin a rough, individual style

UKIYO-E PAINTINGS AND WOODBLOCK PRINTS:“FLOATING world” of the Kabuki theater, Samurai, and the pleasure districts.

HOKUSAI

Travelers Surprised by Sudden Rain

HIROSHIGE

SHUNGAShunga, the Japanese term for erotic art, was highly popular during the Edo Period, with artists still creating to fill demand even after the government banned the explicit illustrations in 1722.

In the many works that emerged, however, encounters between MALES were uncommon depictions. One early 18th century handscroll has survived the years as a rare and well-preserved example of GAY SHUNGA.

Miyagawa Choshun, detail of shunga handscroll (early 18th century)

Painted by MIYAGAWA CHOSUN, the work has been apparently virtually unseen since the 1970s, when images were published in a book (traces of it then vanished).

Miyagawa Choshun, detail of shunga handscroll (early 18th century)

During the Edo period “‘heterosexual’ and ‘homosexual’ were not fixed distinct human types, rather they were understood as activities.”

There are relatively few acts of sex portrayed in the scroll. Rather, a recurring theme of romantic love and tenderness between the lovers is depicted.

(Traditional SHUNGA emphasized the genitalia.)

There was a voyeuristic element to it as well being somewhat irreverent and humorous. But the viewer wanted to see the details of the sex act.

The works are now traveling from a private Japanese collection for Bonhams’ Fine Japanese Works of Art auction occurring on March 16 in New York City.

Miyagawa Choshun, shunga handscroll (early 18th century)

Legend of the Fox Woman

9. Ukiyo-E = "Pictures of a ______________ World”

VIII. SCREAM AGAINST THE SKY: Japanese Art after the Bomb

The United States, with the consent of the United Kingdom as laid down in the Quebec Agreement, dropped nuclear weapons on the Japanese cities of Hiroshima and Nagasaki in August 1945, during the final stage of World War II.

YOKO ONO

Yoko Ono's work often involves these haiku-like scores that combine imagery, actions and sounds through the imagination, into poetry. By invoking the individual imagination and interpretation of the viewer, a participatory and open-ended process is set in motion.

BUTOH (“Dance of Darkness”) is a form of Japanese dance theater that -- following World War II -- arose in 1959 through collaborations between its two key founders Hijikata Tatsumi & Ohno Kazuo.

Common features of the art form include playful and grotesque imagery, taboo topics, extreme or absurd environments,

POST-WAR JAPANESE YOUTH MOVEMENT:“Spirit of Youthful REBELLION”

Ankoku Butoh: Dance of Utter DARKNESS

Traditionally performed in white body makeup with slow hyper-controlled motion.

10. ANKOKU BUTOH = “Dance of ___________”

QUESTIONS about GOOGLE ART PROJECT Previews?PREVIEWS: In-Class next week.Must be SUBMITTED BEFORE CLASS!REQUIRED/GRADING:1) ON TIME: 75%2) 1 IMAGE w/ID: 15%3) TITLE: 10% (wait to do Gallery Statement)

GOOGLE ART GALLERY PROJECT PREVIEW: DUE BEFORE CLASS Thursday 3/17 (100 points = 10% of Final Grade)Your Google Art Project Exhibition PREVIEW will present your Art Gallery/Exhibition IN PROGRESS. The LINK to your Google Art Gallery must be UPLOADED HERE by Thursday March 17 BEFORE class.

GOOGLE ART PROJECT PREVIEW REQUIREMENTS:Your EXHIBITION PREVIEW will feature at least 1 artwork from one of the cultures we studied in class, based on the specific course-relevant theme that I APPROVED via your Week 3 "PROJECT PROPOSAL." Both artworks will explore a specific aspect of your chosen theme. In addition to your VIRTUAL ART GALLERY, your PROJECT PREVIEW will also require: GALLERY TITLE (Culture: Theme and Sub-Theme): No Gallery Statement needed for

Preview. IMAGE LABEL (located in box that will appear in your Gallery right next to image): Short DESCRIPTION of the artwork with brief explanation of how it relates to your

Exhibition's THEME. The LINK to your Google Art Gallery must be UPLOADED IN THE SPACE PROVIDED IN LEARNING MODULE 9 (Wk 9) by Thursday March 17 BEFORE class.

GRADING:Timeliness......75%Image..............15%LABEL..............10%