Comparison of Indian and Chinese Art

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Table of Contents

Introduction
Discussion
Conclusion
Works Cited

Introduction

The most suitable definition of Art is yet to be found. In the recent past, numerous books, as well as journal articles, have argued over the basics of what is meant by calling something art (Michell, 23). Art is generally a vehicle that has been used since time immemorial by mankind, to express and communicate ideas and emotions (Crouch, 44). In the past, people would express their feelings or ideas through paintings on rocks or caves (Doniger, 77).

However, as time went by, people learned that art could be expressed via different platforms and mediums, for instance, through sculptures, carvings, graffiti, architecture, and so forth. Different cultures have also had distinct artworks which have been expressed in various forms. Two cultures which have had some rather interesting artworks in the past, and whose art is still widely recognized, are the Indian and Chinese art (Mitter, 101).

Discussion

Brief History of Indian Art

The history of Indian art is said to be as old as the Indus Valley civilization itself where each period in history has provided the nation with unique modes of expression, as well as unique forms of art (Stokstad, 30). India has always been well linked to the outside world via land and sea routes, bringing into the nation a wide variety of traditions and cultures.

These influences of cultures of foreign lands always have and mostly been felt in the art of India. The influences have in turn enhanced the nation’s art in the years, and in the 21st Century, it is quite possible to observe these influences in Indian fine arts (Clark, 93). In India, historical art forms are seen as expressions of individuals who belong to distinct culture as well as social groups of the country.

Since Indus Valley scripts have not yet been translated, whatever understanding people have of it has its foundation on artifacts, ruins, and sculptures left behind (Michell, 24).

Additionally, Indian art as it has been indicated previously is the result of numerous influences from different cultures such as Buddhism, Hinduism, Islam, and Jainism; it is more of religious art (Crouch, 46). Art in the Indus valley civilization generally depicted animal figures that had been created in abstract modes with high level of sophistication.

Brief History of Chinese Art

In the past, China was the only source for porcelain and that is why the name ‘china’ is commonly used when referring to porcelain (Doniger, 78). The history of Chinese art dates back to the Neolithic era, where artists used to paint on earthenware (Stokstad, 31). In the course of the Shang Dynasty, China was already making emerald carvings together with cast bronze that existed among grave products.

Ancient China produced numerous forms of beautiful artworks where different dynasties and eras had their specialties (Mitter, 103). It is believed that the Chinese religion, in addition to philosophy, greatly impacted the artistic styles as well as themes. The main perfections in Chinese art were calligraphy, painting, and poetry.

Ancient Chinese saw writing as an essential art form where calligraphers would spend years learning to write perfectly, and with style (Stokstad, 32). Poetry eventually led to painting as an inspiration, combined with calligraphy (Clark, 94). Majority of ancient Chinese paintings were landscapes featuring birds, homes, water, mountains and other animals (Crouch, 47).

Differences and Similarities of Images of Animals in Indian Art and Chinese Art

Unlike in the Chinese culture, animals tend to play an important role in Indian culture where they assist in framing the human society (Michell, 25). Hindus tend to adore numerous animal gods, and such can be seen in Indian art. One of the deities that are worshipped in the Hindu religion and commonly depicted in Indian art is Ganesh, a popular Hindu god with features of a short, stout man possessing one-tusked elephant head (Crouch, 48).

This particular god is not only considered to be an excellent teacher, but also a remover of hindrances. The Lion at Sarnath is another animal depiction that can be seen in Indian art and is considered a national symbol of India; it is a sculpture of 4 Indian lions standing back to back (Doniger, 79).

The Lion is believed to be one of the animal sculptures representing the various steps of Lord Buddha’s life, the Lion specifically representing his accomplishment. Another image in Indian art that can be seen is that of Vishnu as the Boar Varaha from Udayagiri and is depicted in the archer’s posture with his right leg extended (Mitter, 105).

His left leg is bent and rests on a lotus that is being held up by male and female snake figures which have human bodies from the waist up (Stokstad, 34). The incarnations of Vishnu are numerous, and the Boar happens to be number three on the list. Cats are also represented in Indian art, for instance in The Cat and Elephants from Mamallapuram. Mamallapuram art is a creation on a celebration of Hinduism conquering Buddhism (Clark, 95).

It is a time when artists adopted the use of stone as a medium for sculpting in situ rock faces rather than using wood (Michell, 26). Cats and elephants were depicted in Indian art to represent the inspirational continuity that is found in all living things.

Cats are well-recognized symbols of hypocrisy, for instance, the Ascetic Cat, which is usually incorporated in the majority of Indian art (Stokstad, 35). The Ascetic Cat is a true Indian story about a cat that pretended to be ascetic by standing in a yogic posture all day long outside the cave housing a family of mice (Mitter, 106). The mice grew to trust this particular cat and believed it to be vegetarian, given the fact that it was ascetic.

However, as the days went by, and as the number of mice decreased steadily, the mice soon realized that the cat was a false yogi. In any given religion, ascetic way of life is seen as a way of self-humiliation where injury to others is not allowed. Looking at the Ascetic Cat as depicted in Indian art, we can see that the cat was willing to self humiliate itself to get food, which in this case was the family of mice.

All systems of religious thought that have been in existence in India have been greatly influenced by the philosophy as well as terminology of asceticism, and it is therefore not surprising to find this depiction in the majority of Indian art.

Images of animals in Chinese art usually represented the achievements and historical events of the empire. It also, to some extent, represented the nation’s beliefs for instance, The Flying Horse which symbolizes a perfect horse that can gallop so fast as to outrun the wind (Crouch, 50).

Household animals in Chinese art tend to represent positive interrelations between humans and animals, while wild animals represent the undomesticated character of mankind. Mythical beasts are an artistic imagination and represent future potential as well as magical, endless resources (Doniger, 80).

The Horse and the Cavalryman from Qin Shihuagdias tomb is another image of animals in Chinese art representing a stand-in for Empire Qin’s real army (Mitter, 107). The horse and the cavalryman are well detailed and defined where the clay warrior is holding an actual bronze weapon, suggestive of his protective role.

During the Qin Dynasty, China managed to increase its trade, military security, and agriculture, having direct control of the masses. The Camel Carrying a Group of Musicians is a piece of Chinese art that is based on the Tang appeal with the Turkic cultures (Stokstad, 36). Three of the five bearded musicians riding on the camel are central Asian while the other two smooth shaven ones are Han Chinese (Clark, 96).

The illustrations provided above regarding images of animals in Chinese and Indian art provide a few similarities as well as differences.

A key difference that is quite noticeable between these two arts is that while the images of animals in Indian culture represented Indian religion and beliefs, those found in the Chinese culture were a representation of various achievements and historical events in China, particularly during the Qin Dynasty (Michell, 27).

Another difference that can be observed is that images of animals in Indian culture were depicted as also possessing parts of the human body, such as that seen in Ganesh and Vishnu as the Boar Varaha (Crouch, 52). On the other hand, a few similarities that can be observed in both Chinese and Indian art are that both cultures created art that was committed to their respective religions.

Both believed in the reincarnation of individuals, and this was expressed in their respective artworks, for instance, Vishnu as the Boar Varaha from UdayagiriI in Indian art and The Horse and the Cavalryman from Qin Shihuagdias tomb in Chinese art (Doniger, 81). In Indian art with regards to Buddhism influence, Buddha was not usually represented in human form.

However, following the adaptation of the religion by the Chinese, Buddha came to take over the artistic world. Buddhism developed the idea of a Buddha of the future where he was depicted as being clad in a monastic robe (Mitter, 109).

Conclusion

Art, being an expression of feelings, ideas, and emotions of individuals, has been well depicted in the course of history and particularly in the Indian and Chinese cultures. The differing image of animals tells us about the Indian and Chinese religious, social as well as economic values that were held by the respective cultures. Both Indian and Chinese art has made significant contributions to a special chapter in the history of man’s civilization.

Modern day Chinese art can hardly be differentiated from Indian art upon looking at it initially. In the recent past, China adopted Buddhism into their religious beliefs, and Chinese artists have taken it upon themselves to express this new religion through art. It is, therefore, not a wonder to observe that modern day artists are looking up to ancient works of art such as those found in Chinese and Indian arts for inspiration and innovative ideas.

Works Cited

Clark, John. Chinese Art at the End of the Millennium. Beijing: Sanlian. 2000. Print.

Crouch, Christopher, ed. Contemporary Chinese Visual Culture: Tradition, Modernity, and Globalization. Amherst, NY: Cambria Press. 2010. Print.

Doniger, Wendy. The Hindus: An Alternative History. New York: The Penguin Press. 2009. Print.

Michell, George. Hindu Art and Architecture. London: Thames and Hudson. 2000. Print.

Mitter, Partha. Indian Art. Oxford: Oxford University Press. 2001. Print.

Stokstad, Marilyn. Art History. 2^nd Edition. New York: Prentice Hall. 2002. Print.

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