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Educator Resources: The Arts Asia The following resources are designed to prepare for and extend a classroom visit to the Ackland Art Museum. The experiences are intended to support classroom curriculum and learning standards, while allowing for students to express their ideas through a variety of formats – writing, discussion, research, and art making. Activities and conversation starters can be modified per grade level and discipline. Introduction The Museum’s collection of Asian art is the best in North Carolina, and one of the best in the Southeastern United States. Asia is a place of great diversity and the continent is filled with some of the world's most impressive geographic features. It is home to many millions of people who form an extraordinary variety of ethnic and cultural groups and is the origin of many of the world's religions. Asian art exhibits a wide array of materials, technical skills, uses, and meanings. Appearing on folding screens and hanging scrolls, Japanese paintings can be deceptively simple or minutely intricate. Sculptors created Hindu and Buddhist works that celebrate the world of humans as well as the supernatural in stone, metal, and wood. Chinese paintings and ceramics range from the elegant beauty of functional objects to the elaborate energy of guardians of the dead. Pre-Visit Experiences

Looking Closely

As a class, look closely at Varaha, Head of Buddha, Tomb Guardian Warriors, or Bishamonten (see images and

artwork information). Consider the following:

o Look closely at this image and describe what you see.

o Based upon what you see, what do you think this work of art is about?

o What information might this work of art tell you about the culture that made it?

o Where would you find more information about this work of art using the visual clues that you see?

Exploring Asian countries: Culture, Beliefs, Geography, and Current Events

Have students research basic information about Asian countries (i.e. China, Japan, India, Thailand, etc.), including their geographic features, climate, location to other countries/bodies of water, economic industries, political and social systems, belief systems, and culture (food, music, literature, art). Encourage students to share their findings through a variety of formats – research papers, travel posters, display boards, image and word collages, etc. As a class, continue the discussion about historical and contemporary Asian countries through cultural materials such as clothing, music, art, literature, and film. The diversity of each country, its people, and the celebrations and conflicts are often expressed through the arts. Encourage students to compare and contrast these cultural materials by categories: ancient/contemporary, regions, belief systems, etc. Explore contemporary Asian countries through the eyes of world news and current events. For one or two weeks, have students pay attention to the political, social, economic, and cultural news related to an individual country and its relationships with other countries. Encourage students to collect newspaper or news website articles and images – have them share their findings, and, as a class, discuss their content.

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Complete a K-W-L chart (see attached) to help students confirm what they know about art from Asia. The

prompts include: “What I already know about Asian art.”, “What I want to know about Asian art.”, and “What I

learned about Asian art.”

Post Visit experiences

After your Museum Visit o Have students share one thing they remembered from the Museum and how it relates to their life. (Note:

This activity can be done on the bus back to school and allows for students to be accountable for their learning and arts experience.)

o Back in the classroom, have students think about their Museum experiences and respond through writing or drawing. What did you see at the Ackland and what did you do in the Museum galleries?

o Review the pre-visit experience K-W-L chart to see which predictions were true and what new ideas students learned.

o Create a class mural about the trip by passing around a large sheet of paper so students can write or sketch their impressions of the trip.

o Have students research any issues or questions that came up during their tour.

Exploring Diversity in Beliefs

Asia is made up of people from different faith traditions, like Hinduism, Islam, Christianity, Buddhism, Sikhism, and Jainism. Explore these belief systems through works of art. Compare and contrast the imagery and visual information each faith focuses on. Possible web resources for artworks and information include: 1. Ackland Art Museum, Chapel Hill: www.ackland.org/five-faiths-project and www.ackland.org/collection 2. Freer Sackler, The Smithsonian’s Museums of Asian Art: www.asia.si.edu 3. Metropolitan Museum, New York: www.metmuseum.org/collections

Additional Web Resources:

Ackland Art Museum, Chapel Hill: www.ackland.org/five-faiths-project and www.ackland.org/collection

Freer Sackler, The Smithsonian’s Museums of Asian Art: www.asia.si.edu

Metropolitan Museum, New York: www.metmuseum.org/collections or www.metmuseum.org/toah

Asian Art Museum of San Francisco : www.education.asianart.org/

Asia Society Museum, New York City: www.asiasociety.org/arts/asia-society-museum

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North Carolina Essential Standards: Social Studies

6.H.2.2 Understand the political, economic and/or social significance of historical events, issues, individuals, and cultural groups.

6.G.1 Understand geographic factors that influenced the emergence, expansion and decline of civilizations, societies, and regions over time.

6.C.1.1-2 Explain how the behaviors and practices of individuals and groups influenced societies, civilizations, and regions.

7.H.1.3 Use historical thinking to analyze various modern societies. 7.C.1.2 Understand how cultural values influence relationships between individuals, groups, and political

entities in modern societies and regions. WH.H.1 Apply the four interconnected dimensions of historical thinking to the Essential Standards for World

History in order to understand the creation and development of societies/civilizations/nations over time.

Common Core Curriculum: English Language Arts

4.W.1 – 5.W.1 Text Types and Purpose (Opinion) 4.W.2 – 5.W.2 Text Types and Purpose (Informative/Explanatory) 4.W.7 – 5.W.7 Research to Build and Present Knowledge (Conduct research and writing) 4.W.8 – 5.W.8 Research to Build and Present Knowledge (Recall or gather information) 9-10.R.7 Integration of Knowledge and Ideas (Analyzing Written and Visual Information)

North Carolina Essential Standards: Visual Art

4.V.1 – 8.V.1 Use the language of visual arts to communicate effectively. 4.V.2 – 8.V.1 Apply creative and critical thinking skills to artistic expression. 4.CX.1. – 8.V.1 Understand the global, historical, societal, and cultural contexts of the visual arts. 4.CX.2 – 8.CX.2 Understand the interdisciplinary connections and life applications of the visual arts.

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NAME_____________________________

KWL Chart

Before Your Trip After Your Trip

What I know about Asian Art

What I want to know about Asian Art What I learned about Asian Art

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Unidentified Artist, India; Varaha, late 11th century; Phyllite

23 15/16 x 14 5/16 x 5 1/16 in.; Ackland Art Museum, The University of North

Carolina at Chapel Hill, Gift of Clara T. and Gilbert J. Yager, 82.5.1

The University of North Carolina at Chapel Hill

Unidentified Artist, Thailand; Head of Buddha, 15th century; Gilt bronze;

38 1/4 x 16 3/8 x 17 5/8 in.; Ackland Art Museum, The University of North

Carolina at Chapel Hill, Ackland Fund, 91.2

The University of North Carolina at Chapel Hill

Unidentified Artist, Chinese; Tomb Guardian Warriors, c. early 6th century CE; Unpainted earthenware; 17 11/16 x 4 15/16 x 1 15/16 in.; Ackland Art Museum, The University of North Carolina at Chapel Hill, Gift of the Tyche Foundation, 2010.22.1-2

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Unidentified Artist, Japanese; Bishamonten, c. 1300; Painted wood with additions in metal and crystal

26 9/16 x 10 1/2 x 8 1/2 in. ; Ackland Art Museum, The University of North Carolina at Chapel Hill

The William A. Whitaker Foundation Art Fund, Purchased in memory of Chancellor Michael K. Hooker,

2000.7

The University of North Carolina at Chapel Hill

Unidentified Artist, Indian, Rajasthan, Haryana, Uttar Pradesh

Varaha, late 11th century

Phyllite

23 15/16 x 14 5/16 x 5 1/16 in.

Ackland Art Museum, The University of North Carolina at Chapel Hill

Gift of Clara T. and Gilbert J. Yager, 82.5.1

In Hinduism, Varaha is the third incarnation of the Hindu deity Vishnu. Taking the form of a boar, he descended to save

the earth goddess, personified as a woman, when she was trapped beneath the ocean by a demon. Here, Varaha is

depicted supporting her on his raised elbow while she joins her hands in gratitude. The serpents crouching beneath his

raised left foot also respectfully acknowledge Varaha's feat with folded hands. Other divine beings and attendant figures

surround him in reverence.

Varaha is a common figure carved on both exterior walls and in temples dedicated to Vishnu. Followers of Vishnu may

have been encouraged to follow the example set by the attendant figures in this composition while practicing their own

rituals of devotion.

Source: Ackland Art Museum Curatorial files

Unidentified Artist, Thailand

Head of Buddha, 15th century

Gilt bronze

38 1/4 x 16 3/8 x 17 5/8 in.

Ackland Art Museum, The University of North Carolina at Chapel Hill

Ackland Fund, 91.2

Both Hindu and Buddhist beliefs and practices came to Thailand from India. Over the centuries, Thai Buddhist art

developed its own, distinctive visual characteristics. The shape of the head and facial features, the tightly curled hair,

and the stylized flame (signaling the Buddha's enlightenment) are all typical elements of Thai images of the Buddha from

the Ayutthaya period.

Small holes at the base of the sculpture's neck indicate that it was originally attached to a body. The vast majority of

sculpture from this period represented the seated Buddha.

Source: Ackland Art Museum Curatorial files

The University of North Carolina at Chapel Hill

Unidentified Artist, Chinese Tomb Guardian Warrior, c. early 6th century CE Unpainted earthenware 17 11/16 x 4 15/16 x 1 15/16 in. Ackland Art Museum, The University of North Carolina at Chapel Hill Gift of the Tyche Foundation, 2010.22.1-2

In the Chinese funerary tradition, warrior figures such as these would have been placed in tombs to protect the body

and spirit of the deceased on its journey to the next world, as well as to ward off looting of the tomb itself. These two

figures are both dressed in high ceremonial hats, billowed long trousers and robes with voluminous sleeves. They carry

swords and wear the two-part liangdang armor (front and back panels, connected by straps).

Source: Ackland Art Museum Curatorial files

Unidentified Artist, Japanese

Bishamonten, c. 1300

Painted wood with additions in metal and crystal

26 9/16 x 10 1/2 x 8 1/2 in.

Ackland Art Museum, The University of North Carolina at Chapel Hill

The William A. Whitaker Foundation Art Fund, Purchased in memory of

Chancellor Michael K. Hooker, 2000.7

Fierce guardian figures appear in many varieties of Buddhism. Four guardian kings protect the four quarters of the cosmos, and their images, trampling on vanquished demons, may be stationed at the four corners of an altar. Bishamonten is the Japanese name for the king of the north, the chief of the four guardians. He is also considered the protector of warriors and the state. With a ferocious frown, swirling draperies, and a flaming halo around his head, this image of Bishamonten has a lively, fiery appearance. Though standing motionless, the figure seems to contain reserves of stored energy.

Source: Ackland Art Museum Curatorial files