Animals in Indian and Chinese Art
Animals in Indian and Chinese Art
Animals, as subject matter, have undoubtedly been the emphasis of generations of art for as far back as we can date. Some of history’s oldest surviving Paleolithic cave paintings depict various species of animals in great detail and abundance. When noting the tremendous importance of animals to man, not only as a source of food but also as a material resource and means of labor, it is no surprise that they recurrently make appearances in art as leading subject matter, regardless of culture or time period. Although universally important in most cultures, there are distinct discrepancies in the manner in which these cultures represent and convey the functions of animals in art. When examining Indian and Chinese art there is certainly no exception regarding animals as recurring and meaningful subject matter. However, Indian representations of animals in art, such as the Lion at Sarnath, Vishnu as the Boar Varaha from Udayagiri, Ganesha and The Cat and Elephants from Mamallpuram, and Chinese representations of animals in art, such as the bronze Guang Vessel, the Flying (Pacing) Horse, Chimera and the Camel Carrying the Band of Musicians, clearly differ in both representation and their conveyed function. While Indian art represents vaguely representational, yet godly figures within a religious narrative as symbols of power or significance, and often functions directly in conjunction with ritualistic practices, Chinese art tends to represent fabled mythical beasts without much of a narrative and often function as personal funerary objects either buried with the owner or used to guard their tomb. When analyzed, based on how these animals are represented as well as the functions of the art in which they are represented serve, there is much significant information communicated about each culture and their art. Animals are undoubtedly a prominent and recurrent staple of Indian art and are seen in many instances as reliefs on temple walls
Animals, as subject matter, have undoubtedly been the emphasis of generations of art for as far back as we can date. Some of history’s oldest surviving Paleolithic cave paintings depict various species of animals in great detail and abundance. When noting the tremendous importance of animals to man, not only as a source of food but also as a material resource and means of labor, it is no surprise that they recurrently make appearances in art as leading subject matter, regardless of culture or time period. Although universally important in most cultures, there are distinct discrepancies in the manner in which these cultures represent and convey the functions of animals in art. When examining Indian and Chinese art there is certainly no exception regarding animals as recurring and meaningful subject matter. However, Indian representations of animals in art, such as the Lion at Sarnath, Vishnu as the Boar Varaha from Udayagiri, Ganesha and The Cat and Elephants from Mamallpuram, and Chinese representations of animals in art, such as the bronze Guang Vessel, the Flying (Pacing) Horse, Chimera and the Camel Carrying the Band of Musicians, clearly differ in both representation and their conveyed function. While Indian art represents vaguely representational, yet godly figures within a religious narrative as symbols of power or significance, and often functions directly in conjunction with ritualistic practices, Chinese art tends to represent fabled mythical beasts without much of a narrative and often function as personal funerary objects either buried with the owner or used to guard their tomb. When analyzed, based on how these animals are represented as well as the functions of the art in which they are represented serve, there is much significant information communicated about each culture and their art. Animals are undoubtedly a prominent and recurrent staple of Indian art and are seen in many instances as reliefs on temple walls