Made in China
Educator Guide
INDI AN APOLIS MUSEUM OF ART
2007
Table of Contents
I. Made in China Educator Guide Introduction………………………………………..3
II. Image Handouts……………………………………………………………………….4
III. Lessons & Activities…………………………………………………………………29
1. The 3 Perfections
2. The Silk Road
3. Chinese Zodiac
4. Dragons
5. The Technology of Bronze
6. What is Beauty?
7. Ceramics to Use and Admire
8. Jade
IV. Chinese Dynasty Timeline…………………………………………………………...60
V. Glossary………………………………………………………………………………...57
VI. Activity Image List………………………………………………………………….....61
VII. Bibliography…………………………………………………………………………..67
Made in China Educator Guide
© Indianapolis Museum of Art, 2007
2
Made in China Educator Guide Introduction
Using This Educator Guide
By completing the activities included in this kit, students will investigate the art and
culture of China.
The IMA also offers many other opportunities to learn about Asian art. Visit the
museum for a tour of the galleries or visit the In the Garden of Antiquities: Views of
Chinese Art from the IMA on our website (www.imamuseum.org).
Helpful Hints
 Use this Guide to assist you in lesson planning.
 Activities are given grade level recommendations and have appropriate
standards listed for each one.
 Each activity has an estimated amount of time needed to complete an activity.
Activities are generally divided into one or two, 30-minute sessions. The 30minute format is designed to give you time for pre and post discussion or prep
and clean up for production activities.
 Images of the works of art from China can be printed out in hardcopy and given
to students or projected digitally in the classroom (images can be found by typing
the accession number into the “Search the Collection” feature on our website
(www.imamuseum.org).
Made in China Educator Guide
© Indianapolis Museum of Art, 2007
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Three Catalpa Trees
Shen Zhou, Chinese, 1427-1509
c. 1481
Ink on paper
Accession Number: 60.140
Made in China Educator Guide
© Indianapolis Museum of Art, 2007
4
pack camel
Eastern Wei dynasty
Accession Number: 2001.383
Made in China Educator Guide
© Indianapolis Museum of Art, 2007
5
Tang dynasty
Accession Number: 60.75
saddled horse
Made in China Educator Guide
© Indianapolis Museum of Art, 2007
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camel with rider in foreign dress
Tang dynasty
Accession Number: 60.26
Made in China Educator Guide
© Indianapolis Museum of Art, 2007
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Chinese Astrological Chart
Made in China Educator Guide
© Indianapolis Museum of Art, 2007
8
vase with dragon and cloud design
1426-1435
Ming Dynasty
Accession Number: 60.82
Made in China Educator Guide
© Indianapolis Museum of Art, 2007
9
Seated shar pei dog
Eastern Han Dynasty
Accession Number: 1999.2
Made in China Educator Guide
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Five Dynasties
Accession Number: 1999.1
striding dragon
Made in China Educator Guide
© Indianapolis Museum of Art, 2007
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Shang Dynasty
Accession Number: 60.44
ritual vessel (gui)
Made in China Educator Guide
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ritual wine vessel (guang)
Shang dynasty
Accession Number: 60.43
Made in China Educator Guide
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wine container for Yi, the earl of Zeng
Western Zhou dynasty
Accession Number: 1994.80
Made in China Educator Guide
© Indianapolis Museum of Art, 2007
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canteen
Eastern Zhou dynasty
Accession Number: 2002.139
Made in China Educator Guide
© Indianapolis Museum of Art, 2007
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female figure
Western Han dynasty
Accession Number: 60.74
Made in China Educator Guide
© Indianapolis Museum of Art, 2007
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noble lady
Tang dynasty
Accession Number: 1996.320
Made in China Educator Guide
© Indianapolis Museum of Art, 2007
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large jar
Neolithic
Accession Number: 60.144
Made in China Educator Guide
© Indianapolis Museum of Art, 2007
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tomb guardian
Tang dynasty
Accession Number: 1997.1
Made in China Educator Guide
© Indianapolis Museum of Art, 2007
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Jin dynasty
Accession Number: 47.131
bowl with two violet spots,
Made in China Educator Guide
© Indianapolis Museum of Art, 2007
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vase with peony scrolls
Northern Song
Accession Number: 47.153
Made in China Educator Guide
© Indianapolis Museum of Art, 2007
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cong shaped vase
Southern Song dynasty
Accession Number: 47.154
Made in China Educator Guide
© Indianapolis Museum of Art, 2007
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covered jar with carp design
Ming dynasty
Accession Number: 60.88A-B
Made in China Educator Guide
© Indianapolis Museum of Art, 2007
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vase with nine peaches
Qing dynasty
Accession Number: 60.116
Made in China Educator Guide
© Indianapolis Museum of Art, 2007
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Neolithic
Accession Number: 60.51
blade with five holes
Made in China Educator Guide
© Indianapolis Museum of Art, 2007
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crested parrot pendant
Shang Dynasty
Accession Number: 60.66
Made in China Educator Guide
© Indianapolis Museum of Art, 2007
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Made in China Educator Guide
© Indianapolis Museum of Art, 2007
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Qing Dynasty
Accession Number: 71.11.4
peach-shaped jar with fungus-shaped box
coiled dragon
Qing Dynasty
Accession Number: 71.11.6
Made in China Educator Guide
© Indianapolis Museum of Art, 2007
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Activity 1: The 3 Perfections
Recommended for Grades 6-12
One, 30-minute session
Objectives
 Students will identify the role of written language in Chinese visual art.
 Students will create works of art incorporating Chinese written language.
Indiana Academic Standards Met by This Activity
Visual Art: 6.1.1, 6.2.2, 6.3.1, 6.4.1, 6.7.3, 6.8.1, 6.9.2, 7.1.3, 7.3.1, 7.7.3, 7.8.1,
7.9.2, 8.1.3, 8.2.1, 8.3.1, 8.7.3, 8.8.1, 8.9.2, H.1.2, H.2.2, H.3.1,
H.8.1, H.9.1
Social Studies: 7.5.5, 7.5.6, WG.4.10
Supplies

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Image of Chinese landscape painting in the IMA’s collection that includes
calligraphy—Shen Zhou (digitally projected or printed out hardcopy)
Video—An Introduction to Calligraphy with Hirokazu Kosaka
These video segments can be found by visiting the IMA website
(www.imamuseum.org) and clicking on the “Interact” tab. Links to the IMA pages
on iTunes U and YouTube are located there.
The following supplies can be purchased at your local art supply store or online
at a supplier such as www.enasco.com or www.dickblick.com
Small, disposable containers for ink
30 brush pens
30 bamboo brushes in a variety of sizes)
Ink
Blank newsprint paper
Rice paper
Introduction
For over a thousand years, the three arts of painting, poetry and calligraphy have been
intimately connected in the minds of cultivated Chinese. Chinese paintings often have
writing on them. Questions like: Who did the writing; What does it say; and Did the
painter deliberately leave room for it are often asked. Although the painter seldom
deliberately leaves a space for his inscription, he has an unerring sense of where it
should go, and it often completes the design in a very satisfactory way. It need not
occupy a corner.1
1
The Three Perfections, p. 7-8
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The simplest inscription consists of the artist’s name, followed by his personal seal or
seals. To this he may add the date, perhaps the name of the man for whom he painted
the picture, a note on the occasion and on the style he chose. Beyond this, the
inscription may carry us deep into the realms of philosophy and metaphysics, art history
and art criticism, and may tell us more about the private life of the painter, and his
relationship with his friends and patrons, than can be derived from any other source. An
inscription of this kind may turn an otherwise conventional painting into a very human
document. The idea that writing and painting belong together is a very ancient one in
China. ‘Writing and painting’, said a Chinese art historian of the ninth century, ‘have
different names but a common body.’ 2
Just when painters began to integrate the inscriptions with the picture in an artistic
whole we cannot be sure. However in the Tang dynasty the poet-painter Wang Wei
included twenty poems within a painting he painted of his country estate; the poems are
vividly pictorial. Did the painting inspire the poem, or the poem the painting – as both
were inspired by the scenery of the riverside estate itself? We shall never know; all we
do know is that from the Tang dynasty onwards this kind of mutual interaction between
painting and poems became increasingly common, till in the eighteenth century the critic
Shen Zongqian could write: “Both poetry and paintings are scholars’ occupations which
help to express human moods and feelings. Therefore what can be a subject of poetry
can also be a subject of painting, and what is vulgar in painting is like bad verse.” 3
It became increasingly common too for the arts of painting and calligraphy to be judged
by the same critical standards. In the hands of a gentleman, the twin arts were an
expression of the highest levels of scholarship, sensibility and taste. A thirteenthcentury critic wrote of the great calligrapher Wang Xianzhi (303-379) and the scholarpainter Mi Fu (1050-1107), ‘being good calligraphers they were inevitably able painters,
being good painters they were inevitably able calligraphers: calligraphy and painting are
essentially the same thing.” 4
Chinese connoisseurs distinguish several kinds of inscriptions: those written by the
painter himself, ‘friends’ inscriptions’, and comments written by later collectors or
connoisseurs. ‘Friends’ inscriptions’ generally say complimentary things about the artist,
perhaps comment on the style and include a poem, and may tell how the writer came to
see the painting, who was there, what they talked about. The value of such inscriptions
of course depends very much upon who wrote them. Needless to say, no one would, or
should, dare to write on a painting unless his handwriting was accomplished, and the
sentiments, however conventional, were elegantly expressed. For as an old Chinese
saying has it, “If you fall into the water you may still be saved; but having fallen down on
literary matters there is no life left for you.” 5
Ming dynasty, 1368-1644
“The Three Perfections,” the merger of the venerated arts of poetry, calligraphy and
painting, was one of the highest forms of artistic accomplishment in traditional China.
2
Ibid., p.8
Ibid., p.17
4
Ibid.
5 Ibid., p.20
3
Made in China Educator Guide
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Greatly talented in all three, Shen Zhou is considered a paragon of this literati ideal. A
portrait of three trees reputedly planted by the revered statesman Fan Zhongyan (9891052), the painting is in Shen’s mature style, with bold blunt brush strokes. In the upper
right Shen Zhou’s sensitive poem, inspired by thoughts about the trees, reflects on the
continuity of life and traditions; it is written in his characteristically forceful style with firm,
emphatic strokes. The three arts, when combined by a master as gifted as Shen Zhou,
can achieve a profound intellectual meaning that richly resonates beyond their individual
contribution.
Procedure
1. Using the video—An Introduction to Calligraphy with Hirokazu Kosaka, as class,
watch the segment on calligraphy.
2. Create as quiet and focused of an environment as possible, emphasizing for
students the importance of mental and emotional focus during this activity.
3. Give each student one brush, 2 sheets of newsprint and 1 sheet of rice paper.
4. Each group of 3-4 students should have a container of water and ink that is
shared.
5. Allow students to practice creating characters by replaying the calligraphy
segment and pausing at each character for practice. Students should practice on
newsprint (you can provide additional paper if necessary). Ask students to
explore the effect different amounts of pressure and speed have on the mark
created by the brush.
6. After practicing, students should create a final character on the rice paper.
Advanced Activity
For a more advanced version of this activity, use the Shen Zhou painting to preview
Chinese brush painting techniques and allow students to practice recreating the strokes
involved in creating a similar composition. Again, ask students to explore the effect
different amounts of pressure and speed have on the mark created by the brush.
Students should focus this activity on landscape and can incorporate the characters for
tree, forest, etc. featured in the video—An Introduction to Calligraphy with Hirokazu
Kosaka to create a composition that includes both visual images and written language.
Made in China Educator Guide
© Indianapolis Museum of Art, 2007
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Activity 2: The Silk Road
Recommended for Grades 6-12
One, 30-minute session
Objectives
 Students will identify the variety of objects and ideas traded along the Silk
Road.
 Students will consider the multi-cultural origins of objects and ideas in
American life.
Indiana Academic Standards
Visual Art: 6.1.1, 6.2.1, 7.1.1, 7.2.2, 8.1.1, 8.2.1, H.1.1, H.2.1, H.2.2
Social Studies: 7.1.8, 7.1.16, 7.1.20, 7.4.1, WG.4.10
Supplies
 Images of Chinese art from the IMA’s collection—pack camel, horse, camel with rider
in foreign dress (digitally projected or printed out hardcopy)
Introduction
Baron Ferdinand Von Richtofen first coined the term ‘Silk Road’, or Seidenstrasse, in
1877, but it is a misnomer. It was not really a road at all; it was a vast network of landbased and maritime trade routes and the merchants who used it carried far, far more
than just silk. The beginning of the land-based trade between the Orient and the
Occident can probably be pinpointed to around 105 BC, when the Chinese Emperor
Wudi (r.140-87 BC) sent a group of Chinese emissaries to the court of Mithradates II
(R.123-88BC), the Parthian ruler of Persia. Wudi’s mission appears to have marked the
beginnings of trade with Persia in 53 BC. 6
At difference times and throughout its history, trading centers grew and prospered along
the highways of the Silk Road. Great cities like the Abbasid capital of Baghdad, the
Sogdian town of Samarkand and the Bactrian metropolis of Merv became dynamic
commercial centers where goods were traded in both directions. Merchants did not
lead their caravans across the whole route; they would transport their goods between
two commercial centers and would then sell them on to other merchants. The caravan
cities of the Silk Road benefited both from the trading of these goods and from the taxes
and customs duties levied upon merchants. Along with trade goods came new ideas:
religions, medical knowledge, scientific and technological innovations all passed in both
directions and the Silk Road became a great network of veins and arteries, carrying the
life blood of nations across the known world. Silk Road commerce was driven by three
basic factors: firstly, the obvious desire for profit; secondly, a fascination with the exotic;
and thirdly, as a means to enhance the political power of a particular nation. 7
6
7
The Silk Road: Art and History, p. 15
The Silk Road: Art and History, p. 15
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Eastern Wei Dynasty, 534–557
In the image of the Pack camel the animal is shown packed with numerous items,
including a canteen and travel pouch.
Tang dynasty, 618-906
The Tang dynasty began with 5000 horses and 50 years later boasted herds numbering
706,000. The most prized horses were the tall and powerful breeds, descendents of the
“dragon seed”, imported from the West. Covered with the three-colored glaze that
became the hallmark of the Tang dynasty (618-906), this magnificent horse seen in
Slide 3 captures some of the robust spirit of that golden age of Chinese culture. Its
grand size (26 x 31 ½ x 11 1/16 inches) indicates it came from a tomb of an aristocrat,
and it must have been one of several equally grand figurines. The bold realism and
sense of powerful strength portrayed in this sculpture are typical of the aesthetics during
the flourishing eighth century of the Tang dynasty, when the horse enjoyed great
popularity as tribute, military steed, polo mount, and hunting companion.
The capital of the Tang dynasty was arguably the most cosmopolitan city of the world,
enjoying imports carried along the Silk Road on the backs of camels, animals
considered beneficent and noble. As seen in Slide 4, the cone-shaped hat and tight
sleeves indicates styles of dress from West Asia. During the Tang period more
foreigners from different cultures came to China than ever before and they contributed
to all aspects of culture.
The following chart shows numerous items and ideas and their origins that were
traded or transmitted along the Silk Road:
From
To
Product
China
the West
silk, skins, iron, mirrors, weapons, porcelain,
lacquerware, nephrite jade, rhubarb, tea, paper,
gunpowder, medicine of Ephaedra, Epson salts,
ginseng, snake bile, seaweed as a diuretic.
India
the West
household slave, pets, arena animals, exotic furs,
cashmere wool, raw and finished cotton, sandalwood
and other exotic woods, palm-oil, cane-sugar,
perfumes, gems such as rubies, sapphires and
emeralds
Nepal
the West
spinach
Persia and the the West
incense, dates, pistachios, peaches, walnuts, indigo,
Middle East
frankincense, myrrh, muslin cloth, wines, glassware,
olive oil, silver vessels
Various parts of the West
precious and semi-precious stones: lapis lazuli,
Made in China Educator Guide
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Asia
Eastern
Mediterranean
Persia (modern
day Iran)
India
the West
the West
jadeite, rock crystal, carnelians, quartzes, rubies,
sapphires, jewelry, ivory, tortoiseshell, rhinoceros
horn, seashells, pearls, ornamental woods, gum
resins, silver and gold, spices (pepper, ginger,
cardamom, turmeric, nutmeg, cloves, cinnamon),
ceramics, horses, flowers (peonies, roses, camellias,
chrysanthemums, tulips), alfalfa, human beings
(acrobats, Central Asian jugglers, musicians,
grooms, dwarves, household slaves, pearl divers,
dancers and foreign guards)
Religion: Christianity
To all
directions from
the Roman
world to China
To all
Religion: Islam
directions
East to China
Religion: Zoroastrianism
To all
Religion: Buddhism
directions from
Japan to
Turkmenistan
the East
wool, linen textiles, carpets, Baltic amber,
Mediterranean coral, asbestos, bronze vessels,
glass vessels, glass beads, wine, papyrus, coins,
bullion, entertainers, exotic animals and opium
China
Harnesses, saddles, stirrups, bridges and mountain
roads construction methods, cultivation of cotton,
seafaring techniques, and knowledge of medicinal
plants
Procedure
1.
2.
3.
4.
To start students thinking about where the things around us come from, have
them consider several things in their homes that originally came from another
country. Ask each student to make a list of 5 objects that come from outside
the United States. (This could also be done with a focus on local items)
Have the students trace back as far as they can the origins of items on the
list(s) they created. A local example could be “Traders Point Yogurt”. It
comes in a bottle from their refrigerator, before that it traveled by car from the
grocery store, before that it traveled to the store by truck from Zionsville, and
before that it came from the milk of a cow that lives at Traders Point Farm in
Zionsville.
Then ask students to look closely at the images of the Chinese works of art
from the IMA’s collection—the Pack camel, Saddled horse and Camel with
rider in foreign dress and review the above chart.
As a group, discuss how ideas, art, religion and products could have been
shared between cultures along the Silk Road.
Made in China Educator Guide
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5.
6.
Students should identify ways that similar things are shared cross-culturally
today. Beginning in the classroom, what objects can be found that originated
in other places? How did they travel to the United States?
Students can write a one-page summary or create a collage with images that
represent ideas, art, religion and products that have contributed to American
culture from another global source. Ask student to focus on how advances in
technology and transportation could have contributed to a more inclusive
culture in America.
Made in China Educator Guide
© Indianapolis Museum of Art, 2007
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Activity 3: Chinese Zodiac
Recommended for Grades 6-12
One, 30-minute session
Objectives
 Students will identify the twelve animals representing each year of the twelve year
calendar cycle.
 Students will create works of art depicting an animal of the zodiac.
Indiana Academic Standards
Visual Art: 6.1.1, 6.2.2, 6.3.1, 6.4.1, 6.7.3, 6.9.2, 7.1.1, 7.3.1, 7.7.3, 7.9.2, 8.2.2,
8.3.1, 8.7.3, 8.9.2, H.1.3, H.2.1, H.3.1, H.7.3, H.9.1
Social Studies: WG.4.10
Supplies
 Images of Chinese art from the IMA’s collection—vase with dragon and cloud
design, saddled horse, seated shar pei dog (digitally projected or printed out
hardcopy)
 Chinese Astrological Chart (printed out hardcopy)
 Paper
 Any kind of drawing media
Introduction
Folklore is an important element to any culture; this includes legends, beliefs and
customs, but most importantly it embraces the history that has been passed on primarily
by word of mouth. The Chinese zodiac is one of these traditions.
The first zodiac was introduced in China in 2637 BC. The system has developed over
thousands of years with influence from various Eastern spiritual traditions. Chinese
astrology draws from such sources has Buddhism and the I Ching, as well as from the
teachings of both Lao Tzu and Confucius.
Since Chinese Astrology dates back to ancient times, the legend of the zodiac and how
each animal was chosen has a couple of variations. One version asserts that Buddha
was leaving the earth and he wanted all of the animals to bid him farewell. Only twelve
animals arrived and to show his appreciation, Buddha named a year after each one of
them. Another version suggests the Jade Emperor held a great race and the order that
the animals arrived in earned each a spot in the zodiac. Each animal has certain
characteristics and personality traits that are to be similar to people born in the year of
that particular animal.
It is also important to remember that the Chinese Zodiac is used by cultures other than
the Chinese, so some of the animals may differ by the country. For example; the
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Vietnamese Zodiac is similar to the Chinese Zodiac except the fourth animal is a cat,
not a rabbit and the Japanese Zodiac has the wild boar instead of the pig.
The animals of the zodiac are associated with the idea of balance in Chinese culture,
Yin and Yang. These are polar opposites; no yin can exist without yang and vice
versa. Negative things that happen to an individual are associated with a lack of
balance between Yin and Yang. Conversely, success is attributed to a proper balance.
In Chinese culture, all changes in the universe occur through the workings of Yin and
Yang, and the five elements as they flow through their creative and destructive cycles.
In Chinese literature, the Sun is known as the Great Yang and the Moon, the Great Yin.
Yang represents the masculine principle, and signifies activity, aggressiveness, heat,
hardness, and things that are illuminated and evident. Yin represents the feminine
principle, and signifies things that are dark, hidden, passive, receptive, yielding, cool,
and soft. Light is considered yang, and shadow, yin.
To this end, each zodiac animal has a variety of characteristics associated with it
representing the Yin and Yang of an individual.

The Year of The Rat
People born in: 1924, 1936, 1948, 1960, 1972, 1984, 1996, 2008
Yin: Hard workers, firm in meeting goals, forthright/outspoken
Yang: Quick to anger, gossipy, criticizing

The Year of The Ox
People born in: 1925, 1937, 1949, 1961, 1973, 1985, 1997, 2009
Yin: Relaxed, skillful, good listeners
Yang: May act foolishly when angry, impatient, lacks emotion

The Year of The Tiger
People born in: 1926, 1938, 1950, 1962, 1974, 1986, 1998, 2010
Yin: Fearless yet cautious, powerful, sincere and generous
Yang: Obstinate, unreasonable, may act hasty at times

The Year of The Rabbit
People born in: 1927, 1939, 1951, 1963, 1975, 1987, 1999, 2011
Yin: Kind, reserved, scholarly, shy
Yang: Sometimes can be moody or detached, very private

The Year of The Dragon
People born in: 1928, 1940, 1952, 1964, 1976, 1988, 2000, 2012
Yin: Honorable, brave, powerful, eccentric
Yang: Stubborn, overbearing, very bad tempered

The Year of The Snake
People born in: 1929, 1941, 1953, 1965, 1977, 1989, 2001, 2013
Yin: Deep thinker, quick witted, graceful, handsome
Yang: Conceited, a poor communicator, meddling and intrusive
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
The Year of The Horse
People born in: 1930, 1942, 1954, 1966, 1978, 1990, 2002, 2014
Yin: Good humor, cheerful, energetic, talkative, independent
Yang: Can be self-centered and impulsive

The Year of The Ram
People born in: 1931, 1943, 1955, 1967, 1979, 1991, 2003, 2015
Yin: Good Samaritan, sincere, trustworthy, compassionate, artistic
Yang: Gullible, worry wart, dependent, insecure

The Year of The Monkey
People born in: 1932, 1944, 1956, 1968, 1980, 1992, 2004, 2016
Yin: Inventor, motivator, clever, spontaneous, original
Yang: Disrespectful, selfish, lacks self-control, competitive

The Year of The Rooster
People born in: 1933, 1945, 1957, 1969, 1981, 1993, 2005, 2017
Yin: Thrifty, organized, outspoken, clever, perfectionist
Yang: Loves to argue, debate, brag, has little regard for others

The Year of The Dog
People born in: 1934, 1946, 1958, 1970, 1982, 1994, 2006, 2018
Yin: Faithful, responsible, dedicated, cautious and protective
Yang: Can be obstinate, cynical, does not get along with everyone

The Year of the Pig
People born in: 1935, 1947, 1959, 1971, 1983, 1995, 2007, 2019
Yin: Gentle, thoughtful, understanding, a reliable friend
Yang: Wanton indulgence, can be overgenerous, can also be provoked
Procedure
1. Allow students to view the images of Chinese art from the IMA’s collection—Vase
with dragon and cloud design, Saddled horse, Seated shar pei dog looking
closely at each one to identify characteristics/qualities of these animals.
Example: the dog is tense and stiff making it seem alert and watchful—like it is
on guard for it’s owners.
2. Distribute one copy of the Chinese Astrological Chart to a pair of students.
Students should look at the animals depicted on the chart and compare them to
the works of art from the IMA’s collection. What do they have in common?
3. Allow students to determine which animal represents the year in which they were
born.
4. Using any desired drawing medium, have students draw their animal using the
Chinese examples (the IMA objects and the astrological chart) as inspiration.
Students should consider how they would depict their animal in order to
emphasize their strengths and characteristics.
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© Indianapolis Museum of Art, 2007
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Activity 4: Dragons
Recommended for Grades 6-12
One, 30-minute session
Objectives
 Students will compare and contrast images of dragons from a variety of
cultures in order to identify uniquely Chinese characteristics.
 Students will create works of art with dragon imagery incorporating Chinese
characteristics.
Indiana Academic Standards
Visual Art: 6.1.1, 6.2.1, 6.3.1, 6.3.2, 6.4.1, 6.7.3, 6.8.1, 6.9.2, 7.1.1, 7.1.3, 7.3.1,
7.3.2, 7.7.3, 7.8.1, 7.9.2, 8.1.1, 8.2.1, 8.2.2, 8.3.1, 8.3.2, 8.7.3, 8.8.1,
8.9.2, H.1.3, H.2.1, H.3.1, H.4.2, H.7.3, H.9.1
Supplies
 Images of Chinese art from the IMA’s collection—vase with dragon and cloud
design, striding dragon (digitally projected or printed out hardcopy)
 Paper
 Any kind of drawing or painting media
Introduction
Dragons have a long and varied history in a many cultures. The images that represent
them are also diverse depending on the origin of the dragon story. In many cultures,
they do share some qualities in common, however, such as power and intellect. This
activity will focus on the dragons of China and Europe.
In China, dragons are traditionally a symbol of the emperor. They are depicted as long,
snake-like creatures and have power to control water, rather than fire as is the case in
other culture’s dragon stories. They are also typically benevolent despite being very
demanding and powerful.
It was said that when the first legendary Emperor Huang Di died, he was immortalized
into a dragon that resembled his emblem, and ascended to Heaven. Since the Chinese
consider Huang Di to be their ancestor, they sometimes refer to themselves as "the
descendants of the dragon".
The dragon is found throughout Chinese history, Chinese folklore, Chinese religion, and
Chinese art. The dragon has nine “resemblances”: horns like a stag, head like a camel,
eyes like a demon, neck like a snake, belly like a sea monster, scales like a carp, claws
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like an eagle, pads like a tiger, and ears like an ox. From the earliest times, dragons
have been depicted on objects.8
European dragons are different in that they are typically shown as large, scaly creatures
that stand upright and breathe fire. They also frequently have magical powers
associated with them. There are also many possibilities in the appearance of Western
dragons including feathers, wings, bright color variations, etc. In modern fiction, they
sometimes have negative associations or roles in contrast to those of Chinese dragons.
Procedure
1. Have students look closely at the dragons in the Images of Chinese art from the
IMA’s collection—Vase with dragon and cloud design, Striding dragon (digitally
projected or printed out hardcopy). As a group answer the following questions:
What characteristics do these have in common? What could these
characteristics represent? During discussion, ask students to be specific by
providing examples of what they saw that informed their interpretation.
2. Next ask students to find other examples of dragons from other cultures and time
periods. They can use the Internet or books. What differences and similarities
are found?
3. After viewing dragons from a variety of cultures ask students to paint or draw a
dragon of their own creation which incorporates ideas from a variety of cultural
groups. Any desired medium can be used for this activity.
4. To expand on this project, students can write about the similarities and
differences among the dragons studied, being sure to emphasize the converging
and diverging cultural ideas.
8
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Activity 5: The Technology of Bronze
Recommended for Grades 6-12
One, 30-minute session
Objectives
 Students will identify the steps in the process of creating mass-produced objects.
 Students will work together to create identical objects using an established standard.
Indiana Academic Standards
Visual Art: 6.2.1, 6.8.2, 6.9.2, 7.2.1, 7.2.2, 7.6.1, 7.9.2, 8.2.1, 8.2.2, 8.3.1, 8.9.2, H.2.2,
H.3.1, H.5.2, H.9.1
Social Studies: 7.5.4, WG.4.10
Supplies
 Images of Chinese art from the IMA’s collection—ritual vessel (gui), ritual wine vessel





(guang), wine container for Yi , the earl of Zeng, canteen (digitally projected or printed
out hardcopy)
1 small metal vessel (vase, bowl, etc.)
Clay
Plaster (quick setting will be best for this activity)
Exacto knives or sandpaper
Water, cups and mixing utensil (for plaster)
Introduction
Bronze vessels: background and examples
Cast for and used by the early aristocracy of China in the Shang dynasty (1766 - 1122
BC) and in the Zhou dynasty (1122 - 256 BC), bronze vessels were made to hold food
and wine in ceremonial banquets prepared for the ancestors. These bronzes were the
most precious objects in the religious and political life of their day. Among all the
Bronze Age culture, Chinese ritual bronzes stand out in at least three respects: their
decoration, their technique and their being grouped as sets. For decoration the bronze
makers developed a modular system that allowed them to assemble countless
combinations from a limited repertoire of motifs and compartments. They also devised
a modular technical system for casting their vessels. These systems offered the best
solution to the task that the ancient Chinese had set for themselves: to produce highquality bronzes in sets.9
One simple explanation why the early Chinese produced bronzes in such abundance is
that they had an unusually large quantity of raw material at their disposal. The copper
and tin deposits in central and northern China were richer than any others exploited in
9
Ten Thousand Things, p. 25.
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the ancient world. Yet an abundant metal supply does not in itself explain why the
Chinese actually made bronzes, or what they did with them. Written evidence provides
some general information. The most important literary source, the Record of Ritual
(Liji), which was one of the Classics, makes it clear that ritual was of utmost importance
in ancient China. So many of these rituals were necessary that they had to be
performed almost every day.10
In all other parts of the globe, the bulk of Bronze Age artifacts are either hammered or
cast by the lost wax process. By contrast, the Chinese cast their bronzes in negative
clay molds constructed of several pieces. They placed a core into this negative mantle
and poured the bronze into the space between the mantle and the core.11
The production of Chinese bronze casting is compartmentalized into single steps and
units. These steps can also be viewed as modules – modules of work in a system of
production. Most of them would be completed simultaneously and in great numbers,
because the final shape of the product had been precisely determined before the work
began. While some workers prepared the bronze, others carved the molds, which must
have been a particularly time-consuming stage in the production process. One
craftsman may have been responsible for carving all the mold pieces required for one
vessel, but if an entire set of vessels was cast, which was the normal case, many
workers could simultaneously make the necessary molds. Chinese bronze vessels
were the result of a coordinated effort of several specialists, each of whom was
responsible for a standardized part of the process. 12
Standardization, coordination, and predictability are essential aspects in such a
production system. Individual creativity, by contrast, is curtailed and only possible
within a strict framework, because even small changes in one module may endanger
the success of the entire process. No participant in this process can single-handedly
change the shape of the product or decisively influence its quality. Division of labor
favors uniformity, albeit on a qualitatively high level. 13
Even in Neolithic time, the making of large quantities of ceramic vessels of varied
shapes must have necessitated a certain division of labor. Over the centuries labor
became even more compartmentalized, as the production process was divided ever
more minutely. Division of labor was also the best way to produce great numbers of
bronze vessels, and this was precisely what was required. To have religious and
political life function properly, the Shang aristocracy may have needed in, say, the
twelfth century BC, sets of ritual bronzes totaling several thousand units.14
Another essential difference between a holistic and a subdivided production is that the
latter requires strict control. Managing huge quantities of bronze, clay and firewood
involved logistical problems of great magnitude. No less demanding was the
organization of the workforce. Control of each step in the production process and
10
Ibid., p. 28
Ibid.,, p. 38
12 Ibid., p. 48
13 Ibid., p. 48-49
14 Ibid., p. 49
11
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control of all participating workers must have been among the most difficult problems
that had to be solved in manufacturing the bronze vessels. None of the specialists
working in tandem could take overall responsibility. The metalworkers could not be
expected to know how to prepare different kinds of clay. Yet there had to be people
who could oversee and direct the entire production process. 15
Shang dynasty, about 1700-1045 BCE
All objects change over time. People, generations and tastes change, too. In addition to
appreciating the ritual objects of the ancestors, succeeding generations have
repeatedly incorporated these earlier forms into their own designs, imbuing each with
characteristics of their own unique cultures.
Beginning in the Shang dynasty, Chinese used lavish vessels of shining bronze to offer
food and drink to deceased ancestors. They believe ancestral spirits depended on
them and, if properly cared for, interceded with the deities to ensure prosperity for the
living. Over time, these vessels were made not only for ritual purposes but also to
commemorate the deeds of the living. With the rise of an urban class at the end of the
Zhou dynasty, bronzes became further secularized and could stand alone as works of
art without spiritual or commemorative purpose.
Art historians often use Chinese words to refer to art from China. Some of these, such
as gui and cong, have come to denote distinct, standardized shapes. Thus, gui, which
originally referred to vessels that held sacrificial grain, now denotes a bowl-shaped
vessel with handles and an elevated base. Other names refer to an object’s place of
origin, such as a city (Jingdezhen, Longquan) or region (Cizhou, Jun) or even to the
type of glaze used on ceramic wares (celadon). The use of such names is sometimes
imprecise, for example, ceramics fired outside of Cizhou but resembling typical “Cizhou
ware” may well be called by the same name.
Historians often use dynasties and reign titles to refer to China’s past. The dynasty—a
succession of rulers from the same family line – was the basic political structure of
China until 1911. But dynastic divisions were produced by later historians working
retrospectively, and sometimes reflect their traditional biases better than historical
reality. Moreover, dynastic divisions mark changes that did not always coincide with
those of society at large. Within dynasties, each emperor’s reign was commemorated
with a unique title so that, for example, the “Qianlong period” of the Qing dynasty refers
to the reign of the emperor who rules China from 1736 to1795.
This intricately decorated wine vessel, or guang (slide 11), was made during the Shang
dynasty, when the piece-mold technology to create objects in bronze had evolved to a
level of sophistication unparalleled among the world’s ancient civilizations. The scale of
ancient China’s bronze industry – implied by the number of vessels that survive and the
labor-intensive processes, from mining to casting, required to produce works with this
alloy of copper, tin and lead – suggests a state with a highly developed social
organization and control over complex resources.
15
Ibid., p. 49
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The guang’s removable lid allows it to be filled with wine, and animal motifs cast in relief
adorn its surface. The meaning, if any, of this lively decoration is unknown, but the
intricate design joining fifteen imaginary, powerful-looking beasts has a supernatural
quality, suggesting a mystical world beyond our own. Because such vessels were
made for specific celebrants, who employed them in rituals honoring their ancestors,
they were often buried with their owners. It was during the Shang dynasty that writing
developed in China; a character cast inside the lid is probably the owner’s clan sign,
linking this guang with several other vessels in museums around the world. This vessel
likely came from the last capital of the Shang, Anyang, in Henan province, because it is
stylistically similar to other works excavated in this area.
Western Zhou dynasty, 1045-771 BCE
The forty-one character inscription inside the neck of this container – there is an
identical one on a similar vessel in the Palace Museum, Taipei – is famous for being the
first to mention the recycling of earlier bronzes in order to make other vessels. The
older bronzes were melted down at the behest of Yi, a nobleman who lived in south
central China, near today’s Wuhan in Hubei province. The inscription in the container
continues, explaining that Yi’s vessel held “ritual wine for entertaining guests. May his
virtue be without flaw; thereby being filial, thereby feasting [ancestors], and thereby
being given long life. May his descendants thereby receive limitless great blessings.”
The “wine” was a grain–based alcoholic beverage.
The style of their bronzes shows that the people of the Zhou dynasty modified many of
the traditions they inherited from Shang artisans. Where Shang containers are often
elegant in shape, Zhou vessels become more squat and massive while the bold,
animal-based decoration of the earlier objects gradually yields to designs of a more
abstract and fluid nature, like the wavy grooves that encircle this container. The
numerous creatures of earlier times are here reduced to two: a small head holding a
ring on either side of the neck.
Eastern Zhou dynasty, 770-221 BCE
For more than one thousand years, China’s finest achievements were objects cast in
bronze. From about the time this canteen was made, however, bronze began to give
way to other materials, including ceramic and lacquer, as the primary mediums of
talented artisans. This canteen, an exceptional example from the final stage of the
great tradition of bronze casting, illustrates the transition that was under way. Its
complex design, a bilaterally symmetrical diagonal pattern organized on either side of a
vertical axis, is derived from reliefs found on earlier bronze objects, most likely an
intertwined motif of birds. Yet the inlaid decoration, of precious gold and silver,
suggests an approach more painterly than sculptural: overlap is suggested by lines of
dramatically varying width that stop and start like brushstrokes. The decoration
demonstrates the influence of painting on lacquer, a material increasingly used during
this period to create luxury objects. Unlike the ritual bronzes of earlier time, this
canteen, with its costly material and painstaking design, was clearly made as a
decorative item to impress anyone who had the good fortune to see it.
Procedure
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1. Break the class up into 4 groups. Each group will have responsibility for one distinct
portion of the production process. Working together as a group, students will
recreate their metal object using clay and plaster.
2. Group 1 will create a clay mold from their metal object. Group 2 will mix and pour
the plaster into the mold. Group 3 will remove the plaster cast from the mold and
complete any detail finishing such as sanding or filing. Group 4 will inspect the
finished product and compare it to the original.
3. Since this process is linear, other groups can watch each step until it is their turn as
well as make plans for who in the group will complete which part of their step.
4. After completing all of these steps, ask students to identify how quality is affected by
this process. What is the role of an individual artist in this process?
5. Investigate how this activity relates to the processes of mass production vs. hand
made, original objects. What is the difference in quality? Does that affect the
price? How does this idea relate to contemporary art today?
6. Students can discuss these issues in small groups, or as a class, and could also
complete a writing assignment with any of the above questions as prompts.
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Activity 6: What is Beauty?
Recommended for Grades 9-12
One, 30-minute session
Objectives
 Students will identify desirable characteristics of women defined by Chinese culture

over time.
Students will create works of art that investigate standards of beauty in American
culture.
Indiana Academic Standards
Visual Art: 6.1.1, 6.1.3, 6.2.2, 6.3.1, 6.3.2, 6.4.1, 6.5.1, 6.5.2, 6.7.2, 6.7.3, 6.8.1, 6.9.2,
7.1.1, 7.1.3, 7.2.2, 7.3.1, 7.3.2, 7.5.1, 7.5.2, 7.7.2, 7.7.3, 7.8.1, 7.9.2, 8.1.1,
8.2.1, 8.3.1, 8.3.2, 8.5.1, 8.5.2, 8.7.2, 8.7.3, 8.8.1, 8.9.2, H.1.2, H.1.3, H.2.1,
H.2.2, H.3.1, H.3.2, H.4.2, H.5.2, H.7.2, H.8.1, H.9.1
Supplies
 Images of Chinese art from the IMA’s collection—female figure, noble lady (digitally
projected or printed out hardcopy)
 American Magazines, newspapers, images from the Internet
 Scissors, glue, paper, and pencils
Introduction
How does one define beauty? The ideals of beauty are different for every culture around
the world and standards have certainly changed over time. Aside from historical and
cultural standards, ‘consumerism’ now plays a large role in today’s ideals. For example,
in Brazil a woman’s hair (length, texture and color) is representative of her social class
while American society values a youthful appearance above all others. In the middle
ages of Europe and even China, pale/fair skin was treasured so much (as it still is with
some women today) that they would do anything to avoid getting a tan including using
face paints and whitening creams that contained toxic amounts of lead. In that time,
peasants and other outdoor laborers had dark tans, so as a result, the aristocracy
favored pale skin as a symbol of their wealth and status. Take a look at two specific
sculptures from China, depicting women and notice what was considered to be beautiful
during that time period.
Western Han Dynasty, 100 BCE
The female figure from the Western Han Dynasty is wearing a long robe that covers her
feet and hands. The viewer will see by the way her robe fluidly falls to the floor that she
has a very thin figure. Her facial features are delicate and she has a white complexion
and a simple short hairstyle.
On this graceful Han dynasty lady can be seen the traces of original black, red, and
brown painted details used to highlight her face and robes. With a slender body, knees
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slightly bent, and flowing robe, the figure evocatively represents the more ethereal ideal
of beauty popular during this early formative period of Chinese culture.
Tang Dynasty, 8-10th Century
Compared to the female figure from Western Han Dynasty, noble lady stands taller than
the latter. The difference in height is an indicator of social status; noble lady was more
than likely an important woman. In general, she is also much more round in proportion.
In the Western Han Dynasty through early Tang Dynasty, thin and elongated was
considered graceful and beautiful. As time went on, a plump figure became the ideal
because it was associated with wealth. Noble Lady is also wearing long robes, her
hands and feet hidden. Her facial features are a bit larger and her hair is done in a fancy
up-do.
Procedure
1. Compare the female figure and noble lady. What are the similarities and
differences? Ask students to discuss how these objects reveal information about
ideals of beauty when they were made.
2. Using magazines, newspapers, and images from the web ask students to create a
visual list of the idealized qualities of female beauty in U.S. culture. Accompanying
each image should be both pros and cons of this idea.
3. After creating the illustrated list, allow students to share their findings in small
groups noting any differences or similarities.
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Activity 7: Ceramics to Use and Admire
Recommended for Grades 6-12
One, 30-minute session
Objectives
 Students will investigate Chinese ceramics from a variety of time periods.
 Students will compare the stylistic qualities of a variety of Chinese ceramics.
Indiana Academic Standards
Visual Art: 6.1.1, 6.1.3, 6.2.2, 6.3.1, 6.3.2, 6.4.1, 6.5.1, 6.5.2, 6.7.2, 6.7.3, 7.1.1, 7.1.3,
7.2.2, 7.3.1, 7.3.2, 7.5.1, 7.5.2, 7.7.2, 7.7.3, 8.1.1, 8.2.1, 8.3.1, 8.3.2, 8.5.1,
8.5.2, 8.7.2, 8.7.3, H.1.2, H.1.3, H.2.1, H.2.2, H.3.1, H.3.2, H.4.2, H.5.2,
H.7.2
Supplies
 Images of Chinese art from the IMA’s collection—large jar, female figure, tomb
guardian figure, bowl with two violet spots, vase with peony scrolls, cong shaped
vase, covered jar with carp design, vase with dragon and cloud design, vase with nine
peaches (digitally projected or printed out hardcopy)
Introduction
From the earliest ages of the civilization of China the potter has held a unique position I
the social structure. While the farmer has cultivated what was immediately available for
the survival of the group of which he was a member, the potter has had a creative task,
to make vessels for storage, for cooking, and drinking, each essential in the chain of
activities required for survival. His work in early ages was confined to the production of
vessels of a purely functional character to suit the needs of the community, and if in
later times the forms he created were esteemed on aesthetic grounds, this was because
the his mastery of the clay medium was sufficiently secure for him to be able to use his
products as a vehicle for both invention and personal expression, the latter to some
extent always reflecting the artistic climate of the age in which he worked.16
Chinese ceramics, like those of any other culture, are to be viewed in terms of social
and economic structure, as well as of technology, in order to discover how they
developed. For they were intended for household and ritual use. It was possibly the
almost unequalled resources of suitable raw materials in nearly all parts of China that
made the use of ceramic materials so natural, and contributed to the long and virtually
unbroken tradition down to the present day.17
The potter’s primary purpose is to satisfy the needs of the community and himself. It is
essential to understand that pottery is a generic term that applies to all ceramic wares,
16
17
Margaret Medley, The Chinese Potter. p. 11
Margaret Medley. p.12
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including earthenware, stoneware and porcelain.18 Construction and decoration
evolved alongside each other. Sometimes they seem to keep pace with each other,
and sometimes decoration appears to be abandoned and left behind. Decorative
techniques tend to vary not only on different wares, but in different periods and even
regions. In fact the basic techniques in the decoration of earthenware can also be
applied to stoneware and porcelain, but social and aesthetic factors are constantly
seen in the evolution of ceramics in China.19
Neolithic
This large jar, from the period of Neolithic prehistory in China, reveals the delight in
linear design that was to become a prominent feature throughout the history of art in
China. The spiral lines of alternating black and brown are painted with bold brush
strokes on the hand-formed, reddish buff earthenware. Many similar pieces, encircled
by repetitive patterns, were discovered at the burial ground at Banshan, Gansu
Province, and they are typical products of the Yangshao culture, a civilization named
after that important Neolithic settlement in Henan Province.
Han dynasty
Sculptured tomb figurines eventually replaced human sacrifices prevalent in earlier
burials, perhaps reaching a highpoint in the excavated, life-sized ceramic figures from
the tomb of the first emperor of the preceding Qin dynasty (221- 106 BC). On this
graceful Han dynasty female figure can be seen the traces of original black, red, and
brown painted details used to highlight her face and robes. With a slender body, knees
slightly bent, and flowing robe, the figure evocatively represents the more ethereal ideal
of beauty popular during this early formative period of Chinese culture.
Tang dynasty
This tomb figure’s alert, defensive posture expresses great energy. His raised left hand
would have grasped a lance or pike. Though his fierce face looks rather naturalistic, the
curled, curving brow evokes this tomb guardian’s superhuman force. He stands on a
bull, which implies his power, but also establishes his kinship with a deity that came to
China from India with Buddhism; known as Virudhaka in Sanskrit, he is the guardian of
the south. South was the most auspicious orientation for palaces as well as tombs.
During the Tang dynasty, ceramic tomb figures were fired either glazed or unglazed,
then painted. This example, arguably the finest of its kind, combines both techniques,
and the sculpting, glazing, and painted face are all of the highest quality. The degree of
detail, such as the folded fingers of his right hand, the realistic posture, and the fluttering
cloth under his armor, is virtually unique. The maker’s mastery of the firing process is
evident in the handling of the three-colored lead glaze, which was allowed to run on the
bull’s flank but remains contained in the separate areas of the guardian’s garment.
Traces of gold on the buckles of his armor indicate that the figure was made for a
person of very high status.
Jin dynasty
18
19
Margaret Medley. p.13
Margaret Medley, p. 12
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Although many Chinese ceramics are marked by a precision of glaze design, Jun
wares of the 1100s exhibit an appreciation of the role of chance in the creation of
beauty. The seemingly casual, characteristic reddish-purple “splashes” were produced
using a copper glaze, the finished appearance of which was difficult to control.
Copper, which is extremely sensitive to firing, produces a range of effects that are
visible in this glaze. Its appearance after firing is often reddish-purple, but clumping
together of copper particles in the raw glaze can produce a grayish color instead.
Sometimes portions of the copper burn entirely away, leaving no color whatsoever.
Balancing the material’s unpredictability with deliberate choices about where to apply
the splotches of glaze, ceramists accepted certain spontaneity as part of their process,
and they created beautiful, abstract designs. Later Chinese ceramists turned away from
this trend toward complete artistic control and representational design. With the
development of more advanced overglaze enamels, ceramists eventually created
designs with the same certainty as oil painters.
Northern Song
Proportion is an important element of art. In objects like this vase with peony scrolls,
proportion is revealed in its silhouette, or its “line”. Chinese artists’ attention to and
esteem for a good line enabled them to create works of striking formal beauty. Chinese
ceramic objects have been widely admired for this property.
Descriptions of Chinese arts often employ rich metaphors, from the “bone” and “muscle”
of calligraphy to the “crown” and “slippers” of certain kinds of poetry. Ceramic vessels
share in this tradition: the base of a vessel is its “foot,” the opening its “mouth,” and the
parts in between its “body,” “shoulder,” “neck,” and so on. The appeal of each element
depends on its relationship both to other individual parts and to the whole. The
functional, saucer-shaped mouth of this vase may have less appealing were it not
balanced by the height of the neck on which it sits, the diameter of the body, and the
size of the foot.
The peony design on this vase was carved, or incised, through a “slip” a thin mixture of
clay applied over the body. The vessel was then covered with a clear glaze and fired.
Use of a slip improves adhesion of the glaze to the body; gives the coarse stoneware a
more refined, “expensive” look; and provides a contrast when incised to reveal the
darker body beneath. The taut curves of this peony evoke a sense of energy contained,
like a spring ready to be released. The energy of a line is important in all Chinese art,
from the inscribed to the painted, from the simple motifs to the most abstract
calligraphy.
Long appreciated for its colorful and fragrant blossoms, the peony is known in China as
the “King of Flowers” and the “Flower of Prosperity and Prestige.” Such noble heritage
seems to originate with Wu Zetian, the only woman officially to rule China as emperor
(690-705). Her passion for this flower instigated its appreciation by the masses of
officials who used it to advance their careers. Peony mania was so widespread that it
became more profitable for farmers to grow peonies than grain. While this eventually
led to economic disasters, the peony continued to be a popular motif in art and literature
throughout the succeeding dynasties.
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Southern Song dynasty
The unique color, depth and texture of Song dynasty celadon glazes are caused by a
play of light among small bubble, crystals and impurities. As minerals were more
refined and fired more efficiently, crystals and inclusions decreased, bubbles became
fewer and larger, visual depth and texture diminished, and the classic blue-green
celadon color changed.
One of the most difficult and important steps in making ceramics is the firing process.
Over the course of 7,000 years, accomplishments in Chinese ceramics often coincided
with innovations in kiln design. The earliest kilns were dug in pits and could fire only
simple earthenware.
Experimentation and discovery gradually led to more sophisticated designs and firing
methods that could carefully control temperature and atmosphere as was needed for
more complicated ceramics. As demand for Chinese ceramics increased in China and
abroad, massive kilns were built on an industrial scale. One type of kiln known as a
“dragon kiln” contained chimneys that stretched upward on hills like reclining dragons.
These “dragon” kilns spanned over 50 meter in length and could simultaneously fire
tens of thousands of pieces.
Chinese have always held a special appreciation for the physical qualities of objects –
their color, texture and patterns. This appreciation may account for the enduring
admiration of celadon glazes. But these glazes also resemble jade, the epitome in
Chinese culture of fineness in physical qualities. Jade objects were already prominent
in Neolithic rituals and ceremonies. As with bronze, however, jade came to be more
for decoration and secular purposes as time went on. The Cong-shaped vase alludes to
the original, ancient cong – ritual objects made from jade and produced in substantial
numbers.
Ming dynasty
The fish on this covered jar with carp design leap and dive among lush aquatic plants.
The fish are shown from an unusual vantage point, as if the viewer were underwater
too, or as if the jar itself were transparent. A rich variety of meanings is associated with
the motif, which has a long history in ceramic decoration. One of the better-known
associations is the exchange between two 4th-century BCE Daoist philosophers,
Zhuangzi and Huizi. Zhuangzi observed: “See how the fish swim as they please.
That’s what fish really enjoy.” When Huizi asked: “How do you know what fish enjoy?”
Zhunagzi replied, “You’re not I, so how do you know I don’t know what fish enjoy?”
The Ming dynasty witnessed the development of enamel overglaze decoration in a
palette of brilliant colors, produced by multiple firings. In the first stage, a cobalt-based
paint was applied beneath a clear glaze; when the piece was fired, bright blue designs
emerged against the white porcelain. Translucent enamels were then applied over the
glaze, and the work was fired a second time. Made in the imperial kilns, this covered
vessel is one of the few large, similarly decorated jars that demonstrate mastery of the
complex technique. It would have endowed its owner with great prestige.
Blue-and-white porcelain has been made since the fourteenth century. Initially, it was
little valued by the Chinese, apparently having been developed for export to the Near
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East. During the early Ming dynasty this ware was adapted to Chinese court taste, and,
in the Xuande reign the custom of using reign marks was established. In this
example—vase with dragon and cloud design—the reign mark is proudly displayed on
the shoulder and the painting of the dragon above a base of lotus panels is skillfully
executed in different intensities of blue that create the effect of shading on the dragon
scales and in the clouds. The blue pigment is of an unusual softness and depth. The
combination of strength and grace in the robust form of the vase and in the forceful
vitality of the painting is representative of the ceramic art of the Xuande period at its
finest.
Qing dynasty
Virtually all images in Chinese art operate symbolically. Drawn from what might be the
greatest symbolic repertoire of any culture, these images present meanings to be
decoded by the viewer. While the images themselves are rich in connotation, their
particular arrangement on a vessel often adds nuances of meaning.
The Chinese who first looked upon these vases would have seen much more than
pretty pictures of a mythical beast and some fruit. Good-natured and benign, the
Chinese dragon brings rain for harvests, symbolizes male fertility and is associated with
the emperor. Peaches connote longevity and bring to mind the mythical Queen Mother
of the West, who peach trees blossomed once every 3,000 years and offered
immortality to those who ate their fruit. Deathlessness is further suggested in this peach
design by the impossible coexistence of each stage of growth from buds and blossoms
to fruit. These vases present to their viewers the many wishes symbolized by dragons
and peaches.
Plays on words are common in Chinese culture. Some are straightforward and easily
decoded, such as the flying bat motif in visual arts. Because the pronunciation of “bat”
and “good fortune” is similar in Chinese, the presence of the one suggests the other.
Other word plays are more complex and present a sort of puzzle. Four seasons
depicted on the vase, for example, may seem a simple image. But “vase” in Chinese is
a homophone for “peace” and the vase would thus suggest peace in every season, or
continuing peace. Allusion in Chinese culture is often preferred to more “primitive”
direct reference.
The arrangement of the designs on these vessels affects their interpretation. Placed on
the shoulder of the vase, the peaches are made more prominent. The head of the
dragon is high on the vertical, rising surface – not on the shoulder where it might imply
lying down instead of majestically rising. Different techniques were used to create these
designs. The dragon on the vase with dragon and cloud design is an earlier,
underglaze design, or one applied to the raw ceramic surface before being covered
with glaze and fired. The peaches on the vase with nine peaches are a later, more
technologically advanced overglaze design, in which a palette of opaque enamels are
painted onto an already glazed and fired vessel before undergoing a second firing.
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Procedure
1. Using the Images of Chinese art from the IMA’s collection allow students to work in
groups to analyze the works.
2. Students should select a few objects to examine. Working together they should
investigate the following themes for each work selected:
 What is the function of this object?
 Are there visual clues about the historical origins of this work? Geographic
origins?
 What are the most interesting or notable visual elements of this work (shape,
texture, surface decoration, etc.)?
 How might the visual elements relate to the function, time period or physical
origin of this work of art?
For each theme students investigate, they should note what visual evidence
provokes each response.
3. Allow each group to present their findings to the class and facilitate discussion
amongst the groups about these objects.
4. Ask students to determine what types of things you can learn from looking at an
object and what types of things you must learn from other sources. How can they
learn these other things?
5. Help students discover other resources to learn more about the ideas generated in
discussion. The discussion activity can be used as a preparatory exercise for a
more in-depth writing assignment if desired.
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Lesson & Activity 8: Jade
Recommended for Grades 6-12
One, 30-minute session
Objectives
 Students will investigate the historical uses of jade in Chinese culture.
 Students will create their own work using jade that reflects contemporary Chinese
culture.
Indiana Academic Standards
Visual Art: 6.1.1, 6.1.3, 6.2.2, 6.3.1, 6.3.2, 6.4.1, 6.5.1, 6.5.2, 6.7.2, 6.7.3, 6.8.1, 6.9.2,
7.1.1, 7.1.3, 7.2.2, 7.3.1, 7.3.2, 7.5.1, 7.5.2, 7.7.2, 7.7.3, 7.8.1, 7.9.2, 8.1.1,
8.2.1, 8.3.1, 8.3.2, 8.5.1, 8.5.2, 8.7.2, 8.7.3, 8.8.1, 8.9.2, H.1.2, H.1.3, H.2.1,
H.2.2, H.3.1, H.3.2, H.4.2, H.5.2, H.7.2, H.8.1, H.9.1
Supplies
 Images of Chinese art from the IMA’s collection— blade with five holes, crested-parrot



pendant, peach-shaped jar with fungus-shaped box, coiled dragon
Jade donuts, jade good luck charms or other small jade pendants
Red satin cording
Website on Chinese knotting www.chineseknotting.org
Introduction
The role of jade is irreplaceable in Chinese material culture. Throughout the ages, jade
has been used to illustrate and demonstrate the power of rulers, the aristocracy and the
highest officials in the imperial system that ruled over the vast expanses of China.
Before the Ming dynasty, jade was available only to the highest classes of Chinese
society. As times changed, jades became available to the wealthy mercantile classes
who desired them for their historic symbolism. The subtle shift in ownership also
signaled the changes in power, with economic sway eventually replacing the absolute
authority of the mandate of heaven. Down to the present day, jade has represented a
mysterious, unbroken heritage which, coupled with the inexplicable belief in its magical
ability to heal, protect and harmonize the elements of the universe, continues to
mesmerize a wide spectrum of collectors.20
A descriptive term rather than the name of a specific material that in the West refers to
nephrite and jadeite, jade is notable for its hardness, toughness and attractive
appearance when worked into a variety of objects. Green is the color usually
associated with jade but many other colors are known. The hardness of jade has
always presented a challenge to those who mine and work it. Even though Chinese
Chinese Jade, “Relics of an Immutable Heritage – Jades from the Lan Tien Shan Fang Collection”, p.
151
20
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jades are often described as carved, the working of jade from ancient times to the
present day has always been achieved by abrasion with a harder material. In early
times without metal tools this was a slow and laborious process, and even with modern
abrasives jade cannot be worked rapidly. The first abrasive used in China was quartz.
The abrasive is applied with various tools. At an early date only bamboo or bone drills
were used. Metal tools, probably first copper and then iron, were another significant
advance, introduced in the late Zhou period (c. 1050–256 BC). Since jade was so
expensive and difficult to work, the pieces were often created with a minimum of change
to the contours of the stone and any discarded pieces were reused. Forms were
designed to coincide with the natural color variations in the mineral.21
These jade objects in the IMA’s collection show a range in date created, function,
color and form:
Neolithic period, about 7000-1700 BCE: blade with five holes, nephrite
The quality of workmanship, precious material, brittle nature, and abstract beauty of this
blade all indicate that it was not made primarily as a utilitarian object, but as a
ceremonial item, perhaps a symbol of authority, rather than a cutting tool. During
Neolithic, or “new Stone Age,” times, tools were made of stones selected for their color,
hardness, or ability to be polished. Fashioned from an unidentified bluish gray stone,
this extremely thin blade would have required great skill to cut from a rock. It might
have been bound to a handle through the three equal-size and tapered holes, but the
purpose of the two joined holes, drilled from the opposite side of the blade, is unknown.
Shang dynasty, about 1700-1045 BCE: crested parrot pendant, nephrite
The term “jade” is actually used for a wide variety of semiprecious hardstones that have
been revered in China since prehistoric times. This fine jade, fashioned as a profile of a
bird with double lines creating designs on the body, is quite similar to examples among
the 700 jades recovered from the tomb of a royal consort in the last capital of the Shang
dynasty. It probably served as part of an artistic ornament. Unlike people of other
civilizations who developed metal technology, the early Chinese rarely used metal for
bodily adornments, preferring natural materials, and the veneration they had for jade
may well explain why such pendants were among the more popular types of jewelry in
ancient China.
Qing dynasty, 1644-1911: peach-shaped jar with fungus-shaped box, nephrite
Jade vessels, long considered to be among the luxuries of life, were associated with
wealth and refinement. The peach-shaped brush washer with a covered box in the form
of a fungus was one of the writing accoutrements found on a scholar’s desk. The
scholar-official held an important position in traditional Chinese society, and his desk
and the implements on it were not only functional but of the finest materials and
represented his achievements and prestige. This ingenious brush washer
demonstrates the skill of the Chinese craftsman in making use of naturalistic forms in
the design of a utilitarian object. The elements on the brush washer are both decorative
and symbolic: the peach is an emblem on longevity, and the magical fungus, a lingzhi,
is associated immortality.
21
© Oxford University Press 2007
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Qing dynasty, 1644-1911: Coiled dragon, white nephrite
This object is a particularly inventive sculptural conception that departs from the
elongated, wingless dragon of Chinese tradition -- the tightly wound mythical beast coils
back upon itself like a swan at rest. The sculptor probably derived the compact
composition from the shape of the nephrite rock from which it was made, and cleverly
incorporated the discoloration produced by the weathering into the object’s design.
Neither photography nor gallery display can do justice to this tiny dragon, for it can only
be appreciated by handling and seeing it on all sides. Nephrite –the Chinese word
translated as “jade” means “beautiful stone” – is harder than steel and cannot be
carved, but must be ground or drilled using a slurry of abrasive off abrasive materials,
such as fine grains of quartz or jade filings. The grinding process, which is relatively
easy on planes, is extremely difficult on curved surfaces. Inferior polishing leaves many
small, flat sections, all of which can be seen under unforgiving light, but the surface of
this dragon is impeccable. This small work of art may have served as a paperweight
and would have brought enjoyment to anyone who had the opportunity to hold it.
Ancient tradition ascribed nine virtues to jade: benevolence, wisdom, righteousness,
proper conduct, purity, courage, refinement, tolerance, and gentleness.
Procedure
1. Using the Images of Chinese art from the IMA’s collection, show students the
variety of objects made from jade in Chinese culture.
2. Thinking about these objects, ask students to determine if jade seems to have been
historically rare or easy to find. What are the reasons for their determination?
3. Now introduce the jade donuts, lucky charms and/or pendants to the class. These
objects are regularly found hanging from rear-view mirrors, adorning doorknobs, in
Chinese homes, etc. Since jade, and reproductions of jade, are now more
commonplace, everyone can have a little piece of it.
4. Distribute a length of red cording to each student. [Optional]: An addition to this
activity would be to also distribute a jade donut, or other jade pendant, to the class
and to use the jade object within the knotting design.
5. Following the instructions found on the above Chinese knotting website (or another
website or book) assist students in making their own charm with the red cording.
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Glossary
allusion
an instance of indirect reference.
ancestor
a person from whom one is descended, especially if more remote
than a grandparent.
bronze
a mixture of copper and tin in various proportions, sometimes with
traces of other metals.
calligraphy
the art of fine handwriting; traditional Chinese calligraphers use
brushes to create their works.
cast/casting
to form an object by pouring metal, plaster, etc., in a fluid state into
a mold and letting it harden.
celadon
a type of porcelain or pottery having a pale green glaze, originally
produced in China.
cong
ritual objects made from jade and produced in substantial numbers
in Neolithic times.
Daoism
philosophical system developed by of Lao-tzu and Chuang-tzu
advocating a simple honest life and noninterference with the course
of natural events.
Deity
a god or goddess; a divinity.
division of labor
the breakdown of work into its tasks or parts and assigned to
various people, groups, or machines for the purposes of efficiency
dynasty
a succession of rulers from the same family line; the basic political
structure of China until 1911.
earthenware
pottery of baked or hardened clay, esp. any of the coarse, opaque
varieties.
hand scroll
a portable horizontal painting format, typically with one horizontal
composition, which is rolled for storage when not on display. The
painting, on paper or silk, is mounted to backing papers for support.
Although the hand scroll is often shown in its entirety in museum
displays, historically a hand scroll would be viewed by one person
who would unroll the painting from right to left in sections.
hanging scroll
a portable vertical painting format with one vertical composition
which is rolled for storage when not on display. The painting, on
paper or silk, is mounted to backing papers for support and
decorative borders are added to the edges. The hanging scroll is
displayed by hanging the painting from a cord. Once hung the
entire composition is presented.
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I Ching
A Chinese book of ancient origin consisting of 64 interrelated
hexagrams along with commentaries attributed to Confucius. The
hexagrams, originally used for divination, embody Taoist
philosophy by describing all nature and human endeavor in terms
of the interaction of
yin and yang. Also called Book of Changes.
jade
either of two distinct minerals, nephrite or jadeite. Commonly pale
to dark green in color but sometimes whitish. It is very hard and
compact, capable of fine polish, and is used for ornamental
purposes and for implements, especially in Eastern countries and
among many early peoples.
kiln
a brick or stone-lined oven used to bake or fire ceramics.
Literati
painters who practiced outside the more restrictive confines of the
court and who were members of the scholar–official class, for
whom amateur painting and calligraphy was a means of expressing
intellectual and moral superiority to the professional court painters.
Lingzhi
the sacred mushroom, fungus of immortality, that by legend could
only be found by the stag or phoenix; lingzhi literally means “sacred
fungus”.
lost wax process a process of investment casting in which a refractory mold is built
up around a pattern of wax and then baked so as to melt and drain
off the wax.
Mandate of
Heaven
the belief by which Chinese emperors ruled, that they divinely
selected.
The Mandate of Heaven is based on four principles: the right to rule
is granted by Heaven; there is only one Heaven therefore there can
be only one ruler; the right to rule is based on the virtue of the ruler;
and the right to rule is not limited to one dynasty.
nephrite
a compact or fibrous variety of actinolite, varying from whitish to
dark green: a form of jade.
overglaze
technique in which opaque enamels are painted onto an already
glazed and fired vessel before undergoing a second firing.
porcelain
a hard, white, translucent ceramic made by firing a pure clay to a
very high temperature and then glazing it with variously colored
materials.
proportion
agreeable or harmonious relation of parts within a whole; balance
or symmetry.
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seals
Chinese seals are stamps made of bronze, gold, silver, jade, ivory,
wood or stone, used as a sign of rank for government officials and
for the authentication of documents or works of art. © Oxford
University Press 2006
slip
clay reduced to a liquid, often creamy in consistency, by the
addition of water.
slurry
a thin mixture of a liquid, especially water, and any of several finely
divided substances, such as cement, plaster of Paris, or clay
particles.
stoneware
a hard, opaque, vitrified ceramic ware.
Three Perfections in Chinese art, the arts of painting, poetry and calligraphy are
referred to as the “Three Perfections”, as there is a close
interconnection between these three arts.
underglaze
technique in which a design is applied to the raw ceramic surface
before being covered with glaze and fired.
Yin and Yang
(in Chinese philosophy and religion) two principles, one negative,
dark, and feminine (yin), and one positive, bright, and masculine
(yang), whose interaction influences the destinies of creatures and
things.
zodiac
a cyclical dating method using twelve animals to represent each
year in the twelve-year cycle.
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Chinese Dynasty Timeline
Neolithic period, c. 5000-1500BC
Shang Dynasty, c. 1766 - 1122 BC
Zhou Dynasty, 1122 - 256 BC
Western Zhou Dynasty, 1122 - 771 BC
Eastern Zhou Dynasty, 771 - 256 BC
Qin dynasty, 221 - 206 BC
Han dynasty, 206 BC - AD 220
Western Han, 206 BC - AD 9
Eastern Han, AD 25 - 220
Six dynasties, AD 220 - 589
Northern dynasties, AD 317 - 581
Northern Wei dynasty, AD 386 - 535
Southern dynasties, AD 420 - 589
Sui dynasty, 581 - 618
Tang dynasty, 618 - 907
Five dynasties, 907 – 960
Song dynasty, 960 - 1279
Northern Song, 960 - 1127
Southern Song, 1127 - 1279
Yuan dynasty, 1280 - 1368
Ming dynasty, 1368 – 1644
Qing dynasty, 1644 - 1912
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Activity Image List
Activity 1: The 3 Perfections
Three Catalpa Trees, about 1481
Shen Zhou, 1427-1509
Ming dynasty, 1368-1644
ink on paper
Gift of Mr. and Mrs. Eli Lilly
60.140
Activity 2: The Silk Road
saddled horse, 700s
Tang dynasty, 618-907
earthenware with lead glaze
Gift of Mr. and Mrs. Eli Lilly
60.75
pack camel
Eastern Wei Dynasty, 534-557
stoneware
Mrs. Pierre F. Goodrich Endowed Art Fund
2001.383
camel with rider in foreign dress, early 700s
Tang dynasty, 618-907
earthenware with paint
Gift of Mr. and Mrs. Eli Lilly
60.26
Activity 3: Chinese Zodiac
vase with dragon and cloud design, 1426-1435
Ming dynasty, 1368-1644
Xuande period
porcelain with underglaze blue
Gift of Mr. and Mrs. Eli Lilly
60.82
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saddled horse, 700s
Tang dynasty, 618-907
earthenware with lead glaze
Gift of Mr. and Mrs. Eli Lilly
60.75
seated shar pei dog, about 100
Eastern Han dynasty
ceramic
Eleanor Evans Stout and Margaret Stout Gibbs Memorial
Fund in Memory of Wilbur D. Peat, Director of the
Indianapolis Museum of Art 1929-1965
1999.2
Chinese Astrological Chart
Activity 4: Dragons
vase with dragon and cloud design, 1426-1435
Ming dynasty, 1368-1644
Xuande period
porcelain with underglaze blue
Gift of Mr. and Mrs. Eli Lilly
60.82
striding dragon
Five Dynasties, 907-960
stone with traces of pigment
Eleanor Evans Stout and Margaret Stout Gibbs Memorial
Fund in Memory of Wilbur D. Peat, Director of the
Indianapolis Museum of Art 1929-1965
1999.1
Activity 5: The Technology of Bronze
ritual container (gui), about 900 BCE
Western Zhou dynasty, 1045-771 BCE
bronze
Gift of Mr. and Mrs. Eli Lilly
60.44
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ritual wine server (guang), about 1100 BCE
Shang dynasty, 1700-1045 BCE
bronze
Gift of Mr. and Mrs. Eli Lilly
60.43
wine container for Yi, the earl of Zeng, about 800 BCE
Western Zhou dynasty, 1045-771 BCE
bronze
Marian and Harold Victor Fund
1994.80
canteen, about 300 BCE
Eastern Zhou dynasty, 770-221 BCE
bronze with silver and gold inlay
Richard M. Fairbanks Endowed Art Fund
2002.139
Activity 6: What is Beauty?
female figure, about 100 BCE
Western Han dynasty
earthenware with paint
Gift of Mr. and Mrs. Eli Lilly
60.74
noble lady, 700s
Tang dynasty, 618-907
earthenware with paint
Mr. and Mrs. William R. Spurlock Fund and Gift of
the Alliance of the Indianapolis Museum of Art
1996.320
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Activity 7: Ceramics to Use and Admire
large jar, about 2500 BCE
Neolithic period, about 7000-1700 BCE
earthenware with paint
Gift of Mr. and Mrs. Eli Lilly
60.144
female figure, about 100 BCE
Western Han dynasty
earthenware with paint
Gift of Mr. and Mrs. Eli Lilly
60.74
tomb guardian, 700s
Tang dynasty, 618-907
earthenware with lead glaze, ink, and gold
Richard M. Fairbanks Endowed Art Fund
1997.1
bowl with two violet spots, 1200s
Jin dynasty, 1115-1234
stoneware with opalescent blue glaze, Jun ware
Gift of Mr. and Mrs. Eli Lilly
47.131
vase with peony scrolls, about 1000
Northern Song dynasty, 960-1127
stoneware with slip and clear glaze, Cizhou-type ware
Gift of Mr. and Mrs. Eli Lilly
47.153
cong-shaped vase, 1200s
Southern Song dynasty, 1127-1279
stoneware with green glaze, Longquan ware
Gift of Mr. and Mrs. Eli Lilly
47.154
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covered jar with carp design
Ming dynasty, 1368-1644
Jiajing period, 1522-66
porcelain with underglaze blue and overglaze enamels
Gift of Mr. and Mrs. Eli Lilly
60.88
vase with dragon and cloud design, 1426-1435
Ming dynasty, 1368-1644
Xuande period
porcelain with underglaze blue
Gift of Mr. and Mrs. Eli Lilly
60.82
vase with nine peaches
Qing dynasty, 1644-1911
Qianlong period, 1736-95
porcelain with enamel decoration
Gift of Mr. and Mrs. Eli Lilly
60.116
Activity 8: Jade
blade with five holes, about 2000 BCE
Neolithic Period, about 7000-1700 BCE
stone
Gift of Mr. and Mrs. Eli Lilly
60.51
crested parrot pendant, 1200s BC
Shang dynasty, about 1700-1045 BCE
nephrite
Gift of Mr. and Mrs. Eli Lilly
60.66
peach-shaped jar with fungus-shaped box, about 1700
Qing dynasty, 1644-1911
greenish-gray nephrite
Gift of Professor and Mrs. R. Norris Shreve
71.11.4
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coiled dragon, about 1700
Qing dynasty, 1644-1911
white nephrite
Gift of Professor and Mrs. R. Norris Shreve
71.11.6
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Bibliography
Cheng, Francois. Empty and Full: The Language of Chinese Painting. Shambhala:
Boston, 1994.
Fang, Jing Pei. Symbols and Rebuses in Chinese Art: Figures, Bugs, Beasts, and
Flowers. Ten
Speed Press: Berkeley, 2004.
Kwok, Man-ho. Chinese Astrology. Tuttle Publishing: Boston, 1997.
Lin, Anthony. “Relics of an Immutable Heritage – Jades from the Lan Tien Shan Fang
Collection” from Chinese Jade: Selected articles from Orientations 1983 – 1996.
p.161-163.
Medley, Margaret. The Chinese Potter: A Practical History of Chinese Ceramics.
Phaidon Press
Limited: London, 1998.
Mino, Yukata and James Robinson, Beauty and Tranquility: The Eli Lilly Collection of
Chinese Art. Indianapolis Museum of Art: Indianapolis, 1983.
Tucker, Jonathan. The Silk Road: Art and History. Philip Wilson Publishers: London,
2003.
Welch, Patricia. Images of Asia, Chinese New Year. Oxford Press: New York, 1997.
Zong-feng, Hu. Cultural Background of China’s Folk Customs. China: Northwest
University: Xian, 1988.
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