by Rachael Nnabuife and Mads Eikinas

Intro

In this chapter, we will be discussing the large range of contexts and messages that are associated with zoomorphic images across East Asian art. We chose this subject as we are both passionate about animals and interested in the way that the relationship between humans and animals has shifted throughout time and cultures.

Zoomorphic designs are figures that have part human and part animal features. It is a common symbol in East Asian art and can be symbolic of a wide range of ideas and concepts. Zoomorphic design can be seen in a variety of contexts, from religious and mythological to decorative and functional design elements. Overall, zoomorphic design in East Asian art is rich and varied in tradition, with deep roots in mythology, religion, and culture, as is true of all Asian Art. The use of animal motifs allows for a connection to the natural world and can carry a wide range of symbolic meanings. In this chapter, we will explore the different associations with zoomorphic design across East Asia through the cultural background and intrinsic qualities. The images selected feature a variety of representations and symbols and are from differing areas within East Asia. We chose a diverse set of art pieces to convey the vast differences present in different zoomorphic art and how they relate back to humanity.

Japan

The Jigoku Zoshi scroll hosts a series of ink-painted scenes from the nine different levels of hell. The artist along with the reasons for the creation of this disturbing piece is unknown. One of the scenes in the Hell Scroll series is titled Hell of Shrieking Sounds. The image is about monks who spent their life torturing animals and face the consequences of this in the afterlife, as they are then tortured by zoomorphic beings. These scrolls were most common in the Heian Period in Japan during the 13th century. It reminded the audience of the suffering that would result from immoral actions during their lifetime.

It shows naked monks sloppily running away from grotesque, animal-headed demons and running into an inferno of fire. The demons are wearing no clothing besides a small cloth and are carrying sticks with whips on the end. Two monks run away from the zoomorphic figures while looking back with horrified facial expressions. Two other monks suffer as they are engulfed in flames. The primary colors on the scroll are red, orange, and yellow. The art features solely warm colors. There are fire flares that protrude from the main fire source in the inferno. The monks are twisted into painful positions that portray their fear and pain.

This signifies the cultural importance of treating all beings with respect and kindness, which is an idea that is integral to Buddhist philosophy. The purpose of these scrolls is to create visceral reactions in the audience that would deter them from committing these sins. There is irony in the zoomorphic creatures chasing the monks, as the monks once attacked animals, and now they are being attacked by animals. The use of warm, vibrant colors conveys the emotional intensity of this scene and further feeds horror in the audience. The Hell of Shrieking Sounds Scroll terrifyingly features zoomorphic figures to teach a moral lesson to the audience, so it has roots in religion and culture. It is a prime example of zoomorphic images in East Asian art because of this.

India

This copper alloy statue made in India around 880 to 1279 CE depicts Narasimha, an incarnation of Vishnu. This deity is shown in a meditative pose and state after defeating Hiranyakashipu, an evil monarch. The story is that Hiranyakashipu tricked Brahma, the deity of creation, into casting a protection spell on him, so he would be invincible and could not be harmed. Narasimha, with his purpose of removing evil and negativity from life, came to kill Hiranyakashipu and restore peace and tranquility. Narasimha is an incarnation of Vishnu, the god of preservation. But, Narasimha has a slightly different set of representations, including hope against all odds, and destruction of evil that is both internal and external.

The statue has a human-like body that is sitting cross-legged. He has the head of a lion. Narasimha has a hat, pointy ears, a mane around his face, and large fangs that protrude from his mouth. He wears a lot of jewelry such as rings, arm cuffs, and bracelets. Two of his arms are raised, with elbows resting on his knees. His other two arms relax and rest in meditation. It is theorized that his raised arms once held a discus (chakra) and a conch.

In East Asian art, lions are typically symbolic of strength and stability. Narasimha’s firmness in his meditative stance supports this idea as well. He is depicted in a serine way, without malice or fear. This contrasts the way zoomorphic images were usually shown at this time, as they typically induced emotions of fear and disgust at their unnaturally. The statue of Narasimha served to remind practitioners of the balance and kindness that can be maintained while fighting evil or things that block the path to enlightenment. The deity looks peaceful because took the difficult but morally correct course of action by slaying the evil king. It conveys the idea that harmony and tranquility can be found in moral actions and deeds.

(Creator unknown, “Seated Ganesha”, 7 ½ in, ivory, 16th century, India, Odisha, Metropolitan Museum of Art, Gift of Mr. and Mrs. J. J. Klejman)

The Hindu god is depicted in this Ganesha artwork as a fat infant with an extravagant hairstyle and an embellished dhoti (waist cloth). He influences both the creation and removal of barriers and obstacles because he is the son of Shiva and Parvati. He holds snakes and an elephant goad in his two uplifted hands. His shattered tusk is in his lower hands, along with a bowl of candy. This sculpture served as a treasured item of personal devotion because of its intimate scale and exquisite detailing.

This image of Ganesha is very calm and serene. When looking at the elephant’s head, the audience can immediately see the extravagant headpiece that crowns the deity. Ganesha stares directly and purposefully at the audience, almost to intimidate the people into recognizing his divinity, contrary to his peaceful stature. Ganesha has a broken tusk on the left side of his face. This represents self-sacrifice for the greater good. When looking at Ganesha’s body, it is shown that he has the build of a fat infant with four arms. And on one of their arms, he holds Modak, a sweet Indian delicacy that is believed to be his favorite dish. The round sculpture is made with light brown ivory which makes the image appear pleasant and warm to the audience.

Ganesha’s cute, pleasant physique is uniquely different from how other zoomorphic deities are represented to look more frightening, while he is depicted in a welcoming and serene way. Although he seems cute and cuddly, he still maintains the wisdom and strength necessary to reach enlightenment. He brings peace and removes obstacles for humanity, so the sculpture’s serenity reflects his purpose.

This painting illustrates a scene from Rama’s life. He was an incarnation of the deity Vishnu, the god of protection. In this scene, he saved his wife from evil, zoomorphic demons. Here, he had to do the morally correct, but hard thing to restore peace, unity, and stability to the world, which was being threatened by the demons. His supporters fight against the demons alongside him. Rama was a culturally significant figure, as he lived his whole life by Dharma rules, and without sinning.

The painting depicts two human-like figures on top of a small hill. They have gray and pale skin and are decorated with gold jewelry, including crows. One wears light pink clothing, while the other, Rama, wears bright yellow cloth. Both are carrying bows, but only Rama aims at him, ready to shoot at the demons below. Monkeys of tan and light gray fur support Rama’s efforts by battling the demons, holding sticks as weapons. The demons are zoomorphic and are composed of vibrant colors. They flail about as they fight back. The bottom of the painting is mainly populated with these human-animal demons and is maximalist and chaotic. In the distance of the painting, there is a body of water, upon which boats float, and a golden palace-looking structure with more, unidentifiable, figures within it.

This painting signifies the chaos and complications of war and taking the moral path of action. Animals are on both the side of good and evil, as there are monkeys that are assisting Rama and zoomorphic demons battling him. This highlights the complexities and the wide range of the kinds of relationships humans and animals can have. Rama and his wife are on top of the hill, which signifies both their divinity and their winning of the battle. The bright colors and maximalist design serve as a juxtaposition to the brutal scene depicted and bring attention to the pain and horror inherent in war.

At this time, the Rajasthan State was beginning to experience Western influence but was trying to resist this. The painting served as a preservation of culture, ideals, and lifestyle. At the beginning of the 1800s, the people of this area began to engage in different battles. Eventually, the Rajasthan people signed a treaty with the British. During this, a nearby empire, the Maratha Empire began to expand its power and sphere of influence and reached the Rajasthan State. This led to more confrontations and battles between these two civilizations. This painting was made during a time of uncertainty and devastation, but it attempts to preserve hope and culture.

This composite painting shows a figure that is composed of parts of many different beings and animals. The figure has a human head and neck, decorated with headdresses and jewelry. Its body is composed of bears, tigers, lions, and rams. Its feet look like pig or dragon heads with open mouths, out of which many peacocks poke their heads out, to look like talons or nails. The base of the tail is the tail of one of the lions, but the tip is a camel head. The being also has green, white, and red wings. A blue halo around the figure’s head walks across a nondescript background, with varying shades of blue and green. This painting shows a being that is imagined, and is outside of what is considered ‘normal’. People at this time would have never seen a being that looked like the one in the art piece. It is somewhat difficult to categorize or determine what each animal is, as they are not always shown in their entirety and they are in such proximity to other beings. The animals are so close to each other, they look like they are in harmony and almost cuddling.

All of the individual animals working together to form one larger being illustrates their unity and harmony. This is symbolic of the many parts of the mind that must work together and respect each other to reach enlightenment and endure hardship. The nondescript background suggests that this image is more symbolic than literal, as the themes and ideas that emerge from this piece can be applied to many different situations. Tigers are often seen as a guardian of deities, so in this image, they could be representative of protection and uniting. The Composite Winged Animal painting has a zoomorphic image that serves to teach a moral and religious lesson through a positive example.

Indonesian

Hindu deity Garuda, who is half bird, half man, represents the strength of the sun and is renowned for fighting dangerous serpents. He typically appears in art as Vishnu’s mount or vehicle. In this instance, Garuda is carrying Krishna, a manifestation of Vishnu, who is not only riding on Vishnu’s mount but is also carrying his war discus (chakra). He makes a warning gesture with the index finger of his open left hand while standing energetically on top of Garuda’s head and shoulders. According to legend, Krishna frequently flew out to engage in combat on the back of a Garuda. According to a Javanese folktale, Garuda stole the potion of immortality from the gods, who believed it was well guarded by two deadly snakes.

This more miniature sculpture depicts two figures stacked on top of each other, with Garuda- the half-bird god-seated at the button. He is seated in a Blessing position as he flies away in the air with Krishna. The relaxing posture of Grishna with the fierce expression on his face shows his sanctity even in the heat of battle, almost as if he is meditating mid-flight. His jaded wings majestically spread across his body and his tail feathers are so detailed as it droops down his body. Krishna on the contrary is depicted more as playful and almost comical. The sculpture shows how he mounts Garuda with a lively stance. His arms are flared outward with a flute in his right hand, while he uses his one leg to balance on the shoulder of Garuda.

Krishna on Garuda is often depicted in art as a powerful and majestic image, but it also shows trust and friendship. With Garuda soaring through the sky serving as a vehicle to Krishna to rescue him from his captivity, this serves as a symbol of the triumph of good over evil and the power of devotion to the gods. It teaches people to venerate gods of justice and how strong relationships can form powerful bonds that destroy evil.

Tibet

This sculpture depicts the God of destruction Vajrabhairava. He has the head of a buffalo and a body of a man, with many arms. Each hand holds a weapon or an instrument of some sort. Across his waist is a belt chained with many severed heads. And to his feet, there are bright flames spread across the elevated platform where the sculpture stands. The flames symbolize the transformation of negative emotions into positive qualities. These flames represent the process of purification and the burning away of ignorance and delusion. His eyes, nearly bulging out of his head, stare intensely at the audience, as if he is looking into their soul. This piece stands 30 inches tall with maximalist designs. The red, gold, and black color schemes make the sculpture appear loud and overwhelming in a sense. It gives the piece the shocking reverence that it deserves.

Intrinsic qualities of this Vajrabhairava include its intricate and detailed design, which is meant to inspire a sense of awe and reverence in the viewer. It is also intended to help practitioners cultivate the qualities of detachment, wisdom, and compassion, which are central to Buddhist practice. His frightening stature is used to scare away the ego and other negative attributes that prevent enlightenment. Although terrifying, Vajrabhaiavra stands for humanity and wants every to reach the highest level of enlightenment that one can achieve.

This Tibetan statue shows the deity of death, Vajrabhairava, engaging in sexual intercourse with his consort. Vajrabhairava has a buffalo head, a belt of skulls, and countless arms. He and his consort are stepping on a pile of suffering humans as they engage in this act. Vajrabhairava holds the female close and exposes his claws in doing so. The deity has the head of a buffalo, with large ears, eyes, nose, and mouth. The two figures have sex in the center of a circle, and circular visual motifs can be found throughout the art. The perimeter of the circle around them is covered in heads that look like skulls.

The significance of the god of death is different in East Asia from a Western view of it. In Tibetan society, the God of death frees beings from the cycle of reincarnation and saves them from the suffering inherent to existence. When people reach enlightenment, they are allowed to fully die and end the cycle. He is known as a terrifying and wrathful deity. The statue is made of semi-precious metals, so it was an art piece of great respect and cultural significance. The figures are in a tantric pose, which means they are meant to be meditated with. In this process, the practitioner

Vajrabhairava having intercourse with a human is symbolic of the release that he provides when he kills beings and prevents them from being reincarnated. Visually, he provokes fear in the audience, which is supposed to scare away the ego and other qualities that prevent people from reaching enlightenment. Vajrabhairava is zoomorphic, as he has a head of a buffalo, which can be observed by his big eyes, fangs, and large nose. The animalistic and barbaric qualities of the art are meant to be grotesque. But their goal of scaring away qualities or personality traits that block the path to Nirvana evokes positive connotations. This juxtaposition shows the audience that scary and fearful animals are not evil just because they look like they are. This zoomorphic figure has roots in both religion and mortality and illustrates the complex relationship that can arise between humans and animals. When examining this piece through a lens of gender inequality, it is apparent that the male holds power and respect that his consort does not. This is true because, without the female, Vajrabhairava’s position would make sense. However, without Vajrabhairava, the consort’s position would not look natural. Also, the female is much smaller in size than the deity, and she faces away from the audience, while Vajrabhairava makes eye contact with them

Mongolia

This golden plaque was produced by the Xianbei people. They were largely nomadic, traveling across modern-day China and Mongolia. The Xianbei people did not settle down to a sedentary lifestyle until the end of the fourth century after they had been defeated multiple times in battle. This plaque dates from anywhere in the third to fourth centuries, so it was made during a depressed and tumultuous time.

There are many interesting intrinsic qualities of this plaque. It is made of gold and is ten by 5.8 centimeters. It features a minimalistic design, with features often reduced to lines. There is a human figure in the center, with facial features represented by simple lines. The upper body of the human is also represented by a single line, which begins to merge with the animals on either side. The human’s legs are open and have feet that appear to rest on the two animals’ claws. The human is symmetrically surrounded by two animals that approach from either side. Their faces are in a frontal view, which shows their eyes, noses, and large manes. The animals’ tails and arms twist into a bendy S-shape.

The two animals are depicted in a way to show their strength and power, as their claws, faces, and manes are on display. The zoomorphic figures blend animal and human features in a way that shows harmony and mutual respect. This is indicative of the time period in which it was made, as the Xianbei people were nomadic, and mutually inhabited the same space as animals. This resulted in mutuality and trust that is not present in agro-pastoral societies, which creates a power difference between animals and humans, as it makes animals into beings that must be domesticated and farmed for human benefit. During this nomadic period, horses were not used for transportation or status, so they were seen as mutual to humans that deserved respect and trust. The plaque represents this, as it equates humans and animals and does not recognize any divide between the two beings. Although settlement changed this mentality, the mutual respect between humans and all other beings remained a Buddhist principle.

China

These two zoomorphic pieces both come from the Sogdian people from the Tang Dynasty period. The legacy of the Sogdians can be seen in the art, architecture, and cultural traditions of Central Asia and China. Their role in the flourishing of trade and cultural exchange along the Silk Road remains a testament to the enduring importance of cross-cultural communication and cooperation.

The first bronze zoomorphic sculpture is known in Sogdian culture as a god of dancing, drinking, and partying. This booze figure stands only 14 centimeters tall. It shows a female Sogdian dressed in a long flowing skirt and a hairpiece wrapped around its head. This stature is twirling its one foot on top of a lotus, as its beetle-like hands flare up in the air. and its hair is tied up in a way that resembles a horn/stinger. This figure represents celebration and victory in the Sogdian culture.

The other Sogdian sculpture is the “Tomb Guardian Beast with the Face of a Sogdian”. During the Tang dynasty in China, tomb guardian beasts were a popular feature in burial sites. These beasts were believed to protect the tomb and its occupants from evil spirits and other negative forces.

This guardian has a very proud and stern stance, similar to that of a mounted lion. When the audience views this piece they cannot help but feel protected and secure with its confident stance. This sculpture has a fierce expression that symbolizes its protective power and authority. Its snarling mouth, bulging eyes, and sharp teeth convey a sense of strength and ferocity. The most obvious zoomorphic feature of the beast is its human face. Its Sogdian Features include the sculpture’s pointed beard and prominent nose in its design. This may reflect the cultural exchange and influence between China and Central Asia during the Tang dynasty, as well as the status of the Sogdians as skilled merchants and traders.

Although it appears faint there are some ornate details included in this guardian statue. Including intricate patterns on its fur, a bejeweled collar around its neck, and decorative motifs on its forehead and back. These details may have been intended to emphasize the creature’s power and status as a guardian

Conclusion

After taking this course and doing more specific research on Zoomorphic designs, we have a better understanding of what Asian Art is. Historical and Cultural Significance, Religion, and Asia’s Natural Geography are the main components of Asian Art. Art was used as an instrument to spread this wide variety of rich cultures throughout Asia. For example, the mandalas in Buddhism have been used for guidance and meditation. The thousands of Buddhist sculptures of monks, scholars, deities, and the Buddha himself are used to honor and venerate these icons, as well as provide protection. This same concept goes along with Hindu deities that are located in the south or royal figures in the north.

Asian art depicts the culture and lifestyle prevalent in that area, at that time. It features every aspect of this, from royal figures to commoners, and from holy deities to evil demons. This is the heart of Asian art and is what makes it impactful and iconic. Nature and wildlife are big parts of Asian culture, especially in Asian religion. Nature is used as a vehicle to guide humans to a path of abundance, peace, and tranquility. The relations between humans and wildlife vary with geographical location and morality which is often rooted in religion. As people transitioned from being hunter-gatherers to agricultural societies where animals are domesticated and crops are farmed, humans and nature started to relate in different ways, and humans began to have feelings of dominance and importance over wildlife and other beings. However, Buddhism, a religion very common in East Asia, still puts a value on all life. This creates cultures that have complex and intricate views and relationships with other beings and animals. This can be observed through the examination of zoomorphic figures in East Asian art, as these beings are presented in a large range of contexts and are representative of a variety of things. They also invoke a variation of emotions in the audience and serve different purposes. For example, some zoomorphic figures were intended to be seen as cute and cuddling, to teach practitioners the importance of having a harmonious mind in reaching enlightenment. Other figures invoke terror and disgust and aim to scare away the qualities in humans that prevent reaching enlightenment, such as the ego. In general, Asian art depicts the culture and lifestyle prevalent in that area, at that time. It features every aspect of this, from royal figures to commoners, and from holy deities to evil demons. This is the heart of Asian art and is what makes it so impactful and iconic.

Sources:

https://www.jstor.org/stable/26858221

Vajrabhairava

https://africa.chinadaily.com.cn/weekly/2018-11/30/content_37335466.htm

Vajrabhairava

https://sogdians.si.edu/objects/

https://www.mdpi.com/2076-0752/11/6/129

Lecture slides 9 & 11 104.4a Tibet and Nepal

Academic Texts: Fisher Tibetan art ch.2 structures objects image page 110.

Sherman Lee’s chapter “Beginnings of Japanese Art Styles”, pages 78-99

Zhang, Fan. 2022. “Xianbei Zoomorphic Plaques: Art, Migration, and Human-Environment Entanglement” Arts 11, no. 6: 129. https://doi.org/10.3390/arts11060129

http://searchcollection.asianart.org/view/objects/asitem/search@/116?t:state:flow=c4635648-b92f-4c84-86ba-7b5eb65d69a

Zoomorphic Design in Asia and its Cultural Significance

Intro

Japan

India

Indonesian

Tibet

Mongolia

China

Conclusion

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Intro

Japan

India

Indonesian

Tibet

Mongolia

China

Conclusion

Sources:

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Browse