Topic: Unit response 5

Order Description

submit a 500-700 word response summarizing your research and thoughts on that unit’s topic. Use the content of each unit (and its required reading/viewing) to guide

you. In particular, focus on the “For Discussion and Reflection” questions and suggestions presented at the end of each chapter of the texts. Write a summary of the

attached files including video links provided answer the questions under the text

Unit Response 5
Learning Objectives
At the end of this unit, you should be able to:
•    Further develop your understanding of the relationship between ancient visual arts, archaeology, tourism, and economic development.
•    Describe and explain the use of ancient visual arts in modern tourism promotion, particularly in the case of the Terracotta Army of Xian, China and the Tale of

Genji.
•    Further develop your understanding of the intellectual property rights issues invoked by the use of by ancient visual arts in “making life meaningful” and in

tourism promotion.
•    Reflect critically on what you’ve learned in this unit and write an individual report that summarizes your thoughts.
Username: yla252
Password: yan138601
It is for all the links requires a log in
Image gallery

https://canvas.sfu.ca/courses/16671/files/1506753

http://www.bradshawfoundation.com/china/yinchuan_rock_art_museum.php

http://www.bradshawfoundation.com/china/rock_art_helan_mountains2.php

http://www.bradshawfoundation.com/china/helan_mountains_gallery.php

http://www.bradshawfoundation.com/china/itinerant_creeds/index.php

http://www.bradshawfoundation.com/china/dazu/index.php

http://www.bradshawfoundation.com/china_tiger/index.php

http://digital.films.com.proxy.lib.sfu.ca/PortalViewVideo.aspx?xtid=36127&loid=49815

http://digital.films.com.proxy.lib.sfu.ca/PortalViewVideo.aspx?xtid=2153&loid=11621

http://www.metmuseum.org/toah/ht/?period=06&region=sss

http://www.tokugawa-art-museum.jp/english/

http://digital.films.com.proxy.lib.sfu.ca/PortalViewVideo.aspx?xtid=31140

Archaeology and Tourism
One of the most famous works of art we will encounter in this course is the Terra Cotta Warriors and Horses of Qin Shi Huang, the First Emperor of China, dating from

210 BCE. The museum built near his tomb receives large numbers of visitors every year, both from within China and from abroad. In 2007 and 2008, 20 terracotta warriors

were displayed at theBritish Museum (Links to an external site.) in London. This exhibition was the British Museum’s most successful exhibition since the King

Tutankhamun (Links to an external site.) exhibit in 1972. I was lucky enough to be in London in 1972, and remember waiting in a very long line up to see King Tut. The

lineups for the Terra Cotta Warriors and Horses exhibit were just as long.
There are several issues we can explore here. A couple are outlined in your Mackenzie textbook’s Chapter 5 ”For Discussion and Review” section. Was Qin Shi Huang a

humanitarian, because he did not sacrifice his army but left it intact to defend and expand his empire under his successor? Or was this an astute way to ensure his

name would be remembered, both through the marvel of the terracottas but also in the preservation of the empire? Your textbook asks, What does the army say about his

personality? I am more interested in how the modern government of China is marketing the site as a major tourism destination. What effect does this have on the

preservation of the site? Does the income from tourism support the maintenance of the site? How does it reinforce the government’s goals? Compare the use of this site

to Israel’s use of Masada as a place to swear-in soldiers joining the Israeli army, as well as Peru’s use of Machu Pichu and Italy’s use of the Coliseum.
There are over 5,000 unexcavated sculptures at the tomb of Emperor Qin Shih Huang Di. Investigation of the unexcavated portions of the site employed digitization and

3-D scanning, allowing visual reproduction of unexcavated objects preserved sub-surface, the testing of recovery techniques and the development of a virtual exhibit.

Do you think this is how we will “do” archaeology in the future? When I first started excavating it was typical for archaeologists to open large trenches, while today

we use minimally invasive techniques to gain the most information possible through little disturbance to the site.
In discussing the beautiful Shang dynasty bronze, your textbook (Figure 43) introduces the concept of visual ambiguity, where a single element may be seen in more than

one way, a different perspective brought about by the metamorphic shapes. We interact with the art, with our minds interpreting it, first in one manner, then in

another. Visual ambiguity is very important in the visual arts of many peoples and cultures. We will certainly encounter it again when we examine the arts of the

peoples of coastal British Columbia. This does not mean that archaeologists think ancient Chinese art had a direct influence on the later art of peoples in the New

World, or that there were some connections between these cultures. Much more tangible evidence would be needed before we could make such a claim. But the idea that one

thing could be two, that the world is more complex than it first seems, and the concept of physical, psychological and spiritual transformation are all worldwide

phenomena. In this Shang dynasty bronze, a tiger and a man symbolize death and life, with one becoming the other. Look for visual ambiguity in the other works we study

in this course. Once you start to see it, you may start to find it everywhere.
Much of the rest of your textbook’s chapter on Chinese art is dedicated to forms of painting on silk and other media. Be sure to find colour copies of the illustrated

paintings, or similar ones online. While some are monochrome, it is important to see some of them in colour, the Han dynasty funerary banner from the Tomb of Lady Dai,

for example. When you look at the intensity of the colours, the clean lines and detailed rendering of the figures, remember that this painting was done 2,200 years

ago. These materials usually do not preserve in the archaeological record. For this reason, remember that this type of art is not accepted as a paper topic for Arch

301.
Does Art Make Life Meaningful?
In what ways can traditional arts contribute to grounding us in contemporary society? For example, consider the following questions:
•    Do you have a T-shirt with traditional designs on it?
•    How did you get it?
•    Did you buy it? Why?
•    Does it make you feel different when you wear it?
•    Do you sometimes wear traditional clothing (such as a sari, kimono, hijab, or yarmulke) that links you with your cultural traditions?
Your Mackenzie textbook specifically mentions the Tale of Genji, a lengthy, complex story written in the early twelfth century by Murasaki Shikibu. The Tale of Genji

is sometimes referred to as the first novel. It is seen as a purely Japanese work of art, and thus is preserved, studied, read and celebrated in modern Japan for

reasons other than purely aesthetic appreciation. You can see illustrations of several panels from the earliest known paintings about this story, and, in fact, the

earliest extant text of the Tale of Genji in a manuscript curated at the Tokugawa Art Museum (see Required Reading/Viewing). This document has been designated a

National Treasure in Japan.
The Tale of Genji has been translated many times, into many languages, including modern Japanese. An entire museum (Links to an external site.) is dedicated to it at

the “Tale of Genji Museum” in Uji City. Websites (Links to an external site.) are dedicated to it and a PlayStation 2 game called Genji and loosely based on the theme

was released in 2005. Some modern tourists travel to the sites mentioned in your textbook in what might be called a pilgrimage to Genji. How is the Tale of Genji used

to promote Japanese identity? With so much Japanese visual art and architecture based on Chinese models, what does this focus on Genji mean as a national symbol?
Look at the pictures of Jomon pottery in this unit’s image gallery. Dr. Roy Carlson took these in Japan in the 1980s, when he attended an archaeological conference.

Compare the pots in these images to images of Jomon pottery you can see on ARTstor (Links to an external site.), using its search tool. ARTstor had over 70 images of

Jomon pottery online, as of 2010. Also compare the textbook image of the haniwa figure to the haniwa in ARTstor.
Your textbook also focuses on the tea ceremony as an expression of the Japanese aesthetic. View the video indicated in your required reading/viewing. Compare and

contrast the perspective on the tea ceremony in your textbook with the perspective in the film clip.
Why are so many traditional arts around the world used for the souvenir trade? Does this reduce culture to a commodity and cheapen it? Can we apply the same arguments

to “high-end” souvenirs, reproductions made in an authentic manner by a craftsperson or artist who uses ancient techniques, such as those we see in the images of

modern reproductions of Jomon pottery? Might ancient objects from any culture be used to promote nationalism or, possibly, xenophobia, and intolerance? What do you

think of the ethics of using museum objects in these ways?

Order Description

Part 1: Explain and discuss the differences between men and women in divorce. Include considerations for why women are more likely to lose economic ground. And why are men more likely to remarry and to refuse to pay child support? Include examples from all the readings.

Part 2: What types of factors are likely to influence child behavior when experiencing divorce of biological parents? Be very specific.

Order Description

Part 1: Explain and discuss the differences between men and women in divorce. Include considerations for why women are more likely to lose economic ground. And why are men more likely to remarry and to refuse to pay child support? Include examples from all the readings.

Part 2: What types of factors are likely to influence child behavior when experiencing divorce of biological parents? Be very specific.