Detached+segment+of+caricatures+of+animals+and+humans,+Scroll+A.


 * Detached segment of caricatures of Animals and Humans, Scroll A.**
 * Identification**
 * Detached segment of caricatures of Animals and Humans, Scroll A from the //Choju Giga emaki.//
 * [|Tokyo National Museum]
 * Late Heian Period, 12th century, Japan.
 * attributed to the monk Toba Sojo (1053-1140)

This work is from the //Choju jinbutsu Giga// 鳥獣人物 戯画 (Caricature of animals and people), a set of four scrolls dating to 12th century Japan. Hand painted scrolls, or //emaki// emerged in the late Heian period as a uniquely Japanese style of art. With anthropomorphic depictions of Buddhist monks the //Choju Giga// is noted as a new form of satirical //emaki// (Lee, pg. 49). The work was probably composed as a set in the possession of the Kozan-ji temple in Kyoto, one among many centers of the Buddhist sketch tradition in medieval Japan (//Ibid,// pg. 52). Hand scrolls were usually unrolled 30-80 cm at a time (viewed from left to right) and assembled by pasting together strips of paper made of mulberry, gampi and mitsumata fibers ([|Joseph]).
 * Introduction**

The //Choju Giga// is unusual from other contemporaneous hand scrolls in that it lacks an accompanying text, but also for its humorous subject matter. The scrolls are understood as a satirical observation on monastic life and moral decline in 12th century Japan (Baker, pg. 88). Unlike in the West, where animation has only played an important cultural role in the 20th century, Japan has a long pictorial tradition. Some scholars argue that these scrolls are historically important as some of the earliest forms of Japanese manga (Napier, pg. 73).

In this segment of scroll there is a marked absence of strong colors, with instead an emphasis on ink and brush stroke. The scroll is meant to be viewed from left to right. On the far left there stands a frog next to a monkey. The frog is holding a leaf umbrella and the monkey clutching what appears to be branches. The frog holds an umbrella made from large branch of lily leaf and the monkey is wearing some kind of elongated hat and holding a leaf filled branch. Near the center is a monkey fully gowned in leaves holding a long willow branch. Slightly to the right of the monkey a rabbit stands upright, wearing a leaf hat which resembles the one worn by the monkey in the center. On the far bottom right is another frog dressed in human clothing—sandals, loosely fitting trousers, a wide brimmed hat, and holding what looks to be a branch and a fan.
 * Descriptive Analysis**

Everything is painted in a subtle, playful manner with gentle yet careful brush strokes. There appears just enough detail in order to give the figures a certain fullness. In other words, there doesn't appear to be any lacking due to the absence of colors. In fact, the animal drawings have a certain abundance to them. The clothing and accessories adds weight to the animals, making them very human-like.

The illustrative hand scroll, or //emaki//, developed out of the //Yamato-e// tradition which is significant as representing a new style of painting indigenous to Japan. A breakthrough work in this //Yamato-e// style of painting was scrolls depicting scenes from //The Tale of Genji// (Lee, pg. 52.) While only fragments survive (dating as early as 1120-30) the //Genji Monogatari emaki,// along with the //Choju Giga// are among the "four great picture scrolls" of the Japanese tradition (Fumio, pg. 30). The other two scrolls included in this collection are the //Legends of Mt Shigi// (//Shigisan engi//; 12th century, after 1150; Nara, Chōgosonshiji) and the //Ban Dainagon Emaki// (Illustrated stories on the courtier Ban Dainagon).
 * Formal and Contextual Analysis**





While all these scrolls mark the zenith of Japanese //emaki//, the //Choju Giga//is notable for many reasons. Stylistically, it stands out as using only black ink done in a blithe calligraphic manner (Lee, pg. 54). Notice how the //Genji// and //Mount Shigi// scrolls, on the other hand, employ a more pronounced and elaborate use of color ([|Oxford Art Online]).

The //Choju Giga// is especially unique because the anthropomorphic images are believed to be a parody, satirizing the monastic life in late medieval Japan. The subject matter is humorous, contrasting with the other scrolls which have a more weighted contextual meaning. The //Tale of Genji// scrolls refer to a voluminous work of Japanese literature. The //Mount Shigi// scrolls portray tales of miraculous events in the Buddhist tradition and the //Ban Dainagon// scrolls illustrate an important historical event ([|Oxford Art Online]). Whereas the subject matter in these scrolls is quite serious, the //Choju Giga//stands alone with rather humorous undertones. For instance, one segment of scroll depicts a wrestling match between a hare and a frog in which the frog comes out victorious. Considering a hare ranks higher than a frog in Japanese culture, this may be a commentary on the hierarchical nature of feudalistic Japan (Kitazume, pg. 36). In another scroll from the //Choju// G//iga,//frogs dressed as priests are engaged in some form of gambling, possibly strip poker (Eto, pg. 458). The //Choju// //Giga//scrolls are not only comical but also present a commentary on the decadent culture of the era. Therefore some scholars have placed the //Choju// //Giga// scrolls as an early precedent for journalistic cartoons (Fumio, pg. 30).

More significantly, however, scholars have bridged a connection between the //Choju Giga// and Japanese manga. Manga can be literally translated as "humorous picture" and //Choju Giga// as "humorous pictures of birds and animals" (Masami, pg. 13). The ink caricature revival of the 18th century as seen in the works of Katsushika Hokusai (1760-1849) also bears the influence of this early piece of //emaki// (Baker, pg. 90). In particular, some works from Hokusai's famous cartoon collection //Hokusai Manga// closely resemble the style employed in the //Choju Giga// scrolls (Isao, pg. 32). In addition, much like in the C//hoju Giga//, the //Hokusai manga// is a critical observation of the established elite during Hokusai's time achieved through caricature of the samurai and aristocratic classes (Ito, pg. 460). Hokusai himself even coined the term //manga// and his volume of caricatures was featured by the Japanese government at the World Exposition in Paris in 1867 (Ito, pg. 461).

= = = = = = = = = = = = = = = =

It appears as if there is a convincing argument in regards to the profound influence of the //Choju Giga emaki// on the evolution of //manga//principally through the works of Katsushika Hokusai. Scholarly pontification aside, the images speak for themselves; there is a definite similarity in style and purpose between the //Choju Giga// scrolls and segments of the //Hokusai Manga//. The arguments made regarding the journalistic function of the //Choju Giga// scroll as an early precedent to political cartoons also carry much weight. An informed reader could open a copy of the New York Times and chuckle at a political cartoon without any accompanying text. I believe the //Choju Giga// scrolls functioned in a similar way to audiences during the late Heian period. This is especially significant considering this was painted in medieval Japan, not to mention the Western stereotypes regarding Japanese culture as serious and sterile (see: Kitazume). Altogether I am not surprised these scrolls are considered among Japans national treasures. I especially appreciate the absence of color and reliance on brush stroke. This stylistic trait calls attention to the subject matter and allows the brush strokes to create expressive qualities.
 * Interpretation**

When I came upon this work in the Tokyo National Museum's online database it struck me as hilarious. Even though I had no clue as to the meaning behind the paintings, the mere depictions of frogs, hares, and monkeys walking around dressed as humans seemed obviously peculiar. The question I ask myself is that whether my ability to instantly recognize the humor in this work in fact speaks for the //Choju Giga// //emaki's// influence on anime and cartoons in the 20th century?


 * References**
 * Baker, Joan Stanley. //Japanese Art.// Thames and Hudson ltd: New York, 1984.
 * Lee, Sherman. //Reflections of Reality in Japanese Art.// Cleveland Museum of Art.


 * Online Sources**
 * //Emaki: The Illuminated manuscripts of Medieval Japan//. Lisa A. Joseph. []
 * Oxford Art Online. [|http://www.oxfordartonline.com/subscriber/article/grove/art/T043440pg9?q=choju+giga&article_section=all&search=article&pos=1&_start=1#firsthit]. Visited November 1, 2010.

= =
 * Articles**
 * Napier, Susan J. The Problem of Existence in Japanese Animation . //Proceedings of the American Philosophical Society//. Philadelphia: Mar 2005. Vol. 149, Iss. 1; p. 72 (8 pages)
 * Toku, Misami. What is Manga?: The influence of pop culture in adolescent art . //Art Education//. Reston: Mar 2001. Vol. 54, Iss. 2; p. 11 (7 pages)
 * Kitazume, Sachiko. Do the Japanese Have a Sense of Humor? // Society Vol. 47, Issue 1 //. Date: 01/2010 Pages: 35-37.
 * Fumio, Anabuki. Opinions in pen and ink. // Japan Quarterly. // Vol. 48, Issue 4 . Date: 10/2001 Pages: 29-44.
 * Isao, Takahata. 12th-century moving pictures. Japan Quarterly; Jul-Sep 2001; 48, 3; Research Library pg. 31
 * Ito, Kinko. A History of Manga in the context of Japanese culture and society. //The Journal of Popular Culture Volume 38, Issue 3,// Article first published online: 11 JAN 2005
 * Image Sources**
 * Tokyo National Museum. //Detached segment of caricatures of animals and humans, scroll A. [|http://www.tnm.go.jp/en/servlet/Con?processId=00&ref=2&Q1=&Q2=&Q3=&Q4=11207_124____&Q5=&F1=&F2=&pageId=E15&colid=A8]//
 * Kyoto National Museum. Azumaya Chapter from The Tale of Genji //(Genji monogatari emaki)//. []
 * Kyoto National Museum. Legends of the Temple on Mount Shigi //(Shigisan engi)//[| http://www.kyohaku.go.jp/eng/tokubetsu/060422/shoukai/index_02.htm]
 * Wikipedia. Hokusai Manga-Bathing people. []


 * Lesson Title: ** Animals as People in Art
 * Level: ** High School
 * Estimated Lesson Duration: ** 6 class periods (50 min each)

Anthropomorphism is the attribution of human form or behavior to an animal. Most cultures have a long-standing tradition of anthropomorphized characters that represent human behavior in both story telling traditions and art. The lesson will explore influence of animal representations in Choju Giga and other satirical emaki on animal figures in Disney and Warner Brother’s animation
 * Key Concepts: **
 * Anthropomorphism: **

Satire is a form of literature and art that makes fun of vices and conventions of individuals and groups with the purpose of ridiculing them. This lessont will use the Choju Giga as context to explore the use of animal characters in George Orwell’s Animal Farm. It will also explore the graffiti art of Banksy, and make connections between visual and literary satire.
 * Satire: **

A parody is a literary or artistic work that imitates the characteristic style of an author or work for comic effect or ridicule. The lesson will use the examination of satirical emaki as a context to explore the use of animal images in animation. Show how 20th century artists also use animals to lampoon institutions and cultural values.
 * Parody: **

** Standards **
This lesson meets the following [| National Standards for Arts Education (Visual Arts)] NA-VA.9-12.2 Using knowledge of structures and functions (1, 2, 3, 4, 5). NA-VA.9-12.3: Choosing and evaluating a range of subject matter, symbols, and ideas (1, 2, 3, ). NA-VA.9-12.4: Understanding the visual arts in relation to history and cultures (1,2, 3, 4) NA-VA.9-12.6: Making connections between visual arts and other disciplines (1, 2, 3).

This lesson meets the following [|National Educational Technology Standards for Students] 1. Facilitate and Inspire Student Learning (a, b) 2. Design and Develop Digital Age Learning Experiences (a,b) 3. Model Digital Age Work and Learning (a, c, d)

Lesson Objectives:
Students will learn the use of anthropomorphism in art. They will understand that there is a long tradition of using animal characters to represent people from the art of satirical emaki to feature animated films like Disney's The Lion King. They will understand how artists use animal characters to critique social traditions and values.


 * Lesson Activities **
 * Activity 1: Animals as People Essay, 1 class period **

Students will watch a short YouTube clip The Best of Bugs Bunny! They will read the TeachArt Wiki entry Detached Segment of Caricatures of Animals and Humans on the computer and define the three main concepts using Wikipedia or Encyclopedia.com: anthropomorphism, satire, and parody. If there is no computer access a print out with article and threes definitions will be provided. They will write a 1 page essay on how Anthropomorphism and parody relates to Choju Giga emaki. Before handing in select students will read their essays informally to the class to generate a general discussion that the instructor guides. Steps:
 * Lesson Hook: Students will watch a short YouTube clip The Best of Bugs Bunny! (scenes from the Rabbit of Seville 1946: [] on the screen). (Save clip from home if YouTube is blocked at school)
 * Generate a discussion about animals acting like people and how the cartoon makes fun (parodies) of Opera ( Rossini ’s Barber of Seville) and high art (define).
 * Students will read TeachArt Wiki entry Detached Segment of Caricatures of Animals and Humans in computer lab. If there is no computer access a print out with the article and three definitions will be provided.
 * Brief classroom is generated about the similarities between the cartoon and Choju Giga.
 * How do both use parody to convey their messages?
 * Are they good examples of high art and low art (define)?
 * How do they represent their specific cultures?
 * How does each one use anthropomorphism to express a message?
 * What messages does each of the two convey?
 * How did the artists convey the messages?
 * Copies of rubric are handed out with explanation of criteria.
 * Students write a short essay on anthropomorphism, parody and caricature in satirical emaki and The Best of Bugs Bunny!
 * Select students read their essays to generate a final discussion.
 * Students hand in their essays which are graded on a four level rubric:


 * Criteria || In progress || Novice || Intermediate || Advanced ||
 * Length || Less than ½ page || More than ½ and less than 3/4 page || More than ¾ and less than 1 page || More than 1 page ||
 * Mastery of concepts || inadequate or incomplete definitions for all three || adequate or complete definitions for less than three || all three defined adequately. || extrapolates on basic definitions of all three. ||
 * Evaluation || shows few if any connections between concepts and TeachArt Wiki and Choju emaki and The Best of Bugs Bunny! || less than complete connections made between concepts and TeachArt Wiki text and The Best of Bugs Bunny! || connects all three concepts to TeachArt Wiki text and The Best of Bugs Bunny || infers new insights beyond Intermediate criteria ||
 * Form || more than 6 spelling/grammar errors || some errors (less than 6) in spelling/grammar || few errors (less than 3) in Spelling/grammar || completely free of grammar/spelling errors ||

Students will watch a five-minute YouTube clip of Disney’s Steamboat Willie. They will discuss how animals are used to represent people and the culture of the South and make connections between satirical emaki and animation characters. They will draw and color a personal animal cartoon avatar based on a farm animal, scan, and publish online on a class web page. Steps:
 * Activity 2: Animal Cartoon Avatar, 1 class period **
 * Lesson hook: Class watches 7 minute YouTube feature Walt Disney Steamboat Willie 1928 ( [] ) projected on screen. Need LCD projector and save clip from personal computer if blocked.
 * Discuss connections between Choju Giga and Disney Feature film:
 * How do they use animals to convey messages? What are the messages?
 * How do they talk about their respective cultures and traditions?
 * How do they use parody/comedy to interest the viewer?
 * Which one is more effective and why?
 * Define again the concept of satire and explain how it is used in the movie and scroll to portray real people.
 * On a large pad in front of class demonstrate basics of cartoon drawing using lines and spheres.
 * Class brainstorms ways to represent themselves with a specific animal and characteristics (i.e., gender, height, hair, clothing style, glasses, etc.)
 * On a sheet of paper students design and color with markers their cartoon avatars (define).
 * Students scan drawings, save and post on class blog site on blogger.com. They write a paragraph below posted cartoon to explain why this cartoon character represents them both physically and metaphorically.
 * Work and paragraph blog entry is evaluated on four level rubrc:

animal strongly represents student anthropomorphically. ||
 * Criteria || In Progress || Novice || Intermediate || Advanced ||
 * Drawing || erratic line quality and poor design elements. incomplete. no connection between student and animal cartoon with no anthropomorphic connection. || stiff line quality and weaker design elements. incomplete. some visual connection to student || good line quality and design elements. Complete. Well established anthropomorphic connection to student. || excellent line quality and design elements. beyond complete.
 * Color || the finish drawing is very messy. || application of color is messy and choices lack design logic. || color is well chosen and neatness is good but not perfect. || color is well chosen acd extremely neat ||
 * Rationale || student fails to post work and/or rational. || less than complete explanation of choices in representation || adequate explanation of both physical and metaphoric interpretation. || excellent rational that is well written and insightful (explaining both metaphoric and physical interpretation) ||

Students will read a selection from Orwell’s Animal Farm. The class will discuss why Orwell used animals to represent people and make connections to satirical emaki. They will animate a simple 12-frame representation of their avatar on animation program Pencil 2D. Steps:
 * Activity 3: Animated Animal Avatars, 4 class periods **
 * Show select image via LCD project of the graffiti artist Banksy taken from Google images: []
 * Reintroduce concept of satire.
 * Students will read a one page selection from Orwell’s Animal along with short synopsis of book. Many students will bring prior knowledge since this is a standard text in most high school curriculums. Selection from chapter one:

// “But is this simply part of the order of nature? Is it because this land of ours is so poor that it cannot afford a decent life to those who dwell upon it? No, comrades, a thousand times no! The soil of England is fertile, its climate is good, it is capable of affording food in abundance to an enormously greater number of animals than now inhabit it. This single farm of ours would support a dozen horses, twenty cows, hundreds of sheep-all of them living in a comfort and dignity that are now almost beyond our imagining. Why then do we continue in this miserable condition? Because nearly the whole of the produce of our labor is stolen from us by human beings. There, comrades, is the answer to all our problems. It is summed up in a single word-Man. Man is only real enemy we have. Remove Man from the scene, and the root cause of hunger and overwork is abolished forever.” // Why does satirical emaki and Animal Farm use satire to talk about an issue? How does art and literature differ in the ways they can express satire and social commentary? [] [] (Pencil 2D is a free animation software that is developmentally appropriate for high school students)
 * The class discusses how political satire is used in emaki and Animal Farm.
 * Introduce the concept of 2D animation and briefly explain animation is a series of drawings flashed at the viewer rapidly to form the illusion in the mind of movement
 * Introduce the software Pencil 2D Animation through two YouTube screenshot tutorials:
 * Students will examine animation rubric and are responsible completing a 12 frame animation showing their animal avatar doing something human (i.e., walking upright, eating at a table, wearing clothing, etc.) Final cartoon needs to be satirical (redefine) in some fashion.
 * In computer lab students work on their animations using Pencil 2D (if lab/computers are not accessible students will complete flip books)
 * At select points students will have a select work in progress critiques
 * Students color and complete animations and store on teacher’s file.
 * Animations are critique based on four level rubric:

no elements of satire. || ====== simple horizon background and few details. ====== difficult to see use of satire in drawing. || ====== good amount of detail in background and character. ======
 * ====== Criteria ====== || ====== In Progress ====== || ====== Novice ====== || ====== Intermediate ====== || ====== Advanced ====== ||
 * ====== Drawing skills ====== || ====== poor line quality ====== || ====== sketchy and erratic line quality ====== || ====== adequate line quality ====== || ====== excellent line quality ====== ||
 * ====== Color ====== || ====== no color ====== || ====== at least 2 colors ====== || ====== at least 4 colors ====== || ====== more than four colors used ====== ||
 * ====== Continuity ====== || ====== no continuity in flow from one frame to the next ====== || ====== very choppy ====== || ====== a little choppy ====== || ====== excellent smoothness to animation ====== ||
 * ====== Sophistication ====== || ====== character with no background and little detail. ======

some element of satire.
|| ====== complex background and character representations. ====== creative use of satire. ||

Dictionary.com (definitions) YouTube.com (all videos) Flickr.com (Banksy image) Orwell, George. //Animal Farm;//. New York: Harcourt, 1945
 * References: **