Exercise 1. Sorting and Categorising in Practice.

In this exercise, we must create headings to sort and divide our research material and data. I have to choose headings summarising the material I have collected and linked to my area of interest. Also, we have to identify which headings feel particularly important to you. Narrow this down to a maximum of three headings of your choice, and write down why you chose these headings and what overlaps you can see between the material under each heading.  Analyse the material and form three sentences summarising each heading and its content. Record all of this work in your learning log.“

I find this exercise helpful in helping me progress my research paper. Thus, I started categorising and sorting out the research material I had accumulated up to this point. The narrowed-down headings or categories of data I need are the following:

Below are the questions for my research—a contextual study—which I submitted to my Tutor at the end of Research Part 2, in my post…

It is worth noting that I had to do some sort of warm-up for this exercise, applying its instructions to an introduction to Indian pichwai and Japanese byōbu arts. Only after I had done that could I continue with the primary research inquiries below.

At this point, I have to amend the last item in this list, marking it in blue.

• Cultural and Symbolic Significance of Gardens in ancient Japanese and Indian visual art;
• Iconography and Symbolism in Garden representation in visual art of ancient and modern Japan and India;
• Differences and commonalities in Garden representation and its evolution between ancient and modern Japanese and Indian visual art: a) Plant and Flower Symbolism in ancient and modern Japanese and Indian visual art traditions; b) compositional and spatial representation.

Three Key Headings:

Gardens hold profound cultural and symbolic significance in Japanese and Indian traditional visual arts. They serve as a key element of authenticity in both traditions. The gardens are permanent features of traditional Japanese byōbu and Indian pichwai artworks.

Both visual art traditions employ gardens- plants and flowers as a bridge to the transcendental realm. In Indian pichwai art, the art garden is integral to the iconography of Lord Krishna’s devotees, a main scene for His “leelas“—divine playful activities. In Japan, gardens symbolise humans’ connection to nature, reflecting the core principles of Shintosim, Buddhism, and Taoism.

Differences and commonalities as well as in the evolution of both art traditions in garden representation as a visual element should be explored in the following domains: spatial and compositional, structural – what are the components of the garden, employed colours;

Exercise 2: Exploring and uncovering.

In this exercise, I have to develop my research further. We are asked to appraise our research material and explore it deeper to investigate, develop and establish our position, view or argument. It is recommended to  consider the following order for the construction of an academic argument:
State the main features of the argument;
Contrast to two or more in opposition;
Critically evaluate;

Since the methodological format of my research is a contextual study, the argument/ my view will be reflected in the second part of the work since the first part will be an introduction and comparison. After conducting a comparison and observations, I will be able to develop my view on reasons behind those differences and commonalities in garden representation in two types of visual art I research. I have placed below the table from my earlier post https://zhan-art.com/2024/06/21/level-3-research-part-two-research-methodologies-and-theoretical-framework/ as a reminder for myself. I also plan to use my initial 500-word draft, taking it further in my research. After reviewing my materials and doing the exercises, I am glad the draft is relevant, and I can continue with it and make it grow into my research.

Differences in:	Contextual Study	Essay
Purpose	aims to analyse a specific topic/subject within a broader context, examining the background, circumstances, and environment that influences the subject;	presents an argument or a perspective on a particular topic, it is more focused on presenting the writer’s ideas, interpretations or analyses;
Structure	includes an introduction, a detailed examination of the context surrounding the subject, an analysis of how the context surrounds the subject, and a conclusion;	has an introduction and body paragraphs that focus on a single point that supports an overall argument thesis and a conclusion.
Focus	emphasises understanding the subject within its larger context, describing the influence of cultural, political, and social context;	concentrates on developing a central argument or thesis. While it may include contextual factors, the primary goal is to persuade or inform the reader about the writer’s viewpoint on the topic;

Below, I place the first draft of my research details, which is a starting point for my research paper.

My contextual study of the notion of “Garden” will be dedicated to its place, role and significance in traditional Japanese and Indian visual arts, such as Japanese folding screens byōbu and Indian Pichwai paintings. Even though these types of artworks are different in the visual details and painting style, they have common features, such as their functional purpose, way of production and visual elements, such as a garden in a broad sense: greenery and flowers. I will research each of these common features in detail. Further, I will briefly outline the main details at this point.

The functional purpose of byōbu was to decorate a living space or specific location, display it on special occasions, and include a luxury gift. The Pichwai paintings also served for decorative purposes, especially in shrines. Both types of artwork are important representations of the spiritual cultures of both countries and carry great devotional significance.

The Byōbu were made of “layers of paper, attached to a wooden framework on top of which a painting on paper or silk was affixed” (” Beyond Golden Clouds,” “Hidden Behind History,” Janice Katz, p.13). The Pichwai paintings were traditionally created on handmade paper or cloth. Special artisan communities/schools created both artworks, requiring tremendous knowledge and craftsmanship.

Traditionally, ancient byōbu screens contained images of nature, trees, blossoming flowers, birds, rivers, and mountains, often depicted in the dynamic of four seasons. The Pichwai paintings were devoted to particular Gods or Diety—Shiva, Vishnu, Durga, Surya, and Ganesha, as well as to Lord Krishna ( this type of Panchai is called “ShrinathJi”), depicting their existence on transcendental, not Earthy plane, visually represented by lavish nature.

The questions I want to ask and explore in my contextual study ( the list is not final):

• Cultural and Symbolic Significance of Gardens in Ancient Japanese and Indian Visual Arts of byōbu and pichwai; My main appeal/idea is that both types of artworks are quintessential examples of how particular spiritual ideas have been represented in visualised forms. They are heavily loaded with cultural significance, with a garden as their main feature, a platform, and a stage where all scenes of existential phenomena unfold. In both cases, these artworks can be considered attempts to communicate with an upper realm, bringing its fragments to a particular space on Earth. The difference in cultural and symbolic significance is determined by the difference in faith and spiritual beliefs. It will be interesting to explore these differences and how they are channelled in the details of the artworks in terms of their subjects.
• What are the differences and similarities in the visual representation of the garden in both types of artworks in terms of the: a) Spatial representation of the garden in ancient Japanese and Indian visual art; b) Plant and Flower Symbolism in ancient Japanese and Indian visual art traditions. The byōbu and pichwai are visually very different. The gardens are depicted from dramatically different perspectives, especially regarding their elements and spatial decisions.
• Garden representation in Visual Art of Ancient Japan and India. I would like to research more general concepts of iconography and symbolism in garden representation within Japanese and Indian cultures.
• Why is the garden a central element for both types of visual arts? Here, I want to find answers to this question, exploring the garden from a scientific point of view, such as the garden as a restorative environment for human cognitive ability. There are several scientific theories to study which might be helpful in the research: a) A theory that should be covered is the “Biophilia Hypothesis,” which is about humans’ innate affinity for nature and living systems; B) research by physicist Roger S.Ulrich, who conducted significant and influential research on the therapeutic benefits of garden settings; C) research by Stephen Kaplan who developed an Attention Restoration theory ( ART) ;
• ?

I will take each of the theses above to my next post, where I will develop them.