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    Art of War
    Art of War
    Art of War
    Ebook411 pages3 hours

    Art of War

    By Victoria Charles and Sun Tzu

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    About this ebook

    Over the course of history, many wars have changed the political and cultural landscape of our world. While these events are defined by their upheaval and violence, they frequently contribute to the formation of the identity of entire generations or groups of people, and thus have significant cultural effects. Despite the physical and emotional destruction that occurs during these turbulent periods, they have inspired prolific artistic creation. In the wake of traumatic events over the centuries, a myriad of artists have produced works that immortalise the most dramatic moments of these wars in order to establish them in history forever.
    This book presents beautiful images depicting famous battles and war scenes, accompanied by the iconic text of the legendary Chinese military strategist Sun Tzu, as well as texts documenting notable moments of different wars, each written by well-known writers. From Uccello’s The Battle of San Romano to Picasso’s Guernica, this work offers a captivating look at artworks inspired by war and what they reveal about humanity’s history.
    LanguageEnglish
    PublisherParkstone International
    Release dateDec 28, 2023
    ISBN9781783107797

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    Reviews for Art of War

    4/5

    3,272 ratings48 reviews

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    • 3/5
      you kind of have to read this, yah. so privately canonized.
    • 4/5
      I'm so glad I finally read this historic book. I found it very interesting and understand why it has been adapted to suit other fields -- notably management. And the version of the book I bought is beautiful in itself. Bound in traditional Chinese style, with each page folded in half and only printed on the outside. Hard to rate -- it is what it is as they say -- but I'm rating it highly because it has stood the test of time.
    • 5/5
      An enduring classic, an absolute must-read for every business person and military mind the world over.
    • 2/5
      During a sermon, the rabbi talked about this book and said that it was really a philosophy on how to live life. When I started reading it, I saw that it really is a book on how to wage war. Definitely not what I expected and definitely not a book I would ever want to read.
    • 4/5
      I read this and let my mind wander a little, but not too much. Invariably whatever I think about mixes with the words, and elegant, clear observations come out. It's like guided meditation.
    • 3/5
      Art of War itself is pretty cool - aside from the fact that I feel like a dork reading it because most of the people who read Art of War are nineteen-year-old fantasy roleplayers who collect nunchuks - but the version I read, Lionel Giles' 1910 translation, is chock full of typos. That kinda gets on my nerves.
    • 5/5
      one of the best books I've ever read; just be careful of the translator. There are some really horrendous editions out there. ALWAYS buy the one translated by "CLEARLY" he is very profound in eastern philosophy and tradition
    • 4/5
      There was a lot of repetition in this book, but maybe it's to enforce some of the most important things to remember when conducting a war.

      I was surprised by how much from this ancient text seems applicable today. I guess that can be chalked up to the knowledge and foresight of Sun Tzu, as well as our sad inability to change our violent ways.

      One particular bit of text seemed particularly relevant:

      When the army engages in protracted campaigns the resources of the state will not suffice.

      Good advice.
    • 3/5
      Classic, brilliant techniques put so simply. Yet, naturally, reading this as a modern day civilian, I applied it to my modern day battles such as in business, relationships, Los Angeles traffic...the typical. As a naturally paranoid person, I feel it did me more harm than good. In addition, I prefer to (perhaps ignorantly) avoid seeing things as if they are wars. Some things will never change though because I will always act shy and giggle right before I slaughter my enemy.
    • 4/5
      My first "android" book :)
      3 days of boring lectures and you complete a whole book !!!!
      A Sun Tzu's masterpiece on competition in a battlefield.An obstinate struggle to survive,to fight with a person's best spirits and a anecdote of survival in tough times. The book talks about various moves of enemies and optimum strategic judgement according to opponent's strength and weakness.
      Main categories under which the comprehensive book is divided are: Laying plans, waging war, strategic attacks, energy, tactical dispositions, army on march, fire attacks and use of spies.
      A book one of its kind. Precise, short statements without any kind of obfuscation, a provident manifestation of a probable war like situation.Indeed, a complete war time reference manual.
    • 2/5
      If you're already self-actualized (read: me), this is nothing but a bunch of shih.
    • 5/5
      No wonder the words in this book have such wide applications across a whole massive spectrum of professions to situations.
    • 5/5
      Quite possibly the most influential book on military tactics of all time. I was incredibly surprised by its brevity. A must-read for any historian. 
    • 2/5
      Don't like this edition. The history is boring and confusing (chi, Ch'i, ch'i all mean different things) 1 star for the edition and history part.

      The actual Art of War is good. 3 stars.
    • 2/5
      This is a manual and reads like one. Better to take in very small doses, digest and discuss rather than to read continuously.
    • 3/5
      All the guff about it being the greatest management text in history is of course utter nonsense, but it's an interesting read. I preferred and would recommend the Hagakure if you're after samurai warrior philosophy.
    • 5/5
      This turned out to be a cheap and good translation. If all you want is the straight translation, this is a great edition
    • 5/5
      Love the notion that the greatest leader is one that defeats the challege before it is known that the challenge exists. Here we are obsessed with the hero leader who battles with the mighty demons and after much struggle wins. I see this in schools where the head turns around a failing school and is seen as a great leader. But all too often they miss the greater leadership of the head who intervenes with a timely word here, a school event there keeps the school on track, Much better to read the straight translations rather then the art of war for the board room which often miss the point
    • 5/5
      A subtle and fascinating philosophy on how to wage war. Knowledge of assured victory is key for Sun Tzu. At once it is esoteric and simple giving the reader the opportunity to find new angles and places to learn with each repeated reading. Intense and interesting. (Shambhala translation)
    • 5/5
      I have read this several times in a variety of translations. This version is formatted like a poem and is a quick read. Interesting that Sun Tzu echoes many of the issues raised by Thucydides. I remember an Instructor Gunnery during my Regimental Officers Basic Course from the United States artillery beginning every lesson with: "Sun Tzu says...". And, "If a 155 round lands on a tank, the tank is toast". So much in such a short book and it was quite possibly written before Thucydides was born.
    • 5/5
      I wasn't sure what to expect when I picked up this book, to be honest. I just made a promise to myself I would read more classics and this was a short one to get in so I can reach my reading goal. However, I ended up really, really enjoying it. I'm not a soldier by any stretch of the imagination, but there is good, solid advice in this book that is still relevant thousands of years after it was written. It's worth a read for sure, and it's so short you can get through it quickly. I would recommend it. 5 out of 5 stars.
    • 4/5
      A very quick read of a classic. I had always been meaning to get around to this book, and I did not realize how short it was. The version I have contains more commentary than the actual writing, and I did not bother with the commentary.

      The book is basically a series of maxims that describe how to lead as a general at war. I think its appeal is universal, and many of the ideas can be applied as strategic thinking in other aspects of life. I don't think it was all that profound, but then again, its ideas have been used for centuries. It was nice to be able to read where a lot of them came from.
    • 5/5
      I'm sure I'm not the only person that James Clavell, who wrote the foreward to this edition, introduced to Sun Tzu. I appreciate him for that as much as for his own books. Although ostensibly a book about military strategy, The principles in The Art of War can be applied to any kind of strategic situation. Thanks to centuries of commentary, it now functions as something like a cross between the Torah and the I Ching.
    • 5/5
      Tactics and strategies that apply to everyday life. This book is excellent reading to make you think about how to deal with the day to day struggles of life. It helps you position you versus your opponent. Your opponent need not be any one person. It could be a corporation. It could be an establishment. It could be a situation you are facing. I was once told that what you get out of a book is the effort you put into a book. It is my hope that this book can help someone master how they deal with day to day life. Let me know what you think. By the way, how many Enron or Worldcomm employees do you think read this book?

      On another note, I would ask that you do not take this book literally. It is laced with allegory and a ton of symbolism. Please take its contents and apply them to your life for the good of all.
    • 2/5
      Pretty dull going, even by audiobook. The narrators were great, though, and there were times that the footnotes saved me.
    • 5/5
      The version I have also has a second section for commentaries on all the passages. It's an incredibly useful and insightful book, and not necessarily just for literal war.
    • 3/5
      Meh. Okay I guess but overall I'm not that impressed.
    • 2/5
      To be honest, I was looking for a straightforward printing of the notes, not a re-hashing and review throughout the ages. This meant a lengthy pass-through of what others thought and believed,etc, etc. When I was finally able to decipher which was part of the book and which were the notes (as I was reading it on a digital device) it became obvious that a lot of the ideas of "war" were things already known to me. Whether it's due to our upbringing in the 20th century and exposure to the various media violences (movies, books, videos, etc) or not could be debated.
    • 4/5
      A classic! Well worth the read, and looking forward to reading again in the future.
    • 4/5
      It is a really old book, but still has much application to everyday life in modern times. The book is a little hard to read at times. However, the knowledge you get from reading it worth it. I recommend everyone read this title at least once in their lifetime.

    Book preview

    Art of War - Victoria Charles

    Introduction

    The art of war – the first association people have with this term, has, not surprisingly, nothing to do with art but everything to do with war: the ancient military treatise The Art of War. Generally attributed to Chinese general Sun Tzu (depending on transliteration also Sun Wu or Sunzi), the book was written in feudal China, roughly 400 to 200 years before Christ. On a side note, depending on the scholarly point of view, the writings – which already had garnered a certain reputation by the time of the so-called Warring States Period – were either written by Sun Tzu alone, with minor annotations after his death from other military thinkers, or alternatively modified and co-written by other Chinese military strategists as well. Whichever way, they provide a broad collection of proverbs concerning key aspects of warfare. Infused with Taoist philosophy, the treatise does not only provide pragmatic advice on such things as military spending or marching order, but is first and foremost meant as educative literature for the ambitious leader. Interestingly enough it does not cover all aspects of warfare in precise detail, as a first-time reader might expect. Instead, many of these thematically arranged proverbs are primarily meant to teach the ideal military leader how to develop a keen eye for the intricacies of leading men and analysing circumstances. On occasion Sun Tzu and his co-authors do provide very specific advice on how to act in different situations and how to interpret different warning signs, but the overall purpose remains one of facilitating a way of thought. In short, it concerns itself more with overall strategy, to a minor degree with logistics and the least with tactics. These characteristics are what make the ancient writings even today popular among military officers, businessmen, historians and military hobbyists, who revere the book for its timeless wisdom that remains applicable and even transferable to other domains, such as business, in an age that differs so fundamentally to the era in which the original was written.

    The title of this art book has, of course, been chosen intentionally to invoke the Chinese general and his writings. While the primary purpose is to showcase art that has been inspired by war, it is also meant to be a chronology of important and decisive battles in the history of the world. In this context, we want to apply the general’s wisdom to the wars that have been fought throughout the ages, whether the factions involved have acted according to them or whether they have shown an almost criminal neglect of the most basic principles of warfare. Of course, their application is not based on a deep military or historical analysis, but it is rather meant as an inspiration for the reader to delve into the history and circumstances as well as Sun Tzu’s writing him- or herself. Beginning with one of the earliest armed conflicts, the Battle of Kadesh, this book visits battlefields from the ever war-torn landscapes of Europe to the more inconspicuous battlegrounds in the frozen wastes of Finland or the scorching deserts of the Middle East and ends its grand tour with the wars that changed the understanding of war and warfare forever: the World Wars. Every conflict is accompanied by artwork, either contemporary or retrospective, meant to show how the depiction of war changed (or remained the same) throughout the centuries.

    Millennia of War

    Sun Tzu said: The art of war is of vital importance to the State. It is a matter of life and death, a road either to safety or to ruin. Hence it is a subject of inquiry which can on no account be neglected.

    To make a list of all the wars, battles or minor armed conflicts that humanity has ever fought throughout its history, would be go beyond the scope of the possible. For one, we can say for certain that not all conflicts have been recorded or handed down in history and not all accounts of those battles that have been committed to the collective memory of mankind, are above scrutiny. One of the most famous truisms expresses this by saying that history is written by the victor, which seems to cast a shadow of doubt over those eras of human history that are less well documented. How many minor conflicts have fallen through the cracks of the stage that is history? How many records have been written by historians who were mired too much in their culture and perspective? For the moment, these questions remain unanswerable. What is left, is to trust sources with a claim to relative objectivity. Thus, no book can ever claim to include a full account of the history of warfare. What can be done, however, is to select among the most incisive conflicts that are known to us. This is exactly what this book is trying to accomplish. To give an overview of the battles which have shaped civilisation in general or, sometimes, specific cultures. In choosing which conflicts to represent, not only the scope of the conflict was a decisive criterion, but also other aspects, such as the application of new technology, cunning tactical manoeuvres, tales of individual bravery or political background. For this purpose, the writings of various scholars and authors have been chosen to create a reading experience that includes both contemporary and classic perspectives on the various conflicts.

    The texts are not meant to give a perfectly detailed account of every battle but are rather accompanying pieces to the artwork, giving a glimpse of the events surrounding the battle or the actual fighting itself. Due to their age, some of these descriptions adopt a point of view that is either outdated by scholarly standards or still rooted in the last century, where war was not yet the subject of scrutiny it is today. While it is acknowledged that there is a fundamental problem in relying upon historical accounts or retrospective analyses which exhibit a more or less obvious bias, there is still a benefit to be gleaned from examining those kinds of texts. At the very least they will reveal the perspectives prevalent in the minds of many historiographers or scholars throughout theirs centuries and offer an outlook into an age when war was regarded as either a perfectly valid method of expansion, a battle of wits between cultured men or a tool of natural selection.

    Portraying War in Art

    While most battles that will be shown in this art book have been chosen for their role in the history of civilisation, the selection is also distinctly governed by the canvas, meaning that a share of the conflicts, despite lacking the majority of criteria that earned other battles a spot in the book, have been chosen because their artistic representation contributes to the understanding of the purpose of war-inspired art. Assuming that war art is not simply l’art pour l’art, it stands to reason that the creation of battle paintings always served a specific purpose. Be it glorification, criticism, documentation or the exercise of artistic self-expression.

    Needless to say, the depiction of war has certainly changed over the centuries, not only because the preferred media of display changed, e.g. from wall carvings to wall mosaics to illuminated manuscripts, but also because the understanding of war shifted over the centuries. One of the few constants, however, was and is the propaganda value of war depiction. Be it the aforementioned wall paintings, namely the depiction of victorious Ramesses II at the Battle of Kadesh, the sculpted battle scenes on Trajan’s Column or the oil painting of Napoleon at the Battle of the Pyramids, their purpose remains the same: a glorification of a military leader or a celebration of military exploits. This characteristic naturally also brings with it a certain amount of falsification – to use the conflict at Kadesh as an example again: the only (visual) account of the battle that has survived is Egyptian, which is thus certainly not unbiased. Furthermore, the relief shows Ramesses II as the conqueror of the Hittite people, which is, historically speaking, not quite true. Although the battle was enormous in its proportions, especially considering the epoch, it did not decisively end the conflict between the two peoples. In fact, Ramesses was not the glorious architect of the downfall of the Hittite empire at all. Rather, the constant raids of a yet unidentified seafaring culture weakened the empire to such a degree that they could not maintain power in the region.

    In contrast, Napoleon does not need any exaggeration of his deeds. His military genius is indisputable, as his campaigns through Europe prove just too well. Paintings of his exploits, however, show another aspect that pervades centuries of war art. In the majority of paintings detailing the Napoleonic Wars, he occupies the central spot in the composition. The way he is shown is reverent, sometimes almost affectionate. He is always portrayed as being calm and serene – an unshakeable military leader. The figures of enemies in these paintings display the tendency to fall to their knees or on their backs, recoiling in horror and awe from this magnificent, unconquerable foe. In short, he becomes a messianic figure, guiding France towards its destiny.

    This raises the question about whether war-inspired art was ever meant to be or ever could be purely documentary. Since most of the contemporary accounts and depictions, were created or commissioned by the victor, it certainly entails a perspective that shows the victorious side of the conflict in a more favourable light.

    Then there are those depictions that show events that had happened decades or centuries earlier. Apart from the fact that artists conjuring a scene from a past battle have to rely on older accounts, there is almost always an artistic reason for the re-visitation: Classicism, for example, is famous for idealising the art and history of ancient Greece while the Russian realist painters chose scenes from their country’s history to create a patriotic aesthetic that celebrates the spirit and the accomplishments of the Russian people. This leads to a certain romanticisation of events that ignores the less sympathetic (or outright horrific) details to focus on what is perceived as the glorious aspect of war. Taking a masterpiece painting from Ilya Repin as an example, that in itself is not a direct battle painting, but shows a well-known war-host of cossacks that enjoyed immense popularity in 18th century Russia: Reply of the Zaporozhian Cossacks (1880-1891; State Russian Museum, St Petersburg) shows a merry band of Ukrainian cossacks gathered around a table, writing a humorous and profanity-filled letter in response to a demand note sent to them earlier by Sultan Mehmed IV. The noble warriors are a sympathetic bunch – free, wild and indomitable men. Furthermore they are resisting a ruler who had the clear agenda of conquering the lands they were protecting. This impression, however, is not complete. While the Zaporozhian Cossacks surely were an indomitable bunch, they also had the tendency to engage in raping and pillaging on their raids. While that is not unusual for a raiding army of that age, it does not correspond with the impression that the painting is trying to create. The point here is not to condemn the idealisation or romanticisation of war paintings but rather to point out that the artistic reception of war does not necessarily entail the mandate to portray events exactly as they happened or as truthful as possible. Which is true for art in general – just as art is highly individual and subjective in intention, choice of motive and execution, so is art inspired by war, maybe even more so. We can conclude that the documentary aspect of war-art is a recent development. This will be explored in more detail in the section The Artists of War.

    This leaves the last aspect of art and war to be discussed here: criticism. Art that is outright critical of war is hard to find before the 17th century. One of the first examples might be Peter Paul Ruben’s The Horror of War (after 1638; The National Gallery, London) which is an allegorical depiction that shows Mars, the Roman god of war, marching, hell-bent on living up to his title, out of a temple, while several putti and a (literally) rubenesque woman are trying to dissuade him from his plan of action. They are surrounded by figures that symbolise either various disasters that come in the wake of wars, like famine or plague, or are just human figures that are trying to flee from the approaching Mars. While the painting clearly does not attempt to cast war in a favourable light, its visual style does not correspond to the title and makes it initially hard to identify as a piece of criticism. One of the first explicit and truly haunting contributions to artistic war criticism comes from Francisco Goya, roughly 150 years later. In his series The Disasters of War, a collection of several dozen sketches, he shows a wholly different face of war: the cruelties, the massacres and the bestiality. In this context, war art becomes effectively documentary again, as these sketches are based on personal experience. Thus, Goya heralded later artists who would give the depiction of war their very own note: artists like Otto Dix, Salvador Dalí or Pablo Picasso.

    Let us for a moment examine the paintings themselves: what is portrayed and how it is portrayed? One of the most striking aspects of western battle paintings is their leader-centricity. A substantial number of depictions feature a – usually victorious – leader, general or warlord as their central character; whether he is in the thick of the fighting, calmly watching the events from afar, negotiating the terms of surrender after the battle or – mostly the case in ancient depictions – towering godlike over vanquished foes. This is especially true for the majority of paintings painted in the 19th century that revisited historical battlefields. Understandably so, since a victory in battle is usually attributed to the strategic genius of a leader. Beyond that, the examination of history in general tends to revolve around dominant characters. Another subset of the leader-centric painting deals with the death of one such person. Usually meant to commemorate the leader in question, these paintings dramatise the events surrounding the death and set the stage for a heroic death scene. Examples are the death of General Talbot at the Battle of Castillon or The Death of General Wolfe (1770; National Gallery of Canada, Ottawa) by Benjamin West.

    However, there had also always been a strong tendency towards the depiction of individual, representative scenes in the history of war-related art. Beginning with Greek vase-painting, some artists had to make good use of their limited space for depiction and thus chose scenes that would best represent the conflict in question. The same is true for a lot of images from illuminated chronicles, which also exhibit the tendency for small, orderly battle scenes that summarise the events of the battle in a compact way. For that purpose realistic proportions are often sacrificed to create a depiction that captures the whole of the battle in one image. Larger battle scenes can be found in the late Dutch or German Gothic art. A prominent example is Albrecht Altdorfer’s The Battle of Alexander at Issus, which, being part of a larger cycle of historical paintings that were commissioned by William IV, Duke of Bavaria, tries to grasp the full scope of the battle by depicting the two large armies pitted against each other with the two opposing leaders being small figures in the masses of soldiers. Furthermore, the painting exhibits another aspect that prevailed in the arts until the Renaissance: both the Greek and the Persian armies are portrayed as medieval knights; thus subjected to a transculturation. This peculiar aspect can also be found in many illuminated documents from early medieval times and has its roots in the fact that the artists responsible never had access to any material that might have helped them to develop a realistic depiction. However, that changed with the Renaissance and the rise of cultural exchange, archaeological discoveries and a new interest in painting in a realist manner. Art in general became more precise and differentiated.

    The late 19th century saw a rise in paintings about contemporary battles that were less focused on particular leading figures but instead depicted detailed scenes putting equal – if not more – emphasis on the common soldier. This trend continued with advances in photography which suddenly enabled true realism – the opportunity to show and document all facets of war and give the interested viewer access to the material in a speed that had been impossible before.

    Leonardo da Vinci, Cavalry Battle,

    Study for the Battle of Anghiari, c. 1504.

    Ink on paper, 14.7 x 15.5 cm.

    Gallerie dell’Accademia, Venice.

    Leonardo da Vinci, Study of a

    soldier holding a lance, 1503-1504.

    Red chalk on paper, 22.7 x 18.6 cm.

    Szépmüvészeti Múzeum, Budapest.

    The Artists of War

    We were specialists in camouflage, but at that time were fighting for our lives as ordinary infantry. The unit was composed of artists, since it was the theory of someone in the Army that we would be especially good at camouflage. (Kurt Vonnegut, Bluebeard)

    For centuries, battles were just one of the many motives the multi-faceted artist chose to depict. His motivation was usually of a purely aesthetic nature or on occasion, financial when he was commissioned to create such a painting. This started to change around the time of the American Revolution, when artists such as John Trumbull or Emanuel Leutze (painter of the famous Washington Crossing the Delaware; situated in The Metropolitan Museum of Art in New York), started to focus more on or even specialise in war-related art. This is not surprising, since this development can be retraced in the world of art in general. While there have always been outstanding artists that worked in multiple fields and never settled on one subject, a certain trend started to evolve roughly after the Renaissance. Artists chose one thematic field which they adhered to for the majority of their creative life. In war-related art this development continued as such. Apart from the civilian artists that chose to make the wars of their country the subject of their art, even governments started to appoint official war artists, who partly served in the army themselves, and commissioned them to document conflicts. From there it was only a short step to armies developing specific art programmes and the embedded artist – an artist-soldier, whose impressions of war and conflict were at the same time absolutely subjective but also unadulterated. In the same way, the function of the war photographer rose to prominence. It is in this context that the term documentary can truly be applied to war-related art. Not that the impressions captured by war artists and photographers are beyond bias or distortion, but even if they just chronicle one person’s subjective war experience, they already transcend centuries of war paintings in terms of realistic, documentary quality. However, this truthfulness heralded at the same time the end of war art in its then current form. Artists who fought in World War I did not come back with impressions of noble warriors assaulting enemy positions, recklessly brave cavalry charges or cunning manoeuvres. Instead they showed the horror of losing friends to gas attacks or being crushed by tanks and the gruelling experience of trench warfare, being under constant artillery fire. In a way, this World War brought about the end of glorification of war in art.

    The Art of Modern Warfare

    Nevertheless, war painting has not completely ceased to exist, although today people trust photos for documentation, glorification is neither presentable nor feasible and criticism is the main purpose of war-related art. Embedded artists still exist and continue to share their war experience artistically with those who are willing to view and listen. The art of war has changed as well.

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