Analysis of Over Door Carving from Shiite Mosque in India

From my observation at the Met, this sculpture is inside a medium glass and space. Also, it is by itself in the glass. It is a three-dimensional sculpture created by modeling and merging hard materials. Next to it there are other deities (Vishnu, Parvati, Ganesh etc.) and sculptors from the Chola Dynasty. The other works near it complements the sculpture as I have stated above they are from the same time period so, they are related to each other some way and

The sculpture portrays the God of Harvest, Dionysus, with his loyal satyr follower, Pan. A considerable amount of detail when into the carving of Dionysus; the multiple grapevines in his hair, his ceremonial staff Thyrsus, the goatskins and the cup of wine he’s holding are all symbols of Dionysus. The composition is very asymmetrical, and creates a contrapposto arrangement, which is distinctly Grecian (Gardner). It was carved out of beautiful fine marble, which also had another purpose in the way of making this piece of art last for many years. Along with the tree trunk between the two men providing support at the base, and the elongated arms providing more structural stability. The God’s head is even reinforced by his hair to make sure the head doesn’t break off. This sculpture is visually and aesthetically pleasing, but doesn’t serve a useful function, like textiles or furniture. Therefore, it is considered a figurative piece of art, which art that is very clearly modeled after real object or person(s), and is therefore representational

Every soul will be judged and the good will go to heaven and the damned will go to hell. The sculpture vividly expresses the emotional intensity of what the afterlife will look like. On the left-side the sculpture shows “heaven” the figures show that they are at peace because they know their souls have been saved. The children are laughing and the angels are blowing their trumpets with joy in anticipation of Christs’ return. As for the right-side it tells of what “Hell” maybe like, demons are weighing the souls and claiming them. It shows people suffering, crying and realizing that they’re going to hell for

The subject of this piece is a Buddha named Maitreya. He is a strongly built man wearing a robe that drapes fluidly off of his body. The piece is constructed from gild bronze and was crafted using piece mold casting. Maitreya faces onlookers with open arms and a smile. The piece was obviously meant to be placed against a wall, as is obvious from the fact that the back is left open and is not meant for display.

The dimensions of the sculpture are not known from the research as the Saudi government has the polytheistic sculptures and work censored. Saudi Arabia only lends the sculptures to the Non-Muslim country museum with strict censorship deal with the loaned country. Most of the polytheistic sculptures were destroyed in Muhammad’s time when Islam started to grow. The relief is stone carved with written language which might say “Blessings to the tribe”. The line structures are both thick and thin.The contours are flat with rounded faces and triangular noses. The texture would have been smooth and detailed. There is no color in the sculpture; it would be left as natural white color of the limestone. This sculpture would have become

To begin, the context of this art work is from Ancient Greece. At first glance there is no specific purpose to this artwork, common people would just look at it and notice a vase; however, the amphora was very typical to the archaic period and existed regularity within Greek society. An amphora is a two handle pot that was typically used to store dry or wet goods, mostly stored wine. Such amphora’s and other storage vases date back to the Neolithic period, but the unique style of this artwork directly relates

The material that the sculpture is made from is stainless steel placed on top of each other in different positions to express his thoughts. In other words words the artist did not produce or create these objects, he probally just told the

The artist of the piece chosen, The Mosque Lamp, is undefined. This particular artwork was created in Egypt and the date of its origin is recorded as C.1320. Creating this piece included the use of blown glass, enamel, gold, and silver stain. Using these particular materials the creator produced a lamp that looks like an inverted bell. Most onlookers would see this piece and come to the conclusion that the artist created a vase with an hour glass shape. Other shapes on the piece are the protruding small loops that were created in order for chains to be fed through so that this lamp could be hung for all to see. Viewers would predict that the maker of this wondrous lamp was wealthy due to the amount of gold used throughout the work. Besides the use of gold as a major color choice, the artist used iridescence which encompasses all colors. This use of iridescence creates a texture on the piece, which allows the viewer to see multiple colors at different angles. Another item on the lamp that creates texture is the sacred inscription that is in blue, circling the entire piece. This inscription is also the subject of the art itself.

This sculpture is of a women breast feeding her child. The face of the two people is elongated, as well as the breasts of the mother. This is common to all African Art because they wanted representation of what is being expressed. In this particular sculpture, a supernatural power is being called upon. The power has been asked to protect the mother and child, and to

It gives an unbiased and concise history of Islam and Islam’s principles. Fortunately it makes sure to explain that Islamic art and culture was experiencing a golden age during the European dark ages. It also mentions all of the classical works of Greek , Persian and Indian science, history, and culture that Muslim scholars translated into Arabic, oftentimes creating the only surviving copies of those works into the modern day. This information is all too often necessary in order to enlighten some of the less informed members of the frequently Islamophobic American public. The caption makes the somewhat bold statement that Islamic art is focused on surface decoration, the truth of this statement is debatable. Islam certainly has produced many wonderful works of sculpture, the Simurgh that were popular during Umayyad times come to mind. The portion detailing how human and animal imagery was avoided in public works to stave off idolatry but was common in private or secular works is not in contention. The comparison of the abstract or floralistic art found on mosques compared to the often semi-nude human imagery found in private places like the Khirbat al-Mafjar or in the manuscript in question offers clear testament to this fact. The

Art is represented by a multitude of ways that convey its inner meaning visually to the audience. Throughout each civilization, art changes and is displayed differently based on religion and many other factors that may come into effect. For example, religious Islamic and Christian art are not similar to each other at first glance nor are they alike in every aspect. Even so, the beautifully sculpted art pieces displayed for both religions stand as a representation of their faith and how profound it can actually be. The few differences would be in the various illustrations, architecture, and way of displaying the art piece.

The sculpture was originally designed as a poet Dante, but it evolved to represent intellectual status. It was also supposed to go with another sculpture as the center piece of “The Gates of Hell” but was seen

It was made in China and was inscribed with a thirty four character dedication. It is dated to have been made in 742 and is a middle Tang Dynasty Sculpture.

The first thing that I was drawn to when I first layer eyes upon the paining was the hand of Jesus, which seems to me to be the most important part in the sculpture. My eyes then wandered to Jesus’s face, then to

It is moreover pyramidal in structure with the vertex coinciding with Mary’s head. The base of the sculpture depicts the rock of Golgotha and is broader than the progressive