Asian Art And Art Analysis

Ganesha is thought of as one of the most caring god’s in the hindu religion as his ears represent being a good listener and his small mouth representing talking less, these two qualities together show that he is one to listen to other’s problems rather than talk about his own. In many images Ganesha is shown holding three items, a noose, an elephant goad, and sweet candy called laddoo the objects in his lower right hand represent his blessings and protection. Ganesha is known to reduce karma and guide you in your difficult journeys. These are one of many qualities portrayed by Ganesha.

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 art depicts to me the Indian life cycle and religious perspective when she poses in different forms which she depicts with her hands and feet (Shiva). According to MFAH bulletin board, it explains the nonverbal poses that “Shiva Nataraja” makes such the little man underneath her feet is “Apasmara” resembles the human race “ignorance, forgetfulness, and recklessness”, and one of her hands depicts holding a “…drum…beat of this drum signifies the sound of creation” and her large third eye resembles the looks between “truth” and “illusion” (Shiva). Also, it amazes me the vivid image the artist presented from this bronze statue of “Shiva Nataraja” which depicts in a live and dynamic form.

The United States is the "land of the free, and the home of the brave" according to the song, but there is a dichotomy that exists between those who have called the United States their home for a long period of time, and those who are immigrating to the US. Asian Americans are a group that very few think of as having difficulties because the stereotype is of a group that is intelligent and is actually doing better than the average American. While this may seem to be true, better grades in a school setting does not mean that people who come from other countries are not experiencing racism (both overt and subtle), stereotyping and alienation in this country. Although there has been some difficulty, many groups are experiencing newfound hope because of the actions that they are taking. The plight, and the hope of the Asian cultures are being documented by artists of different stripes who are eager to depict what has happened to Asians as they try to build their own America, and assimilate into the one that was built before they came. In this paper, the Asian American cultures will be examined through the art that has been produced over the many years that Asian people have striven to make their way as new Americans.

I chose to do my research paper on the colorful and extraordinarily detailed mural titled “Dhrtarastra (Dharma King of the East Direction) with 16 Attendants” by Shashi Dhoj Tulachand. Shashi is also known as Guru Nawang Chhogyall Tenzin is a 69 year- old spiritual leader of the Chhairo gompa, a branch of Tibetan Buddhism from Tuksche, a remote village located in Mustang, Nepal's northernmost district, adjacent to Tibet. He is a master in Buddhist thangka painting who is committed to re-establishing the lost teaching tradition of Chhairo gompa. Shashi comes from a long line of Buddhist artists, his father Kamal Dhoj Tulachan, and grandfather were responsible for many wall paintings and statues to be found in gompas, chortens and private household shrines in the villages of the Thak Kola and the upper Kali Gandaki area.

The carving in real sense depicts the victory of Naram who was the fourth king of the Semite dynasty in the Akkadian empire. This carving depicts a different point of

Chapter One selects works of art from a wide variety of cultures and times. What might you not notice about Fig. 1-8, if you did not know that the Mugal ruler Akbar believed that “a synthesis of the world’s faiths would surpass the teachings of any of them.”

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.

“Amida Buddha” (Figure 1) is a bronze figure created during the Kamakura Period, dated 1185-1333. The work is a figurative representation of Amida, who was highly worshipped during the Kamakura Period. The figure “Amida Buddha” is currently on exhibition at the Kimbell Art Museum (2018) in Fort Worth, Texas as part of the Sam and Myrna Myers Collection, Lands of Asia Exhibition.

“The whole secret of existence is to have no fear. Never fear what will become of you, depend on no one. Only the moment you reject all help are you freed” ~Buddha. Out of the abounding religions in the world the 6th most practiced of all the religion is Buddhism, or the worship of the god Buddha. Buddhism has had a colossal effect on the Asian culture and it has had an effect on the way that we (as American citizens) view the Asian culture and the beliefs of Asian men and women. This paper is about into how the culture of Asia has been changed because of the Buddhists believes. Also how their temples have shaped the way that we as Americans view Asian architecture or the kind of things that are in Asia that are because of Buddhism. Many different

The art piece called the "Reliquary Guardian Figure" was created by the fang people who lived in Gabon. The fang people was a group people that lived in Gabon who devoted themselves to ancestor lineages also known as Bieri. They had many different clans and societies in the Fang villages. They believed very highly of spirits and the afterlife but only Shamans and ngengang could contact spirits. When people died, they would be burned and their ashes would be put into a wooden box. Then a guardian figure would be made and attached to the box holding the remains/bones of a person who died. The main purpose of a Guardian figure was to protect the person in their after life. Guardian figures were made by carving wood into the shape of the figure.

The group of objects chosen for this paper comes from the collection of the Saint Louis Art Museum. The title of both pieces is called Seated Bodhisattva Avalokitesvara (Guanyin). Both these pieces which are statues were sculpted in china. The earliest statue was made during the Tang dynasty. While, the later statue was made during the Northern Song dynasty. These statues were chosen because the same deity is depicted and were made in a similar geographic and cultural location. This allows for the comparison of the different styles between the 2 periods. The statue made during the Northern Song dynasty depicts the Bodhisattva Avalokitesvara sitting in a pose called the relaxed pose or easy pose. This statue also depicts the Bodhisattva adorned in lavish silk garments while a jeweled crown sits atop his head. The statue is carved from wood and painted with gesso, pigments, and gilding. The statue made during the Tang Dynasty depicts the Bodhisattva sitting in the easy pose as well. It also depicts the Bodhisattva in flowing robes while wearing a string of jewels.

The two works of art that I have chosen to analyze are 1) Jordan Casteel. Miles and JoJo. 2014. Oil on canvas, 54” x 72” and 2) Aaron Fowler. He Was. 2015. Mixed media, 134” x 165” x 108”. The themes that these works of art represent in regards to the exhibit are love, family, and pain. However, they also fall into other thematic categories. The main theme that seems to apply to both “Miles and JoJo” and “He Was” is Human Experience. Additionally, these arts differ in some ways.

It apparently was variegated or ornated and occupied a base, the front that was engraved with a scene of devotion (Rambelli, 207). The Gandharan technique of Buddhist visual art advanced within the first centenary B.C. and the seventh centenary A.D. in the region that is momentarily north-western Pakistan and East Afghanistan (Gresham and Dunham, 401). The technique had its roots in Greco-Roman society: ancient influences surface in the sculpted peculiarities of this Bodhisattva's look and his running, toga-like clothes. Leaders of the Kushan Realm, which incorporated Gandhara and served from the 1st to the 3rd centenaries A.D. (Gresham and Dunham, 404). When this statue was produced, continued associations with Rome by commerce. Kushan money depicts Roman, Greek, Hindu, Buddhist and Persian deities and has engravings in fitting Greek letters. By trade and evangelist ways, the Kushans were active in spreading out Buddhism to China and Central Asia ("Living Buddhist Statues in Early Medieval and Modern Japan",

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