Buddha Vairocana

Pensive Bodhisattva has typical features of the Buddhist artworks. Also, the interesting aspect is we can see the unique features of the Three Kingdom Period’s artwork through this sculpture. When we see this sculpture at first, the most noticeable point is the bodhisattva’s posture. He sits on the dais and he puts his right leg over his left leg. The right leg also props his right elbow and his fingers especially the forefinger and the middle finger touch his right chin and he rests his left hand neatly on his right ankle. The description of his fingers and toes are very realistic. When we see the fingers and toes, we can feel how the artist put his or her blood into sculpting each fingers and toes. However, his posture seems agonizing. When we take a closer look his face, his eyes are closed and he puts gentle smile on his lips. For that reason, his posture reminds us his anguish, but at the same time, his facial expression

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 three Jewels are an intrinsic part of Buddhism. It includes the Buddha who founded Buddhism, Dhamma which is the teachings of the Buddha and the Sangha which is the community of monks and nuns. This belief is demonstrated through bowing. Buddhists during Puja bow three times in front of the statue of the Buddha. This symbolises the three Jewels in Buddhism. An example of this is Tibetan Buddhists laying their whole body on the floor when bowing. This shows modesty, devotion and commitment to the three jewels. Without the element of bowing the three Jewels would not be acknowledged in the Puja. Since the three Jewels are the foundation of Buddhist beliefs, bowing is an integral part of Puja. Moreover, Puja can be seen as disrespectful if it is not recognising the teacher, teachings and the community that founded Buddhism. Hence, bowing is a vital part of Puja as it acknowledges the three Jewels.

The central Buddha figure, Shakyamuni is the original Buddha who can not be spoken or thought of in terms of birth or death, self or other and is the source of all other manifestation of Buddha hood. He appears cross-legged on a pedestal representing the “cosmic mountain.” The Shaka displays several of the important iconographic, symbolic traits of the Buddha, including the usis, a cranial protrubence; the snail-shell curls of hair the urna, a mark on the brow between the eyes; the elongated ears; and the gilt which indicates the golden color of the Buddha’s skin. He holds his right hand in a gesture of protection or reassurances known as abhaya mudra, the left in the vara mudra. These features appear

roughly a foot and a half tall, nearly two feet long, and ten inches in depth. Used for

As stated previously, this is a depiction of Buddha Maitreya. He is a particularly interesting subject because of his special place in Buddhism, namely that he is both a bodhisattva and a Buddha. It is believed that when the current version of our world ends he will be the next great teacher. He is thus greatly revered

Here the idealized face of a full-blown Tang beauty from Tianlongshan, with a small, slightly opened mouth, is so expressive that it seems as though he is about to speak. The shape of the head is rounder and the carving for facial features is softer with time going by, so the bodhisattva is more and more nearly human looking.

It is one of the largest and oldest monolithic statues in the

“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.

Sayre the author says, “The Buddha is the most extensive collection of large-scale sculptures in the world and can be found an hour north of New York City in the lower Hudson Valley at Storm King Art Center (“A World of Art”). Zhang seems to like the traditional aspects of chinses culture, because he re-used an ash material form other artists, to create his own sculpture. The techniques he used to create the sculpture is casting, assemblage, and construction. Without using these three additive techniques of sculpting, the artwork wouldn’t have been fragile, and not overwhelming in size. The subject of the “three Legged-Buddha” is another conflict with the governmental rules and regulations, and it has drawn a lot of attention due to its strong message that it conveys. When I initially examined the art piece for the first time, it looked like a huge dismantled, three legged human figure. I thought it was a symbol for keeping your body in better shape over your mind. The most amazing part of the sculpture is how extremely large it is compared to the electrocution sculpture. After reading and interpreting the sculpture it struck me that it was made for ceremonial gathering, where incense placed and burned from inside of the sculpture, and pours out of the head. I think that the artist was trying to involve the visitors in his sculpture. Since Zhang Huan

In this picture of the Buddha, it passes on ‘compassion’ by demonstrating to us that Buddha's eyes are not shut. He is mindful of his environment. The general look all over is one of generosity and empathy. There are contrasting records right now covering of the Buddha's head. In India, according to their tradition, they say that when the Buddha shaved his head as an indication of his renunciation, the hair developed back in tight twists. In Japan, the story says that while he was situated in reflection, the sun beat downward on his shaved head. To start with the fish and afterward frogs attempted to offer him covering from the sun. They proved unable. Be that as it may, snails came and lined up on his head to keep it secured from the sun amid

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.

Buddha Amitabha is a bronze statue that was found in Zhaozhou Hebei of China. It was made in Sui

The elaborateness of the bodhisattva remains in the figure as whole and in its separate parts, specifically the headdress and its sword halo, the cloth, and the lotus flower seat. As a whole, the bodhisattva is made up of multiple parts: the sword halo, the headdress, the bodhisattva’s body and arms, the lotus flower seat, and the earth base. The sword halo appears to be slightly detached from the bodhisattva’s body, mostly connected to the lotus flower seat. The halo gives the body more depth because it provides a background. This means that the bodhisattva is not in need of having a highly decorated backdrop behind it, especially because the halo creates an interesting shadow. The shadow is defined by the holes within the halo and the swords

The Buddha’s Eyes – especially on stupas – face in all four directions and symbolizes the omniscient mind of the Buddha.