Elizabeth Coulter: Annotated Bibliography

21st-century humans are often reminded from media sources, advertising and other prevailing cultural meme machines that we are more informed, more sophisticated, and more societally, culturally, environmentally and technologically savvy than at any other time of our known human historical existence. With our smartphones in hand, we can search and devour written information with the assistance of search engines and electronic libraries and watch documentaries on countless subject matters with online video services. Moreover, the recent introduction of AI enhanced virtual assistants, like Alexa and Google Home, allows access to a virtual “answer machine” where the incessant inquisitive can ask it obscure question upon obscure question and receive a carefully worded and (most likely true) answer. Regrettably, our factual excess and supposed technology-given worldliness still have not allowed us to overcome our tribalistic tendencies regarding people and ideas. Recent events at U.C Berkeley and excerpts from Deborah Tannen’s article “Taking a “War of

This sculpture is comprised of marble, and due to its large size it was easier for me to develop an impression about the piece because I can focus on specific parts in more detail. To understand the piece, a very visual and detailed perspective is needed. Judging by the way the thighs are represented, it appears as though she is striking a contrapposto pose, which makes her appear static. She has most of her weight shifted on her left leg, but not all of it The focal point of this piece I believe is her robe. It skillfully falls down her left side, while leaving other parts exposed, drawing the main attention of this piece. Few different types of shapes are displayed, except the shape of her legs and the form of the robe. The physical texture was smooth throughout the entire piece, partly due to the material it is made of. There is only this one texture, as her robe and body parts all feel the same.

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 wall painting features Maitreya, the Buddha of the Future, sitting surrounded on both sides by two monks -standing immediately to the left and right, slightly to the back-, the ruling king and queen -sitting and in elaborate headdresses and robes, further left and right-, the crown prince and princess -standing between their parents and Maitreya-, and many other disciples and bodhisattvas -doing

The figure of the Buddha is one that is relatively well recognized throughout the world today. One may wonder why and how people are able to so quickly identify this religious icon in art such as sculpture. With a religion that spread almost entirely throughout the continent of Asia, it is surprising to find that although there are many creative variants, Buddhist sculpture still preserves many key iconographic features. The most fundamental characteristics of Buddhist sculpture are listed in the thirty-two Lakshanas, or “rules” for depicting the Buddha. In addition, Buddhist portraits also consistently make use of hand gestures, or mudras, and various seated positions, also called the asanas. It can be noted that these serve more than just the purpose of mere aesthetic design, but indeed they have many contextual meanings in the story of Buddhism. Iconography, or the use of visual images and symbols in artwork, is fundamental in understanding the religious context of sculpture. In this paper I will be discussing notable iconographic features displayed in works similar to the Seated Buddha exhibited in the University of Colorado, Boulder Art Museum and how these features are connected to the larger Buddhist practice as a whole.

The sculpture Buddha Amitabha is a typical Sui Dynasty style art piece that represents the will of

The sculpture to the far left is from the archaic period. Archaic art is famous for the establishment of the human figure as the central image and the law of frontality. As seen above, archaic sculptures are famous for their “archaic smile” that is present during any occasion. Therefore, pain or sorrow is never depicted. With all sculptures having the same facial expression, it leaves no opportunity for interpretation or individuality. This was a pattern among archaic art because it was meant to represent order.

The art has various characters in it. Here, three characters are highlighted and made a little bigger that other where we can easily guess that the top person is Christ and the rest

This piece had religious meaning the writing in the sculpture meant “In the name of God, most beneficent and merciful. Oh, Allah. Oh, Mohammad. Oh, Ali. Oh, Fatima. Oh, Hassan. Oh, Hussein. Help from God is near at hand. In the month of Ziquad. In the year of Hijri 1287.”

This picture was chosen for its background. The background adds detail so that the onlooker can create an idea of who this person might be. While the subject is still the main focus of the portrait the background is just as important as the subject because it suggests a culture that the viewer can make inferences about.

Judith Butler questions the belief that behaviors of either sex are natural. She proposes a rather radical theory that gender is performative and that sex is constructed. When gender is being performed, it means that someone would take on a role, acting in such a way that gives society the idea of their gender and constructs part of their identity. To be performative means that we produce a series of effects.Gender is constructed and is not in any way connected ‘naturally’ to sex.

This is a statue of the deity named Manjushri, which is supposed to represent wisdom. This artwork has been gilded with bronze, parts of this also have rusted. It was during the Jin Dynasty a few hundred years ago. Manjushri is sitting cross-legged on top of the lion and the clothing looks loose-fitting. The lion has what looks like a saddle on its back, and has a rein near its chest. The mouth is open with a smile and the ears of the lion are perked up. There is quite an amount of detail focused on the piece but the center of interest is the lion’s head. The proportions of the lion to Manjushri also seems to be accurate. This art piece is religious and belongs to the Buddhist culture.

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 man in the right is the painting of the most successful emperor of Qing Dynasty. He is Emperot KangXi.

This artifact is severely damaged, leaving only part of the head and chest remain. The face of the Buddha appears to be relatively round, using ink to draw the eyebrows and to emphasize the already carved on eyelids. The upper eyelids are curvy while the lower ones are relatively flat. With plump alae of the nose, small lips and dimples on the edge of the mouth, the figure is depicted to be smiling. Although the neck is broken, the piece left in front of the chest indicates the kasayaworn by the Buddha