Himalayan Art

Our lives are closely connected with an art. People easily regard an artwork as something that is far from our lives, but it is always around us. Now, I would like to introduce one of Buddhist artworks of Korea. The title is Pensive Bodhisattva. The artist is unknown. However, it was made in mid-7th century during the Three Kingdom Period. The dimension of this artwork is 8 7/8-inch and the medium is gilt bronze. It is located in Gallery 233 among other Korean artworks at the Metropolitan Museum of Art now.

The most prominent colors, yellow and green, are on the wall, chair, and frame of the mirror. The rosy orange is dabbed on the cheeks of the mother and child and on the back cushion of the seat the mother is sitting in. The light brown is in the mother’s hair and on the wall reflected in the mirror. The repetition of these main colors help draw the viewer’s eye around the painting.

In comparing The Tibetan Mandala and the Navajo Sand painting the sand drawings are from different cultures, yet their purpose is the same. A better understanding and appreciation comes with looking at these works.

The color tone is mostly analogous in the mural; however, there are complementary colors in detail elements such as the artist uses blue and green for large areas to represent river and mountains, uses red and orange to paint houses, huts, horses, small roads and clothes in the village to create emphasis point. For the color tone that artist uses, the harmony of blue and green of the most of the areas can represent the abundance of water or farms in the village and a rainbow ribbon shows what the leader gives to people in the village as

painting are blue, white, gray, brick red, brown, black, and lavender. The colors of the

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.

Thesis: Dinh Q Le incorporates his past experiences and culture into his art to convey his cultural heritage in western society.

Originating in north - eastern India, the Buddhist tradition has grown to be popular and an intellectually complex religion. With a unique culture, this differentiates Buddhism from other religions. The complexity of Buddhism influenced by Buddhist schools changes an individual 's perspective and attitudes. Interpretation of the stimulus will vary from a Theravada to a Mahayana Buddhist as their core beliefs of Buddhism differ from each other. This essay will analyse the views of a Mahayana and Theravada Buddhist towards the cartoon drawn by an Australian cartoonist and artist, Michael Leunig. While also examining the stimulus’s association towards The First Noble Truth, The Fourth Noble Truth and Eightfold path, Buddhist beliefs and The Five Aggregates; matter, sensation, perception, mental formation and consciousness.

Rathnasambhava, the Transcendent Buddha of the South and Madonna Enthroned are very similar images that were produced by very different cultures. Both images were produced during the 13th Century. The image of Rathnasambhava, the Transcendent Buddha of the South was produced in Tibet during an interesting period of the country’s religious history. The branch of Tibetan Buddhism is led by a religious and sometimes political leader called the Dalai Lama. It was during the 13th Century during the reign of Kublai Khan, around the time of the production of this painting, that Tibet experienced the first incarnation of the Dalai Lama. One has to wonder if this painting is somehow related to that occurrence. According to

Shahzia Skinder, a critically praise Asian American artists, whose contemporary paintings and murals combine the traditional art of Indo-Persian Miniature painting, and her own life experience into the rich and colorful layers of her works. I have found her art to be breathtakingly beautiful and meticulously stylized. Her elaborate and vivid compositions, using miniature art and symbols from India and Pakistan help me connect with aspects of Hindu and Miuslim mythology and the history between the two countries that I had not thought of for a long while now.

3. The inclusion of the yakshis add to the message of this image because they represent the Indian female earth spirits that are suggesting fertility, the message it displays is that the Buddhists believe

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 intent was to use significant images and a small description to convey a beautiful message, that symbolizes the rise and demise of Pururavas through Urvashi. Representing Pururavas was images of Ranveer Singh, to display a strong young man, who might have been, in my opinion, the epitome of good looking. In order to present a delicate and sensual woman of the era of the Rig Veda, I used images of Aishwarya Rai Bachchan from Devdas and Nandana Sen. I hoped to create something aesthetically pleasing that portrayed the beauty of all of the characters and represents core elements of importance that I viewed within the

The first thing that stands out in this painting is the color scheme. From far away, the warm colors of orange, tan, and mahogany seem inviting. The home seems friendly under a slice of turquoise sky. Shadows heighten the look of the fading sunlight upon the

The Dunhuang cave temples have preserved evidences of the intense religious, cultural, and artistic exchanges between the western regions and central China from the fourth to the fourteenth century. The discovery of manuscripts and paintings there in the early twentieth century has forced scholars to reconsider the history of Buddhism 's development in China. This panel brings together art historians and scholars working with manuscripts to shed light on the visual and textual representations of religious experiences in Dunhuang. By analyzing textual and visual materials from the Dunhuang cave temples, presenters in this panel will discuss various aspects of religious practices in Dunhuang ranging from dialogues between Buddhism and other religious traditions to issues and challenges within the Buddhist community in Dunhuang. Specific topics to be discussed include the appearance of Brahman ascetic figures and artistic shift in the portrait of Buddhas in Dunhuang caves spanning from Northern Wei to the transition between the late Sui and the early Tang, legal disputes within Dunhuang nunnery that shed light on the implementation of legal theories outlining procedures to handle conflicts between religious and secular law in Tang China, and institutions and their staff associated with the production of Buddhist manuscript in Dunhuang and beyond.