Micheal Jo Headless

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.

Beauty is an incredibly subjective thing; what might seem appealing to one’s eyes may be horrendously ugly in the eyes of another. However, the status of “beautiful” or “ugly” can be assigned rather objectively when art is examined from the perspectives of different philosophies. The beliefs and values of different philosophies can be used to find meaning and beauty in various art forms, allowing for a more straightforward determination of beauty. Because of the many layers of meaning most paintings entail, they are a perfect example of an art form that can be analyzed by numerous philosophical viewpoints to find meaning and beauty, and Ma Yuan’s painting Walking on a Mountain Path in Spring, which comes from the Song dynasty of Chinese and depicts a sole figure standing in a natural surrounding, is no exception. Ma Yuan’s painting is beautiful because it represents the ultimate achievements for the Buddhist, Daoist, and Confucian philosophies.

As Vidya Dehejia says in the book, “Buddhists in early India used visual storytelling as a way of popularizing their faith.” The Great Departure at Sanchi and Amaravati are the two masterpieces that share the significant scene for all the. Through this paper, the two depictions, at Sanchi and at Amaravati, are considered to find the similarities they share and distinguish the differences they depict – as iconography, narration and visual elements that share the story.

Introduced by a mission from Korea in 552 C.E., Buddhism has long been a central theme in Japanese artwork. Since the king of Paekche, a kingdom in the South East of the Korean peninsula, first gave the Japanese emperor a bronze Buddha statue, the Buddhist art forms that were periodically introduced from China and Korea were tempered in the crucible of local custom and usage, to yield a rich tradition of religious art.

Marc Rosenbush’s film, Zen Noir (2004), is at first glance a film thoroughly ensconced in the themes of Zen Buddhism. Set in a dark and brooding film noir atmosphere, the film depicts the story of a deeply troubled detective, at the end of his rope, who finds himself at a Zen monastery in order to solve a murder. But once there, he realizes that things are not quite what they seem to be. As the film unfolds, we find that the world Rosenbush has created for us is wildly symbolic, and it becomes clear that the monastery is a symbol of the detective’s psyche and that he was not investigating a murder, but his own fear of death and loss. If this introspective, psychological element of the film is recognized, the Buddhist themes of the film become conflated with allegories of navigating the Western psyche. It is the contention of this paper that when the psychological themes of this film are investigated, we will find that the alleged Buddhist theme of enlightenment in the film must compete with a symbolic depiction of Jungian individuation.

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.

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

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.

The Kannon Bosatsu, or Avalokitesvara Bodhisattva, is a carved wood statue of a Bodhisattva figure standing about two and one half to three meters tall. This statue shows a high level of detail on the Bodhisattva 's body, and is carved so smoothly that it could be mistaken for a stone carving. The show of skilled craftsmanship can be seen around the shoulders with the interaction of the cloth with the jewelry the Bodhisattva. The statue is placed on an ornate pedestal to cause the figurine to appear taller, giving it a feeling of authority, which contrasts with its calm, expressionless face. While the figure appears to be standing in a meditative state like the Buddha, the jewelry present all over the body of this figure distinguishes this figure as a Bodhisattva instead of a Buddha. In his book, The Story of Buddhism a Concise guide to Its History and Teachings, Donald S. Lopez Jr. establishes the importance of imagery in Buddhism. One major point he makes concerning the worship of Buddhist figures, is that the disciples of Buddhism not only believe that the figures are a mere representation of Buddha, but that the figures actually become and are animated by Buddha, an argument which seems to hold merit as truth.

As a scholar taking the class ‘Introduction to World Religions”, I had the opportunity to take part in a culture that is not normally found in the western world. I entered the Mon Buddhist Monastery in Akron, Ohio on October 2nd, 2016 only to be amazed at their way of life. Going into the temple, I knew of the basic religious practices and traditions that the monks and Buddhists had participated in daily. When I was coming up to the monastery, it did not look like anything other than an old brick building, but once we were inside it looked like a recreational area. Somewhere where they would meditate, hold daily activities, and teach the younger Buddhist about their way of life. On the far back wall, there was a stunning shrine dedicated to the Buddha where one would pray. Many figurines were displayed as well as flowers and offerings along it.

This work is a 33-foot-long, 10-panel painting which features an assortment of cartoon -like Buddhist figures. This piece is incredibly detailed and holds a lot of information within its imagery. Arhats are considered to be Buddha’s devotees, so this work relates more to religious themes. The theme of multi-coloured acrylic carries on into this work with rainbow eyes, tongues and more. The title “100 Arhats” states exactly how many arhats are present in this piece – one hundred – believe me, I counted. The Arhats vary in size and type, some being more humanoid than others which appear to be more akin to animalistic creatures, the piece is also accompanied by figures that may not be arhats, and instead are dragon or feline-like creatures. Each figure, however, relates to one another in that all have somewhat gruesome facial expressions, frowning and wrinkled, some even with an array of

“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 first and last chapters of The Buddha in the Attic begins with the classification of Japanese’s social roles inheritance in the foreign land and the uncertainty that surrounds everything and everyone. As Otsuka wrote, “This is America, we would say to ourselves, there is no need to worry. And we would be wrong,” (18) and renders vividly the disappearance brutality in Chapter 6 Traitors, “It’s the President’s order,” she said. And who were we to question the President?” (99).

The frontal presentation of The Head of the Buddha, is very simplified and symmetrical. From the side, the head becomes less round and tapers off by the exaggerated ears. This marks an end to the more rounded edges and becomes more angular. To a viewer, this demonstrates that the artisan wanted to display a more naturalistic view of the head, as it would be viewed on all sides. The frontal presentation of The Head of the Bodhisattva, conversely, is more decorated with a slightly tilting head, but the side of the head follows the same pattern as the Buddha head, as it changes from a rounded edge to more angular. Both sculptures present simplified faces with basic features. The Head of the Bodhisattva, nevertheless, appears to be rougher than The Head of the Buddha. One can observe that the Bodhisattva head still reveals the original grain of the wood, whereas the Buddha head has been sanded down to diminish those lines. As these two pieces are sculptures, the heads take on a volumetric form, as they appear to be carved on all sides. This would suggest that the pieces would not have necessarily had a background behind them, as those pieces would not be carved on the back of the sculpture. The faces, however, follow a standard form for religious figures. The sculptures are most likely not individualized, but they follow visual properties that were common for Buddhist