Essay on Once Upon a Times: Art of the Himalayan Region

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.

There is a sense of simplicity that even in their poverty there seems to be something good about them. In the painting there is a cat, and a dog. There is also a person that looks like it would be the son playing an instrument. The color palette is mainly brown, beige and grey and uses those colors to show light coming through. The right side of one of the females shows half of her face that looks light and the other half is dark that seems to blend in with the background. Simplicity is shown in their social class. It can also be seen in the food that is being presented which just a loaf of bread, and salt. This tells us the culture of the time period during this time, which was the simplest life. When I saw this painting I had a great deal of empathy for them. They had so little compared to the other family. One family had bronze while the other family had

In this artwork, Palomino has placed Mary at the center of the painting, which is an implied triangle. The writer uses an idea of light on the top of the Virgin Mary head. There is a white dove on the top of the painting, which transmits light to her face. The focal point lies on the face of Mary as it is well-defined and the painter has emphasized her face with white color, which brings out the light. This painting has both variety and unity. Unity lies in the color, which is the primary color blue. The whole background of the painting is covered with blue. Similarly, the clothes of Mary are also blue in color. Also, there are numerous cherubim on each side of the painting and they all are painted with the primary color red. Moreover, there is great variety in

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 picture depicts a money trader and his wife's activities. It is a ordinary common plot. In the painting, the moneychanger is count money, and the scene is his shop, it is a genre scene. His wife sit near by him, she is reading a book of Martin Luther’s biblical translations. That give viewer didactic messages. But his wife is watching him; see how much money he counted. The painting is full of

The painting appears to be light, open, and airy. The colors in the painting add a realistic effect, and the light falls on the objects in realistic proportions. However, symbolism can be found within the painting. There are a variety of lines in this piece, each type gives a different feeling to the painting. In the foreground, there are many vertical lines and diagonal lines.

The lighter gold on the painting focuses on a single man. The man is dressed in dark brown robes, the kind monks wear. The done comes around the neck and covers the chest of the man. Resting on the back of his neck throb is a dark brown good connected to the robe. Looking through the robes is

For example, the easily distinguishable arms and legs of the portrait stretches outward like strings of rubber band giving the painting a sense of flexibility. In addition, the multifariousness of colors denotes a sense of emotion. For instance, the color yellow, the focus point of the painting illuminates a feeling of energy and happiness. Whereas, red, the opposite of yellow stands out as anger and violence while blue complies with trust and peace. As a result, the painting embellishes the essence of diversity cause of the uniqueness of lines and colors. In other words, the lines of the painting depict the differences in shapes and forms of human; moreover, the colors illustrate the personality. The painting displays the connectivity of lines and colors as a whole because of the mixer from color to color, and lines link to one

It was to show the tranquility of his room thought its simplicity and tranquility. Which I believe it captures quite well. There isn’t too much clutter talking over the painting and it use a lot of simple lines. He wanted to capture the room in colors which is what I think he did quite well. It was interesting to see him change the color thought-out the process of painting the three different versions. He also mentions how he is referring to Japan in these works. “The Japanese lived in very simple interiors, and what great artists have lived in that country” (Musee-orsay). He goes on the say that the Japanese might now find his room simple seeing that there are paintings on the

In this painting I get a sense of the power of nature over any other figure or god. Nature plays a key role in all paintings, because we are part of nature. The painting shows the beauty and strength of the nature with putting together all of the parts of nature, water, land, humans, and the sky. They can also show the strength with how all of the components work together. Everything in the painting looks realistic and shows a smooth

The colonization of Asian countries carried a tremendous force that is still felt in contemporary time. Micheal Joo, an American-South Korean artist, uses this force in his work Headless. The piece of work is made up of about 20-30 headless buddha statues, in meditation with their legs in the single lotus position. All of the statues’ bodies are eerily similar, each a burnt-orange terra-cotta color and all having the exact same draping of robes that cover everything, but their feet, hands, and upper body. What differentiates them from each other, either than the variation of brown undertones, are the transplanted heads. The heads attached to each body are heads of iconic figures in Western media, like Wolverine and Alfred E. Neuman, the cover boy of the famous magazine “MAD.” To some, these heads juxtaposed with Buddha’s bodies show a clear message: Western media has become the new god.

The Bishamonten is a fearsome statue that would be placed in front of a Buddhist monastery facing north. It originated as a deity in Indian mythology and came to Japan with many jobs such as guardian of the realm of the North, guardian of Buddhist law, god of victory in war, and god of wealth and good fortune. The statue’s use of sharp, curved, graceful, vertical, diagonal and horizontal lines give the statue a humanistic quality. The curved, rectangular, angular, and soft edge flow of the Bishamonten clothing and face also provide a realism that induces a sense of realism. Due to it’s wooden composition, Bishamonten has both a rough and smooth texture, as well a hard and dull appearance but to the liquor used and time. The liquor used is black,

The most used of the art of the early use of sheep's clothing materials can save time is very long. The authors use a lot of tools when dealing with this work. We can see a lot of lines in the works. And these lines are very accurate, we can see that when the paintings of this painting, with skilled painting techniques. Blue is the most exciting part of this work. The art of learning is very clear. It is very difficult to control the colour of the blue because there are a lot of warm colours in this work, but the blue and olive green convergence are very understanding. This does not make people feel that the two colours are hard to piece together. In the space of the layout, I think it is also very good. Background and themes are very clear. The convergence of the background and theme of many artists is a big problem. Many people's work background is rich in themes, and even some of the themes in the background. But in the Manuscript Illumination with the Birth of the Virgin in an Initial G, I did not feel the problem of the layout of the work. The subject of this work is the most popular subject in religious paintings, in the background of the painting, it is not a solemn religious scene, but the daily

It is important to reflect on the detachment of art from its former religious manifestations, where the painting was a moving piece of “symbolic meaning” (Barzun 32). According to Jacques Barzun, a painting connected with the viewer because it reflected some manner of spiritual recognition; it was the attachment to God or spiritual symbolism that satisfied the patron and provoked emotion, not the piece of art itself. “The Renaissance glorification of man, the scattering and weakening of the creeds of Protestant Reformation, and the general unbelief caused by the progress of science” caused art to become an idea into itself (Barzun 33). These modern issues Barzun blames for the rise of art as a religion, with the avant-garde artists acting as “seer, and prophet bearing revelation” (33).

Religion is a big factor in a lot of people 's lives. In fact, over 2.2 billion people around the world practice the Christian faith. One of the appeals about pieces that relate to the Christian art