"Reclining Pan in the St. Louis Art Museum"
Reclining Pan (St. Louis Art Museum, 138:1947) also known as Drunken Satyr, a marble sculpture modeled by Giovanni Angelo Montorsoli in early 16th century, is portraying Pan, the god of the woods, fields, and flocks in the reclining position. The sculpture was owned by the powerful Barberini Family in Rome, then purchase by St. Louis Art Museum in1947.1 Reclining Pan at the St. Louis Art Museum under discussion presents a commanding image of the satyr/god Pan, measuring approximately 2 feet tall and 4.5 feet long. Pan appears to have fallen asleep in a drunken stupor since he lies upon a wineskin amid four bunches of grapes that adorn his rocky bed. His left arm encircles his head, a…show more content… To show his gratitude he ordered the construction of a statue in her honor telling the sculptor to make the statue quanshou quanyan meaning "with completely formed arms and eyes." The sculptor was probably from Henan and he misunderstood. He made the sculpture with qianshou qianyan "a thousand arms and eyes." From that day on, Guanyin has been represented with a lot of arms and eyes.7 Representations of the bodhisattva in China prior to the Song dynasty were masculine in appearance. Guanyin's image is depicted as a young man dressed in Northern Song Buddhist robes sitting gracefully. He is depicted looking or glancing down, symbolizing that Guanyin continues to watch over the world.8 This Guanyin sculpture was made around Late Song dynasty, the appearance of the bodhisattva showing the slender build, feminine curved face, even though the Guanyin is still portrayed as a male figure, it shows some transition between male and female characteristics. Later images display attributes of both genders. One interpretation of this development contends that the bodhisattva is neither male nor female but has transcended sexual distinctions, as he has all other dualities in the sphere of samsara (the temporal world). According to this opinion, the flowing drapery and soft