Religious Tradition Essay

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.

Around the interior rim there is a vegetative design contained with in two rims, concentric to each other as well as to both the shape of the bowl and the rim around the illustration in the center of the bowl. The emphasis of the drawing is on the two figures's clothing and the vegetation on the rim. Both of these details have the most variation in value and line, while the background of the illustration is drawn mostly with contours. The clouds are reduced to thick, expressive lines that refer to the thickness and energy of the calligraphy on the outer sides of the bowl. A sun or moon is drawn above the boy and woman's heads in a linear style as well. The calligraphy seems as though it was painted, rather than written, though refers more directly to the actual Chinese characters than the Arabic inscription does to Arabic characters on the Islamic bowl. The brush strokes are visible, expressive, and dynamic. In many ways the writing has much more character and intensity than the carefully drawn illustration at the interior center of the

“The medicine wheel symbolizes the interconnection of all life, the various cycles of nature, and how life represents a circular journey. The number four is sacred to the many Aboriginal peoples of North America and can represent many things: the four seasons, the four parts of a person (physical, mental, emotional and spiritual); the four kingdoms (animal, mineral, plant and human); the four sacred medicines (sweet grass, tobacco, cedar and sage). Hence, you may see the medicine wheel presented in several different ways” (uOttawa, 2009, p. 1)

He began his artistic lifestyle at the young age of nine assisting his father and older brother Krsna Dhoj Tulachan and accompanying them to villages around Mustang. By the age of 18 he had begun his first solo project to paint the Mani Lha K’an of Gemi village, Mustang. Numerous Tibetan Buddhist monks are not necessarily trained, but have practiced Buddhism and cohesive art techniques for most of their lives. The art pieces they made have been used to hold peace and love in these towns. It is not only a form of art, but a wonderful spiritual practice that relies on patience and true appreciation.

As stated previously, this is a depiction of Buddha Maitreya. He is a particularly interesting subject because of his special place in Buddhism, namely that he is both a bodhisattva and a Buddha. It is believed that when the current version of our world ends he will be the next great teacher. He is thus greatly revered

Descent of Amida and the Twenty-Five Bodhisattvas is a hanging scroll from the Kamakura period in 13th century demonstrating Amida Buddha and 25 bodhisattvas swiftly descending over the mountains into a village. The artist used real gold paint and small slivers of gold to create patterns to add radiance to the people descending from the mountain. That usage of gold in art work is known as Kirikane and it is one of the great achievements of early Japanese Buddhist. The gold really stands out from the rest of the landscape because it is all dark colors. The symbolic meaning of this hanging scroll is that Amida would come down from the heavens to the home of a dying person in hopes of having their soul escorted into paradise. I like this painting

Emily, this sculpture is interesting to me in a way that Buddha’s head is not present. The body and the half circle seem to serve as the eyes and mouth. Also, because it is a sculpture of fasting Buddha, it seems to show the inside of the body as bony and enduring the fasting season. After reaching enlightenment, Buddha meditated and fasted for forty-nine days. Thus, showing him as an emaciated renouncer relates to his enlightenment and his status as a yogic ascetic who has ultimate control over his body. Other characteristics that relate to his enlightenment include the sitting on top of the seven people under him shows the Buddha's teachings to his followers.

based on the style of stone statues. The figures of Buddhist art of Sui Dynasty have broader

This sculpture represents Bodhisattva Maitreya. Bodhisattvas are knowledgeable characters who defer their sanctification to support all sentient individuals (Rambelli, 207). Unlike other Buddha statues the Bodhisattva is an invented character, not a replica of an exact character to Buddha. Bodhisattvas have several of those attributes of Christian benefactors (Gresham and Dunham, 400). They are sympathetic characters who assist congregants. Contrary to saints; nonetheless, they are not affiliated with historical individuals, hagiographies, or suffering.

This universally used way is shown through how buddhist art is similar the christian art as their images have a full influences from figures in Buddhists with Buddhas Bodhisattvas, notable figures in Buddhist from real life or in the beliefs of Buddhism, narrative scenes,mandalas and also physical objects that have a assocation with the Buddhist religion such as Beells and or Vajras. Christian art is used as a way to show's themes and imagery relating to Christianity as religious images of Jesus and scenes from the bible are commonplace in a Christian area.These similarities to each other show that is has been used and has been effective in mediating religious meaning to the viewer

When Choi rethinks the notion of the replications, first, she adduces a concept from John Ma, who points out the peculiarity of people in ancient or medieval period. They prefer to illustrate their characteristic subjects, instead of producing identical replications. At the same time, she uses a considerable amount of pictures to elaborate the different imitations of the Buddhas in different cultural circumstances. For instance, the Buddha that was built in South Korea is recognized by its significant size. The measurements of each part of this Buddha are identical to the earlier prototype. In Indonesia, there is another statue known for its crude quality, because according to the legend, the prototype was unfinished. Different from the imitation of size or unusual quality, the puti ruixiang Buddha in China emphasizes on its heavy decorations consciously since the Buddha in the Mahabodhi Temple was decorated with lavish ornaments. These visual images help the viewer to distinguish the stylistic differences among the characteristic Buddhas.

Inspired by the religion of Buddhism, a way of living based on the teachings of Siddhartha Gautama, I decided to construct a sacred symbol and create a clay model for my Part C artefact. The Sacred symbol I have decided to recreate is inspired by Buddhapada (the Buddha’s footprint) and is significant to the religion.

Jade was a common medium in Chinese culture. It was prized for it’s hardness, durability, and beauty. More importantly, it was believe that it would improve health and protect people from harm. It was also considered a symbol of virtue. The polish and brilliant finish that could be obtained were seen as a representation of purity, while the compact hardiness of the material was believed to represent intelligence.

In early centuries CE, the art of South and Southeast Asia assisted in capturing the beauty of surrounding cultures. But most importantly, the art helped spread religion such as Buddhism and Hinduism, into surrounding areas. This religious advance helped form beautiful pieces featuring important religious figures such as Buddha. Two examples are the “Standing Figure of Buddha” by Takht-iBahi Gandhara and the “Bodhisattva Maitreya" by an unknown artist. Both figures were created in the second and third centuries CE and stand between forty and forty-five inches tall. The height and time period, however, are not the only similarities between the two. There are multiple similarities and differences between the “Standing Figure of Buddha” by Takht-iBahi Gandhara, and the “Bodhisattva Maitreya" by an unknown artist. The similarities between the two figures include Buddhist characteristics such as the cranial bump, nimbus, elongated ears, and draped robe, and the differences include the amount of detail featured in each piece.

Surrounding the image of Shantarakshita, who is the central image of what is essentially a mandala composition, are detailed scenes depicting how the eminent teacher brought the teachings of the Buddha to Tibet and helped to establish the Himalayan nation’s first Buddhist monastery. The eye remains drawn to Shantarakshita, as the artist intends to praise Shantarakshita as the one who firmly established Buddhism in the hearts, minds, souls, and daily lives of Tibetans. Portrayed in a rich color palette containing saturated blues, reds, greens, and oranges, there is no remaining white space on the canvas. The lowest portion of the composition is more cluttered than the uppermost portion, serving a symbolic function. The artist contrasts the ordinary world of the human mind and society with the transcendent world of enlightenment. The blue halo surrounding Shantarakshita leads the eye up, through a lotus blossom, towards the two figures above him: Shakyamuni Buddha to the right and Shantarakshita’s own teacher to the left (“Historical Narrative: Shantarakshita”).