Thangka Painting Analysis

For example, the Bodhisattva Avalokiteshvara in the form of Chintamani-chakra (Image 2) is another sculpture depicting the bodhisattva with the wish granting jewel, but this sculpture only has the same gestures, posture, and objects as the Nyoirin Kannon from the early ninth century (Image 1). It is painted a different color, the deity has a different head decoration, and this sculpture does not feature a mandorla. Although the objects are missing, the hands are placed in the same places and the objects were there when it was originally sculpted. That again shows the significance objects as the some of the essential expressions in Esoteric Buddhist

1. Describe the artifact and the course or context in which the artifact was developed.

As the empire becomes stabilized, Ming dynasty reached a big advance in expression in art. In the book Masterworks of Ming and Qing Painting from the Forbidden City, it is said that “The reigns of the Hongwu, Yongle and Xuande emperors were relatively strong and well-organized, supported by a strong agricultural base in the south below the Yangtze river, and by a particularly large and efficient merchant fleet (Howard 22).” and during that time “…great advances in

Choosing an artifact for the box was an easy decision. I chose to put a picture of my dog, Chocolate, because he is very important to me. He is a two year old Schnoodle (half Schnauzer half Poodle) who we rescued from the animal shelter.  It will be exciting to look back at what he looked like as a puppy.  The artifact portrays me well since I love my dog and he is a big part of my life. It shares

My culture artifact is the Hina doll because it is a tradition in Japan to decorate with them for the Hinamatsuri. The Hinamatsuri is also known as "girls day". This is on March 3, and you wish girls good health and future happiness. The Hinamatsuri's origin was during the Heian period. The people would set afloat straw hina dolls and sent it down a river, which led to an ocean. This was used to take bad spirits away. The hina dolls are displayed on a hina dan. The hina dan is covered with a red carpet and the dolls are displayed on it. On the top is the imperial dolls ,which are the Emperor and the Empress. On the second platform holds the three court ladies. They are holding equipment for sake, a Japanese drink. On the third platform are

Le Chinois Galant, is a breathtaking oil painting that was created by a famous artist in the 18th century of the name Francois Boucher. This stunning painting conveys the modern era that is of china. This canvas of which this painting was painted on was fitted onto a Rococo frame as seen in The David Collection located at Copenhagen, Denmark; that was photographed by Pernille Klemp. The dimensions for the canvas are forty-one inches by fifty-seven inches. In this art piece oil paint was used on linen canvas to help create different shades of blue color, adding not only more of a vibrant effect but also portraying a mood to the painting. By applying the oil paint, it gave the benefit of making the surface of the painting more smooth. The smoothness of the paint reflected gave more contrast to the painting. The subject manifested within the painting is one in which a man is courting the woman to ultimately making love to one another. It seems as though the man and woman are in a garden that is quiet and contained within the garden is a statue of Buddha hinting at possibly the loss of innocence. The main purpose of Francois Boucher’s canvas, Le Chinois Galant, was to demonstrate the cultural influence of the Chinese on the European after both cultures started trading goods in beginning of the fifteenth century.

The first thing that came to my mind when I discovered this paint was the word massive. It was incredible how the size of this painting became a way to present the art work. While looking at the art work standing far way, I was captured by not the scenery of the mountain and garden, but the use of white background, the emptiness that it bring out. Just like Shen Zhou’s Poet on a Mountaintop, that uses lines and white background to create sense of cloud flowing in the sky. Although, Yuan Jiang uses something that Shen Zhou did use on his painting, something that I find really magnificent, the use of shadow. Unlike those lines that define clouds in Poet on a Mountaintop, Yuan Jiang uses something similar to Dong Qichang’s The Qingbian Mountains, which white out in between mountain, create sense of cloud. By doing so, it is far more realistic compare to just use of line. Though, Yuan Jiang did not just white out the background,

When looking at the screen painting “Rakuchû rakugai zu,” created between 1614 and 1615 by an unknown artist for the Hôkôji temple, we understand Tokugawa Ieyasu’s message that he is bringing order and peace across the land. The city is shown in perfect tranquility. It is a scene of both power and peace. With the immense number of buildings, bridges and architectural development, Ieyasu conveys a message that he has built a strong, growing city which will not fall through war and invasion like the cities of the past. This works perfectly with the serenity shown in the screen painting. Instead of chaos and war, there is only civil living in the image’s characters and environment, reinforcing Ieyasu’s message that he’ll bring peaceful times

Every country consists of significant histories of art, writing and myth that are known and unknown but those arts, writings and myths truly narrates each countries story completely. Chinese Tang Dynasty, which was approximately from 618 – 906 A.D. It was an era of sophisticated figure painting. The primary subject matter of Chinese painting in this era was the landscape. Through the painting of landscapes, story was told. Especially during the Song Dynasty where the first half of the era had great philosophical and artistic development in the second half, the psychological effects of devastating upheaval are apparent in Sung paintings. Misty, ethereal landscapes reflected conflicting emotions of regret, acceptance, and longing. In China, landscapes had always been a huge subject.

Art in ancient China manifested itself through many different forms and mediums. These included ceramics, painting, lacquerware, and sculpture.(The Kingfisher history encyclopedia, 2004, p. 186) During the period from the Tang dynasty to the end of the Ming dynasty, Chinese art flourished. However, during the Song and Mongol dynasties, painting reached its high point in traditional China. (Spielvogel, World history: the human odyssey, 1998, p. 299)

Almost every culture has some traditional artifact of religious value. For Tibet one example of this is a Thangka. They aren’t just a religious artifact, a Thangka is an artform. That art form is still used today in modern art in Tibet. A Thangka is a three dimensional object made of various parts. The main attraction is a picture panel that is painted or embroidered. Some more necessities are a textile mounting, a silk cover, wooden dowels at the top and bottom and metal or wooden decorative knobs placed on the bottom dowel (Shaftel). Thangkas were created to communicate iconographic information in the form of a picture (Shaftel). Thangkas have many rules the artist must follow, but there is some fluctuation allowed with technique. Technique

The object I discovered is a small metal object with a decorative shape. It has some sort of metal spring inside and is composed of two metal sections in similar size and shape connected by a hinge, with a screw connected to the bottom of one piece. I can assume that this object was most likely used for holding a thin object using the spring to keep it in place. The screw, however, might have been inserted into a holder of some sort in order to keep both the object being held and the holder in place.

For example, I think this drapery shows this in the stomach area of the most prestigious emperor in the middle and the attendants hips are very distinct next to him. The Tang Dynasty uses large faces to depict wealth and it shows here with the middle emperor. Also, the attendants show his high status even more by appearing to hold his robe so it does not touch the ground. This time tolerated many religions and as it can be pointed out here, calligraphy is behind in the background, which is part of the Six Cannons of Painting by Xie He, showing the structural method use of brushwork. Tang Dynasty attributes are shown through this painting from the main distinction of the faces to the masterful shape, line, and modeling.

The artifact is a sculpture of two people standing beside each other. It is monolithic and carved in high relief so it is meant to be viewed from the front because the figures were carved attached to the rectangular slab of stone behind them.

The artifacts found from ancient civilizations tend to provide an approach for people today to generate an idea of what life was like back then. That is especially true for anything that has to do with the arts or objects used in everyday lifestyle. Such object could be a mirror with a depiction on the reverse side, like a 2nd century gilt bronze Roman mirror.