The Japanese Bronze Mirrors And Its Impact On Japanese Culture

It is easy to speculate the different meanings of the artwork by the position of the body and the mirrors. For example, a woman looking straight out to the viewer with the mirror turned away could symbolize the woman has something to hide. The woman’s back turned towards the viewer with the mirrors reflection straight on could symbolize vanity. Or in the case of Triptych of Earthly Vanity and Divine Salvation the woman and mirror could both be visible to the viewer to show she is openly vain. And as stated previously a woman’s back reflected in the mirror could show impurity. Mirrors in art tend to be extraordinary, and it is not fanciful to believe that the development of the glass mirror is based on civilization although it can also be altered by the whole perception of human beings. The glass mirrors have affected the transformation referred as the Renaissance

The Buddhist mirror is a Zen concept that demonstrates the ideal mind and how it should operate. The idea behind it is that an ideal mind is clear or without thought, like a mirror is. A mirror is not attached to anything, it solely reflects what is present, “...a "mirror-mind," one that is uncluttered, free, and therefore empty. Just like a mirror, a mirror-mind simply reflects what comes before it” (Brannigan 102). Human life and experience distort everyone’s mind or mirror. Often people’s minds more closely resemble fun house mirrors, which present a distorted picture instead of reality. Emotions, bias, moods can all color or change memories or perception, and ‘cloud’ the mirror. For Buddhists, the cause of all the distortions is thirst and desire, so in order to achieve an accurate reflection, Buddhists must move beyond attachment and let that go. According to Zen tradition the way to do that is meditation. However, to fully be without attachment, the

In the photo shown on the Museum's website, one cannot see the front of the mirror. In order to create a reflective surface, the front of ancient mirrors were either highly polished or covered with a thin layer of silver ("Mirror"¦" n.d.). Most reflective disks were slightly concave in order to provide a good view of most of the upper body when the mirror was held at arm's length (Swadding n.d.). In some instances, mirrors such as these were made for ceremonial purposes and remained decorative objects, rather than utilitarian ones. Religious figures were often depicted on ceremonial pieces as well as everyday objects.

It shows that the man in the image can hurt himself by shooting the gun at this mirror, but on the other side of things, he can harm his children as well mentally and maybe even physically. The mirror symbolizes taking a good look at yourself and understanding whom you are and what you can be doing to yourself and the people around you.

Behind every original piece of artwork, there is a creation story that weaves together the purpose of the art piece, the symbolism demonstrated, and the supporting culture that cultivates it. The intricately carved artwork of the Senufo figure is of no exception; each statue evokes not only a sense of appreciation for the statue’s aesthetic appeal but also reveals the veiled nuances of the Senufo culture. Although much of the Senufo Poro culture remains undisclosed to outsiders of the community, this paper will aim to utilize the analysis of the “Figure of Ancient Mother” to provide an original contribution regarding the Poro

This is a wooden statue of Kongorikishi, one of a pair of statues found originally in Buddhist temples of Japan in the early 14th century. It stood at approximately eight feet tall and stood as a guard to the temple of Ebaradera located in Sakai, Japan. Unlike most statues of European decent that were made out of materials such as bronze, or various kinds of stone, this Asian piece was made out of wood. When looking closely at the piece, every single cut that was put into the statue is visible What is immediately noticed when looking at this piece is the intimidation that it puts on the viewer. Everything from the body to face is meant to strike fear into anyone that looks at it. With its dynamic pose, the Kongorikishi demands the attention of all that stand before it as well as show that it may be able to strike at any moment, which it does with overwhelming success. Every carving, curve, and detail in the Kongorikishi statue is strategically put together in order to convey this idealistic inhuman being.

Japanese artistry, for many, is seen as a style dominated by Buddhist representations and Chinese, Korean, and Indian influences. However, despite what one might believe, Japanese art once was its own style that differed greatly from other cultures. In fact, art historians can date the earliest form of art back to around 10,500 BCE, where the first distinct culture of Japan was discovered almost ten millenniums before the birth of Buddha (Gardner et al. 17-1a). This early culture existed for three periods of an independent, evolving culture; the Jomon, Yayoi, and Kofun periods. Even after outside influences began affecting Japanese art and culture, their art and architecture still remained unique from other civilizations of the time such as

Thesis: The Japanese aesthetics of irregularity and simplicity manifest in the artistic creations in calligraphy, make-up brushes and pottery. Through an examination of the both the process by which these items are created as well as the final object made, the soul and personality of the creator emerges.

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.

Tōdaiji, also known as Eastern Great Temple and Kinshōsenji, is a Buddhist temple located in the city of Nara, Japan. Tōdaiji was founded in the early 8th century by Emperor Shomu. Tōdai-ji was built as an appeasement for Prince Motoi, his first son with his Fujiwara clan because Prince Motoi died a year after his birth. (UNESCO)

Mirrors are made from glass with a reflective coating. Mirrors are not just for looking at yourself in they are also used in science and technology such as telescopes, industrial machinery, cameras, and laser. In the early years mirrors where harder to make so hey were expensive so only the wealthy could afford one. Mirrors were sometimes and still are coated in silver, gold, chrome, and aluminum. When the silver mirror was invented it was easy to mass produce mirrors when that happened common every day people could afford to get mirrors. There are many things you can do will looking in a mirror like wash your face, do your hair, amd clean your ears with

Pertaining to a mermaid’s mirror, it represents their one supernatural connection, that being the connection to Venus and how Venus

The early postwar period was a time in which Japan was occupied by Americans who had no interest in learning about Japan and treated Japan as a pupil of America. The Japanese market system was broken down and rebuilt. In the this process the zaibatsu was abolished and their market shares were made available on the open market. one of the largest changes to occur due to the occupation was that farmers became the owners of the land in which they tended to. the cold war encouraged America to speed up the recovery of Japans economy in preparation for war. The Korean war gave the Japanese economy the much need boost that it need with markets that ranged from textile to coal and paper going into full production and continued even after the war was

Splendid sculpture with twenty- two arms represent a distinctive form of the goddess that developed in Cambodia in the late century, where eleven heads are arranged in a towering pyramid. Each is finely realized with a smiling mouth, straight nose, small shaped eye, diamond shape forehead mark, long earlobes, jeweled crown and bud shaped earring. Manuscript in her right hand and a lotus-bud stem in her left. Twenty others arms fan outward and curl upward, lending movement and vivacity to the whole. She wears a long, vertically pleated cloth with a triple sash falling in front and is decorated in a Jeweled collar, bracelets and anklets. All those twenty arms, towering head, earlobes, diamond shape forehead mark, manuscript on hand and lotus represent the main theme of goddess in Buddhism in Cambodia. Sculpture relates to my theme where it helps to know various teachings, symbol, meaning of multiple hands and head, to know the symbol of multiple head deities in various part of Asia. As an example, we can see the meaning of holding text on the right hand and lotus bud, holding on left hand, represent about the teaching of Buddha during the

First, however, understanding the socio-political climate of Heian Japan is important, particularly in how it pertains to the women of the noble class. The Japanese first began to develop a personalized identity, separate from China soon after the Capital was moved from Nara to Heian-kyo, what is now modern day Kyoto, in 794. Prior to this period, the Japanese observed Chinese customs and cultural nuances in all aspects of their life. They traveled back and forth from the island to the continent, wore Chinese styled clothing, Buddhism was followed, Tendai and Shingon being primary and both out of China, and much of custom and protocol was both the written and spoken word were Chinese. (See Appendix A for Periods of Japanese History)