Yasumasa Morimura

The vanishing point of this piece is not arbitrary and it becomes evident that Masaccio’s placement of the vanishing point suggests his intention for the viewer to see the greatness of the divine in comparison to the tiny specs of man’s existence. Because the vanishing point is placed beneath the cross, the spectator’s vision is directed toward the center of the masonry altar, which indicates that man must raise his head in order to pay respect to God, further signifying Gods importance in comparison to man. The Trinity appears very out of reach from the perspectives viewpoint. Masaccio’s manipulation of perspective places the viewer furthest from the divine Trinity and closest to the skeleton, which suggests that man’s mortality is not to be seen as equal to God’s divinity. This demonstrates the hierarchical relationship in which man is constantly looks up to Christ for salvation and piety in order to somehow overcome death and fear of it.

Yasumasa Morimura is an internationally respected and controversial Japanese artist who through his art, represents social changes in Japanese culture, such as Western influences, politics and gender values. Morimura explores how Japan interacts with the World through the lens of the artist and how the artist creates an identity within his culture and the global community.

In terms of subject matter, both works are visual depictions of the crucifixion of Jesus Christ. In each painting, Christ is the central figure, surrounded by two groups of figures. On the left, a group of women that includes the Virgin Mary mourns over the dead body of Christ, while on the right is a group of soldiers and other lamenters. Both works feature a rocky landscape on which the figures are positioned. Encircling Christ are several angels whose gestures of lamentation echo those of the figures below. Highlighting the severity of each scene is the blood that pours from Jesus' wounds. The blood from his feet drips onto human bones that are embedded in the rocky terrain below. The skull serves as a "memento mori," or a reminder of death, an idea that has been repeated in several other depictions of Christ's crucifixion.

Although Eichendorff’s story displays religious elements, the pious facets take on a different form than in Psyche. In “The Marble Statue”, Sunday remains a holy day where evil subsides. God and Satan manifest into the metaphysical through characters, settings, and motifs. Fortunato is a pure character directing Florio towards the path of the righteous man while Donati is a sinister man leading the boy into temptation. The seductress is the embodiment of evil while Bianca is the good. The aspect of religion is demonstrated in a more direct manner in Psyche. The artist abandons a life of art to become a brethren of the covenant where it is proclaimed the Goddess of Art is “a witch who carries towards vanity, towards earthly pleasure”. The

This book is based on Christianity and how the religion was viewed through images. The text has an ere of concepts that ties in the concepts of Christians to the beginning of the start of Christianity. The purpose of this book is to show the readers the difference between how Christian art was represented and how other art was portrayed. I will be giving an overview of what Christianity represents and the art work that it includes.

Yasumasa Morimmura’s appropriation of ‘Parable of the Blind’ can be interpreted and understood by deconstructing its physical aspects. Morimura went through many steps before the artwork reached completion. Before he could start developing the actual artwork he had to obtain a copy of the original artwork and figure out where and how he would have to stand. He developed a fresh concept and fresh features for his appropriation. After this it was just a matter of dressing up and scanning each photograph of himself onto the background of the Bruegel’s artwork. Morimura inserted many additional

Kristi Yamaguchi is a legend on ice. Kristi can make triple jumps and twirls look like a breeze. Her feet, the ones that have skated her from award to award, were not always as efficient as they are now. Kristi Tsuya Yamaguchi suffered as a young child from what is known as clubfoot (Disabled World).

The core of Daniel Siedell’s noble task is not only a discovery of the spirituality in twists and turns of the modern arts but also seeing modern art as a substitution of the Christian theological discourse within secular world. The logical aspects of his exposition are contemplations about inception of modernism through the Reformation, about the essence of the modern art which to him “is about a certain kind of feeling that finds embodiment in a certain kind of form”, about its “difficult and surprising beauty through suffering”. For him, Luther’s personalization of the Gospel gets mirrored in the attempt of the artist to address one’s specific soul of a viewer who is just and only you. In the traditional representational art, this passage is abetted with recognizable images; in a modern art, the outreach is artist’s martyrdom, and connection with viewer’s soul is fragile.

Tsutomu Yamaguchi is the only one person twice bomb, and twice survive from nuclear bomb that Hiroshima and Nagasaki atomic.

The great thing about art, is that there are multiple portrayals of one idea but, the artist’s own personal style allows one to feel something that another may not. Early Renaissance painters, Giotto di Bondone and Duccio di Buoninsegna established their own unique style to depict a biblical scene known as, The Betrayal of Christ. Through a close analysis of each artist’s representation of, The Betrayal of Christ, one is able to compare and contrast the artists own understanding of the scene through their attention to detail, character, and space throughout the painting. When examining these two works, one will have a stronger emotional response towards Giotto’s interpretation rather Duccio’s, due to his methods of handling organization, figures, and space.

SUBJECT: Strength to Overcome and be Happy THEME: I have learned of the strengths and struggles to overcome hardships and move on to be happy. CHARACTER: Yuki Okuda is the main protagonist. She suffers the loss of her mother who commits suicide from her unhappy life.

In the abstract, Jose Saramago’s Blindness is nothing more than a mere hypothetical experiment. An experiment designed to test and criticize humanity - to, as most all texts intend, reveal insight into the inherent faults built into the society we have created. But the way in which Saramago achieves this criticism has a uniquely counterintuitive nature. In Blindness, Saramago, similar to God’s flood in the Old Testament, deluges a seemingly insidious white blindness onto the characters of his book. These characters experience this blindness as, to put it in Saramago's own words, a “spiritual malaise” - an overwhelmingly uncomfortable yet equally mysterious sense of uneasiness designed to make his characters

An Artist of the Floating World by Kazuo Ishiguro, is set in Japan three years after the Second World War. The book begins in October 1948, as Masuji Ono spends time fixing the house, which he purchased, due to the fact that it was ruined during the war. He also spends time with his two daughters and grandson. Besides fixing the house, his other main concern is that his twenty-six year old daughter, Noriko, is unmarried.

Chiune Sugihara created a way to freedom for many Jewish refugees. Even though Chiune saved thousands of Jews, his personal life suffered greatly. He was not able to return to Japan right away, so he traveled through Berlin, Prague, Konigsberg, and Bucharest. While in Europe, they were captured by the Russians because of their suspicious demeanor and were sent to internment camps for over 18 months(Kaleem). Sugihara and his family had to survive in harsh conditions for being who they were and where they were, but no matter what, they kept their mouths shut about what they had done for the Jews. They had no idea if their effort had helped anyone, but Sugihara still wanted to stay quiet about it, for fear of harming the Jews traveling to Japan.

This painting is divided into three equal parts by the arches in the background and the characters correspond to each of these arches (TV12). The father is in the middle portion of the painting. The lines of perspective created by the tiled floor, draws our attention to the swords that the father is holding and the vanishing point lies just behind the handles of the sword. Our angle of vision is such that we are looking directly at the main figures groups, particularly the father. A single light source from the left of the picture illuminates the characters and also focuses our attention to the father holding the sword. This creates a ‘theatrical’ effect. The background is simple and stark so our attention is focussed on the figure groups in the painting. The painting has a wide tonal range that makes the composition logical and balanced. The colours used in this