Yozei Byodo

Considering the iconography, the piece of art is aniconic, as there is no figure of Buddha and his presence is implied through the symbols – through his footprints, parasol, stupa, and “chakra," "Bodhi" Tree, and "Tri-Ratna" among others. The "Bodhi" tree symbolizes enlightenment as the Buddha reaches enlightenment sitting and meditating under it. It becomes a tree of worship for the Indians.

The role of Buddhism in Japan was greatly amplified during the life and reign of Prince Umaydo, known better by his Buddhist name, Prince Shotoku. Shotoku, meaning “Sagely” and “Virtuous,” was born into a family that had been importing foreign Buddhist images for nearly 20 years, and had begun to embrace the religion.

The subject of this piece is a Buddha named Maitreya. He is a strongly built man wearing a robe that drapes fluidly off of his body. The piece is constructed from gild bronze and was crafted using piece mold casting. Maitreya faces onlookers with open arms and a smile. The piece was obviously meant to be placed against a wall, as is obvious from the fact that the back is left open and is not meant for display.

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Sayre the author says, “The Buddha is the most extensive collection of large-scale sculptures in the world and can be found an hour north of New York City in the lower Hudson Valley at Storm King Art Center (“A World of Art”). Zhang seems to like the traditional aspects of chinses culture, because he re-used an ash material form other artists, to create his own sculpture. The techniques he used to create the sculpture is casting, assemblage, and construction. Without using these three additive techniques of sculpting, the artwork wouldn’t have been fragile, and not overwhelming in size. The subject of the “three Legged-Buddha” is another conflict with the governmental rules and regulations, and it has drawn a lot of attention due to its strong message that it conveys. When I initially examined the art piece for the first time, it looked like a huge dismantled, three legged human figure. I thought it was a symbol for keeping your body in better shape over your mind. The most amazing part of the sculpture is how extremely large it is compared to the electrocution sculpture. After reading and interpreting the sculpture it struck me that it was made for ceremonial gathering, where incense placed and burned from inside of the sculpture, and pours out of the head. I think that the artist was trying to involve the visitors in his sculpture. Since Zhang Huan

The group of objects chosen for this paper comes from the collection of the Saint Louis Art Museum. The title of both pieces is called Seated Bodhisattva Avalokitesvara (Guanyin). Both these pieces which are statues were sculpted in china. The earliest statue was made during the Tang dynasty. While, the later statue was made during the Northern Song dynasty. These statues were chosen because the same deity is depicted and were made in a similar geographic and cultural location. This allows for the comparison of the different styles between the 2 periods. The statue made during the Northern Song dynasty depicts the Bodhisattva Avalokitesvara sitting in a pose called the relaxed pose or easy pose. This statue also depicts the Bodhisattva adorned in lavish silk garments while a jeweled crown sits atop his head. The statue is carved from wood and painted with gesso, pigments, and gilding. The statue made during the Tang Dynasty depicts the Bodhisattva sitting in the easy pose as well. It also depicts the Bodhisattva in flowing robes while wearing a string of jewels.

The Japanese sculpture Standing Amida Nyorai, also known as Amitābha Buddha, is modernly located in the department of Asian Art at the Museum of Fine Arts of Houston in Texas. The medium of the Standing Amida Nyorai sculpture is wood with gold pigment. It also has cut gold leaf, and its eyes have an inlaid of crystal eyes. This figure has a simple robe and it completes lack of adornments. However, it has tight spiral curls forming a bun atop of its head. This sculpture has a Halo of 113.4 centimeters and a pedestal of 42.1 centimeters, showing a Raigo-in, also known as Reasoning Mudrā. Overall, the Standing Amida Nyorai sculpture is 32 half inches (82.5 centimeters). The description posted below this figure on the Museum of Fine Arts of Houston says that this sculpture is a Nyorai that is a Buddhist deity who

When arriving to the Buddhist temple, it is not surprising for one to say that this temple looks like an ordinary house from the outside. However, one can tell that they were Buddhist because they had a gazebo looking stupa on the left side of the front yard, which contain the remaining’s of Buddha’s teeth. On the right side of the yard, they had a replica of the Bodhi tree that represented the lifetime of when Buddha achieved enlightenment. As one took off her/his shoes, the house was transformed into a magnificent place where anyone could come to chant, offer puja, and the meditation of the dharma.

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)

The Hō-ō-dō or Phoenix Hall is the main temple of the Byōdōin monastery. It is located in Uji, which is south of Kyoto, and was built on a small island in the middle of an artificial lake, completed in 1053 (Mariani 2013). It was originally a country palace for the Fujiwara clan, and converted by the regent Fujiwara Yorimichi (994-1074) to a temple to enshrine the Buddha Amida (Mariani 2013). John Stanley-Baker’s Japanese Art briefly introduces a few of the non-secular works of art in Phoenix Hall from the Fujiwara period (897-1185) to the Kamakura Period (1185-1392), which will later be analyzed. The conversion of the estate into the Byōdōin Pure Land Paradise both introduced and consolidated

The article suggests that the Todai-ji was a very important building. The name Todai-ji literally means “Great Eastern Temple”, which can already give one the idea that the large building was superior in many ways. The article also explains that “When completed in the 740s, Todai-ji (or “Great Eastern Temple”) was the largest building project ever on Japanese soil. Its creation reflects the complex intermingling of Buddhism and politics in early Japan. When it was rebuilt in the 12th century, it ushered in a new era of Shoguns and helped to found Japan’s most celebrated school of sculpture.” This clearly shows that the Todai-ji was the largest construction project ever in ancient Japan, and the completion reflected the collaboration of Buddhism

Amida Buddha represents devotion and reborn in the Ture Land in Buddhism. The gold leaf and detailed curving indicates that the sculpture might used to be put on a woship wall in some huge temple. His hands gesture is called abhayamudrā, which means “the gesture of fearlessness” or “gesture of protection”. Compared to the formal two sculptures from Tang Dynasty, this one has more details. The carving part is more vivid on the drapery and his facial expression is more natural. Muscels are shown sround the breast area, which didnt show up in the first two sculpture. Atonomy was focused more on this artwork rather than only capture the gestures and outline of the figure in the formal two sculpture. Japan learnt from Chinese artisans and then

This artifact is severely damaged, leaving only part of the head and chest remain. The face of the Buddha appears to be relatively round, using ink to draw the eyebrows and to emphasize the already carved on eyelids. The upper eyelids are curvy while the lower ones are relatively flat. With plump alae of the nose, small lips and dimples on the edge of the mouth, the figure is depicted to be smiling. Although the neck is broken, the piece left in front of the chest indicates the kasayaworn by the Buddha

Buddhist art continued to flourish under the reign of Emperor Shomu in the eighth century, who built the enormous sculpture of Buddha at Todai-ji. This 16 metre high sculpture used up all the copper in Japan, which for several hundred years had no bronze production because of it. The construction of this temple, and similar temples in Japan's provinces was "inspired by a fervent desire on the part of secular leaders of the time to create in Japan the ideal Land of the Buddha." (Ishizawa 1982: 15) In the imperial ordinance the Emperor issued in 743 he justified the using of the gold involved in

The first artwork is Pair of Phoenix Overdoor Panels (Ramma) which was designed in the 19th century during the Edo period for a Buddhist temple. The elaborate wooden carving derives its aesthetics from the ideas and symbolism that are attached to the phoenix. Being a mythical creature, the phoenix brought over much of its symbolism from China when Buddhism was introduced to Japan during the 7th century. This example is carved of wood that is lacquered and painted with metal accent inlays. Buddhist temples of the time had architecture that resembled their Chinese counterparts, but reinterpreted to