Guanyin (Bodhisattva) (See Fig. 1 in Appendix) is an artefact, with Object Number of 2400, in the Honolulu Museum of Art. The medium, or material, of this sculpture of Guanyin is painted wood, and traces of pigment can still be seen on the sculpture. Its height is approximately 67 inches, or 170.2 centimeters. The origin of this sculpture is China, Northern Song (960-1126) or Tangut Xia (1038-1227). According to the museum, this sculptural art piece was purchased, or acquired, in 1927 from a renowned collection of Matsukata Kojiro, who passed away in 1950.
The Guanyin sculpture depicts a male, interpretable by his male chest, seating in a royal-ease pose. He has a crown, which has a person in the meditative position carved on it. That person could be Buddha. Underneath the crown, the hair looks as though it is nicely braided along the edges of the crown. The eyes are partially closed. There are two pieces of objects, perhaps used to depict jewelry, attached to
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Faith in immediate salvation is presented, by Guanyin, to everyone undergoing or feeling pain. In China, something about the spiritual productiveness of the Lotus made known clearly in that writing by the Buddha was trialed and proven right. Every famous or known tale of Guanyin releasing prisoners and victims can be based upon Buddha’s one promise, which states, “Even if there is a man, whether guilty or guiltless, whose body is fettered with stocks, pillory, or chains, if he calls upon the name of the Bodhisattva He Who Observes the Sounds of the World, they shall all be severed and broken, and he shall straightway gain deliverance” (Benn). An example of Guanyin’s salvation is how he saved Liu Sahe. Before fifth century started, the story of Liu’s early life got so famous that it became a legend (Zürcher). Liu’s sinful life resulted in his descending into Hell (Zürcher). However, Guanyin eventually saved, converted, and resurrected Liu
The second Noble Truth is, the cause of suffering is the desire for things that are really illusions, such as riches, power, and long life. Siddhartha had all of these things, however, no matter how rich, how powerful, how old, one can not reach nirvana by materialistic matters. In Siddhartha’s life, while a merchant, he played dice. However, when he lost he did not get mad, due to the fact that riches were not greatly important to him.
The Buddha was and is an important figure in several different cultures, and his influence has spread over large areas. Across these different cultures, many forms of art portrayed him in different ways. In Japan, one of the Buddha’s titles stood out as the “Amida Buddha.” The statue that this paper will be detailing portrays “Amida, the Buddha of Infinite Light” (“Amida”). The statue is located in the Dayton Art Institute’s Japanese Art Gallery 105 with the acquisition number 1935.1. Created in the thirteenth century during the Kamakura period, this statue stands out in the Dayton Art Institute as a prominent Buddha figure. It is made of wood with lacquer and gilt, and it was built to be approximately the size of a normal person.
A sense of royal dignity, composure, and stability are created by the facial expression, the fixed pose, and the rectangular throne and high base from which the proportioned and frontal figure emerges. Cracks in the face, neck, and torso indicate ancient damage sustained by the sculpture.
The work was constructed in 2090 BC. It is made from diorite and stands two and a half feet tall. The Votive Statue of Gudea depicts the ruler in his youth standing straight up with his arms holding a vessel of water in front of him. Two streams of water are flowing out of the vessel and down the statue while fish are depicted facing towards the vessel, promoting life and peace.
At a mere 16 3/8 inches, the Fudo Myo-o at the Art Institute at Chicago is not the first object in the Japanese collection to catch your eye. Yet, when you pass by it will stop you in your tracks. The Fudo Myo-o is like nothing you’ve ever seen. His bulging eyes fasten onto your own, a gaze so vicious you cannot tear away from it. His piercing stare draws you in and his stance seems to beckon you to come forth. His furrowed brow and protruding fangs created a facial expression so intense it feels almost as if he is trying to tell you something. His arms seem to have, at some point, been holding something and they are open as if they are welcoming you and offer some kind of promise. Fudo sits upon a rectangular foundation, which gives the impression that his is some kind of deity or god-like figure. The Fudo Myo-o has fabric draped over his left shoulder and is wearing lavish jewelry reminiscent of a Bodhisattva. His jewelry also hints to the viewer that he must have some level of nobility. He also has shell li...
This paper is a comparison between two very different religions. Specifically Christianity and Buddhism. Coming from opposite sides of the globe these two religions could not be any farther apart in any aspect. I will discuss who Christ is for Christians and who Buddha is for Buddhists. I will also get into the aspects of charity, love, and compassion in both religions and I will be looking at the individual self and how christians see resurrection where the buddhists feel about the afterlife. One thing to keep in mind is that the two religions are very different but they seem to have a very similar underlying pattern. Both believe that there was a savior of their people, Buddha and Christ, and both believe that there is something good that happens to us when our time is done here on earth. This is a very generalized summarization but in order to go in to depth I need to explain the two religions more to fully convey this theory.
The trip to the metropolitan museum was a great trip to learn and to study art. What is art you may ask, well art is an expression you use to show a visual picture. It can be through painting or through sculptures. Some other example of art is music, literature and dancing. For today 's paper we will be talking about art as a sculpture. The two sculptures in this photo are King Sahure and a Nome God and Marble Statue of Dionysos leaning on archaistic female figure (Hope Dionysos). You can find these statues in the Metropolitan Museum of Art. King Sahure and a Nome God is an Egyptian art that was made in 2458-2446 BCE. The artist is unknown. It was during the 5th dynasty and it also belong to the old kingdom. The Marble statue of Dionysos Leaning in the archaistic female figure is a Greco-Roman art. Belonging to the Roman imperial period of the late first century A.D. Augustan or Julio-Claudian period 27 B.C., to 68 AD. It is classified as a stone sculpture and it is made out of marble. The height of the statues is 82 ¾ inches. There is no evidence who was the original artist.
Building upon this thesis, one of the most overt examples of Mahayanistic lability, or revisionism from a more critical perspective, has been its adoption of the Bodhisattva ideal in outlining the preferable path for an enlightened individual to take. The sacrificial model of the Bodhisattva coexists well with western perceptions of what qualities a superior being should possess—Christ-like compassion and selflessness. Even though little emphasis was placed on any dutiful forbearance of Nirvana in the first teachings of Buddhism, this heroic concept, resounding well with newer followers, has become mainstay in Mahayana tradition. Thus, where Mahayana Buddhists preach a magnanimous rejection of personal salvation as being their terminal goal, this lofty effo...
It is speculated that this anti-iconic symbolism was done in order to comply with Gautama’s wish that his physical form not be depicted after his passing, but there are no found scriptures known to prove this statement. On the east gate is a continuous narrative scene called “The Great Departure,” where Gautama departs on his journey for enlightenment (Chien). He is represented as an umbrella, a royal symbol, when seated on his horse and as footprints, which shows his physical impact on the world, when he dis-mounts his horse. The Buddha is represented as an umbrella on a shrine on the Western gate. Buddha sculptures have evolved over time in order to fit the changing views of Buddhism. The earliest styles for Buddhist sculpture are from the ancient civilizations of Mathura and Gandhara started the iconic phase of depicting Buddha. A seated Buddha statue from Mathura resembles traditional Indian images of male nature deities, has fearless hand gestures, and is characterized by a cranial protuberance, which shows his greater understanding of all things. These seated statues constitute of broad shoulders, a swelled chest, firmly planted legs, a shaven head, a smiling round face, and drapery that clings to the form of the body while leaving the right shoulder bare (Britannica). Other characteristics include “the right arm raised in
The Seated Statue of Gudea is a statue depicting a man sitting. A ruler before his subjects, he has his hands clasped to depict the traditional pose of greetings and prayer. The statue come from the city state of
Hinduism and Buddhism have influenced the art of Asia. Hinduism has a variety of religions that have influenced art. These religions include many different gods and these gods were made into art figurines and statutes. One particular art that is intriguing and influential is the deity sculptures. According to the article, “Hinduism and Hindu Art”, the artist designed the deity with multiple arms to display the power of the deity and express the omnipresence and omnipotence of a deity (Dehejia , 2005, para. 5). These figurines and statutes of deities are well known recognizable art.
The artist responsible for the carvings were most likely a servant or someone who cherished the King greatly. The rhythm is consistently pitched in this work of art. Triumph and power is seamlessly conveyed to the audience in a ceremonial victory prevalent amongst depiction of kings during this time. This carving is also aligned with representation of authority prominent amongst rule and war-like
This sculpture seems to epitomize the ideal male human form. All of the body parts seem perfectly proportioned and the muscles are beautifully defined as if the image were of an athlete. The image is youthful with a calm demeanor. The right missing forearm looks as if it used to be resting at his side, while the left elbow was probably at a 90 degree angle, with the hand holding something. The slight bend in the left leg gives the impression of movement, as if the image was frozen while walking. The counterpoised stance adds an air of nobility to the "man".
Tibetan thanka[1] paintings are a wonderful example of the interconnectedness of religion and art. These images are “not meant to be the object of simple idolatry” (Jackson 11), but rather take on a more interactive role, which can be applied to nearly every facet of traditional Tibetan life. Tibetan Buddhism pervades all aspects of the creation and use of thanka paintings—in the training and requirements of the artists who create the paintings, in the physical creative process itself, in the iconography used, and in all the painting’s multiple functions. Tibetan thanka paintings, throughout their entire lifespan—from concept to consecrated image—help devotional religious activity for Tibetan Buddhism[2].
The relief sculpture is simply a tile that would have been used in a mosque or other building of significant meaning, the only title given to the piece is “Rectangular Tile”, the artist is unknown. The piece was made in the 13th or 14th century-it is unclear which- and the script that covers the majority of the two tiles translates to “His messenger who…, Do not know.”, respectively from top to bottom. There is no known artist. It is made from Earthen wear-or Kashan ware- with an underglaze of blue and turquoise, accented by a gold luster. The piece is very appealing because of the start contrast of colors, the blues of the raised calligraphy and the brown and white of the background, along with the intricate and fluid leaf-like design used for the background in contrast to the bold