Infinite Legacy
We constantly as the dominant predator believe that we are supreme. A being that reigns over everything prior and can dominate the predecessor. Without prior knowledge we lack the components to configure our reality and proceed as a better version. Every being on this planet must understand the failures in which got us to the point that one currently inhabits. Ignorance to this knowledge creates lack of information on how to proceed effectively throughout life. Sharing information with others is key in order to understand what came before us and how we can take bits and pieces from our predecessors in order to shape a better life for ourselves. “But history does matter. It has been said that he who controls the past controls
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Vases, Bowls, Scrolls, and many other intricate drawings served as more than just clean cut pieces, but in fact these items told stories that would last for generations. The stories that are depicted on these artworks are ancient tales of things that occurred during the different dynasties of China. These artworks would be like today’s textbooks or articles online. Looking at different pieces of art within the museum takes time, due to the fact that I was curious to find out the meaning behind the various pieces of art. One piece that stood out to me was titled, “Covered Box with Seven Sages of the Bamboo Grove”. This piece stood out to me because I truly thought it was a beautiful work of art and the advancement of the Ming dynasty for creating such a complex piece of artwork during the time period. Not only was the artwork phenomenal, but the story behind the piece is even more intriguing to me. As I looked into what the seven sages were, I realized that the seven sages did not even exist during the Ming dynasty era. Majority of the works that Chinese artists depict are of times prior to their existence. They feel the need to preserve the stories …show more content…
This proceeded nineteen years of his exile. The scroll details scene of Chonger in a cordial red robe with twenty horses, having conversations with rulers, departing the Zheng State and saying farewell to his arrogant ruler. It depicts Chonger crossing Chu territory on rugged mountain paths on the final stretch of his journey which eventually lead him to the gates of a
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.
I learned about many significant artwork and artist in this class. This class provided me with a better understanding of the history of the world Art, but also helped me understand the development of art style. However, among all of these precious pieces of artwork, there are two special ones that caught my attention: The Chinese Qin Terracotta Warriors and The Haniwa. Each of them represents the artist’s stylistic characteristics and cultural context. Although they represented different art of rulers, historical values, and scenes, there were visible similarities.
The Metropolitan Museum of Art has one of the finest Asian art collections that has enlightened and strengthened my understanding in my personal art experience. The Museum itself is an artistic architectural structure that graces the entire block on 82nd Street in Manhattan. Entering inside, I sensed myself going back into an era, into a past where people traded ideas and learned from each other. It is a past, where I still find their works of yesteryears vividly within my grasp, to be remembered and shared as if their reflections of works were cast for the modern devoted learner.
What more is the point of learning and understanding human history than obtaining the knowledge and structure between what is right and what is wrong? We continuously believe that we as humans have the ability and intellect to learn from the lessons taught in our past in order to enrich our future. In comparison to the time frame that is human history the one hundred year period of time we discussed in the second halve of this semester is nothing but a slight blimp on the map that we have traversed. Yet, throughout our recent readings we can easily assimilate into the idea that although time may pass, and that we may attempt to learn from our history it is simply in human nature to repeat the mistakes that we have
Overall, putting the truth about Cranes above Kaifeng aside, this hand scroll containing a painting and a poetic inscription shows how Huizong with his control over art can dictate the meaning and message an art can convey. This will lead to a manifestation of certain belief to the people of Song dynasty, which in this case is a belief that it was a Mandate from Heaven.
I am going to compare two iconic statues from two distinct religions, Buddhism and Daoism. The Buddhist statue I have chosen to examine is the Giant Buddha at Leshan from the Tang Dynasty in China and the Daoist statue being the Laozi Statue from the Song Period in China. Both statues are in China and are large icons, yet intricate differences lie within the details of each statue that reveal major advances and philosophies from their times. Both religious statues have a being associated behind them; Siddharth Gautama being the Buddha from Buddhism and Laozi being the founder of Daoism.
As the tour of the museum began, it was easily noticed that all of the objects on display were placed behind thick glass cases. Many plaques inside of the case provide the visitor with information about the specific case that is being looked at. In most cases the plaques didn’t so much provide an elaboration on the pieces, but rather expand upon the historical context of the pieces. Also, the plaques shed light onto muc...
Buddhist steles are typically large, stone carvings meant to act as markers in prominent locations, such as temples, crossroads, or other Buddhist sites, in order to promote Buddhism. This stele in particular, entitled Shakyamuni and Prabhutaratna, is carved stone, standing 19.7” high. The work was created in China during the Eastern Wei period, sometime around 500 CE, and features indications of the late 5th-early 6th century such as the two seated buddhas and the dense robes worn by the buddhas. For it’s age, the stele is in respectable condition. All of the figures can be discerned from one another and the only obvious wear is around the edges of the stele, predominately on the left hand side. This wear could be from the object being transported from one place to another throughout its history, or from followers touching the piece while admiring it.
Multiple perspective of any kind requires a unique way of telling a story. Especially from individuals and different viewpoints on the same event. This story gives the audience seven narrators that tell each their side of the matter in the same event and all seem to contradict themselves. This is an interesting plot device from which inconsistent testimonies of the same experience can be shown and looked at. Which narrator is true, which narrator is telling a lie; it is curious to read the differences and some of the same “facts” reported by these witnesses? How can their stories are based on truth and where are the lies. Again, there is a wider range to these individual stories share. Namely who did it,
When entering the room, one cannot help but feel pulled into each and every painting. The realization that the artwork hanging on the walls was created hundreds of years ago, and still exists in pristine order, to me makes these pieces of art, relics. Gazing around the still and almost silent gallery, I could not help but think that each of these paintings are windows into the past. In his essay Ways of Seeing, John Berger states that “An image became a record of how X had seen Y” (136). At the time the paintings in this gallery were painte...
The temple’s main chamber contains a massive statue of the Buddha. Along the walls of the chamber are numerous paintings related to the history of the Buddha’s ascension. Underneath each painting is a historical excerpt of the Buddha’s ascension, and each painting is numbered and ordered chronologically along the walls. The tone these paintings set makes it clear that the Ying family, and indeed all those involved with temple, greatly value the Mahayana traditions and philosophies.
The first art that interested me was the art of Indonesia which in this exhibit depicted the culture, history and art of Indonesian people. For instance, Bali a small island in the Indonesia valued most of its art based on the rich resources they occupied such as most art was composed of gold, diamond and sapphires which people of Bali believed that it will resemble their higher standards in the society. Art of Bali amazed me the most when it came to their “King’s crown” and “Queen’s crown” which was completely “fashioned in pure gold with diamonds, rubies, and sapphires” (Bali). The king’s crown was much simpler compare to queen’s crown which contained many varied of gold decorative that looked like gold flowers, and all of its designs such as rubies or sapphires were perfectly horizontally lined to each other that sort of depicted as a shiny necklace. The Bali’s art that I observed was very interesting know about the society they lived in those centuries with representation of their upscale society (Bali).
The pursuit of knowledge can lead to a humans destruction and awareness. The pursuit of
This work of art is known as a Chinese Porcelain Jar. Though the artist is not stated, we know it is apiece influenced from the Chinese culture. The date is assumed to be from the 19th, and 20th century. The vase is made from glass porcelain, and is finished with a nice glaze. It has an abundance of detailed Chinese art, that I take is trying to tell a story. The layout on the jar reminds me of the art that is done on a long scroll. This is work not to be looked at all at once, but in sections.
The subject of art conservation and restoration has long been debated in the art world. Experts and historians have never agreed that all art must be salvaged at any cost. This paper will examine what art conservation and restoration is, what is involved in these endeavors, and what has been done over the centuries to many of history’s cherished art pieces.