Prior to my enrollment in this class, I did not have exposure or any type of familiarity with the Zen tradition. The uniquely Japanese branch of Buddhism has indeed flourished, and focuses on eliminating the sources of human suffering, or in other words, dukkha. On its simplest level, the effect on the development of this Japanese-Buddhist culture continues to resonate among its followers, as it did approximately 2500 years ago. However, there is a question that remains to an even larger extent. How actually did Zen come to influence not only the worlds of art, literature, and architecture, but also popular culture and Western life? The connection involving Zen and art is incredibly mystifying, because upon examination Zen art itself appears to be very modern. Shunryu Suzuki explains that “Zen practice is the direct expression of our true nature” (32). He also mentions “when you practice Zen, you become one with Zen” (49). Fully exposing ourselves to foreign notions may be strange, but at which point is it that Zen transcends into art?
As said by an unknown essayist, Zen is the “spiritual journey towards enlightenment, known as satori, an awakening that is achieved through the realization that one is already an enlightened being” (1). In keeping with my previous question, traditional arts do have roots in the Zen tradition. In order to reach enlightenment, one has to find meaning within the scope of their everyday experiences. It is not particularly useful to create something new or search for significance in other objects. As day to day life is a component of Zen teaching, and there may be artistry well in the midst of routinal activities. Perhaps art is a guiding tool for those individuals who seek enlightenment. Therefore, the ...
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...by its boundaries” (Hoover 9). We hesitate to take a step back, look at the whole picture, and regain full composure. After all we are the products of lifetime conditioning, as it relates to our emotional and thought patterns.
All living beings try to avoid misfortune, except that negative emotions come from the mind and are nonexistent. Zen reminds me of the complete need for restraint and patience. You have to begin at one point and embrace life’s unique experiences as they come. When an individual is captivated and enthralled with the Zen practice, art is clearly an expression of their enlightenment. Zen artists, similar to Ranzan Shoryu, are not consumed by the lavish appearances of their art forms. The religion and religious art are interdependent, and may as well define each other. To find nirvana, is there not a need for disruption in interdependence though?
...you'll see if you take a walk some night on a suburban street and pass house after house on both sides of the street each with the lamplight of the living room, shining golden, and inside the little blue square of the television, each living family riveting its attention probably on one show; nobody talking; silence in the yards; dogs barking at you because you pass on human feet instead of wheels. You'll see what I mean, when it begins to appear like everybody in the world is soon going to be thinking the same way and the Zen Lunatics have long joined dust, laughter on their dust lips. (104)
In her photograph she began to place herself as a goddess in a floating position in a infinite landscape and seascape. Her transformative impulses went from confronting quotidian concerns, to a divine matter of mythological emphasis. Nirvana is one of three large works of art that have technical and intelligent aspiring pieces that look for nothing but in making the viewer thinking of about her works. The way that she combines art and science is of a personal matter to her. Part of her inspiration for this is her parents, one a Europe art historian and the other an inventor. She uses both of these as a way to incorporate into her works, using the technology that comes out or the ones already available. She uses them so the viewers can have a well thought out discussion about her art pieces. As well as inviting them to feel the enlightenment that gives the audience a way to leave their earthly aspirations and burdens from their every day lives. Nirvana was meant to help the audience think of other topics as they looked upon the piece. Helping them escape the mundane and stressful times in their lives. The title itself suggest this: in Buddhism nirvana is the state achieved by Buddha through meditation, signifying his ability to transcend suffering and karma. Nirvana is also a part of the Pure Land (1996-98) art work. Both are made of billboard sized with digitally
The two pieces of art that I have chosen to compare is the ‘Green Tara 14th century’ and ‘Tara 19th century’ which are both from the collection at the Rubin Museum of Art. The Green Tara sculpture is from central Tibet and is made of Gilt copper alloy. The Tara 19th century is from Kham province in Tibet and is painted with pigments on a piece of cloth.
Zen themes may be familiar to a student of religion, since they arise from Buddhism. The Buddha, Sidhartha Gautama, is said to have achieved his four noble truths about the nature of existence through meditation.
Rathnasambhava, the Transcendent Buddha of the South and Madonna Enthroned are very similar images that were produced by very different cultures. Both images were produced during the 13th Century. The image of Rathnasambhava, the Transcendent Buddha of the South was produced in Tibet during an interesting period of the country’s religious history. The branch of Tibetan Buddhism is led by a religious and sometimes political leader called the Dalai Lama. It was during the 13th Century during the reign of Kublai Khan, around the time of the production of this painting, that Tibet experienced the first incarnation of the Dalai Lama. One has to wonder if this painting is somehow related to that occurrence. According to one source, the reincarnation system for the Living Buddhas is the main point distinguishing Tibetan Buddhism from other forms of Buddhism.
Zen in the Art of Archery, by Eugen Herrigel describes the ritualistic arts of discipline and focus that the Zen religion focuses around. In this book, Herrigel describes many aspects of how archery is, in fact, not a sport, but an art form, and is very spiritual to those in the east. The process he describes shows how he overcame his initial inhibitions and began to look toward new ways of seeing and understanding. In the beginning of the book Herrigel tells us that he is writing about a ritual and religious practice, “whose aim consists in hitting a spiritual goal, so that fundamentally the marksman aims at himself and may even succeed in hitting himself.” (Herrigel p. 4) Through his studies, the author discovers that within the Zen ritual actions, archery in this case, there lies a deeper meaning. Herrigel explains throughout this book that it is not through the actual physical aspect of shooting arrows at targets that archery is Zen, but through the art and spirituality through which it is performed. It is not merely shooting an arrow to hit a target, but becoming the target yourself and then, in turn, hitting yourself spiritually. By meeting this spiritual goal, you will then meet the physical goal. The struggle then is, therefore not with the arrow or the target but within oneself.
Crooked Beak of Heaven Mask is a big bird-figure mask from late nineteenth century made by Kwakwaka’wakw tribe. Black is a broad color over the entire mask. Red and white are used partially around its eyes, mouth, nose, and beak. Its beak and mouth are made to be opened, and this leads us to the important fact in both formal analysis and historical or cultural understanding: Transformation theme. Keeping that in mind, I would like to state formal analysis that I concluded from the artwork itself without connecting to cultural background. Then I would go further analysis relating artistic features to social, historical, and cultural background and figure out what this art meant to those people.
Zen Buddhism teaches of a concept called wu-nien, or “no-thought”. This of course is not a literal absence of thought, but it is rather a detachment from the thou...
There are many depictions of Kanzan and Jittoku in Buddhist artwork. However Shubun’s scroll is unique as the two figures are painted as standing one in front of the other; while a majority of pictures depicted these two notable monks separately. Also, the figures in this scroll have rather large heads and small bodies. In most cases, Kanzan is painted with a scroll in his hand while Jittoku is usually depicted with a broom. The blank scroll that Kanzan holds in his hand indicates that printed or written sutras are nothing in comparison to the book of nature, while Jittoku holds a broom, which is a symbol of his previous calling as a kitchen boy. The broom symbolizes him sweeping out the cobwebs in our impure souls and bad fortune. These
The forefather of Madhyamika Buddhism was Nagarjuna. T.P. Kasulis writes in his book, Zen Action, Zen Person that Nagarjuna was a predecessor to the development of Zen Buddhism. Nagarjuna is regarded though as a patriarch of the Zen tradition. He was the affecting principle to demonstrate logically the "emptiness", or rather sunyata of philosophical distinctions. Kasulis also explores Nagarjuna's "Logic of Emptiness."
The popularity of Buddhism in America became most pronounce in the period after World War II. It is interesting to note that the United States had just concluded the most devastating war in human history, with the first use of the atomic bomb on the Empire of Japan, yet the Japanese of style Buddhism took hold in America more than other school after the war. It could be said that the main figure head of Japanese, or more precisely, Zen Buddhism, in America was the author and intellectual Dr. D.T. Suzuki. In terms of the American expression of Buddhism, Suzuki had more influence over the interpretation of Zen philosophy than any other writer of the time.
Art is a very important part of humanity’s history, and it can be found anywhere from the walls of caves to the halls of museums. The artists that created these works of art were influenced by a multitude of factors including personal issues, politics, and other art movements. Frida Kahlo and Vincent van Gogh, two wildly popular artists, have left behind artwork, that to this day, influences and fascinates people around the world. Their painting styles and personal lives are vastly different, but both artists managed to capture the emotions that they were feeling and used them to create artwork.
Despite these differences in presentation, design, and the relationships between the garden, viewer, and the architecture, the general goals of both garden types are inherently the same. In the Japanese tradition, these gardens are meant to function as aids in understanding one form or another. In addition, both demonstrate the emphasis on the relationship between humankind and nature—perhaps one of the most important elements of Japanese art and architecture. Bibliography:.. A. K. Davision, The Art of the Zen Garden.
Art in Japan and art in the United States have their similarities and their differences, while also being viewed in different ways. Every work of art is unique in its own way. There are many different types of art, but each work of art has its own meaning. Depending on the eye of the beholder, a work of art can relate to you in many ways, and can be taken apart like a puzzle in your mind to understand the deeper aspect of it, while also deciphering its message. Others may not relate to the work, may only see the basic picture, and not understand the point or meaning of it. The same work of art can get opposite reactions, which shows that people have different ways of seeing the world that they live in.
All my life I have been taught to think before I act, in order to prevent myself from making a mistake. Yet, I have learned through my many errors in life not to duplicate my unfortunate actions. Many times I have been told to consider the consequences of my actions prior to acting. I have found, though, that this may not always be the best approach. I would not argue this to be true in every situation, however. What is to be said, for example, of those who have acted on their emotions, only to find themselves in prison? One must be able to know instinctively which situations are appropriate to be dealt with solely on emotions, and which are to require a certain amount of development. Nevertheless, as von Kleist states, in “On Thinking Things Over: A Paradox”, the proper time to reflect on an action is after the act has occurred.