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
...e Amida Buddha’s name is recited over and over again in a chant, whether silently or aloud, so that the individual may focus on the Amida Buddha and nothing else (Cleary). This sculpture is meant to portray the Amida Buddha that presides over the Pure Land, and it is a reaction to the Pure Land Buddhism’s popularity (“Amida”).
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.
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 lotus flowers surround Buddha and he also is sitting on a giant one. They are symbols that the Buddha is awakened almost as a sign of rebirth. The lotus flowers meaning in Buddhism means rising above everything and achieve enlightenment. There are lotus flowers that are not yet open representing that not all are yet enlightened and the lotuses that are fully bloomed representing full-enlightenment and self-awareness. Buddha sits in front of the Bodhi tree which literally means awakening or enlightenment. Behind the tree is a full moon and in Buddhism has a great significance. The Buddha was born on a full moon day and his enlightenment was also during a full moon. The Buddha also has earth touching mudra. Mudra is the religious hand gestures and earth touching is “calling the earth to witness”. These concepts go back to the Four Noble Truths. They are the truth of suffering, the truth of the cause of suffering, the truth of the end of suffering, and the truth of the path that leads to the end of suffering. The fist noble truth is represented by the temptresses and the flaming arrows sent from Mara. After the temptresses did not seduce Buddha Mara sent flaming arrows from all directions towards the Buddha representing that all of life’s sufferings. This artwork shows the second noble truth by Buddha avoiding the temptresses that Mara sent and in this way Buddha avoided having cravings or desires. By not submitting to those desires and cravings Buddha realized that this is the ending all suffering is to remove all desire, ill will and ignorance therefore completing the third noble truth. The fourth noble truth is represented by the weight of the Buddha in the artwork showing Buddha not overweight and not starving but in the middle showing him living The Middle Path. When artists get to work responding and expressing, whether or not also to urge a point,
The first sentence of the chapter “Whites” explains the relationship between different ethnic groups and the Caucasian. Otsuka phrases the relationship by stating, “We settled on the edges of their towns, when they would let us” (Otsuka, 2011, p. 23). This sentence explains a strong sense of discrimination even before World War II; such as, hanging signs expressing great detest toward the Japanese living in their counties. This made the women experience moving from one farm to the next picking different vegetables and fruits that belong to ‘them’ until the whites didn’t need them anymore, then they were forced to move on until they find somewhere new they were needed by them. This was very different from the letters they had read about the
In the context of this essay power shall be defined as control over others, more specifically as represented in the chosen pieces of art, control over animals. In these three pieces, Bull Jumping, Late Minoan Period (5-5), Good Shepherd, Oratory of Galla Placidia, Ravenna, Italy (7-12), and The Unicorn is Found, The Hunt of the Unicorn tapestry series (12-9), the power shown may be power over animals, but actually represents power over most facets of life.
Elisa Trojillo PHIL 101 Honors Dr. Mitchell February 26, 2014 Analytic Paper Over the course of history, individuals have questioned the universe in which we live in and searched for a purpose of our existence. The belief in a higher presence, other than our own, has existed since man can remember. From this belief, religion was established and can survive and flourish. Buddhism and Taoism are two great religious and philosophical traditions in Chinese history.
Originally from Japan, Soyen Shaku was the first Zen master to arrive in America. His followers urged him not to come to a nation that was so ill-mannered and uncultivated and that the Japanese were facing extreme discrimination. Shaku’s countrymen Hirai Ryuge Kinzo “offered pointed examples: the barring of a Japanese student from a university on the basis of his race; the exclusion of Japanese children from the San Francisco public schools; the processions of American citizens bearing placards saying ‘Japs Must Go!’” (Eck 185). After several decades, there was a Zen boom of the 1950s and that was how Buddhism affected western culture, especially in regards to entertainment. “‘Zen’ is “the Japanese pronunciation of the Chinese character "chan," which is in turn the Chinese translation from the Indian Sanskrit term "dhyana," which means meditation’” (Lin).
In the University Of Arizona Museum Of Art, the Pfeiffer Gallery is displaying many art pieces of oil on canvas paintings. These paintings are mostly portraits of people, both famous and not. They are painted by a variety of artists of European decent and American decent between the mid 1700’s and the early 1900’s. The painting by Elizabeth Louise Vigee-Lebrun caught my eye and drew me in to look closely at its composition.
Jack Kerouac spent his creative years writing in a prosperous post world war II America. He was in many ways a very patriotic person who had no problem making known his love for his country , particularly within his literature. It was, quite literally, America that he was in love with. Taking cues from writers such as Whitman, he embraced the American landscape as a field for spiritual cultivation. Kerouac was indeed a writer with spiritual preoccupations. He saw himself as partaking in a lifelong journey through the America that was waiting to reveal itself and, consequently, himself. Also, of course, considering himself a serious writer, he would chronicle this spiritual expedition throughout a series of novels that together would be called “The Duluoz Legend.'; This was the name Kerouac had intended the novels to take on when he would assemble them in chronological order before he died. Unfortunately he died earlier than he expected and was unable to formally assemble them. However, the legend remains.
Buddhism had an important role in the development of Japanese art between the sixth and the sixteenth centuries. Buddhist art and religion came to Japan from China, with the arrival of a bronze Buddhist sculpture alongside the sutras. Buddhist art was encouraged by Crown Prince Taishi in the Suiko period in the sixth century and Emperor Shomu in the Nara period in the eighth century. In the early Heian period Buddhist art and architecture greatly influenced the traditional Shinto arts, and Buddhist painting became fashionable among the wealthy class. The Amida sect of Buddhism provided the basis for many artworks, such as the bronze Great Buddha at Kamakura in the thirteenth century. Many of the great artists during this Kamakura period were Buddhist monks, and Buddhist art became popular among the masses with scroll paintings, paintings used in worship and paintings of saints, hells and other religious themes. Under the Zen sect of Buddhism, portraiture of priests became popular. However, Zen had less use for religious images and by the mid sixteenth century most painting in Japan was of landscapes and secular themes.
The Enlightenment and Romantic eras were two drastically different times, not only in artistic style, but in terms of social and political circumstances. To understand the differences between the eras, we can begin by studying artwork from both eras. The Death of Marat, painted by Jacques Louis David, and the Third of May, painted by Francisco Goya, showcase some of the similarities and differences between Enlightenment and Romantic artists and how their artwork is influenced by the social and political circumstances of those periods.
People admired the overall concept of the religion and how it brought peace and enlightenment not only into their life, but the people that they are surrounded by. Many different artist began to create what they thought Buddha and how he, being the face of the religion, demonstrates how one can find these qualities in their life. Author of the book History of Chinese Philosophy, Bo Mou states that “....an affectionate concern for the well-being of one 's fellows in the community, society, or a state governed by a wise and virtuous ruler”, when referring to Buddha. In Seated Buddha, it can be mistaken that this sculpture does not posses a lot of great detail, but upon further inspection, it is obvious that it holds very detailed designs. This sculpture has a halo-type structure around the head of the Buddha and he is seated on an elevated surface. I believe that by placing the Buddha on this surface it then emphasizes his holiness and his importance to and in the community. One main feature that the Seated Buddha holds is the fact that he is seated in the lotus position, which ultimately was done to support the concept of peacefulness and calmness. The man has his right-hand open resting on his knee with his palm facing up. By doing this, I believe that the artist is showing the concept of openness and the idea of the Buddha figure being welcoming to others. The Seated Buddha is depicted with his eyes shut and a smile on his face. To me, this is showing that one can be happy regardless of what they can and cannot see and that you do not have to observe something in order to be happy. This can also mean that even if there is bad happening in the world, you can not look at the bad and just help others through their pain, which can then boost the amount of happiness that you
Gandhara art, which is more popularly known as the Greco-Buddhist art, refers to an ancient district and culture or civilization that in one form or another existed from the 1st millennium BC till the 11th century AD. Although Gandhara went though a change in its geographical footprint over the period, its heart still lay in the valley of Peshawar. The Gandhara School of art is an art form dissimilar from the aniconic tradition of the early Indian sculptures and the tradition of Greco-Roman art; it absorbed the Indian and Mediterranean influences in art and culture.
The “Sacred Tree,” (fig. 1) was originally positioned behind the king’s throne. The scene shows two genii, sometimes with birds’ heads and sometimes with men’s heads and the horned hats of gods. Each of the winged figures holds a bucket and reaches out with an oval object toward a stylized “tree.” The composition has been read as being based on bilateral symmetry, with the vertical stalk-like structure crowned by a palmette. A meticulous examination reveals that although balanced, it has many discrepancies on both sides that deviate from perfect mirror symmetry. Ashurnasirpal appears twice, shown from two sides, dressed in ceremonial robes and holding a mace connoting his authority. The figure of the king on the right makes an invocative gesture a god in a winged disk in the top center of the relief. Ashur, the national god or Shamash, the god of the sun and justice, may be identified as the god who confers the king divine right. On the left, the king holds a ring, an ancient Mesopotamian symbol of divine kingship, in one...