Located in the Horyuji temple, the gilt bronze Shaka Triad attributed to Tori Busshi, 623 C.E. is one of the center pieces of the temple and Buddhist worship in Japan. The statue was commission by Empress Suiko as to promote the health of some of the nobles in court including Prince Shotoku, who is considered the father of Japanese Buddhism. The sculpture was completed after Prince Shotoku’s, death and was dedicated to insuring his spiritual health. The piece features Shaka or Shakaymuni the founder of Buddhism and the historical buddha, in the center along with a bodhisattva on each side. Shaka is wearing flowing robes around his static slender body; the elegant robes taper off at the end similar to rushing water over a fall. Shaka is sitting in a meditative position with a serene expression on his face. Also his right hand is in the no fear gesture while his left hand is in the wish granting gesture giving Shaka a welcoming and calming appearance.
Surrounding Shaka’s head is a halo with a “flicking flame pattern” and within the halo are seven small Buddha. These Buddha are the se...
In Ernest Hemingway’s “Hills Like White Elephants” the character Jig is submissive to her counterpart The American Man, who is encouraging her to have an abortion. While Jig is not sure what she wants, she does not wish to press the subject of the operation because The American Man is intent upon persuading her to go through with the procedure. Throughout this story Jig’s helplessness, indecisiveness, and her lack of education become apparent, although by the end of the story she becomes confident, decisive, and ultimately takes back control of her decisions and life.
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 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.
The subject of this piece is also the Tara but in this one she is represented in eight different circumstances. The centre of the piece however is a larger representation of her while the others are a lot smaller and scattered. The various representations of the Tara show her in various circumstances which portray the Eight Fears. She is siting on a lotus and is wearing a similar type of head piece and jewellery as on the sculpture. The painting is colourful but is predominately deep green and blue with a little bit of red and orange on the figures. The expression on the bodhisattvas face is peaceful just like the sculpture but the painting overall is fairly crowded and filled with movement. It allows the eye to wander around in all directions. It has a mystical effect due to the clouds and rainbows on the upper half of the
Rathnasambhava, the Transcendent Buddha of the South. Tibet, 13th century C.E. Mineral pigments on cotton cloth, height 361/2”. Los Angeles County Museum of Art.
Yu, Han. “Memorial on Buddhism”. Making of the Modern World 12: Classical & Medieval Tradition. Trans. Richard F. Burton. Ed. Janet Smarr. La Jolla: University Readers, 2012. 111-112. Print.
Walking into the Hall of the Buddhas, there was a sense of peace and guidance lingering inside me. The seated Bodhisattva, of the Northern Wei dynasty (386-534), CA.480, from the Yungang, Cave xv, Shani Province, made of sandstone, guarded the entrance. At first, I thought it was a time to be disciplined, but the transcending smile from the statue was a delicate fixed gesture that offered a feeling of welcome. It was not a place to confess your wrongdoings; neither was it a place for me to say, “Buddha I have sinned.” It was a room to purify the mind, the mind that we take for granted without giving it harmony. There was a large mural decorating the main wall called “The Paradise of Bhaishajyaguru”(916-1125). I sat down wandering if the artist of the portrait knew that his work would one day be shared on this side of the world, in my time. Much like Jesus Christ and his followers, the mural is a painting of healers and saviors. It was a large figure of the Buddha of medicine, (Bhaishajyaquru) surrounded by followers of Bodhisattvas, Avalokiteshvara, and Mahosthamaprapta with twelve guardian generals who have pledged to disseminate the Buddha’s teaching (Tradition of Liao 916-1125, Metropolitan Museum wall plaque).
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 Art Institute of Chicago houses a sculpture that epitomizes Shingon Buddhism in Japan. Born from an influence of Chinese esoteric Buddhism and the Indian God Shiva, the deity Fudo Myo-o, or “The Immovable One”, is one of the most important figures in Japanese Buddhism. The deity first appears in the Heian Period during the ninth century and is made to help followers of Buddhism with any adversity faced. During the Kamakura Period from the 12th-14th centuries the figure of this guardian king developed into a more realistic sculptural form. Fudo Myo-o is unique to the Shingon Buddhism of Japan with qualities that distinguish him from most any other deity, qualities that embody his vicious compassion, wisdom, and wrath.
With the exact dimensions of a height of 14 inches, a width of 8 inches, and a depth of 5 inches, this gilded copper alloy with stones stood above a platform, and took a marital, striding pose atop an elephant-headed figure that embodies the strength of the unenlightened mind. What caught my attention is that a middle aged man, who was talking to someone, that had appeared to be his son, started telling a story about how the statue was very symbolic. This artwork was called Six-Armed Mahakala, [Catalogue Number C2006.70.0 (HAR 65729)]. Upon hearing this, I used my BlackBerry to see if this statement had in fact been true, and in doing so, started learning that almost every aspect of this figure had a meaning, such as his color, three eyes, crown, and much more.
It is held that when the would-be Buddha entered his mother's womb, there appeared an "unlimited and glorious radiance, surpassing even the majesty of the devas."5 This light was so powerful that the dark...
"Heilbrunn Timeline of Art History." Altarpiece Dedicated to Buddha Maitreya (Mile) [China] (38.158.1a-n). N.p., n.d. Web. 15 May 2014.
The use of symbolic hand gestures, known as “mudras”, help convey ideas. Buddha in Figure 2 of the Appendices is using mudras much like in the piece Shiva as Lord of Dance (Nataraja). The right hands of both sculptures in Figure 1 and 2 display the “abhayamudra”, which signifies, "do not fear" (Doyle, Goodman. "Lesson Plan: Buddhist and Hindu Art from India-A Comparative Look."). This type of mudra is formed by raising the right hand to shoulder height, with the palm of the hand facing out, and the fingertips pointing upward. Mudras in Buddhist and Hindu art are essential to both religions to honor the teachings of their gods or
"Basics of Buddhism." n.d. The Living Edens: Thailand. Public Broadcasting Service. Website. 6 March 2014. .
BuddhaNet - Worldwide Buddhist Information and Education Network. N.p., n.d. Web. The Web. The Web. 7 Mar. 2014.