Buddha Image in Asian Art Work

Buddha image is one of the most prominent and the origin of Asian art work. This image is inclined more towards Buddhist religion which most Hindu’s believe (Krishan 62). Before Buddha image came in to existence, Buddhist never used to worship images or forms.Advertising We will write a custom essay sample on Buddha Image in Asian Art Work specifically for you for only $16.05 $11/page Learn More The man behind the religion was called Buddha Vakali and he was devoted to teaching people concerning this religion. He taught them against worshiping images since he made them believe that God was formless (Coomaraswamy para. 8) Until the 1st century AD, Buddhist followers remained faithful to his teachings and never used to worship the Buddha image. However, after Buddha Vakali passed on, some of his followers were worried that he would never come back. One of the Buddha’s disciples Maudgalyayana invested magic and sent some thirty two artists up to heaven in order to capture the image of the god Buddha used to teach them about. It is therefore believed that the author of Buddha image was Shakyamuni, one of the artists sent to heaven by Maudgalyayana who can be considered as the patron of this art work. When Shakyamuni together with the other thirty one artists went to heaven, they captured the image and the likeness of Buddha in a five feet figure curved out of sandalwood. When they returned from heaven, it is recorded that the image was such perfect that it rose up to greet Shakyamuni. It is said that the first person start worshiping this image contrary to Buddha teachings was king Vadya of Vatsa, yet he was a very devoted follower (Coomaraswamy para. 8). Since the first Buddha image was curved, many artists have curved and painted a variety of images according to a person’s belief of how Buddha is supposed to look. Most of these images resemble human beings whereby their major purpose is worship and continuity of the religion (Krishan 62). Buddha images are usually made for Buddha followers and they are usually kept in their houses of worship to ensure that every person is in a position to worship without limit. The first Buddha image was curved in sandalwood though this has been changing with time (Coomaraswamy para. 8). Today, most of these images are made of precious stones though there is a wide variety of wooden images since the image is regarded with a lot of respect due to its religious significance. However, most artists have turned this in to business whereby they finance projects for making Buddha images after which they sell them in order to recover their money as well as making some profits.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More People have come up with various postures of Buddha sculptures depending on the belief of the events that took place in his life on a particular. There are seven postures of the image representing the events that took place each day (Thong para. 1). All the Buddha images carry the message of Buddha’s superiority as the only image that should be worshipped on land. Most Buddhists have responded positively to the work of the first person who came up with this image since they have continued worshiping the image and it has spread out to many parts of Asia. The various Buddha images are a great investment in Asian Art work. Their popularity across the world has enabled many people see the potential that lies among Asians and their ability to communicate through art. Apart from Buddha images, Asian artwork is recognized worldwide and generates a lot of revenue to the Asians both locally and across the geographic boundaries. Work Cited Coomaraswamy, Anada. Origin of Buddha Image. Controversial History, 2009. Web. http://controversialhistory.blogspot.com/2009/03/origin-of-buddha-image.html Krishan, Yuvraj. The Buddha Image: Origin and Development. New Delhi, Bharatiya Vidya Bhavan, 1996. Print. Thong, Ang. Buddha Images for the Seven Days of the Week. Buddha Images, 2011. Web. http://www.buddha-images.com/seven-days.asp This essay on Buddha Image in Asian Art Work was written and submitted by user Jaylee Craig to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Biography of Frank Stella, American Painter and Sculptor

Biography of Frank Stella, American Painter and Sculptor Frank Stella (born May 12, 1936) is an American artist known for developing a Minimalist style that rejected the emotionality of Abstract Expressionism. His earliest celebrated works were painted in black. Throughout his career, Stella shifted to a more exuberant use of color, shapes and curving forms. He calls his artistic development an evolution from Minimalism to Maximalism. Fast Facts: Frank Stella Occupation: ArtistKnown For: Developing both the Minimalist and Maximalist artistic stylesBorn: May 12, 1936 in Malden, MassachusettsEducation: Princeton UniversitySelected Works: Die Fahne Hoch! (1959), Harran II (1967)Notable Quote: What you see is what you see. Early Life Born in Malden, Massachusetts, Frank Stella grew up in a well-to-do Italian-American family. He attended the prestigious Phillips Academy, a prep school in Andover, Massachusetts. There, he first encountered the work of abstract artists Josef Albers and Hans Hoffman. The school had its own art gallery with works by multiple prominent American artists. After graduating from high school, he attended Princetown University as a history major. Picture as Object: The 1950s and Early 1960s After college graduation in 1958, Frank Stella moved to New York City. He didnt have a specific plan in mind. He merely wanted to create things. While creating his own works, he labored part-time as a house painter. Stella rebelled against abstract expressionism at its peak of popularity. He was interested in Barnett Newmans color field experiments and Jasper Johns target paintings. Stella considered his paintings objects instead of a representation of something physical or emotional. He said that a painting was a flat surface with paint on it, nothing more. In 1959, Stellas black-striped paintings were positively received by the New York art scene. The Museum of Modern Art in New York City included four Frank Stella paintings in its landmark 1960 exhibition Sixteen Americans. One of those was The Marriage of Reason and Squalor, a series of black inverted parallel U-shapes with stripes separated by thin lines of blank canvas. The title is in part a reference to Stellas living conditions at the time in Manhattan. Despite the appearance of precise regularity in his black paintings, Frank Stella did not use tape or outside devices to create straight lines. He painted them freehand, and a close inspection reveals some irregularities. Stella was suddenly a prominent artist before age 25. He was one of the first painters branded a Minimalist for his view of art as an end in itself. In 1960, with the Aluminum series, Stella worked with his first shaped canvases that abandoned the traditional squares and rectangles used by painters. Throughout the 1960s, he continued to experiment with more colors in his paintings and canvases in shapes other than squares or rectangles. The geometrically-shaped canvases were a feature of the Copper Paintings (1960-1961). They included another innovation. Stella used a special boat paint designed to inhibit the growth of barnacles. In 1961, he created a Benjamin Moore series named after the brand of house paint used. It impressed Andy Warhol so much that the pop artist bought all of the pieces. The Leo Castelli Gallery in New York presented Stellas first one-person show in 1962. In 1961, Frank Stella married the art critic Barbara Rose. They divorced in 1969. Sculptural Painting and Printing: Late 1960s and 1970s In the late 1960s, Stella began working with master printer Kenneth Tyler. He added printmaking to his continued explorations in painting. Tyler encouraged Stella to create his first prints by filling Magic Markers, Stellas favorite drawing tool, with lithography fluid. His prints were as innovative as his paintings. He incorporated screen-printing and etching in his techniques for creating prints. Frank Stella continued to paint, too. Stella added wood, paper, and felt to a painted canvas and called them maximalist paintings because of their three-dimensional elements. His works began blurring the distinctions between painting and sculpture. Despite the wide range of three-dimensional shapes incorporated into his pieces, Stella said that sculpture is just a painting cut out and stood up somewhere. Frank Stella designed the set and costumes for the 1967 dance piece Scramble choreographed by Merce Cunningham. As part of the set, he stretched fabric banners on moveable poles. It created a three-dimensional rendering of his famous stripe paintings. In 1970, the Museum of Modern Art presented a retrospective of Frank Stellas work. In the 1970s, building upon the bright colors of the late-1960s Protractor series and his seminal piece Harran II, Stellas works were more and more exuberant in style with curving forms, Day-Glo colors, and idiosyncratic brushstrokes that looked like scribbles. Frank Stella married Harriet McGurk, his second wife, in 1978. He has five children from three relationships. Monumental Sculptures and Later Work: 1980s and Later Music and literature influenced much of Stellas later work. In 1982-1984, he created a series of twelve prints titled Had Gaya inspired by a folk song sung at the Jewish Seder. From the mid-1980s through the mid-1990s, Frank Stella created multiple pieces related to Herman Melvilles classic novel Moby Dick. Each piece was inspired by a different chapter in the book. He used a wide variety of techniques, creating works that range from giant sculptures to mixed-media prints. A long-time fan of automobile racing, Stella painted a BMW for the Le Mans race in 1976. That experience led to the early 1980s series Circuits. The individual titles are taken from the names of famous international car race tracks. By the 1990s, Stella also began creating large free-standing sculptures for public places as well as architectural projects. In 1993, he designed all of the decoration for Torontos Princess of Wales Theatre, including a 10,000-square-foot mural. Frank Stella continued to innovate in the 1990s and the 2000s, using the technology of computer-aided drafting and 3-D printing to design his sculptures and architectural proposals. Legacy Frank Stella is considered one of the greatest living artists. His innovations in minimalist style and incorporations of bright colors and three-dimensional objects have influenced generations of contemporary American artists. He was a primary influence on prominent color field artists including Dan Flavin, Sol LeWitt, and Carl Andre. The architects Frank Gehry and Daniel Libeskind also count Stella as a crucial influence. Sources Auping, Michael. Frank Stella: A Retrospective. Yale University Press, 2015.Stella, Frank. Working Space. Harvard University Press, 1986.

How to change the face of conflict Research Paper

How to change the face of conflict - Research Paper Example The definition of political conflict becomes more critical when armed combats are involved in the forces of at least one state to gain control over other states and when at least 1000 people are killed in such political conflict, it is identified as Armed Conflict (Dani, 2009). Historically, many conflicts have arises in the form of civil wars for the possession of vital resources such as water, metals like gold, silver, copper, petroleum and many more since 17th and 18th centuries from the commencement of World War I. During the last decade, many of such conflicts took place in Liberia, Sierra, Somalia, Sudan, Chechnya, Chiapas, Congo and Indonesia driven by the struggle of parties involved to take control over critical resources. Such resource conflicts are becoming more prominent and frequencies are also increasing as the demand for such scarce resources are exceeding the supply of the same. Competition to surmount the valuable oil supplies and pipeline routs is the source of conflict in 21st century. With the growing demand of oil and declining capacity of supply from the United States, Mexico and China, the concentration is shifting towards Gulf countries, South America and Africa. According to the experts’ opinion, the rivalry for oil was init iated in 1991 with Persian Gulf Conflict which is still continuing with the invasion of Iraq in 2003. For further complications, incidents such as attacking the inhabitants who resides near the major oil producing fields and pipeline locations from guerrillas and terrorists have been experienced in recent economy (Connaughton, 2013). Conflict gives rise to the economic divergence in international landscape. From Sierra to Angola and Cambodia, conflicts to surmount control over scarce resources leads armies and militants to violate human rights by the means of murder, rape and other violent measures imposed on civilians. For instance, countries like Democratic Republic of Congo