Blackburn Art History

Serpent Mound

2011-11-18T12:46:00.000-08:00

Pre- Research

The Serpent Mound is the piece I found most interesting while flipping through the book. My first thoughts about this was who built this, and why did they build it. The lines created by the mound caught my eye and made me wonder how exactly it was made with such detail that can only be truly seen from high above. I wondered if this was a design made in respect for the dead or a monument to honor the gods. It also made me question if it was a burial mound like the less ornate mounds of Cahokia.

Research

After researching the mound further in the Art Beyond the West book I discovered that the Serpent mound isn't a burial mound but an effigy mount representing the importance of animals in Adena rituals. The books relates it to the Nazca Geoglyphs and it is believed that it was built to be viewed by the gods. The serpent is in an unraveling coil design and appears to be swallowing a large egg. It was built nearing the end of the Hopewell period (about 1070 CE). This is one of the finest examples of a mound effigy in the Mid-West.

Post Research

My reaction after completing my research of the Serpent Mound still remains that of amazement. The research brought clarification as to what the mound was built for and its representation's significance. I am surprised to find that it is located in Ohio and that it is such a grand example of a mound effigy. I now feel that this work is much more important than I had originally thought.

Photo: http://www.flickr.com/photos/billy_liar/1085042306/sizes/l/in/photostream/
Information from: Art Beyond the West by Michael Kampen O'Riley
http://ohsweb.ohiohistory.org/places/sw16/index.shtml

mpen O'Riley

Kunz Axe

2011-11-18T10:53:00.000-08:00

Pre-Research

As I flipped through the Art Beyond the West book for class this Kunz Axe really caught my eye. Instantly I was intrigued and wondered if it was some sort of spirit or ancestor pendant like that of the Maori and their Hei tiki pendants. Its rough expression brought questions to my mind. What did it stand for? What purpose did it have? What is it made out of? Stone or Jade? Its very geometric shapes puzzled me as it clearly had facial features and a curling mouth.

Research

Further reading from the Art Beyond the West book gave me insight into this curious figurine. The Kunz Axe was made by the Olmec culture around 1000 BCE and carved out of jade. It is described as a "howling infant with feline eyes and mouth." The book refers to it as a were-jaguar. These pendants of hybrid creatures are said to have maybe represented spirits known by the Olmec's, some sort of lineage sign, or even shamans (or the equivalent in Olmec culture) who could be transformed into these different beasts like that of the Indians who wore coyote fur and were said to be able to transform in said animal for fast travel as a medicine man. Also it is said that these could appear to be apart of a writing system by using these figurines as forms of pictographs.

Post Research

The term "were-jaguar" in my opinion fits this piece very well as its face is contorted into a howl of yelling sort of pose and well as he slanted almond eyes that gave it a very feral look. I can understand now the slightly geometric shapes on its body if it was to be used as a pictograph in their culture. The overall "other worldly" vibe I get when looking at this jadeite carving makes me believe it is very likely these would have been used by shaman for transformation. It is also clearer to me now that this piece is made out of jade after all the other jadeite figures and pendants that I have seen.

Post by: Ashley Williams

Photo Courtesy of: http://theslideprojector.com/art9/art9lecturepresentations/art9lecture3.html

Information found in: Art Beyond the West by Michael Kampen O'Riley

The Killer Whale

2011-11-17T19:15:00.000-08:00

Pre-Research
The Killer Whale by Bill Reid really stood out and caught my eye. The intricate carvings on the whale are very Native American in nature. The whale also has these large and jagged teeth which is not typical of an actual killer whale. The rather large fin on the back of the whale also strikes me as odd because while the back fin does stick out on a killer whale, it has been over exaggerated just as the teeth. I believe when this was constructed in 1984, it was not for any specific purpose except decoration.
Research
In actuality, The Killer Whale by Bill Reid was in fact influenced by Native American culture, Haida to be exact. Reid's family were Haida artists and his Great Uncle was the final Haida artist to work within a traditional society. Reid worked to captivate a sense of purity and still use the traditional style of Haida art with out a direct copy of it. It is said that "the traditional Haida vocabulary of curved, flowing lines and crescent-shaped forms are the individual forms of the whale's anatomy is rendered in light of."
Post Research
After my research I found that the carvings on the whale were indeed Native American. Yet they were not just Native American decoration, but actually the Haida vocabulary intertwined on the surface of the whale. It was created out of bronze as a decoration over a pool in the Vancouver Aquarium. I was surprised to find that the decorations were in fact the vocabulary of the Haida people. It is such a wonderful piece and is there not only for decoration but actually an insight to a Native American culture that we may not have known otherwise.

Information courtesy of the following link
http://www.nativeonline.com/billried.html
Picture courtesy of the following link.
http://www.thelensflare.com/imgs/killer-whale-bronze-chief-of-the-undersea-world_28210.html

Thillai Nataraj

2011-10-15T09:07:00.000-07:00

This is the Thillai Nataraj Temple in Chidambaram, India. This temple was created for one of the Hindu gods Shiva. The Thillai Nataraj Temple, is located in the center of the town Chidambaram. The temple grounds spread across 40 acres, and has been a worshiping place of Shiva since the classical period. This temple is one of five Pancha Bootha Sthalams, the holiest Shiva temples that depict one of the five elements. The one that this temple represents is akasha, which in the material world means the basis and essence of all living things.

Some of the cool Architecture of this temple, is that it is built on the center point of the Earth's equator. Two of the other temples mentioned above, and this temple, are all on a straight line on the same longitudinal line. These temples are depicted to represent the human body, the roof of this temple has 26,000 golden tiles, which ironically are the number of breathes a person has in one day. These tiles are put in place by 72,000 nails, which is the amount of invisible ducts that carry energy to the body.

http://www.flickr.com/photos/39604126@N05/6174602439/sizes/m/in/gallery-68110818@N02-72157627788372290/

http://en.wikipedia.org/wiki/Thillai_Nataraja_Temple,_Chidambaram

http://en.wikipedia.org/wiki/Akasha

Post written by Matthew Spangler

Dharmaraja Ratha

2011-10-15T09:04:00.000-07:00

“The Dharmaraja Ratha is a hindu temple from the Pallava period (mid-7^th century.)

During the Pallava dynasty, Hindu art flourished in southern India.

These works were most likely commissioned by Mamalla I.

A wonderful version of a southern-styled Hindu temple is the Dharmaraja Ratha.

Two art forms are fused in these monuments by reproducing architecture in sculpture form.

The process for carving these large architectural sculptures is similar to that developed by the sculptors of the Buddhist cave-temples, but here the rathas are masses in space not space in masses.

A ratha is a vehicle of the gods, carved from a series of boulder out-crops.

An exterior statue is a portrait of Mamalla I, posed stiffly to show authority, like a god.”

Post written by Amelia Kirby

Vaishno Devi

2011-10-15T09:02:00.000-07:00

The temple of Vaishno Devi is placed amongst snow capped mountains in the Trikuta mountain in Jammu and Kashir, India. It is one of the most common places for people that travel to India to visit. It is said that the Goddess Vaishno speaks to her followers and once a person receives her "calling", they drop what they are doing and they march toward the temple of Vaishno Devi. Her loyal followers seem to be drawn by a supernatural occurrence and whilst climbing up to the temple they chant, "Prem se bolo, Jai Mata Di". Since this journey is scaling 5,200 feet above sea level, they have a long way to chant and reflect on themselves.

This temple is among the snow capped mountains and yet, it is still stone washed white. It has an openness of a "courtyard" feel to it and also has a sense of protection with the center being encased. On the roof, there are the smaller box like instances and they have the typical curve of Hindu temples. The columns and the peaks on the roof are almost like they are trying to become closer to the heavens. For dropping everything and responding to a "calling" this is a beautiful place to be called to.

[Picture from Flickr and the factual information comes from http://www.durga-puja.org/vaishnodevi-temple.html]

Post written by Kelsey Patterson

Kandarya Mahadeva

2011-10-15T08:54:00.000-07:00

The Kendarya Mahadeva (Lord of Lords) temple, located in Khajuraho, is a beautifully designed structure that exemplifies the northern Hindu style of temple architecture. Unlike the southern temples, the northern style is much more tightly compact and in many cases more of a single structure rather than multiple structures combined to create a single complex. The design of Kendarya Mahadeva temple is an elongated double crucifix and rests on a single platform. The spires are of a design meant to resemble that of the peaks of the Himalayas, home of the Gods. Like many other temples Kendarya Mahadeva temple was originally whitewashed to further resemble the snowy peaks of the mountains but over time has weathered away to reveal the base sandstone that the temple consists of.

The lines contained in the design of the spires is used to point upwards towards the Heavens. The compact design combined with the repetitive patterns create a sense of energy within the structure which is further strengthened by the arching spire walls. Although the northern temples are much smaller than most of the southern design, Kandarya Mahadeva appears to be much larger than it is because of its high platform and cluster of spires. The steps lead visitors into a large sanctuary containing a Shiva Lingam. The Shiva Lingam is a stone that represents the infinite nature of Shiva and is utilized for prayer and worship within the temple.

(Image from hartjeff12, Flickr. Source of factual information Art Beyond the West second edition by Kampen O'Riley)

Rajarajeshvara Temple

2011-10-15T08:53:00.000-07:00

The Rajarajeshvara Temple or Brihadesvara temple as know by many, is a Hindu temple located at Thanjavur (Tanjore) India which was created for the Hindu deity Shiva around 1000 CE. This magnificient structure was created during the Chola dynasty which at that time was under the rule of Rajaraja I, who ruled c. 985-1014 and was known as the "king of kings." The political conditions of this rule are evident throughout the fortifications surrounding the temple including a moat that encompasses the temple as well as Rajaraja's capital city Thanjavur.

During the Chola dynasty the Rajarajeshvara temple was known to house many scultures of bronz and copper which were to be used during ritual processions. One of this temples many memorable features is the steep thirteen-leveled pyramidal vimana which is topped with a gold-pleated finial. Local legend says that a massive 4.5 mile long ramp was created to roll the top piece into place. This temple is said to represent one of the high points of the southern Indian style with its temple construction.

Image courtesy of Ryan (ryPix) from www.Flickr.com

Source of factual information found from Art Beyond the West Second Edition by Micheal Kampen O'Riley

Kailasanatha Temple

2011-09-29T16:13:00.000-07:00

Kailasanatha Temple in Ellora, India is an enormous stone structure carved into the cliff side during the Rashtrakuta dynasty. The towering cliffs surround an excavated area nearly the size of a football field. Excavation of the volcanic rock began in 757 and took 100 years to finish. Kailasanatha Temple was dedicated to Shiva as the Lord of Kailasa. The temple is actually a series of caves that have been carved very ornately into several shrines.
Although the temple was originally white washed to symbolize Shiva's snow-covered mountain, all of the natural stone is currently exposed. As one approaches the temple, they are greeted by a series of columns with intricately sculpted statues lining the bottom of the structure. On the top of the temple there is a set of three rings stacked on top of one another. Perched upon these rings are four bull statues that appear to be surrounding some sort of box. To me it seems like they are guarding the structure for Shiva.
(Image from Flickr, Source of factual information Art Beyond the West Second Edition by Michael Kampen O'Riley)

Franz Kline

2011-04-04T06:27:00.000-07:00

Franz Kline, who is best known for his work in black and white, was one of many abstract expressionists of his time, exhibiting in the Eagan Gallery in 1950. He was largely effected by artists such as Jackson Pollock through their works and through his friendship with Willem de Kooning. Later in his career, he managed to incorporate color as effectively as his forte, black and white.

Up until sometime in 1949, Kline's sketches for his paintings were rather small, measuring in inches. He drew on more than just small pads however, choosing to draw on what was on hand. Some of such were: napkins, the backs of bills, or menus. After a fated visit to one of his friends who was utilizing a Bell-Opticon to enlarge small sketches, Franz forever changed. He began drawing on canvas that measured in feet instead. This reflected in his works, as he began to paint increasingly larger scale.

Franz Kooning had to retire in the winter of 1961-62 due to a recurrent illness, which later claimed his life the following May. He was 51 when he passed.

Information from: Franz Kline Memorial Exhibition published by the Washington Gallery of Modern Art.

Image from: www.flickr.com from Nather Bowers' photostream

Willem de Kooning

2011-04-04T06:13:00.000-07:00

Saturday Night (1956), Oil on Canvas, 68 3/4 x 79"

Willem de Kooning (born April 24, 1904) once started out as a "commercial" artist. He studied in night classes while apprenticing to other commercial artists. In 1926 he became one of many stowaways to travel to the United States, a year later finding himself in Manhattan. During his time here he was inspired by other artists of his time: Arshille Gorky, Franz Kline and, somewhat noticeable in his later work, Jackson Pollack.

His early influences were reflecting European and Mexican Art. However, it wasn't until the early 1930's when he began to explore Abstract Art and started to use simple geometric shapes to convey his voice on canvas. His most controversial art was his pieces of women in the 1950's. de Kooning began to paint exclusively of in later in his career, making abstract forms of the female body. His geometric shapes, painting abstract yet concrete at the same time. His women have ghastly appearances, which suggest sexuality, but at the same time is exploding with color and runaway lines that it can hardly stand for anything. Crowds were intrigued, but also furious at suggesting that women could ever be shown in such a manner.

(above) Seated Woman (1952),

Pencil, Pastel and Oil on two sheets of paper,

12 1/8 x 9 1/2"

Due to his diagnoses of Alzheimzer Disease in 1980, his work began few and far in between, being seen with less substance than his earlier work. As time drew on, de Kooning's work became less active, yet more lucrative at the same time, his earlier pieces selling for millions. He died March 19, 1997, leaving his works of Abstract Expressionism to the masses, to refer to it as how they wanted it to be.

"Whatever an artist's personal feelings are, as soon as an artist fills a certain area on the canvas or circumscribes it, he becomes historical. He acts from or upon other artists"-Willem de Kooning

Sources: 1. http://www.biography.com/articles/Willem-de-Kooning-9270057?part=2 2. http://www.willem-de-kooning.com/ 3. (Quote) http://www.brainyquote.com/quotes/authors/w/willem_de_kooning.html Images: 1. (Saturday Night) http://kemperartmuseum.wustl.edu/collection/explore/artwork/847 Copyright: The Willem de Kooning Foundation/Artist Right Society (ARS), New York 2.(Seated Woman) http://moma.org/collection/browse_results.php?object_id=33413 Copyright: The Willem de Kooning Foundation/ Arist Right Society (ARS), New York

Mark Rothko

2011-04-04T05:56:00.000-07:00

A Mark Rothko painting is usually identified as a large abstract painting with two or more hovering fields of color against a colored ground. However, he did not develop this signature style until much later in his career. Mark Rothko was born Marcus Rothkowitz in Dvinsk, Russia on September 25, 1903. His family imigrated to the United States when he was 10 years old where they settled in Portland Oregon. Rothko attended Yale in 1921 with intentions to become an engineer or an attorney; however, in the fall of 1923 he gave up his studies and moved to New York City. Once in New York he attended art classes at the Art Students League. In the 1930s Rothko painted mostly street scenes and interiors with figures. Many of these scenes were of the New York subway. The figures in these paintings are usually faceless and flat. Soon Rothko left out the figures all together. He said, "It was with the utmost reluctance that i found the figure could not serve my purposes.....But a time came when none of us could us the figure without mutilating it." By the late 1940s asymmetrically arranged patches of color had become the basis of his paintings. In 1950 Rothko had reduced the number of floating rectangles to two, three, or four and aligned them vertically against a colored ground, arriving at his signature style. The colors were applied in thin washes giving his work new luminosity. While moving toward abstraction Rothko said, "We favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth" Rothkos work bgan to darken by the late 1950s, and on February 25, 1970 Rothko committed suicide after being physically ill and suffering from depression.

source http://www.nga.gov/

image http://www.flicker.com/

Barnett Newman, an Abstract Expressionist

2011-04-03T21:23:00.000-07:00

Barnett Newman is known as one of the major figures of abstract expressionism, especially as a color field painter, next to his friends Jackson Pollock, Mark Rothko, and Clyfford Still. Abstract expressionists were determined to prove that American artwork was not second rate compared to what Europeans, especially the French, were creating. As a collective, the abstract expressionists generally worked on large scale works, and rather than paint traditional imagery or traditional content, their paintings were more individualized, drawing from their own feeling and existence, matter, and human spirit.

Throughout the 1930’s Barnett Newman did a number of works that could be described as an expressionist style, but he eventually destroyed all of them. His first surviving artwork was made in 1945, three years prior to his first art exhibition. Up until this point Newman had studied Philosophy at the College of New York, and worked as a writer, critic, and exhibition organizer. Throughout the 1940’s Newman worked in a very surrealist style, characterized by multi-tonal vibrant monochromatic color separated by thin vertical lines he called “zips.” The zips are used as devices to divide the color, but rather than divide the canvas into separate large paintings, they actually lend unity and structure to the composition as a whole. Later in his life Newman used hard edged areas of flat color, which can be viewed as a source of inspiration for later minimalist works.

Photo By Willy Gobetz

The large size of Newman’s paintings is very indicative of his art philosophy. For Newman, he wanted people to view the art and get a sense of the scale, and to also understand that there is a mystery and a metaphysical fact held within the painting. Newman stated with regards to this concept that he and his colleges “favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth.” He hoped that his paintings would give his viewers the feeling of their own totality, separateness, and individuality, but at the same time express their connection to all others.

"Barnett Newman." Absolute Astronomy. N.p., n.d. Web. 3 Apr 2011.

"Barnett Newman and Frank Stella; Art and the Sublime." The Free Library. N.p., 2008. Web. 3 Apr 2011.

"Chronology of the Artist’s Life." The Barnett Newman Foundation. N.p., 2005. Web. 3 Apr 2011.

Jackson Pollock

2011-04-03T19:17:00.000-07:00

Jackson Pollock was born on January 28, 1912 in Cody, Wyoming. He was the first of his colleagues to earn respect from the European art world by developing a technique that he called "pour painting," which is also known as drip painting.
His life first began in Wyoming, but soon was relocated West where they moved between California and Arizona for the next 16 years. Soon after his family moved once again, to Los Angeles where they finally set roots. Pollock soon joined the Manual Arts High School where he first pursued his passion of art. While there he was introduced to metaphysical and occult spirituality which would later come into play in his paintings.
However, In 1930 Pollock decided to move to New York to join his brother who studied under Thomas Hart Benton. For the next 8 years Pollock analyzed the work of Benton who revealed techniques as well as artists such as Albert Pinkham Ryder who strongly influenced him. Others influences include that of, Jose' Clemente Orozco, Joan Miro, and Pablo Picasso.
In 1937' Jackson was going trough treatment for alcoholism, and in 1938 was institutionalized for a nervous breakdown. Soon after his release his painting style became more abstract departing from his landscape style into his drip style. A few more years down the road he landed a job with the heris of the Guggenheim Museum, Peggy Guggenheim. He worked producing art for her gallery while getting paid 150$ a month.
In 45' Pollock married his wife Lee Krasner, who was also a painter. They moved to East Hampton where they lived on a farm with a garage that Jackson renovated into a studio. He would work outside with his canvas on the ground to be able to move around the painting to create a much more interactive approach. His studio allowed him to work in a more comfortable environment, allowing him to produce the vast amount of paintings that were show at different galleries between 1940 - 47'.
Pollock soon after began to spiral out of control. He became infamous mostly due to his dependency on alcohol. He also began an affair with a mistress who he would be with at the time of his death.
Although he died at an unstable part in his life, Pollock will always be remember by the foundation of art work he produced that led the way to such an influential movement in art. He laid the ground work for many artist to follow while gaining recognition as one of the first American artists to be famous in his time.

http://www.biography.com/articles/Jackson-Pollock-9443818

Richard Diebenkorn

2011-04-03T18:07:00.000-07:00

Image of Ocean Park No. 24, Oil on Canvas by Richard Diebenkorn

"It wasn't art that I was interested in; it was drawing and painting...I had no real understanding of drawing and painting as art."- Richard Diebenkorn

For a man that was interested in art he most certainly acquired some kind of understanding of it because throughout Diebenkorn's life he became one of the most influential American Abstract Expressionists. Diebenkorn was born in Portland Oregon on April 22, 1922, his family relocated to San Francisco two years after that. Although is parents were not particularly supportive of his interest in the arts, Diebenkorn found encouragement in his grandmother, who fostered his visual imagination by giving him illustrated books, taking him to local galleries and impressing upon him a love for European heraldic imagery.

Diebenkorn disappointed his parents by choosing art as his major for his undergraduate studies at Stanford University in 1940. There he met Daniel Mendolowitz, one of his art history professors and mentors who introduced the aspiring painter to the work of modernists such as Henri Matisse and Edward Hopper, whose works would prove formative to Diebenkorn's artistic development. Diebenkorn married in 1943 and enlisted into the U.S. Marine Corps directly after, serving for two years. The young artist then returned to California and used his GI Bill to enroll in the California School of Fine Arts, and soon became a faculty member a year after. In the 1950s, Diebenkorn pursued his Master of Fine Arts degree at the University of New Mexico. Throughout the 1950s he moved between across the nation gaining inspiration from it all. While in the Southwest in acquired the use of bright planes of color in organic shapes and borrowed techniques from New York.

Diebenkorn was such a talent, but this only came from many years of study. He was truly influenced by Clyfford Still, Arshile Gorky, Willem De Kooning, Mark Rothko, and Edward Hopper. He was also inspired by some critics of the time- David Park and Daniel Mendelowitz. Another thing the pushed Diebenkorn in an international spotlight was his involvement in the San Fransisco-Bay Area School artists. Many of the artists involved were those who were mentioned above-his influences.

Richard Diebenkorn achiecved a rare feat in the life of an artist, which is to approach painting from many different angles and to take earnest inspiration from other artists while maintaining originality. Although Diebenkorn did not reach the level of fame of Abstract Expressionists of the New York School, his influence on artists of the latter half of the 20th century is undeniable.

Image of Diebenkorn in the 1950s

Information From:

A Concise History of American Painting and Sculpture by Matthew Baigell

www.theartstory.org/artist-diebenkorn-richard.htm Article written by Kara Fiedorek

Images From:

wallpapers-free.co.uk

www.theartstory.org

Mark Tobey

2011-04-03T13:34:00.000-07:00

(Mark Tobey at Geyserville Baha'i school in 1944)

Photo taken by Arthur L. Dahl

The American painter, poet, and composer Mark Tobey was born in Centerville, Wisconsin in December 11, 1890. Tobey was the youngest of 4 siblings whose parents were George and Emma Tobey. George Tobey, Mark's father, was a capenter and house builder. Mark Tobey was mostly self-taught but did study at the Art Institute in Chicago, Illinois. In 1918, Tobey converted to Bahaism. His Persian beliefs had a great impact on his life and his art as the following quote from Tobey explains:

"The root of all religions from the Baha'i point of view, is based on the theory that man will gradually come to understand the unity of the world and the oneness of mankind. It teaches that all prohets are one- that science and religion are based on two great powers which must be balanced if man is to become mature. I feel my work has been influenced by these beliefs. I've tried to decentralize and interpenetrate so that all parts of a painting are of a related value..Mine are the Orient, the Occident, science, religion, cities, space, and writting a picture."

Mark Tobey traveled all around the world and in one of his travels he was introduced to Chinese caligraphy and Arab and Persian writing. Because of these skills he picked up in his travels, Tobey was often compared to Jackson Pollock because of his style of painting. Tobey used a method he called "white writting" which is an overlay of white or light colored caligraphic symbols on an abstract field of thousands of small and interwoven brush strokes.

"A painting should be a textile, a texture. That's enough! Perhaps I was influenced by my mother. She used to sew and sew. I can still see that needle going. Maybe that's what I'd rather do than anything with the brush-like stitching over and over and over, laying it in, going over, bringing it up, bringing it up. That's what is difficult."

Sources: Google images, and biography.com

Helen Frankenthaler

2011-04-01T21:20:00.000-07:00

Helen Frankenthaler, born in New York City, in 1927, is considered to be a transitional artist between Abstract Expressionism and Color-Field painting. Color-Field Painting is similar to Abstract Expressionism and emerged in New York City in the 1940's and was inspired by European modernism.

Frankenthaler attended Dalton School where she studied under Rufino Tamayo as well as Bennington college. After college, she returned to her native land where she met Abstract Expressionists Jackson Pollack and Arshile Gorky where she was inspired to join the generation of Abstract Expressionism. Frankenthaler receives a lot of credit for being one of the first Abstract Expressionists as well as the first female to focus on Abstract Expressionism. Eventually, Frankenthaler had great impact on many artists such as Kenneth Noland, Morris Louis, and many more.

Throughout the years, Frankenthaler has received many awards; her most recent awards were the National Medal of Arts, which she obtained in 2001, and the Skowhegan Medal for Painting (2003). She currently resides and works in Connecticut.

(Above: Madame Butterfuly, Helen Frankenthaler)

Sources: www.biography.com www.flikr.com

Haida Tribe Masks / Bill Reid: The Raven and the First Men

2011-02-16T17:28:00.000-08:00

Haida Masks - Ethnological Museum in Berlin

The Haida were one of many Northwest Coast Native American tribes that revered the Raven as a trickster and transformer. They believed that this particular bird set into motion the world as it was. Such examples of the Raven's deeds would be his releasing of the sun from a wooden chest, thus granting light to the world, and by opening a clam shell in order to coax the first men out so that he could play. To the Haida, the Raven became a common figure throughout all of their art forms. In the picture above, the Raven is shown in the form of masks, which were most likely worn in ceremonies in order to pay homage to it.

The Raven and the First Men by Bill Reid, 1980. Vancouver, British Columbia.

As with before, the story of the Raven coaxing the first men out of a clam shell in order to play is a powerful story of the Raven's deeds to shape the world. In this particular piece, Bill Reid portrays just that. Bill Reid is a contemporary Haida sculptor who still uses a style not unlike his ancestors did in ages past. His heritage is clearly important to him, and thus he shares the stories of those who came before him to modern audience.

Picture 1: www.flickr.com from quinet's photostream
Picture 2: www.flickr.com from goldberg's photostream

Paul Revere:The Bloody Massacre (1770)

2011-02-16T10:08:00.000-08:00

The Bloody Massacre. 1770. Hard-colored engraving. 8 15/16 x 10 11/14 in. Currently at the Metropolitan Art Museum in New York, NY.

The picture above was created by Paul Revere (who in turn copied this after artist Henry Pelham) which depicted the Boston Massacre of 1770 as a brutal attack on the American colonists by the British. It started when the Americans started to rebel against the British troops, causing them to open fire ultimately kill five people. This Massacre and later pictures which represented it fueled the idea that the British were heartless brutes who would kill in the face of turmoil and conflict.

However, in the later years it is looked at as propaganda, depicting the Americans as poor, helpless victims, while the British gun them down--even with a random dog between them to garner sympathy.In truth Americans were protesting the British against their taxes, to which violence arose and the British shot, mainly in self defense. The five deceased--Samuel Gray, Samuel Maverick, James Caldwell, Patrick Carr, and Crispus Attucks--are shown either on the ground or being carried by survivors (except for Attucks, who as a freed African slave had to be "replaced" in the picture by a dead white man).

This type of propaganda fueled the idea of Britons being ruthless, killing fiends, while the Americans were pure, true and only fighting for what was right. Both sides had flaws and both sides needed support any way they could. When The Boston Massacre happened, it gave critics of England and the crown to verbally attack them for their hold on America. Although legend says this depiction of the Boston Massacre started the Revolutionary War, in truth it had started long ago. This just helped pour more gasoline onto the flames.

Source:(photo and information) Library of Congress www.loc.gov/pictures/item/2008661777

Thomas Cole: View on the Catskill, Early Autumn

2011-02-15T21:07:00.000-08:00

Thomas Cole. Oil on canvas, 1836-37, 39 x 63 in. Metropolitan Museum of Art.

Thomas Cole was well known for his breathtaking paintings of landscapes. In 1825, Cole discovered the beauty of the Catskill wilderness which he depicts in the painting "View on the Catskill, Early Autumn". The painting was in response to the construction of the Canajoharie and Catskill Railroad through his much loved Catskill wilderness. The painting, however, does not include the construction of the railroad. Cole wanted to paint the landscape the way he knew it before the deforestation. Cole wrote about the deforestation:

"The copper-hearted barbarians are cutting all the trees down in the beautiful valley on which I have looked often with a loving eye—this throws quite a gloom over my spring anticipations—tell this to Durand, not that I wish to give him pain, but that I want him to join with me in maledictions on all dollar-godded utilitarians."

Even though the Cole chose to omit the construction of the railroad he still leaves a small warning in the left corner of a stump of a tree that has been cut down. The people in the foreground are enjoying nature without disrupting it "showing a healthy relationship between human beings and the natural environment, one which Cole hoped would be preserved despite the onslaught of technology"

Source: http://www.thomascole.org

Emanuel Leutze: Study for Westward the Course of Empire Takes Its Way (Westward Ho!)

2011-02-15T20:55:00.000-08:00

1861. Oil on canvas 33.25 x 43.375 in.
Current location: Smithsonian American Art Museum, Washington D.C.

This painting, by German native Emanuel Leutze, is a compilation of ideals regarding the conquest of the American West. Each portion of the scenery depicts common examples of both struggles and achievements of exploring the west. In the foreground, settlers begin to see the landscape of their destination: the coastline of the Pacific Ocean. These figures, including the guide, point to their ultimate goal with expressions of joy, satisfaction, and relief. Just beyond the foreground, other settlers are portrayed in manners of exerting physical and mental anguish. Note the burial cross and recently deceased. Centered, atop a soaring peak, two settlers climb and wave victoriously over their feat. Also take notice of the placement of major landmarks; Pacific Ocean (left), plateaus (center), and Rocky Mountains (Right).

The surrouding framework consists of small scenes which exemplify the earlier stages of the conquest for he west. The two lower corner portaits, Daniel Boone (left) and William Clark (right), portray the merging of unique cultures in America. Clark wears clothing made of furs and hides in the manner of Native Americans.

Like the works of Nicolas Poussin, Benjamin West, and Theodore Gericault, the painting is composed with the images places in orderly pyramid fashion. Leutze also used this style in "The Storming of the teocalli by Cortez and His Troops" 1848. It gives the viewer a rising sense of importance to certain figures.

"Description of Westward the Course of Empire..." Accessed on Feb. 15, 2011, http://www.fandm.edu/

Image 1 found at: http://people.virginia.edu/

Image 2 found at: http://www.csub.edu/

Lilly Martin Spencer, "Pealing Onions"

2011-02-15T20:26:00.001-08:00

Pealing onions, from 1852, is one of the several scenes Lilly Martin Spencer produced of women

in the kitchen preparing meals. It is a realistic outlook on the mid 19th century domestic lifestyle. In this oil on canvas painting, a woman who is tearing up because of the onion she is cutting is highlighted in front of a dark background. The vegetables along with the pans/spoons around the onion give the image a more realistic feel because women typically set out all of the ingredients before cooking.

The real life aspect is greatly shown through because Lilly Martin Spencer actually used her family as models. The painting is as natural as a photograph, especially in "Kiss Me and You'll Kiss the 'Lasses" (1856). Which also has a darker background, with the woman standing out, cooking.

This image caught my attention because of the practical aspect of 19th century domestic "responsibilities." It really shows how hard women worked, yet it shows her in a nice blue dress, which is what women would have chosen to wear while cooking/cleaning house.

http://mag.rochester.edu/seeingAmerica/pdfs/10.pdf

http://www.flikr.com/

Harriet Hosmer "Beatrice Cenci"

2011-02-15T19:32:00.000-08:00

Beatrice Cenci

1857

This photograph taken by Jodi Kovach (MA 2003) is "Beatrice Cenci" a marble statue (17 1/8 x 41 1/8 x 17 in) created by Harriet Hosmer in 1857. This statue can be viewed in the St. Louis Mercantile Library in St. Louis, Missouri.

This statue was commissioned to Harriet Hosmer (1830-1908) depicts a young woman the night before her execution in a state of tranquil contemplation in spite of the hideous past she was forced to endure. The gruesome background to this praying young women in the late 16th century was when a Roman noblewoman and her mother, Lucretia, killed her abusive and tyrannical father Francesco. Both women were condemned to death and beheaded, despite numerous pleas to clemency.

This statue of "Beatrice Cenci" is the first departure from the classical subject matter for Harriet Hosmer. The simple elegance and grace in this sculpture depicts undeniable beauty. The hideous past of this young woman does not show through from the relaxed pose of the body and the head laying softy of the pillow. The hand clutching the rosary seems to add a higher purpose to this statue to the viewer as well.

Harriet Hosmer is an American sculptor who studied anatomy in St. Louis and then traveled to Rome. In Rome, Hosmer became a pupil of the famous sculptor, John Gibson. Some of Hosmer's other famous works include, "Zenobia in Chains" and "Queen of Palmyra."

http://artsci.wustl.edu/~wartists/19th_Century/Hosmer/beatrice_desc.html

Zenobia in Chains

2011-02-15T17:15:00.000-08:00

Zenobia in Chains by Harriet Hosmer, 1859. St. Louis Art Museum

When strumming through the pages of Framing America:A Social History of American Art by Frances K. Pohl I stumbled upon the image of a beautiful marble sculpture; this sculpture is Zenobia in Chains by Harriet Hosmer. Though in the book the sculpture is accredited to being displayed in the Wadsworth Atheneum Museum of Art in Hartford, Connecticut, I recognized this sculpture from the American Art Collection in the Saint Louis Art Museum. I could not determine whether this was the same exact sculpture or a copy because to my knowledge Hosmer sold the original and four copies to patrons. These copies only varied in the different articulations of the belt buckle.

The sculpture of this queen of Palmyra in Syria greatly exemplifies the lineage of art through classical Greek and Roman art to mid-19th century American art; Zenobia in Chains is just that. It is the portrayal of the queen after her defeat and capture by the Romans. She is presented in a very noble manner, quite upright with no remorse in her defeat. Her robes are neatly gathered in her arm along with her chain, grasping them firmly as she ponders her future. She is a defeated leader, but not in her posture. The great story of this captive ends with her captor releasing her because he was so impressed by Zenobia's strength in adversity.

Zoomed image of sculpture. St. Louis Art Museum

The idea of this strength Zenobia has reflects the strength of Hosmer. Hosmer was a female artist in a time when for women it was difficult to become a recognizable artist in any medium in the 19th century, let alone a woman working in the medium she did, which resulted in even stronger prejudices against women taking it up. Hosmer achieved her talent when she studied in St. Louis at what is now Washington University. Hosmer put forth all her talents in this piece with the delicate floral work on the crown to the sweeping chain that suspends from the sculpture that would seemingly rattle in a breeze.

This sculpture is profound to me due to the fact the craftsmanship is unimaginable and also because the artist was woman. I really relate to this sculpture and all the ideas behind it. Hosmer studied at the school I desire to go to, she was an excellent craftsman in a medium I am utterly intrigued by and would like to study, and she focuses on the political and personal struggles of women against men and male-defined industries.

Shot of head of Zenobia in Chains. St. Louis Art Museum

Information from:

- Framing America: A Social History of American Art by Frances K. Pohl

- www.artfact.com/auction-lot/harriet-goodhue-hosmer-american,-1830-1908-,-seno-1-c-kdn9r3uvz4

Images from:

www.flickr.com from Aniruddha & Gauri's photostream

John James Audubon: Birds of America

2011-02-15T14:04:00.000-08:00

Carolina Parakeet
Photo by: © Musée de la civilisation 2003

John James Audubon was one of the most noted Ornithological artists of his time, and still is today. Not only was he a naturalist, he was also a well rounded taxidermist which gave him an even broader view of the bird anatomy.

Even though Audubon's affinity for birds and nature rang true from such a young age, his biggest endeavor didn't set fourth until years later. He began in October of 1820. Starting in Mississippi, he worked his way from there as well as Florida and Alabama. He attempted to paint at least once a day and would teach the children of wealthy plantation owners the fundamentals of drawing techniques to make spare money along the way. This way he could keep the artist supplies coming in when needed. With this equipment Audubon would produce these beyond intricate paintings of birds found in wildlife. He would continually be developing his technique upon learning a new skill from a fellow painter. Audubon was quit the perfectionist and would throw out earlier works just to re-do them with a more developed approach. By looking at any of his paintings you can closely depict the intricate detail he so highly demanded of himself.

About four years later Audubon set home to try and find a publisher for his collection of work, unfortunately there was no interest in the area. So two years later, he decided to travel on a cotton hauling ship to England, hoping for better success. He was quickly accepted and recognized for his work and soon had enough money to begin publishing immediately. The finished product was composed of 435 hand colored prints of 497 bird species; and was properly named Birds of America. Then after he was known as the "Woodsman" of America by fellow peers and fans. His fame continued to grow through England as well as Scotland and soon followed over to the States where it still holds true today.

www.audubon.org/john-james-audubon
www.princetonaudubon.com/services.htm
www.mcq.org

Thomas Nast and his "Grand Caricaturama"

2011-02-14T14:48:00.000-08:00

In 1867, Thomas Nast produced his “Grand Caricaturama,” a series of thirty-three large paintings which, through use of political caricature, capture the failings of Reconstruction due to policies, and lack of policies, Andrew Johnson had put in place after he acquired the Presidency in 1865. As states refused to keep their promises outlined in Johnson’s Amnesty Proclamation, by electing former confederate officials and passing “Black Codes,” Congress and Nast’s fellow Radical Republicans lost faith in the President, feeling that he was practically giving away the Northern victory.

In an effort to sway public opinion in support of the Radical Republicans, Nast painted scenes such as “The Massacre at New Orleans,” openly criticizing Johnson for allowing and even promoting events such as which took place in New Orleans on July 30^th, 1866. The painting depicts an angry Johnson to the right, coming out of a shabby looking building to look upon the slaughter of unarmed black and white Radical Republicans by white vigilantes and law enforcement. He wears a crown and robe, indicating his yearning for political power, and also establishing his connection to the armed policemen.

The paintings over all scene makes reference to Goya’s “The Third of May” in which pleading civilians are gathered to be shot by Napoleon’s soldiers at close range. Likewise, the Republicans, raising their hands and make shift white flags in an effort to stop the murdering, are being shot at point-blank.

Sources:
Goodrich, Loyld. "Thomas Nast." http://www.thomasnast.com/nastanddegas/TheGrandCaricaturama/NastCaricaturama.htm (accessed 2/14/2011).

Pohl,Frances. Framing America: A Social History of American Art. 2nd ed. New York: Thames & Hudson, 2002.

Pictures:
"Simple Art." http://www.michaelarnoldart.com/FranciscoJosede%20GoyaYLucientes.htm (accessed 2/14/2011).

"The massacre at New Orleans." http://www.loc.gov/pictures/item/2009617747/ (accessed 2/14/2011).

2010-11-15T10:12:00.000-08:00

Photo by St. Louis Art Museum

Ardhanarisvara

Ardhanarisvara, the Lord Whose Half is Woman, is a representation of the hindu god Śiva. As the offspring of Brahma, Śiva is half male and half female. This shows that each gender is both complex and complementary to the other. The masculine side is stern with a broad shoulder and rigid physique, while the feminine side flows with a swayed hip, more decoration, and a single breast. With the combined genders, Ardhanarisvara is a singularly fulfilled and complete being.

Source: www.slam.org

This sculpture caught my attention because of its outward expression of the connection between males and females. It tells of the their differences in physique and posture, while professing the potential in unifying the two genders. In this case, it is a divine individual. This touches on the human curiosity of what the afterlife may be like. One could deduce from this sculpture that after life a person exists as both male and female, a perfect unison that conceives an unimaginable sense of completeness.

NonWestern Art History Fall 2010 Trip

2010-11-14T15:59:00.000-08:00

Last Friday, 11/12, the NonWestern Art History class made a trip to the St. Louis region. We stopped at the Saint Louis Art Museum, the Saint Louis University Museum of Art and Cahokia Mounds in Illinois before heading back to campus.

View 11/12 NonW Trip in a larger map

Mesoamerican Fertility Figure - Saint Louis Art Museum

Melanesian Effigy Figure - Saint Louis Art Museum

Guanyin Figure - Saint Louis Art Museum

Students Scott Walker and Joe Malin make it to the top

of Monks Mound at Cahokia Mounds

View from the top of Monks Mound, Cahokia Mounds

Family flying kites on top of Monks Mound, Cahokia Mounds

Students on top of Monks Mound (L to R) Amanda Johnston,

Jenn Sahr, Scott Walker, Joe Malin - St. Louis and Arch are visible

in center distance

2010-11-08T21:09:00.000-08:00

Unkei (1163-1223)

On the right is Ungyo (By mathewajay flickr.com), one of the two great Nio guardians in front of the Todai-ji temple in Nara. They reside at the great South Gate and are approximately 30 feet tall. Unkei created these highly realistic painted wooden sculptures of priests with inlaid crystal eyes. They capture the highly dramatic spirit of the militaristic Kamakura society of the shoguns. He was one of the most famous sculptors of his day.

On the left is Kongo Rikishi (commons.wikimedia.org). Unkei created this sculpture using the joined-wood technique. This allowed him to extend the wood into space allowing added suggestive movement and realism. He was able to express the fury of Rikishi and give life to the sculpture. The tension and expression of the guardian seem to reveal the effects of the single-mindedness nature of the samurai at the time. Few statuary pieces can compare to the expression of this figure.

Source:

Art Beyond the West

by Michael Kampen O'Reiley

Tlingit Blankets

2010-11-08T20:33:00.001-08:00

Tlingit Blanket Regalia. Photo from Flickr.

The Tlingits were a native American tribe that held a matrilineal society and lived around present day Alaska. Art was an important part of their society; what they wore often reflected their status and power. Their marriages were arranged, and the man moved into his wife's house. To show his new status, his wife or daughter would weave them a “a special ceremonial blanket...” that “might take the entire winter or

longer to spin.”

Tlingit Blanket 3. Photo from Flickr.

The blankets were crafted without looms and were made of mountain goat wool died black, yellow, and blue-green. The designs often had a sacred animal or event that was important to the tribe, such as hunting and other feats of strength. Symmetrical designs and geometrical patterns filled the rich tapestries that the men wore to ceremonies. When they would dance, the long, trailing fringe would accentuate their movements. “The blankets, shaped like inverted house fronts, translated the social symbolism of the architecture to a personal scale and context.”

Sources:

Wikipedia.org

O'Riley,Michael Kampen. Art Beyond the West. 2nd ed. New Jersey: Laurence King Publishing Ltd, 2001.

Gutai Bijutsu Kyokai (Concrete Art Association)

2010-11-08T19:51:00.000-08:00

The Gutai Bijutsu Kyokai art movement was created by avant-garde Surrealist painter Yashihara Jiro in Osaka, Japan in 1954. After being suppressed by the government as a surrealist painter in the 1930's, Yashihara Jiro set out to produce artwork he felt had never existed before. The Gutai artists focused on spontaneity and the "accidental" effects that take place during the creative process. Yoshihara wanted to give form to the formless.

The Gutai philosophy took inspiration from theories by Sigmund Freud and Carl Jung who believed artists could express deep emotions and ideas that lie within the subconscious. This inspired the Gutai group to find ways to express this Eastern-Western concept of ideas.

Of the thousands of works made by Gutai artists, few were saved except for photographs. Many times, after exhibitions, all the artwork was purposefully destroyed to further emphasize the importance of process and the act of creation. The movement only lasted for eighteen years, but the group had experimented with new forms of visual expression, indoor and outdoor installations, and working with film, action events, theater, and music to combine themes of new and old that blended and fused with western ideas.

Link to Gutai Manifesto:

http://www.ashiya-web.or.jp/museum/en/103education/nyumon_us/manifest_us.htm

O'Riley,Michael Kampen. Art Beyond the West. 2nd ed. New Jersey: Laurence King Publishing Ltd, 2001.

Photo: Shiraga Kazuo, Performance at the Second Gutai Art Exhibition, Ohara Kaikan Hall, Tokyo. October 1956.

http://printaustralia.blogspot.com/2006/04/gutai.html

Feng Shui "Wind and Water"

2010-11-07T20:06:00.000-08:00

Feng Shui Garden

Feng Shui is the art of adding harmony and balance to any kind of space or enviroment. The history of feng shui dates back over 3 thousand years. There is no concrete date as to when the art and science of feng shui was established, however it is know it pre-dates the invention of the compass.

Historically feng shui was used as an asthetic and spiritual practice of arranging space and color to bring positive energy or qi (pronounch Chee) to a piece or art, home, building of importance or tomb.

Auspicious Structure, Forbidden City, Bejing, China

Qi and feng shui focus on the age of a structure, the position and surrounding elements to reflect a balanced qi. Qi an endless cycle of energy, like nature has its endless cyle of life and death and the harmony of them. In feng shui this energy is manifested into the surrounding objects. Feng Shui is in a sense using the balance of qi (good and evil or Yin and Yang) to create a positive enviorment.

Feng Shui Compass

To create this balance in a space by using feng shui, a compass or bagua (pronounced Ba-gwa) is used. The bagua illustrates each cardinal direction: North, South, East and West; as well as identifies the 5 essential elements: Water, Earth, Fire, Metal and Wood. Surrounding these are the Guas or nine major areas of life and the colors that best reflect them: Prosperiety, Fame and Reputation, Relationships, Health and Family, Creativity and Children, Skills, Knowledge, Career and last of all Helpful People.

It is fairly easy to understand how the bagua works. Holding the bagua level with your stomach with career, helpful people and knowledge closest to you; stand in the main door-way facing into the home. Looking at the bagua you can see wehre each object positions, what material, color etc should be found to obtain a balanced qi in your home. The ultimate goal in using feng shui, however, is to place buildings and objacts in palces where there is positive balanced qi. A balanced positive qi will bring whoever occupies that space great happiness, prosperity and harmony with nature. At least if the feng shui design is applied properly. Negative qi, will have the opposite effect. Symbols of Prosperity and abundance in Feng Shui

Feng shui was unfortunaly suppressed in China during the Cultural Revolution in teh 1960's. However, since then there has been a rise of popularity spanning from Asia to the United States. Feng shui is now a popular path for many interior decorators. However deep the traditions for feng shui go, it is now used for everything from the life-styles of the rich and famous to medicinal purposes outside of modern medicine. Creating a fear of scams with this ancient art in the West.

"There will be harmony in the house.

If there is harmony in the house.

There will be order in the nation.

If there is order in the nation.

There will be peace in the world."

-Chinese Proverb

Reference sites:

http://www.wikipedia.com/

www.fengshuiistevie.health.officelive.com/images/Bauga.jpg

www.chineseculture.about.com/library/weekly/aa041700a.htm

http://www.worldofquotes.com/

www.thaiexotic treasures.com/fengshui/fengshui

Photos retrieved from:
http://www.flickr.com/photos/44718857@N06/4231870249/sizes/m/
Photographer: Feng Shui consultants photostream, 2009

Photo: Feng Shui Garden

http://picasaweb.google.com/lh/photo/h8eoP1R6wZoBvDOi_yrqQg

Photographer: Chieu Nguyen, 2008

Photo: Symbols of Prosperity and abundance in feng shui

www.flikr.com/photos/62689770@N00/86350819

Photographer: radicaleye, 2005

Photo: Auspicious Structure, Forbidden City, Bejing, China

www.flikr.com/photos/davefayrm/37362991791/

Photographer: Dave Faymr, 2009

Photo: Feng Shui Compass

2010-09-13T21:00:00.000-07:00

Milan Duomo in Comparison with the Sultanahmet in Istanbul

The Duomo in Milan is a classic example of a Gothic cathedral and easily recognizable by its many spires and intricate detail. Unllike most cathedrals the apex or the center is not the highest point of the building. Here it is much more relatable to the typical styles of a mosque. Below the Sultanahmet mosque from Istanbul can be seen with its minarets on either side of the structure. Both styles keep the focus on the central apex by creating a dominating negative space around it.

The Duomo in Milan

Photo by Ethan Weber

The visuals similarities begin with the main structure coming to a point in the center and its spires on either side rising even higher. Cascading domes gradually increasing up towards the apex have a simplicity in their numbers unlike that of the cathedral's spires. Both buildings rely heavily on symmetry. Just as most mosques, the inside of the Sultanahmet below embellishes the scripture of the Qur'an through Kufic designs and patterns. The inside of the cathedral in Milan does the same with the stained glass windows that depict different saints and stories from the Bible. The difference is in the use of images versus strictly design. Each take advantage of all the space on the inside of the buildings to display scripture and to tell the tale of their respective religions.

Sultanahmet mosque in Istanbul

Photo from Flickr by DarkB4Dawn

The emotions emitted by the mosque are that of tranquillity through simplicity. The inside gives a similar feeling through complexity. In comparison, the Duomo displays an intricate structure that overwhelms the viewer in complexity. While both buildings display a dominance over their surroundings, the Duomo does so more abruptly with its straight verticals. The agenda of both buildings seems to be authority and power just as much as to honor their respective religions.

Islamic Mosques & Gothic Christian Cathedrals

2010-09-13T20:52:00.000-07:00

Despite their differences, both the Islamic and Christian faiths have offered beauty in their own right, to the world. One such beauty is the architecture of the Islamic Mosques and the Christian Cathedrals.

Central to the Islamic religion is obtaining unity with the one god, Allah, but not through the use of false idols or images. Thus, the Islamic faith developed the science of sacred geometry. Sacred Geometry is meant to capture and remind one of the complexities of Allah, but also, through the symmetry and unity of forms, allow one to become closer to the divine, closer to Allah. The forms invite one to ever expand his or her mind, and transform the ethereal world into something substantial with physical harmony.

These shapes are expressed within and outside the mosque structure. Early mosques had flat tops with arched entrance ways, and were based on a rectangular plan. These mosques, known as Hypostyle Mosques, also featured covered prayer halls which were vertically supported by columns and arches. Later mosques began to feature central domed prayer halls, with many smaller domes surrounding them, as well as circular towers known as minarets. Iwan Mosques featured either two or four iwans, vaulted spaces which open on either end, and an open courtyard used for prayer. Islamic mosques contained a structure known as a mihrab, a recess, mostly in the form of a arched niche, facing the direction toward mecca.

Christian Gothic Cathedrals were built to inspire through the grace and elegance of forms, to make one believe that they were truly standing in the kingdom of their lord Jesus. Many Gothic cathedrals were positioned with an East to West alignment, making the light, passing through the eastern stained glass Rose window (a circular window positioned centrally depicting many different religious icons including the mother Mary, Jesus, or perhaps a dove), essentially lead one form the material world deeper into the "halls of heaven." Before entering the Gothic cathedral, one will notice the towering spires, similar to that of the Islamic minarets but stylistically different, and also many support structures known as flying buttresses, which helped support the heavy weight of the roof. Upon entering, one would pass through the nave, a central aisle, and notice the many pointed arches which also help to support the tall and massive ceilings.

"Gothic Field Guide to Architectural Terms." 2009.http://www.newyorkcarver.com/Glossary.htm (accessed 9/13/2010)

Trueman, Chris. "Gothic Church Architecture." 2000.http://www.historylearningsite.co.uk/gothic_church_architecture.htm (accessed 9/13/2010).

"Medieval Gothic Cathedrals." 2006.http://www.medieval-spell.com/Medieval-Gothic-Cathedrals.html (accessed 9/13/2010).

Irfan, Hwaa. "Sacred Geometry of Islamic Mosques ." July 4, 2002.http://www.islamonline.net/servlet/Satellite?c=Article_C&pagename=Zone-English-HealthScience/HSELayout&cid=1157365863702 (accessed 9/13/2010).

"Religious Architecture and Islamic Cultures, Fall 2002." 2005.http://web.archive.org/web/20060918221451/http:/ocw.mit.edu/OcwWeb/Architecture/4-614Religious-Architecture-and-Islamic-CulturesFall2002/LectureNotes/detail/vocab-islam.htm#islam6 (accessed 9/13/2010).

Contrasting Differences Between a Mosque and a Gothic Cathedral

2010-09-13T18:34:00.000-07:00

http://www.flickr.com/photos/gettyresearchinstitute/3362583545/in/photostream/

The inside of a Mosque displays an ornate decoration reflecting an infinite pattern. The Mosque contains no objective imagery, only lines and designs that correlate with one another. Patterns often repeat and play off of one another intertwining and eventually becoming one large design overall. Another common feature is the pointed arch. Islamic influence often uses a rounded arch with a definite point at the top of every arch. The Mosque is considered to be divinely guided, and the patterns represented inside are meant to imply this idea. Mosques must point in the direction of Mecca. Mosques also use calligraphy as an abstract design, along with bright vivid colors.

http://hdl.handle.net/1813.001/5thc

http://www.flickr.com/photos/cornelluniversitylibrary/3485943553/

Gothic cathedrals were often very large structures which used architectural elements such as groin vaults and flying buttresses. Many Gothic cathedrals also had stone roofs, rather than wooden ones like previous churches. Gothic cathedrals were much larger than their predecessors, such as those from the Romanesque period. Gothic Cathedrals were designed with many large decorated stain-glass windows, which allowed for a colorful well-lit interior. Groin vaults were similar to islamic arches, except that the groin vault had a much more subtle point near the top of the arch. Flying buttresses allowed new ways of distributing weight across large stone walls, and were often adorned with sculptural features such a gargoyles or other religious symbols.

Mosques and the Modern Day Church

2010-09-13T18:21:00.000-07:00

Mosques and Churches both are representations of the House of Allah or God.

The Blue Mosque of Istanbul / Sultan Ahmed I Mosque

The Blue Mosque of Istanbul construction began in 1609 and was completed in 1616, with opening ceremonies in 1617. The design of the mosque is a combination of two spectacular empires, the Ottoman Empire and the Byzantine Empire. The mosque includes some Byzantine elements but keeps with the Islam traditional architecture and aesthetics. The exterior of the mosque was designed as cascading domes that tapper down to earth from the main center dome.

The Sultan Ahmed Mosque came by its second name The Blue Mosque of Istanbul due to the over 20 thousand blue tiles that line the interior of the structure and the primary blue paint that decorated the inner upper parts of the mosque.

Blue is one of the sacred colors of Islam; it is the color of protection and used in many of the mosques built around the world. Staying true to Islam traditions, the walls and ceilings are decorated with precise geometric shapes, arabesque designs and calligraphy; incorporating sections of the Qur`an and Allah in the design.

With immediate comparison to a modern day church, two things are very apparent to me. In this beautiful mosque, there is no iconography (the use of icons) of God (Allah) and no depictions of Prophets and Saints and there stories on display. Second in comparison, you can immediately tell that one is a place of worship.

The Church used to be unmistakable; there was an immediate representation of God or Jesus on the face of the building, leaving anyone no doubt after passing that this was a house of God. The faces of Saints and Prophets lined the walls and stories from the bible are depicted in detail on the stain glass windows or in portraits lining the surrounding walls. Once you enter a church, normally the first icon you see is the figure of Jesus Christ on his crucifix.

Now seeing a Church you turn and second guess yourself, since the building you are looking at looks very similar to a doctor or business office. Even the sign out from has gone from being a proud display of religion to a subtle advertisement. After comparing the Mosque of Istanbul and a modern day church, I have come to realize that the differences are far from what my short description has touched upon.

The Islam culture and the mosque have not changed in centuries however, our culture of churches and places of worship seem to be de-evolving into hidden building in plane sight.

References Sites:

http://www.sacred_destinations.com/turkey/istanbul-blue-mosque

http://en.wikipedia.org/wiki/Sultan_Ahmed_Mosque

http://www.colourlovers.com/blog/2007/09/08/colors-of-religion-islam/

http://webdesign.about.com/od/colorcharts/1/bl_colorculture.htm

Photo Reference Sites:

http://commons.wikimedia.org/wiki/File:Blue_Mosque_Istanbul.jpg

Photo of Common Yard of the Blue Mosque of Istanbul

http://www.flikr.com/photos/zoutedrop/2886498879/in/photostream

Photographer: "zoutedrop"

Photo of interior shot of The Blue Mosque of Istanbul

http://picasaweb.google.com/lh/photo/WgNQXoDhIHclg67upYDZ9A

Photographer: "Janet"

Photo of close shot of caligraphy and tile works in the Blue Mosque of Istanbul

http://picasaweb.google.com/ih/photo/1kFU9kF-eFDzY_AKAJSTJQ

Photographer: "Colorado Ben"

Photo's(2 exterior and 1 interior) of St. Johns Catholic Church in Central Omaha, Nebraska

http:www.geograph.org.uk/photo/1114127

Photographer: Nigel Cox

Photo of Upton Lea: Catholic Church of the Holy Redeemer near to Slough, Great Britain

Bruce Linn Lecture

2010-09-09T09:39:00.001-07:00

THE WEALTH OF NATIONS

A Lecture by Bruce Linn to be presented Monday, 9/13 at 3:30pm in VAC 113

Bruce Linn is an artist and curator. His lecture, “The Wealth of Nations,” is an entertaining, straightforward narrative. It goes into detail about his work as an artist and as an art curator, and how they inform each other. Linn argues that his work in the studio as an artist has created a high-level of self-knowledge, connoisseurship, and keen intuitions, and has led to insights on how people use material culture to reflect their values. The lecture tells the story of the steps involved in pulling together recent exhibitions he’s curated, what the goals were he had in mind, and how these exhibitions affected his work as an artist. His recent curatorial projects include "ReSOURCE: Artists who use collecting to create or inspire their work" and "The Death of Painting Is Dead.” The most recent exhibition of his own paintings was called “Aesthetic Refugees,” which included images of suitcases and arks containing the objects we hope to save as lasting reminders of ourselves, both, as individuals and collectively as cultures.

http://www.brucelinn.org

Art Department Travelogue - Ethan Weber

2010-06-29T07:49:00.001-07:00

Art Major Ethan Weber has recently returned from his Mueller Humanities Fellowship funded trip to Italy.

The Fellowship annually provides monies to fund student proposed self-enrichment projects by Blackburn students majoring in the Humanities, i.e., Art, English, History, Performing Arts, Spanish, or Speech. It offers Blackburn students the opportunity, at no cost to the individual, to create, develop and pursue special projects in their specific areas of interest.

In Italy, Ethan traveled to Rome, Florence, Venice, Milan, Genoa, Pisa, and Sienna. During his travels he visited many art museums including the Uffizi, the Accademia in Florence, and the Vatican Museums. Below are some photos that were taken along the way.

Outdoor Sculpture Museum

Street Artist in Florence

The Boboli Gardens in Florence

Ethan holding Pigeons outside the Duomo in Milan

View of the Main Canal in Venice

The Duomo in Milan

Sunset along the Arno River in Florence

The Guardian Kings

2009-12-06T14:25:00.000-08:00

A painted representation of The Guardian Kings

The Guardian Kings, according Buddhist belief, guard the four quarters of the world and protect the Buddhist law. They are said to live on the mythical Mount Meru, at the gates of the paradise of Indra, the protector of Buddhism. The Guardian Kings are acolytes of the Bodhisattva Avalokiteshvara.

Statues of the four kings

Originally, they were regarded as benevolent, but they developed into menacing warriors. They are usually shown wearing armor and helmets or crowns. The kings are said to have assisted at the birth of Gautama Buddha and to have held up the hooves of his horse when he left the palace of his father for the outside world. In Indian art, they are usually shown riding elephants, whereas in Tantrism they are often shown trampling demons.

Images from:

http://upload.wikimedia.org/wikipedia/en/0/06/Fourheavenlykings512x170.jpg

http://media.photobucket.com/image/The%20Guardian%20kings%20paintings/wisdompubs/june.jpg

Information from:

The Ultimate Encyclopedia of Mythology by Arthur Cotterell and Rachel Storm

Anubis - Guardian of the Dead

2009-12-02T19:52:00.000-08:00

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Anubis is the Egyptian god of the dead, Mummification, Embalming, Magic and the Guardian and Guide of Lost Souls and Orphans. In addition, Anubis weighed and judged the hearts of the dead. He is also the Egyptian version of the personification of time. Anubis is depicted most commonly as a human form with a black Jackal head or just as a black Jackal.

Anubis is one of Ancient Egypt's oldest gods, but when Osiris was introduce Anubis was 'demoted' and turned into one of the sons of Osiris. Anubis is also the son of Nephthys, the wife of Set. Unlike his Step-Father/Uncle, Anubis shows compassion and dislike of cause havoc for civilization. He was quickly abandoned by both his mother and step-father. Osiris' wife Isis found him and raised him as her own and Anubis later became her guardian and helper.

Anubis was a guardian in more ways than one. As a guardian of Lost Souls and Orphans, he not only protected them from harm but guided them. Anubis protected the innocent from Ammut during the judging of the heart. He also protected his adoptive mother Isis from Set as she went about her journey to reclaim all the pieces of Osiris' body and bring him back to life.

Citations:
"The Gods of Ancient Egypt -- Anubis." Egypt Travel, Tours, Vacations, Ancient Egypt from Tour Egypt. Web. 03 Dec. 2009. .

Images:

Animals in African Folk Art

2009-11-19T16:49:00.000-08:00

Crocodile made of recycled bug spray can, South Africa.

Folk art in its broadest sense means art derived from a people, or folk, as distinguished from the products of professional artists. A brief description of folk art is that it comes from groups of people who live within the general framework of a developed society but who are, for reasons of geographical or cultural isolation, largely cut off from the more advanced artistic productions of their time. It is the art of peasants, shepherds, sailors fisherfolks, artisans, and small trades people who live away from cultural urban centers in nations that are not heavily industrialized. Folk art is art that is produced by people who are not formally educated in art. They generally use materials that are common in everyday life. Folk artists create for the sake of creating something. In Africa, there are many folk artists. African folk art is usually created with household objects, metal objects, toys, textiles, masks, wood sculpture and more. The images that I have here are images of small sculptures that were made in South Africa of recycled products.

Cow made of recycled plastic bottle tops and can, South Africa

Most of the African folk art I have seen is bright, vibrant and full of life. Their art is reflecting their life. Most artists commonly use Coca Cola products too because of the life support they have provided for people in African countries. It is the art of expression and they make little products that they desire or want to have. It is kind of the spirit of wishful thinking.

Information from:

http://www.artincontext.com/artist/ringgold

Images are from:

http://goafrica.about.com

The Four Animals of the Four Quadrants of the Heavens

2009-11-15T20:36:00.000-08:00

The Han Dynasty Chinese cosmologists distinguished Four Creatures of the World and since then have become deeply rooted in Chinese mythology. These animals are the Blue Dragon, White Tiger, Red Bird(Phoenix), and the Black Tortoise. Each creature represents one of the four world directions, seasons, and "elements". Sometimes there are five animals because every once in a while the snake will be depicted with the Black Tortoise.

The Blue Dragon:
The Blue Dragon is the corresponding guardian of the East. It is also the emblem of spring, the color blue/green and the element wood. The dragon also controls rain. The dragon is often depicted with the Red Bird also known as the Phoenix. This pairing is the symbol of the imperial spouses (Dragon representing the emperor and the Phoenix is the embodiment the empresses) because of the symbolic personification of conflict and wedded bliss.

The Red Bird (Phoenix):
The Red Bird is the directional guardian of the South. It is symbolic representation of the season Summer, the color red, the element of fire and the virtue of knowledge. The Red Bird also had to the power to make seeds grow into large trees. It appears only in times of good fortune singing its enchanting song.

The Black Tortoise:
The Black Tortoise is the figure of the North. It is also the symbol of the season winter, the color black, and the element water. It is also the embodiment of longevity, wisdom, and faith. It is often depicted with the snake because it is believed that their union engendered the universe.

The White Tiger:
The White Tiger is the symbol of the West. It is also the emblem of the season fall, the color white, the element metal, the wind, and the virtues of righteousness and observation. The Tiger is also the motif of a protector. The Chinese considered the Tiger the king of all the animals and lord of the mountains. It is also known as the Chinese god of war.

Images:
http://buy-fengshui.com/productsimages/4celesanimal1.jpg

Sources:
Schumacher, Mark. "Four Guardians of the Four Compass Directions." Onmark Productions. Mark Schumacher. Web. 15 Nov. 2009. .

Blackfoot Tribe Narrative Story

2009-11-11T14:08:00.000-08:00

All American Indian Tribes have different takes on the the creation/origin story. Some are similar while others are quite different. Most American Indian Narratives were painted on to leather or weaved into a blanket like the example below.

The Hopi Tribe Origin Story Narrated on Leather

Unfortunately, I was unable to find one for one of the Blackfoot tribe origin story is How Napi (the Old Man) and A-pe'si (Coyote) Made People. To read the full version of the story please click the link above.

Old Man (Napi or Na-pe)

Summary:
In this origin story, the Blackfoot tell how Old Man (Napi or Na-pe) created men out of clay bones, Buffalo blood, tendons, skin, and fat and clay. As Old Man created the bones for the men, he found some that he had made that were broken, crooked, or too small. So he discarded all the bad bones into a pile outside his lodge and just left them there while he and the men enjoyed smoking and hunting. Then one day A-pe'si (Coyote) came along and told Old Man that he should make more men out of the pile of discarded bones because the men that Old Man had already made were poor handiwork. Old Man and Coyote worked together but when the "men" were done they did not look like the other men that Old Man created. Old Man figured it had something to with A-pe'si interrupting him as he was creating them. Old Man breathe smoke into the "men" faces and when they came a life they began to talk amongst themselves. Old Man named them women. This was how Man and Woman were made.

Sources:
"Native Languages of the Americas: Blackfeet Indian Legends and Traditional Stories." Native Languages of the Americas. Web. 11 Nov. 2009. .

Images:
http://www.geschichteinchronologie.ch/ps/mandalas-Owusu/indianermandala-hopi-schlangenlegende.JPG

http://www.legendsofamerica.com/photos-nativeamerican/OldMan.jpg

Narrative in Art

2009-11-10T18:08:00.000-08:00

The Two Fridas by Frida Kahlo, a painting displaying her idea of her marriage.

When I hear the word narrative I instantly think of the imagery in a painting or piece that clearly tells a personal story. And when I think of very personal, depressing stories I think of the Mexican artist Frida Kahlo. Frida Kahlo portrayed many aspects of her life in her art. She lived a very hard and painful life. When she was younger she was a victim in a terrible bus crash which left her debilitated for life. In the wreck a metal poled stabbed through her body, breaking the back and severing many organs. Her reproductive organs were most effected by the trauma, which she had issues with through life because she could never have children.

A Frida Kahlo painting that portrays her emotional struggle with her miscarriage.

All of her paintings are very morbid, but truthful. She displays her life to the best of her ability no matter how graphic or gruesome it is. She is a very respected Mexican artist, as well as her husband, Diego Rivera.

Images from:

http://camlyx3.files.wordpress.com/2009/02/fk200708_12.jpg

http://z.about.com/d/arthistory/1/0/o/b/fk200708_03.jpg

Adornment of Ta Moko

2009-11-10T17:30:00.000-08:00

Western water-color painting of Ta Moko on a Maori man.

Ta Moko is the adornment of designs in ink on the Maori of New Zealand faces. The designs on their faces are the story of their life on their face. The signature of their name comes from this design. The Maori sign legal documents with this design. These markings are also the symbols of their social status and family history. Each person has their own unique Maori.

Interpretation of Ta Moko in Western culture, usually called "tribal"

I do have tattoos of my own and got them for my own personal reasons. After learning about the Maori's Ta Moko, I find it very offensive for a person of Western culture to get a ignorant knock off of the Ta Moko, which is usually referred to as "tribal" tattoos. It is offensive because the Ta Moko is personal and historical to the person who adorns them, and people who generally receive a tribal tattoo are ill-educated about the subject and the real meaning of tattoos like that.

Ta Moko is the art of life engraved into the skin of the Maori who wear every curve, line, or design with deep pride.

Body Adornments of the Surma

2009-11-02T19:14:00.000-08:00

The Surma are a pastoral people from Ethiopia. They have several forms of body adornment that they practice. These adornments range from gauging the ears to exceptionally detailed face and body painting. One of the more extreme forms of body adornment practiced by the Surmas is body scarification which is a process by which tiny cuts are used to etch designs and patterns into the skin and as the cuts begin to scar the designs become a permanent feature of the skin Another unusual adornment custom is lip plates or lip plugs that are done mainly by the women of the Surmas. Women insert large clay plates into their bottom lips. The larger the plate the more desirable the woman and the higher her dowry is.

An example of scarification.

A young Surma woman with a lip plate and gauged earlobes.

Citations:
"Body Art: A Means for Self Expression." African Conservancy. Web. 2 Nov. 2009. .
Os, Joseph V. "Vanishing Cultures of Ethiopia's Omo Valley." Joseph Van Os Photo Safaris. Web. 2 Nov. 2009. .

Images:

After Life

2009-10-27T20:19:00.001-07:00

When I think of after life and the different aspects and beliefs of it from different religions or cultures, I usually think of the Egyptians' practices. Recently, I have been reading a book on religion, and came across the chapter on Egyptians. The Pharaohs of Ancient Egypt ranked themselves on a level with the gods. When the Egyptians discovered the art of mummification (preservation of the dead body), the claims of invincibly by the Pharaohs appeared to be proved. So it was only fitting that in death they were treated royally as they had been in life. All that was needed was a palace for the immortal king, which is why they built extravagant tombs.

On the trip to SLAM we saw the coffins of mummified corpses. The art that adorned these beautiful coffins was breathtaking. The hieroglyphics, being art themselves, tell the stories of the life of the one who is dead. They were put in tombs surrounded by their worldly possessions. Golds and bright colors all over tell the story of the life in the after life.

Even their pets were put in their tombs with them. Cats were so revered in Ancient Egypt that they were mummified in the manner of kings. In the end of it all, Egyptians were ready with all their possessions and riches to travel with them to after life.

Information from:
The History of Religion by Karen Farrington

Images from:
www.slam.org

Canopic Jars of Ancient Eygpt

2009-10-25T21:32:00.000-07:00

These elegant jars can have an unsettling effect on some people because of what they were used for. Canopic Jars are used to hold the stomach, liver, lungs, and the intestines of embalmed person. Each internal part was protected by a different goddess while each jar was topped with a god's head that represented a cardinal direction. The god Hapi (the baboon), who represents the north, is accompanied by the goddess Nephthys in protecting the lungs. The South is represented by the god Imseti (human-headed) whose companion is the goddess Isis and they protect the liver. The god Duamutef (the Jackal), represents the east, is accompanied by the goddess Neith in the responsiblity of protecting the stomach. Last but not least is the god Qebehsenuef (falcon), represents the west, and his companion the goddess Selket that protect the intestines.

A weathered set of Canopic Jars.

Each jar lid is intricately carved and sometimes painted or trimmed in gold. Most are adorned with hieroglyphics. Canopic jars were normally made of calcite(also known as Egyptian Alabaster), limestone, or clay. However, calcite is the most prized material used. Canopic jars or vases are another example of the rule "form follows function". Canopic jars are normally stored in Canopic Chest that are just as artistically carved and inscribed.

King Tut's canopic jar set in its canopic chest.

Citations:
http://www.kingtutshop.com/freeinfo/Canopic-Jars.htm

http://www.touregypt.net/featurestories/canopic.htm

http://www.ancient-egypt.org/index.html

Images:

http://www.bladesofglory.ca/canopic.jpg

http://smu.edu/bridwell/specialcollections/avlane/canopic.jpg

http://www.grisel.net/images/egypt/canopic_jars.jpg

Trip to SLAM

2009-10-11T19:38:00.000-07:00

Above is my personal photo I took while at SLAM,
and the photo below is an image of the same sculpture from www. slam.org

Guanyin is a Buddhist deity. This sculpture was made in China during the 11th century in the Northern Song dynasty (960-1127). It is made of wood, gesso, and pigment with gilding.

Throughout the St. Louis Art Museum I found many other cultures' art to be astounding, but there was nothing that really hit me until I walked through the Asian collection. This piece is Guanyin lounging. It really effected me because it was so powerful, yet really delicately made.

The material in which it was made from alone was the most influential part of it. I took the wood as being very natural, and Guanyin being carved from nature its self was amazing. It tied into the religion in that one can meditate to become one with nature, so essentially, this is personafying it.

Another thing that really hit me was that he was up high on a pedestal. I liked it because it was the highest piece in the room so aestically caused it to be more demandive of attention and it really drew your eye to it. It also symbolizes a transcending effect towards heaven and after life.

Finally, the thing that was most appealing about it to me was the pigment was still shining through the centuries old wood. The colors were still very bright and vivid for the wood being so old and going through so much. The colors made the gesture of the lounging Guanyin move and relax.

Ink Scroll Drawings

2009-10-11T07:40:00.000-07:00

As an artist, I concentrate mostly with two-dimensional work which includes drawing and painting. There was one work of art at the St. Louis Art Museum, which put me in awe and amazement. It was a large ink drawing on a scroll by Wan Shanglin from China in 1797. His brushwork is a combination of washes and dry strokes that reflect a personal style as well as a tradition of monochrome ink painting in China. For this scroll with long narrow proportions, the painting interweaves masterful brushstrokes to gradually build layers of ink wash and texture into a silvery landscape.

The contrast of lights and darks in this ink drawing is minimal. The white of the paper is shown through in some spots but there are dark ink ares throughout the whole piece which overall gives it a sense of having contrast. These large ink drawings consist of mountains on the upper half, trees and small houses in the middle portion and rocks and usually a river in the lower portion. The brushstrokes seem so minimal but it is highly detailed. The control it takes to make single brushstrokes and to individualize the types of strokes for the mountain side, for trees and shrubbery, for water, for little huts each takes precision. One can also tell the atmosphere of the drawing. The mountains seem to be lighter while the trees and rocks on the bottom which are closer to the viewer are darker. Along with a very detailed landscape ink drawing, the boarder surrounding the drawing is made up of a silvery lace which acts as a frame and has a large wooden rod at the bottom of the paper to keep it steady.

8th CenturyTang Dynasty Horse

2009-10-10T12:38:00.000-07:00

This unglazed earthenware piece was created sometime in the 8th century during the Tang Dynasty. The artist is unknown. It is obvious that the horse depicted in the earthenware is not from China because of its long legs, slender head, and tall build and was most likely imported from the countries in the west. Western horses were called Celestial horses and were coveted by people in the Tang Dynasty as were arts depicting these muscular and swift beasts.

The elegant yet powerful curves form the arc in the neck. The long, stiff vertical lines of the front legs suggest a tension and energy so life-like that it appears that at any moment the horse may rear up on its back legs. The horse's head pulled of to the side with laid back ears and open mouth. The sculpted saddle is so well-made that it appears to drape and fall like an actual cloth and leather saddle. The unglazed earthenware is combined with horse hair for the tail creates a life-like multimedia project.

This piece can be found at the St. Louis Art Museum.
http://www.slam.org/

False Discord

2009-10-09T18:52:00.000-07:00

(exotic india)

When looking at non-western art, someone with a western frame of mind should keep an open mind. It is especially apparent in Indian art that preconceived ideas can cause confusion. One has to remember that symbols in non-western art do not necessarily mean the same thing has they do in western art. Fire in Indian art is a great example of this cause of confusion. As a western viewer, fire would seem to be a destructive force often associated with the devil. In Indian art it seems to have a much different connotation. Not only are there symbols that change between cultures, but some items are often used as symbols that are not usually used in western cultures. The lotus is featured in Buddhist art with some different meanings. "The roots of a lotus are in the mud, the stem grows up through the water, and the heavily scented flower lies above the water, basking in the sunlight. This pattern of growth signifies the progress of the soul from the primeval mud of materialism, through the waters of experience, and into the bright sunshine of enlightenment." (Exotic India). I feel most western viewers would not see that being the meaning behind a lotus. The point of this post is to remind everyone to keep an open mind when viewing a different culture's art. Do not immediately apply your own culture's ideas and traditions to another culture's art. It takes some research to get a better understanding of another culture's art.

For Indian art this page has a lot of good information on symbols.

Nkisi Nkondi

2009-10-09T03:27:00.000-07:00

Discord is the tension caused by a lack of agreement among persons, groups, or things. When I first looked at a Nkisi nkondi (hunter figure) of the Kongo in Africa, I immediately felt tension. My first thought was that some person must really dislike another. After reading, I found that this was a half truth. The figures or "hunters" are wooden statues with nails, glass and other sharp objects driven into the body. It turns out that hunters are used with the help of a priest to punish wrongdoers in the African Kongo. A person will go to a priest and ask them to unleash the power of the nkisi nkondi. the person will swear an oath and drive a sharp object into the statue binding themselves to the spiritual forces within. Nails are usually not driven into the face or cavity of the stomach where magical ingredients are stored to attract spirits. The spirits of the hunter will track down the wrongdoer and bring justice upon them. The number of protruding objects and open holes show how often a particular hunter has been used. The result is a physical manifestation of tension between people in a culture. The harsh metals and glass clashing with the smoothly sculpted wood cause physical dicord in the viewer.

http://www.remnantsofritual.com/

http://apor.files.wordpress.com/2008/03/fig-masculina-nkisi-nkondi-congo-ang-sec-19.jpg

http://www.artsconnected.org/artsnetmn/whatsart/nkisisd.jpg

Structure In Japanese Garden in Missouri Botanical Gardens

2009-10-07T19:32:00.000-07:00

Yesterday I visited the Missouri Botanical Gardens on a trip to St. Louis with my drawing class. I wanted to share my experience there and talk about the structure of the Japanese garden. It was the most interesting and the one I felt most strongly about.
I spent most of my time there because it was very quiet and tranquil. I sat on a stone with a classmate and sketched a beautiful stone sculpture of a Japanese structure. It was a tower of some kind that was tucked back in a quiet, dark little corner of the garden in which only a stone trail lead out to. The sculpture only had splashes of light draped across giving it small subtle hints of shadow. It was a rigid temple with windows through each side. I sketched only have of the piece while I spent the rest of my time taking in the environment-sounds of the fountains and waterfalls, smells of the Japanese pine and cherry blossoms.
The Japanese Garden is named Seiwa-en, which means the garden of pure, clear harmony and peace. There is a 4-acre lake in the garden full of bridges, fountains, and streams. The lake is surrounded by dry gravel gardens that are raked into beautiful patterns.
I thoroughly enjoyed feeding the Japanese koi and the ducks that call the Japanese Garden home. Overall, the experience was very relaxing and I know I fully understand their culture and their love and appreciation for nature and everything that it entails. I feel that the environment that they created soothes and relaxes everyone who walks through it, sits in it, or breathes it in.

Images and information came from the Missouri Botanical Gardens webiste: www.mobot.org

Structure

2009-10-05T08:27:00.000-07:00

One characteristic of Chinese art is the extent to which it reflects the class structure. Up to 221 BCE, the arts were produced by anonymous craftsman for the royal and feudal courts. Bronze sculptures were regulated by the court and could only be done by workshops which were approved to do so. During the Han dynasty landowners and merchants became patrons summoning paintings, calligraphy, poetry, music, and sculptures which enabled the educated of the lower class and the elite amateur artists to arise. Scholarly amateurs concentrated on visual arts which became a tradition and was admired by other amateurs and gentlemen. During the Chinese revolution, scholarly art and artists were looked down upon and the work of anonymous artists before 900 CE (Tang Dynasty) were emphasized again. The work of Chinese artist has been in a transformation from craftsman who were commissioned to do work, the artists coming out of workshops, and the scholarly were allowed to create artwork. The structure of art has also gone from doing work for the royal and feudal courts to work consisting of visual arts and also music.

http://www.britannica.com/EBchecked/topic/719288/Chinese-art

http://images.google.com/imgres?imgurl=http://blog.miragestudio7.com/wp-content/uploads2/2008/12/bronze_sculpture_china_xian_province_heroes.jpg&imgrefurl=http://blog.miragestudio7.com/tag/china/&usg=___lEzJCkX5PQV8VfUD2IeFmsylSQ=&h=312&w=468&sz=30&hl=en&start=19&sig2=RIhiv7r79xdxxACnvfDnFQ&um=1&tbnid=zOGEq5PL1voMeM:&tbnh=85&tbnw=128&prev=/images%3Fq%3Dearly%2Bchinese%2Bbronze%2Bsculptures%26hl%3Den%26safe%3Doff%26um%3D1&ei=ejTKSub8FYeUNdjllPMH

Chinese Structures

2009-10-01T17:09:00.000-07:00

Structure is defined as the action of building : construction, : something (as a building) that is constructed. Most times when people think of structure they refer to the old, or ancient as some people prefer to call it, buildings. What I would like to talk about is the bifference between modern and ancient chinese structres.

These picures are examples of ancient chinese structure. In these pictures you can see how the chinese decorated and spent alot of time on the detail of the roof. Not many people know why the chinese made building the way they did because chinese architecture is the least studied of the world's great architectural traditions from the west. The ancient buildins seem to really love the u shape for the roofs. Every picture of ancient chinese architecure has had the u shape roof.

These pictures are some examples of modern chinese srtuctres. They are completely different from the ancient buildings that I have seen. They almost seem as if they are futuristic. They seem to go beyond the normal modern buildings we have here in America and expand to a more advance composition.

Chinese Structure

2009-09-28T16:23:00.000-07:00

When one hears the word "Structure" the image of a building of some kind or a naturally occurring form is what automatically forms in their mental vision. In Chinese architecture, just like Chinese art, structure or organization within a form is key. Balance also prevails in the architecture of China as well as Chinese Art. The bi-lateral symmetry of Chinese architecture represents the balance that is personified throughout artistic history of China. Numerology became a huge influence in Chinese archtitecture thus several buildings are based on the number 9. The Forbidden City is said to have 9,999 rooms.

A picture of the front stairway of the Forbidden City.

A diagram of a Siheyuan in Beijing that demonstrates the bi-lateral symmetry found in most ancient Chinese buildings.

Images:
http://www.historyforkids.org/learn/china/architecture/pictures/forbiddencity.jpg
http://en.wikipedia.org/wiki/File:Siheyuan_model.jpg
http://www.crystalinks.com/chinesearchitecture.jpg
Citations:
"Chinese Architecture." Wikipedia. Web. 28 Sept. 2009. .
"Chinese Architecture." ThinkQuest. Web. 28 Sept. 2009. .

Indian Art Influence in Fashion

2009-09-25T08:56:00.000-07:00

Being a person whose art is influenced greatly by fashion and my own designs, I wanted to talk about the transcending influence of Indian art to their own fashion as well as fashion around the world. In most countries fashion and textiles are an art form that many aspire to create or wear. From clothing of ancient times to the fashion on the modern run, India has much influence on color, patterns embroidery, and styles of clothing.

The patterns and floral motifs were first recognized in the architecture of the mosques in India. Indian design of clothing began with the influence of the art on the walls in the building in which they worship.

Close up of floral motifs and geometrical patterns, Quwwat-ul-Islam Mosque, Qutb Complex, New Delhi, India

Side sanctuary of Taj Mahal masjid, Agra, Uttar Pradesh, India. Full o f floral patterns and geometric shapes in architecture. Also note the vibrant colors.

Through the influence of pattern of Indian art, the population of people began to repeat it in their attire. As seen in examples below of natives of India in today's society.

Photo from a wedding in India

And here is an example of the influence spreading to the run way and Hollywood in Western societies. Here is a website that will lead you to a gallery of actresses in Hollywood who are in Indian influenced attire.

http://www.bvonstyle.com/2009/01/14/hollywood-goes-bollywood-indias-fashion-influence-on-the-west/

In all Indian culture has transcended from the ancient architecture to modern society's clothing.

Images from:

http://www.terragalleria.com/photo/?id=indi39301&keyword=mosques-india

http://www.terragalleria.com/photo/?id=indi38634&keyword=mosques-india

http://www.downtheroad.org/Asia/Photo/a5malaysia_Asia/6Traditional_Tamil_Indian_Wedding.htm

last images I want to be seen are on the website that I have written in the above paragraph.

Discord in Art

2009-09-21T10:38:00.000-07:00

"Savage State" by Thomas Cole

"Desolation" by Thomas Cole

Kali Standing on Shiva

There are many examples of artwork which include the idea of Discord. Discord being a disagreement or lack of harmony between persons or things. One work of art consists of Kali standing on top of the body of Shiva. Shiva is the creator and destroyer and Kali is often related to war along with time and change. Pictured above is an illustration of Kali standing on the body of Shiva. Ironically, Shiva showed up to stop the aggression of Kali and in the end, Kali calmed down. It's ironic because Shiva is a creator and destroyer and she stopped Kali from destroying. These two different aspects of destroying and creating would be considered discord. Kali is often shown as a black figure referring to death while Shiva is often a lighter color and covered in white ash which also shows discord.

In western art, Thomas Cole did a series of five paintings called "The Course of the Empire." This series shows the growth and fall of a made up city. The series consists of "The Savage State, The Arcadian State, The Consummation of Empire, The Destruction of Empire, and Desolation." This series depicts how the rise and fall of man occurs or the creation then destruction of human power which relates to Kali and Shiva.

Discord in the story of Ganesha

2009-09-18T10:23:00.000-07:00

Life of Ganesha Tapestry

In the dictionary the definition of discord is the lack of agreement between things. In music, it can mean without harmony or noise and racket. When thinking of disharmony or disagreement in literal terms, I think of the story of Ganesha. He was the son of Parvati and Shiva, and was outside protecting their palace when his father had returned from a long trip, did not recognize his son and knocked his head off. Parvati was so upset, and taking discord in its literal meaning, had a disagreement with Shiva. She made Shiva bring Ganesha back to life and replace his head. The closest animal around was the elephant, so that's what Shiva used for Ganesha's head. The image below is an image of baby Ganesha with his mother Parvati after his tragedy. Ganesha himself is a definition for discord. His head, being that of an elephant, does not agree with the rest of his body, which is that of a man.

Images from:

http://www.exoticindiaart.com/product/PM30

http://www.exoticindiaart.com/product/HI56

Discord

2009-09-17T16:42:00.000-07:00

Discord is the lack of concord or harmony between persons or things, Ex. marital discord. It's also a disagreement or difference of opinion. Some synonyms are strife, dispute, and war. These words all tie into gods and goddesses in the Hindu religion.
Two of the main controversial gods to me are Shiva and Devi. We all know that Shiva and Devi ( also known as Parvati) had two children, what some didn’t know is that they were rumored to have a third child. His name was Andhaka. One day Parvati closed Shiva's eyes with her hands and instantly darkness fell over the world. The goddess hands were drenched in Shiva's fluid born of passion, and when this was heated by the heat of Shiva's third eye it grew into a horrendous child, blind and ghastly. Parvati still loved and cared for the child. But as Andhaka grew, he became a demon lusting for his own mother, and was eventually put to death by Shiva.
I chose this story because Shiva didn’t want anymore children, but Parvati went and disobeyed him any way. As a result of this a demon child was born. Discord was present from the beginning till the end; especially when Andhaka was put to death.

In this picture Shiva is killing his son Andhaka. When I saw this I coludn’t make out what was happening, but when I really looked at it it became interesting. After all these year the definition is still there. At the top of the picture you can see the gods or demon, I’m not sure which, watching what Shiva is doing. To me it shows what kind of powwer he has. No one is trying to impose on what he’s doing. He also exsudes power with the weapon he has in his right hand. This picture shows the rath and strenth of Shiva.

http://en.wikipedia.org/wiki/File:Shiva_slaying_Andhaka.jpg
http://images.google.com/imgres?imgurl=http://4.bp.blogspot.com/_f68Z2kYrp5o/SLXUSk0utaI/AAAAAAAAAIs/NAZgxQVLDj4/s320/ShivaParvati.jpg&imgrefurl=http://rosiemeaw.blogspot.com/2008/08/shiva-uma-devi.html&usg=__erm8haOrerjw_8CNtfZIZukDqwE=&h=320&w=319&sz=30&hl=en&start=9&um=1&tbnid=TrrzqpbxYpRIdM:&tbnh=118&tbnw=118&prev=/images%3Fq%3Dshiva%2Band%2Bdevi%26hl%3Den%26rlz%3D1T4ADBR_enUS251US251%26um%3D1

Discord

2009-09-16T06:41:00.000-07:00

What is discord? How does it relate to Non-Western Art?

To understand discord and its relation to Non-Western Art, we have to look at its definition, synonyms, and antonyms. Discord is the lack of agreement or harmony between people, ideas, or things. Some of the synonyms of discord are chaos, bedlam, and animosity. The antonyms of discord are order, unity, and peace. In many Non-Western Cultures, discord and unity go hand in hand; thus does chaos and order. A prime example is one of the main concepts of Hinduism religion and culture which is that creation and destruction occur in a never-ending cycle. So if it is a major part of the religion and culture the discord and unity (creation and destruction) theme will occur in the art of that culture.

Discord and Unity in Hinduism Art, Religion, and Culture

In these two images one can see Kali (left) and Shiva (Right). They both appear in similar poses, standing on top of a body, and holding corresponding symbolic objects. Both of these gods, deal with discord, chaos, and destruction. However, Shiva is also a god of creation, unity, and peace. and Kali is a goddess of change. In the picture of Kali, one can see that Kali is standing atop of Shiva. This represents destruction conquering creation. However, Kali can not truly conquer Shiva because of his ties to creation and destruction. So thus the cycle of birth and death, creation and destruction, unity and discord continue.

Here are more images of Shiva and Kali being depicted together or having intercourse as the symbolic representation of the uniting of masculine and feminine into a single harmonious entity. Once again, symbolizing the on going cycle of creation and destruction.

Another form of Shiva is Nataraja, the Lord of Dance. Nataraja is an extremely popular figure in Hindu Art. Nataraja dances within a ring of flames with his right foot on the demon Apasmara (personification of illusion and ignorance) and his left foot raised. This dance is called the Anandatandava or The Dance of Bliss. It symbolizes the cycle of creation and destruction(as well as the daily cycle of life and death) because Nataraja preforms his dance to destroy an old universe while the god Brahma prepares to create a new one. It also symbolizes Shiva's conquering of illusion and ignorance.

Images:

Citations:
Osborn, Gary. "Sunya: The Inner Sun." Paradigmshift. Gary Osborn, 1997. Web. 16 Sept. 2009. .

Das, Subhamoy. "Nataraj: The Dancing Shiva." About.com. Web. 16 Sept. 2009. .

Avatars of Vishnu

2009-09-12T06:22:00.001-07:00

Bhagavad Gita 11.16

aneka-bahudara-vaktra-netram
pasyami tvam sarvato ’nanta-rupam
nantam na madhyam na punas tavadim
pasyami visvesvara vishva-rupa

"O Lord of the universe, O universal form, I see in Your body many, many arms, bellies, mouths and eyes, expanded everywhere, without limit. I see in You no end, no middle and no beginning."

- from the online, searchable Bhagavad Gita

Singapore. Statue of Krishna as Vishnu in his Vishwarupa (Universal form). Krishna showed his Vishwarupa to Arjuna, during the narration of the Bhagavad Gita before the Mahabharata war.

Photo: Steve Jurvetson

Source: http://flickr.com/photos/jurvetson/378256/

European Influence on Modern Japanese Artists?

2009-09-11T08:41:00.000-07:00

Ando Hiroshige Vincent van Gogh

"Ohashi Bridge in the Rain

With the trading of goods and supplies between the Europeans and Japanese, Europeans and Americans became fascinated by Japanese art and culture. Many European artists started collecting large quantities of Japanese prints. These prints were full of brilliant color, asymmetrical compositions, unorthodox points of view, and images of everyday life. Western style of art at this time, the mid to late 1800's, consisted of more classical and academic tradition. The founders of early modernism in the West were influenced by Japanese art and many of these Western artists were Impressionists and Post-Impressionists.

With the Western ideas of art concentrating more towards the classical and academic traditions, and more recognizable throughout the world, one would think the Japanese style of art would start to concentrate more towards the more academic style. But on the contrary, Japanese art influenced Impressionists and Post-Impressionists of the Western world. For example, Vincent van Gogh, studied the Japanese prints and started to make copies of them, but he changed the style of painting to have more of a Western style. His brush strokes were more noticeable throughout his paintings rather than the blending of color and values by the Japanese painters. The Japanese artists started to use oil paint, but rather than using the more academic style, their style consisted of using the oil paint to almost sketch out the figures and background. Their brush strokes were more noticeable and incorporated the Impressionists technique.

There are some similarities and differences between the era of modern paintings between Western and Eastern cultures. Both Western and Eastern painters are influenced by the other. Western painters started painting with less of an academic structure and with more brilliant colors, while Eastern painters used oil painting but used it more in a sense of sketching or drawing rather than blending of colors. Rather than one culture influencing the other, both played significant roles in the modern ideas of painting.

Reference: "Art Beyond the West" by Michael Kampen O'Riley, second edition

Adam and Eve: Western and Eastern

2009-09-11T04:53:00.000-07:00

It is undeniable that different cultures of the world have different explanations for the creation of the world. Though the religious standards of these cultures differ, some aspects of the story ring true to have the same representation in character and art. Adam and Eve are the focal point of these creation stories, and as well as in religious script, they are portrayed in art. There are similarities in the Quran and the bible about Adam and Eve, thus making aspects of there art concepts similar.

Western interpretations of Adam and Eve

This is a painting of Adam and Eve from western cultures. The anatomy of the bodies and making them look more realistic is the main objective of this piece. The concern for ascetics in this piece pull away from the actual story. In western cultures and in Christianity, Eve, the woman, is the one to take the apple from the serpent and gave it to Adam. In this, the creation story is based on the sinfulness of the humans making this religion begin on the platform that all are sinners.

Islamic Adam and Eve

In eastern cultures the story varies and this religion, among others, is concentrated around the nature and earth that is being developed in the story. In the piece above, the Islamic Adam and Eve are colorful but flats characters of the portrait. Everything in the piece is more concentrated on the scenery and abounding natural life in the Garden of Eden. In this religion they think more about being one with nature and enlightenment rather than disobeying certain standards to forever be considered a sinner.

Images from:

http://cla.calpoly.edu/~smarx/courses/331/AdamEve/AdamandEve.html

http://www.lib-art.com/artgallery/11107-adam-and-eve-jan-mabuse-gossaert.html

http://reference.findtarget.com/search/AdamandEve/

Lion Symbols in Buddist and Chinese Cultures

2009-09-09T13:35:00.000-07:00

Asiatic Lion

The lion is an unmistakable symbol in almost every culture. Despite similarities in other cultures, I wish to discuss the the similarities of lions in art and as symbols in Chinese and Buddhist cultures. Buddhism uses the lion as a representation of Buddha. In the Buddhist religion and culture, the lion embodies majesty, strength, and virtue. There are also mythical lions that are usually depicted on Buddha's "thrones" and they are known as snow lions. These snow lions appear very similar to the Rui Shi of China.

Sarnath Lion Capital of Ashoka

Drawing of a Mythical Snow Lion

Snow Lion Statue protecting the Potala Palace

Rui Shi

The Rui Shi are also known as Fu Lions and it is believed that the original model for the design of the Chinese lion was the Chow-Chow. Ironically, the Lion is not native to China yet it remains a prominent symbol of the culture. Now the reason for the similarity may be due to the spread of Buddhism to China, but for to be accepted by the Chinese Buddhism had to adapt to Chinese traditions and daily life.

Imperial Lioness Guard with cub

Imperial Lion Guard

Note the Chow-Chow's similar appearance to the Rui Shi

Citations:
"Chinese Guardian Lions." Wikipeida. Web. 9 Sept. 2009. .
"GENERAL BUDDHIST SYMBOLS." A View on Buddhism. Web. 9 Sept. 2009. .

Image Sources:

Bibi-Khanym Mosque

2009-09-04T11:14:00.000-07:00

The Bibi-Khanym Mosque (also spelled Bibi-Khanom and Bibi-Kanyum) is located in Samarkund, Uzbekistan. It is one of the largest and most complex mosques in this area. Construction of the mosque began in the 14th century and continued throughout the 20th century. It was built in Samarkund due to the fact that it was the capital of Timur at the time. The construction began approximately in 1399. A renovation of the mosque started early in the 20th century in order to save the foundation after this beautiful architecture was damaged by an earthquake around 1906. The picture below is an early color photograph of the earthquake damage.

The mosque is appealing because of the very intricate tile designs all over the exterior of the building. The mosque is made up of many buildings and a few domed towers. The tile around the tops of the domes are in a pattern of Islamic script. The bottom of the buildings are sparse decorated with bright blue and green tiles and as your eyes ascend to the top of the building the designs become more dominant and cover most of the dome. It brings up the same idea about the Dome of the Rock in Jerusalem; the closer the building grows to heaven the beautiful and outstanding the appearance becomes to represent heaven.
The inside view of one of the domes.

The Bibi-Khanym Mosque shares the same appearance at the entrance as the Great Congregational Mosque in Isfahan. They both have a pointed arch way over the door, as well as, the same symmetry with vertical pillars to the right and left. The yard of the mosque is a huge bazaar, where merchants trade and buy goods. A website that features a video of the Bibi-Khanym Mosque that contains many different angles and views of all parts of the mosque;

http://tours-tv.com/en/bibi_khanym_mosque

Images from:

picasaweb.google.com/.../g5jghwRxLD0KR5Pfl_aY4g

commons.wikimedia.org/wiki/File:Bibi-Khanym_Mosque(1905-1915)

commons.wikimedia.org/wiki/File:Bibi-khanym_dome.JPG

flickr.com/photos/13395150@NO7/1447312948

Selimiye Mosque

2009-09-03T21:17:00.000-07:00

The Selimiye Mosque is located in Edirne, Turkey and was built between 1568 and 1574. More information can be found on the
The thing that first drew my attention to this particular mosque was the attention to detail in the interior of the dome. The dome is relatively high up, but the small details are present at the very top. The design in the middle of the dome interior appears to be Islamic script in a circular design. The use of red and blue was done in a way that does not overpower the artwork, and the colors work together nicely.

The exterior is also interesting. The 4 large towers surrounding the mosque give the mosque a very unique look that can be recognized from a long distance away. The mosque is comprised of 8 large pillars set up in an octagonal pattern. The center of the mosque has a stable feel to it. The mosque apparently does not only look stable, but it is stable.

In 1913 the mosque was hit by artillery fire during a Bulgarian siege. The mosque did not give in, but only had minor damage. The damage was however not repaired in order to teach future generations a lesson. The Selimiye Mosque is also positioned in the center of a külliye.The mosque seems to carry the theme a center area as everything revolves around the center of the mosque just as Mecca is the center for Islam.

Al Kadhimiya Mosque

2009-09-02T16:15:00.000-07:00

What is a mosque?

A mosque is a place of worship for people of the Muslim faith. Mosques can either be small, private ones or large, public ones. They are a place where Muslims can come together in mass salat (prayer). Almost all mosques have elaborate domes, minarets, and large prayer halls.

Similarities and Differences

Mosques and Churches are similar in several ways. Both are houses of worship and prayer. They differ in architectural design and decoration. Men and women get dressed up and worship together in churches, while in mosques men and woman worship in separate rooms and woman are dressed modestly. Churches are filled with the sound of preaching while Mosques are normally silent save for the sound of murmured prayers.

Al-Kadhimiya Mosque

The Al-Kadhimiya* Mosque is located in Baghdad, Iraq. The Al-Kadhimiya Mosque has several arches both decorative and architectural. The Al-Kadhimiya design also incorporates two large domes, four minarets, pillars, a chandelier, and lots of right angles. All of the arches are decorated in bright colors, such as blues, yellows, golds, pinks, etc., mosaics, and with intricate flora designs.

Front of the Al-Kadhimiya Mosque at Night

Close-up of one of the arches

*is also spelled as Al-Kadhimain

Image Sources:
http://aljanjafi.files.wordpress.com/2009/06/1_512018_1_34.jpg
http://upload.wikimedia.org/wikipedia/en/e/ef/Al-Khadhumain_shrine_in_baghdad.jpg
http://www.mcceastbay.org/img/baghdad-al-kadhimain-mosque-tiles-jan-oberg.jpg

Works Cited:

"Al Kadhimiya Mosque." Wikipedia. Web. 2 Sept. 2009. .

"Mosque." Wikipedia. Web. 2 Sept. 2009.
"Mosque vs. Churches." Topix. 14 Nov. 2007. Web. 2 Sept. 2009. .

Shazia Sikander

2009-09-02T11:58:00.001-07:00

ART21 video from Hulu about Shazia Sikander, a contemporary artist that works in the Persian Miniature tradtion:

Bamiyan

2009-08-29T11:45:00.001-07:00

We'll talk more at length about Bamiyan in a few weeks - but in the meantime, here's the UNESCO World Heritage Tour site that contains several 360º views of the Bamiyan valley. The now empty enormous openings in the rock once contained huge statues of Buddha. They were destroyed by the Taliban in 2001. However, they had been riddled with bullets and hacked away at for some time before the Taliban decided to blow them up.

Here's a very dated and somewhat goofy travelogue from a 1970s television show that gives a very good indication of scope and size. One detail from this video I found fascinating was that rope was used to create the appearance of folds on the drapery of the Buddhas:

Eastern Vs. Western: Dragons in Symbolic Art

2009-08-28T13:52:00.000-07:00

I remember discussing in my Junior/Senior Lit. and Mythology Classes about the representations of certain objects or things in different cultures' written works and pieces of art. The one that fascinated me the most was the Dragon.

Western Dragons

In Western Culture, the dragon is a ferocious, fire-breathing beast that is usually depicted as bad tempered with impenetrable scales, bat-like wings, jagged fangs, and sharp claws. The Western dragons were symbolically viewed as being the embodiments of man's greed and ego and were displayed as guarding hoards of golden treasure and maidens.

Famous example of western dragons is the dragon that Saint George the Dragon Slayer slays.

St. George and the Dragon
Gustave Moreau
1889-1890
Oil on Canvas

Image Source

Statue of St. George and the Dragon
Berlin, Germany
Image Source

Eastern Dragons
The Eastern Dragons are typically viewed as embodiments of all that is good, beautiful, courageous, wise, wealthly and prosperous. They are normally depicted with large sharp tooth grins on their faces with a loins mane and deer antlers and have long, flowing snake-like bodies with fish scales.

Bronze Dragon Statue in China
Image Source

"Two Dragons Playing Pearl"
Wall of Nine Dragons
Bei-Hai Park in Beijing, China
(There are 3 walls of Nine Dragons in China)
Image Source

I just thought it was an interesting comparison of two cultures and their takes on a certain object. Any thoughts?

The Freer Sackler Collection

2009-08-28T04:40:00.001-07:00

The Freer Sackler Galleries is part of the Smithsonian Institution. I get a great deal of the images we'll look at in class from here. It's a gorgeous website - well organized and full of extremely useful content. And, like all great insitutions of higher learning you can follow them on Flickr, Facebook and Twitter. Another way you can use this site as a research tool is to create your own eGallery. Whenever you browse, you'l find a little button at the bottom of each image titled: Add to my eGallery.

Man Filling a Wine Cup

mid-17th century
Isfahan, Iran
From the Freer-Sackler Collection

Isfahan

2009-08-28T04:22:00.001-07:00

This is a link to a spectacular animation that illustrates the modular and complex nature behind the construction of a mosque in Isfahan, Iran. It starts with a very basic design and then progresses into a transparent structure and ultimately - to the building itself. Islamic design and architecture is based on mathematics and geometric forms.

The Isfahan Cultural Heritage Organization.

A Flickr set of Isfahan photos.