The Seated Bronze Amitabha Buddha is an extraordinary h 82cm Buddhist sculpture made during the Goryeo Dynasty‚ 12th century - 13th century. The sculpture is from the collection of the National Museum of Korea and it is made of cast bronze. This Buddha‚ is the central symbol of eternal light and longevity. Through this beautiful sculpture we can see the perfect relationship between culture and faith. As all the statues of Buddha’s‚ this gilt bronze statue was made to represent more than a religion
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of sculptures‚ one of the first that comes to mind is David. This statue was created of marble between 1501 and 1504 and stands over 14 feet high. David is a symbol that represents strength and anger. The statue had intended political connotations for the ruling of the Medici family. Michelangelo used David as model of "heroic courage" to demonstrate that "spiritual strength can be more effective than arms". Michelangelo insisted that David should stand as a symbol of the republic and act as a
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Standing over fifty-eight feet high is the Marble Column from the Temple of Artemis at Sardis‚ known as one of the seven wonders of the world. The marble column that stands tall at the Metropolitan Museum of Art is different from the rest found at the site of the temple because the capital is slightly smaller than the rest. This indicates that it did not belong to the outer colonnade. The columns at the Temple of Artemis are found to be ionic orders‚ being one of the three different types of orders
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Statues and sculptures of early ages provide rich information for modern history about the past because they reflect cultures‚ traditions and lifestyle of those times and also carry writing symbols like cuneiform‚ hieroglyph etc. The comparison of such statues is very useful in the cultural context because it brings understanding of differences and similarities depending on location‚ period‚ and origin of suggested pieces of art. Too compare the Statues of Memi and Sabu and Seated Statue of Gudea
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The piece I have chosen is entitled the Steleophorus Statue. It is from Dynasty 18‚ Reigns of Tuthmosis III and IV from around 1479 to 1390 BCE. The statue depicts a male figure that is kneeling. He is also holding part of a large stela rising to his chin while placed on his knees with hieroglyphic writing on it that has damaged and worn over time. The most prominent destruction is seen on the left side where a large chunk of the tablet has been broken off. In addition to the fragmented stela‚ much
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Name: Ho Yee Lam Student ID: 17226643 1. Wen Fong‚ “The Great Bronze Age of China: An Exhibition from The People’s Republic of China”‚ London‚ Thames and Hudson‚ 1980. The Bronze age collections provided by the China’s Cultural Relics Bureau are shown in this book. The catalogue not only displays a wide range of tools and objects in that era‚ many details‚ drawings‚ graphs and maps are also included. 2. Ying Wang‚ “Bronze Age China: Style and Material”‚ UK‚ Cambridge Scholar Publishing‚ 2010
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Katherine Mordan Art Survey Research Paper Prof. Lindt 10/23/11 The Colossal Statue of a Pharaoh The Colossal Statue of a Pharaoh is a piece of Middle Age Egyptian art and it was the piece that caught my eye at the MET. The statue was made around 1919b.c-1885b.c. to represent the reign of the 12th dynasty pharaoh Amenemhat II. It is made out of stone‚ a stone called Granodiorite. It was carved in Aswan
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A Contextual and Iconographical Analysis of the Statue of Osiris The Egyptian people‚ much like many other civilizations‚ were very spiritual and religious. They had many gods and worshiped each of them in many ways. One of the most notable Egyptian gods was Osiris‚ ruler of the Underworld. One of the many ways the Egyptian people showed praise to Osiris‚ and many other gods‚ was to create decorative statues of him. To understand the object and its spiritual connections‚ it is necessary to
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The city has voted and discussed the removal of statues because they want them gone. The article shows that
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The Parthenon Marbles‚ known also as the Elgin Marbles (pronounced /ˈɛlɡən/‚ with a hard “g”)‚ are a collection of classical Greek marble sculptures (mostly by Phidias and his pupils)‚ inscriptions and architectural members that originally were part of the Parthenon and other buildings on the Acropolis of Athens. Thomas Bruce‚ 7th Earl of Elgin‚ the British ambassador to the Ottoman Empire from 1799–1803‚ had obtained a controversial permission from the Ottoman authorities to remove pieces from the
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