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The Metropolitan Museum Of Art Has One Of The Finest Asian And European Art Collections That Has Enlightened And Strengthened My Understanding In My Personal Art Experience.

1079 words - 4 pages

The Metropolitan Museum of Art has one of the finest Asian and European art collections that has enlightened and strengthened my understanding in my personal art experience.Walking into the Hall of Buddhas, there was a sense of peace and guidance lingering inside me. The Seated Buddha, of the Tang dynasty, ca.650, from China, made of dry lacquer with traces of gilt and polychrome pigments, height 38 in, and width 27 in, sculpture-in-the-round. One of characteristics of seated Buddha is his seated posture. This posture of benevolence sits in the full lotus position, cross legged with heels placed on their opposing thighs, though the lower part of sculpture is missing. The damage arms lay on the legs. The positions of arms suggest that the hands performed the "contemplation" gesture, which imply the peace and endurance. The ear-lobes of the Buddha are elongated. The protuberance at the top of the head is of an unnatural regularity and terminates in a finial. The full torso, massive shoulder, and shallow, stylized drapery indicate strong Central Asian influence. The closed eyes and light smile was a delicate fixed gesture that offered a feeling of the peace.Buddhist images executed in dry lacquer were highly valued by the Chinese because of their costly and time-consuming process of production. There are so few surviving examples that this seated Buddha is especially precious. To fashion the body of the image, the craftsman made a rough form of the sculpture in clay and then applied at least three layers of hemp cloth, each secured with a paste made of raw lacquer and a fine powder of bone, horn, shell, ceramic, stone, or carbon. Each layer had to dry thoroughly before the next could be added. The clay core was then removed from the lacquered image. The head and hands were likely modeled separately, using the same technique as that used for the body, and then attached to the sculpture.The Buddha's robe is worn so as to leave the right shoulder bare and with what is probably meant to be a scarf hanging down over his back and left shoulder. These features, including the ends of the robe spread out on the Buddha's knees, are indicated simply by incised lines and by coloring.The traces of brilliant red and blue, vividly combined to form a stylized floral pattern in the hem of the undergarment crossing the chest, and the remains of shimmering gilt on the surface are evidence of the sumptuous effect of this once colorful figure.The stylistic elements of this early example of the Buddha clearly reflect the typical Tang features of China. The high quality of the expression and the fine, pronounced modeling, the figures are plump with round faces, clothing and jewelry are carved in great detail. The typical elements are the elongated form, the folded garments, suggesting movement and pearls on the edges, the end of his robe that is held in his left hand and the back. The influence of the Tang style can be seen in the Buddhas from Korea and Japan during the...

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