PART 2 = Exhibition Proposal
Write a ‘fundraising’ letter (around 200 words) where you explain your selection.
This brief essay has to illustrate what these art works have in common, and how they are good examples for your “ ” theme collection.
Basically, you are trying to convince the museum’s board of directors that your exhibition proposal is worthwhile of funding.
……………………………………………………………..
PART 3 = Compare/Contrast
Write a short comparative essay (around 200 words) where you compare/contrast one work from your ‘non-western’ Non-European selection [TB chapters 9-13] with one ‘western’ European work [TB chapters 14-17].
Highlight the similarities and point out key differences.
(PLEASE GO BASED OFF THE ATTACHMENT!!)
Part 1 – Worship/Religion Exhibition
(page 303)
1. Chapter 9 – Art of South and Southeast Asia before 1200
2. Standing Buddha
3. Gandhara, Pakistan. During the Kushan period
4. Gandhara Style
5. During the third century CE
6. Located in Lahore Museum, Lahore
7. It is carved from schist, a fine-grained dark stone. The body of the Buddha is revealed through the garment. It is broad and massive, with heavy shoulders and limbs a well-defined torso. His left knee bends gently, suggesting a slightly relaxed posture. The robe is especially characteristic of the Gandhara manner.
(page 339)
1. Chapter 10 – Chinese and Korean Art before 1279
2. Altar to Amitabha Buddha
3. During the Sui Dynasty
4. Bronze style, height 30 1/8 (76.5 cm)
5. Located in Museum of Fine Arts, Boston
6. Gifted by Mrs. W. Scott Fitz and Edward Holmes Jackson in memory of his mother Mrs. W. Scott Fitz.
7. The altar that Amitabha is seating on show him in his paradise, seated on a lotus throne beneath a canopy of trees. Each leaf cluster is set with jewels. Seven celestial figures sit on the topmost clusters, and ropes of “pearls” hang from the tree trunks. Behind Amitabha’s head is a halo of flames. To his left, the bodhisattva Guanyin holds a pomegranate; to his right, another bodhisattva clasps his hands in prayer. Behind are four disciples who first preached the teachings of the Buddha. On the lower level, an incense burner is flanked by seated lions and two smaller bodhisattvas. Focusing on Amitabha’s benign expression and filled with objects symbolizing his power, the altar combines the sensuality of Indian styles, the schematic abstraction of central Asian art, and the Chinese emphasis on linear grace and rhythm into a harmonious new style.
1. Chapter 11 – Japanese Art before 1333
2. Jocho – Amida Buddha
3. During the Heian period, c. 1053 CE.
4. Gold leaf and lacquer on wood, height 9’8” (2.95)
5. National Treasure
6. When reflected in water of the pond before it, the Amida image seems to shimmer in its private mountain retreat. It was not carved from a single block of wood but from several blocks in Jocho’s new joined-block method of construction. This technique allowed sculptors to create larger and lighter statuary. It also reflects the growing importance of wood as the medium of choice for Buddhist sculpture, reflecting the Japanese love for this natural material. Surrounding the Amida on the walls of the Byodoin are smaller wooden figures of bodhisattvas and angels, some playing musical instruments. Everything about the Byodoin was designed to simulate the appearance of the paradise that awaits the believer after death. It’s remarkable state of preservation after more than 900 years allows visitors to experience the late Heian religious ideal at its most splendid. (page 367)
1. Chapter 12 – Art of the Americas before 1300
2. Moche Portrait Vessel
3. During the Moche culture
4. Peru. c. 100-700 CE.
5. Clay style, height 11” (28 cm)
6. The Moche culture dominated the north coast of Peru from the Piura Valley to the Huarmey Valley. They were exceptional potters and metalsmiths. Vessels were made in the shape of naturalistically modeled human beings, animals, and architectural structures. They developed ceramic molds, which allowed them to mass-produce some forms. Those portrait Vessels were created and recorded mythological narratives and rituals scenes in intricate fine-line painting. (page 393)
(page 412)
1. Chapter 13 – Early African Art
2. Hip Mask Representing an Iyoba (“Queen Mother”)
3. From Benin. Middle Period c. 1550 ce
4. Made out of Ivory, iron and copper
5. Height 9 3/8 (23.4)
6. Located in the Metropolitan Museum of Art, New York
7. This mask represents an iyoba which is consider the (queen mother – the oba’s mother), the senior female member of the royal court. The mask was carved as a belt ornament and was word at oba’s hip.
(page 438)
1. Chapter 14 – Early Medieval Art in Europe
2. Equestrian Portrait of Charles the Bald
3. During the 9th century
4. Made out of bronze, height 9 ½ (24.4 cm)
1. Chapter 15 – Romanesque Art
2. Virgin and Child
3. During the Auvergne Region
4. Made in France, late 12th century
5. Oak with polychromy
6. Height 31” (78.7 cm)
7. Located in the Metropolitan Museum of Art, New York
8. It was said that any Romanesque image of Mary seated on a throne was considered “The Throne of Wisdom.” She is considering a majestic throne because she also represents the church and that’s where Jesus sat and held the “word of god.”
1. Chapter 16 – Gothic Art of the twelfth and thirteenth centuries
2. Matthew Paris – Self-portrait kneeling before the virgin and child
3. From the Historia Anglorum
4. Made in St. Albans, England
5. 1250 – 1259
6. Ink and color on parchment 14 X 9 ¾” (35.8 x 25 cm)
7. Located in the British Library
8. Parris who is the artist who created this portrait. He drew himself at the bottom of the image which shows himself kneeling not looking at the holy couple but the words that were in front of him. He is showing the affection, emphasizing the authority that Jesus has as the divine incarnation of his godly father. (page 512)
1. Chapter 17 – Fourteenth-century Art in Europe
2. Andrea Pisano – The Baptism of the Multitude
3. From the south door
4. Baptistery of San Giovanni, Florence
5. During 1330-1336
6. Made from Gilded bronze
7. Size 19 ¼ x 17” (48 x 43 cm)
8. This picture was the scene were john was baptism a multitude. The gilded form gave an illusion of three dimensionality that is enhanced by the way it was curved. (Page 534)