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the Majesty of the Big Buddha of Thailand

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the Majesty of the Big Buddha of Thailand

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The Big Buddha of Thailand

a monumental statue situated in Ang Thong Province, Thailand, emerges as a towering symbol of spiritual reverence and cultural heritage. Standing at height of 92 meters, this statue symbolizes the Buddhist tradition, and constructed from 1990 to 2008.  A symbol of religious dedication but also a symbol of resilience. Surrounded by sculptures depicting gods, Thai kings, and historical events, the Big Buddha stands as a focal point within cultural symbolism and historical narrative. The park surrounding the statue, adorned with blooming lotus flowers, further enhances the tranquil atmosphere, inviting visitors to immerse themselves in contemplation and meditation. Through its towering presence and details, the Big Buddha of Thailand rise above its physical dimensions to become a profound symbol of spiritual enlightenment and cultural pride. As visitors pay attention to this iconic landmark, they embark on a symbolic journey of self-analysis and spiritual awakening, guided by the timeless teachings of Buddha and the enduring legacy of Thai heritage.

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The Bamiyan Buddhas are rock-cut sculptures, and it is located in central Afghanistan's Bamiyan Valley, there are two large buddha one of them is in 175 feet in height, and the other one is at 120 feet, the elements which influence this were Greek, Indian, and Central Asian artistry.

in 2001 ordered by Mullah Omar, Taliban deploying explosives to reduce the sacred sculptures to rubble.

In the aftermath of their destruction, efforts to preserve and commemorate the legacy of the Bamiyan Buddhas have taken center stage. as result it is limit to analyze visual elements. Even though with this striction Buddhas of Bamiyan is considered as significant symbol in history, religion, and culture.

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Madonna of the Burges. Michelangelo di Lodovico Buonarroti Simoni. 50 in. Marble. 1501-1504. 

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Madonna of the Burges' purpose is the praise of religion. Madonna, another name for the Virgin Mary, was a popular subject to paint from the Renaissance Time period (14th-17th century). In this cultural context where religion was held much higher compared to today, we can see how it reflects the religious values and beliefs of that time's society, being a grand depiction of the Virgin Mary and Christ. The intricate clothing and placement above the viewer is meant to leave them in admiration.

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En el espejo (In the mirror), Julia López

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The Aspects of culture featured in this painting are those such as Concept of Self and Concept of Beauty. The painting is of two women looking at each other. They could be the same person as implied by the paintings title, "En el espejo" meaning "In the mirror". They could also be two different but similar women. The women (or woman) are seen sharing the same soft smile as they look at each other.

The meaning or purpose of this art isn't explicitly stated but considering the title, it can be assumed the painting is of the artist admiring herself. Julia López often painted what she saw as someone who grew up in the Costa Chica region of Guerrero Mexico, including its people and places. This is why an assumption of the meaning could relate to admiring her beauty as someone with common features of Costa Chica. For a bit of background information, the Costa Chica region of Guerrero has heavy influences of Native and African culture due to it's history. Another possible meaning of the art could be two different Guerrerense women from the same area who see the other as a beautiful reflection of herself. All in all, there are strong auras on self love hinted by the smile, attentiveness, and closeness of the two women.

Aurora

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Artwork that challenges social norms and social injustices 

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Artwork that challenges social norms and social injustices 

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As seen in this artwork the most prevalent cultural aspect of it is the boys themselves. How they stand, what they wear, and their facial expressions all show the culture behind this painting. Alice Neel wanted to show just some two regular boys on 108th street, the kind that you would probably see when just driving by. This artwork explores into how regular people express themselves with their clothes, facial expressions, and body language.

Tam

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The Arrival of Cortez, by Diego Rivera 1951. 

folk art. 

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This is a piece of Mexico's history.

It communicates the unity, community, pride, and bravery the Mexican people had during the arrival of the Spanish. Done in 1951 this mural was used as propaganda to unity the Mexican peoples to unity just like out ancestors did in hard times. Today this artwork is in the National Palace of Mexico City, along with many portraits of Mexican heroes or artworks done by other artists that represent Mexico's history in their artwork.

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Banksy-Napalm, 2004, Screen print on paper, 70 x 50cm

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A Tragedy Repainted to Tackle Social Economy  

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A Tragedy Repainted to Tackle Social Economy  

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Its to no surprise that social art activist Banksy made this piece. He is well versed in his ability to paint and throw up street art challenging societal norms and controversial topics nobody would speak of. He does all of this while retaining an anonymous persona.

This art piece in particular portrays Phan Thi Kim Phuc more famously regarded as the Napalm Girl. Tragically, she was caught in the blast of the accidental napalm bombing by South Vietnamese air forces resulting in her walking away with severe third degree burns as shown above. Banksy uses the cultural ideals of child rearing and sense of authority in this art piece by showing how we as people suffer the most in war while big businesses only gain money and retain a smile on their face. The choice to use Napalm Girl in the middle of Ronald McDonald and Mickey Mouse is an example of cultural preservation as well as challenging social norms, showing the dark side of war in the midst of it all millionaires smiling while their pockets are filled.

-Monet

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The Equestrian Statue of Marcus Aurelius; Bronze, originally gilded Created: 161 AD–180 AD . 4.24 m (13.9 ft) tall

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The portrayal of Marcus Aurelius mounted on a horse emphasizes his military prowess and leadership qualities. As multiple other Emperors before him and after him had statues, since statues portrays a story of exaggeration of their life, in this case this statue of him reinforces the idea of him as a strong and capable ruler, capable of defending, expanding the empire, and establishing complete authority. It is said that this statue was created to commemorate the romans victory against the Samaritans . One of the interesting facts about this piece is that he artist behind it is unknown but Michelangelo refurbished it.

-Mahad

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Zhang Xiaogang – Bloodline Series – Big Family No. 3, 1995, oil on canvas, 179 x 229 cm

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"Magic Realism is modern realist paintings with fantasy or dream-like subjects."

Zhang started a series of very surreal paintings after he found a photograph of his mother as a beautiful young woman (before her health deteriorated).

The painting above is similar to the other in the Padlet as it feature a traditional family portrait but with emotion-less faces, and a flat background. This particular work differs as the child is dressed as one of the soldiers/ guards of the cultural revolution in China.

Zhang purpose is again commenting on the chaos of the society esp. "contradictions between the individual and the collective"

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Ringgold, Faith. Tar Beach. 1988. Mixed media on canvas, 8 feet x 10 feet.

cultural acceptance Tar Beach by Faith Ringgold has been broadly celebrated for its powerful depiction of African American life and culture and for its exploration of themes such as family identity and the pursuit of dreams. It has been comprised by both the art world and the African American community as an important work of contemporary art.

The purpose of Tar Beach is complicated. the artwork acts as a means of storytelling and expression suggesting the artist's personal experiences and reflections on themes such as family identity and the African American experience.

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'Bloodline: Big Family', Zhang Xiaogang, 180 x 230 cm  oil on Canvas, 1995 

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The Chinese Revolution & a Strange Family Portrait

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The Chinese Revolution & a Strange Family Portrait

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Aspects of culture that are featured in this painting include the role of a family and ideas about child-rearing; both of which refer to the One-Child policy.

Zhang grew up during the Chinese revolution in a weirdly artificial society missing a lot of children especially girls. His artwork questions authority and challenges the communal injustice.

Mrs S