I chose this structure due to its elaborate details and the representation of a familiar bodhisattva, Avalokiteshvara. Here, he is depicted with multiple heads and eleven arms to signify a higher level of spirituality and divinity. He is also adorned with a very detailed ushnisha, which adds a sense of wisdom to his character. Again, we see multiple hand gestures previously discussed in class being performed, such as the varada (charity) and abhaya (reassurance) mudras. Another important symbol of the Buddhist religion that we have discussed is the lotus flower, which can be seen at the bottom of the structure, acting as a platform on which Avalokiteshvara stands; perhaps to symbolize purity and spiritual awakening. Our lectures have provided me with the context of this bodhisattva, and its significance to Buddhism.

I selected this artwork due to the very vibrant and apparent depiction of the Buddha in the center of the painting. Recurring symbols are used to identify the Buddha such as elongated earlobes, jewelry, the ushnisha, and the meditative stance, along with the bhumisparsha mudra of reassurance. The details around his head, the gold coloring given to his body, and the visual element of symmetry also depict his importance to the viewer. This relates to our teachings on Buddhism and key elements in art, because learning about the main depictions of the Buddha in various forms of artwork has allowed me to detect them and their meanings.

This portrait of Mughal Emperor Shah Jahan reflects the Persian and Indian influence of Indian Miniatures. The ornate, stylized, and delicate details surrounding the border, on top of the naturalism of Jahan's facial/body expressions, are key highlights of the artistry of the Mughal Empire. These portraits were often used to depict important events, reflecting Shah Jahan's high status. In class, we discussed the different elements of Indian miniatures and even learned about Shah Jahan and his contribution to art and the Mughal Empire, such as the renowned Taj Mahal. With this information in mind, I was able to recognize some of the key features within this artwork to help me identify not only the person but the period in which it was created.

I thought it would be interesting to analyze a sinicized version of a bodhisattva that we've previously seen in class; Avalokiteshvara, a symbol of compassion. India and southwest Asia often depict this figure as a male, but in China, Guanyin is most commonly portrayed as a woman, which is what this statue reflects. Symbols of an elevated status are also evident, such as the ushnisha and the use of jewelry. She is also adorned heavily with robes, which is another major difference between Southeast Asian and Chinese iconography. Additionally, her facial features also seem to represent the beauty standards of the time through her plump face and upturned eyes. The material of this artwork is porcelain, a celebrated innovation of Chinese art. Dynasties like the Ming and Tong, are renowned for their mastery of ceramic craftsmanship.

This painting is a tribute to 17th-century painter-monk Kuncan and a good representation of Chinese painting techniques and traditions. The Dong-Ju style is seen through the depictions of trees with exposed trunks, vegetative dots, and hemp-fiber strokes used for texture. Additionally, we see inscriptions in the top left corner, a hallmark of Literati painters, as they were highly skilled in poetry and calligraphy. The color scale and gradient suggest the use of ink washes, adding a sense of ambiguity and otherworldliness that was prominent in Literati paintings when China was under foreign rule by the Mongols (Yuan Dynasty). Lastly, the abundance of nature with the addition of a few man-made buildings reflects Daoist values of living in harmony with nature.

This bowl resembles the jade ware and pottery we studied in class, with its floral motif and minimalist design. It also shares similarities with the early funerary pieces we examined, which featured understated decoration and were placed in tombs as offerings to the Po—the aspect of the soul believed to remain in the earthly realm. Like those objects, this piece appears to have been directly carved or shaped from stone, much like the jade pieces we saw.