"The Dancing Girl" is bronze and was created through the Lost wax casting process. This method involves the following steps:

1. An artisan starts by forming a clay core, (making the eventual sculpture hollow). This approach conserves bronze, a metal highly valued in the Indus Valley Civilization due to the difficulty in its unearthing and smelting process.

2. The clay core is then covered in wax. With different tools, the artisan shapes, adds, or subtracts wax, making the sculpture's details, decorations, and overall design.

3. To provide stability for upcoming stages, wax rods are used in the structure. Funnels are also added to allow melted wax to flow out when heated.

4. The structure is subsequently covered with a layer of fine sand and then overlaid with clay, forming a mold.

5. This mold is heated in a kiln until the wax inside melts and drains out.

6. With the wax removed, the artisan fills the mold with molten metal. (In the case of "The Dancing Girl," the chosen metal was bronze). The cast is left to cool and solidify.

7. Finally, the artisan removes the mold, revealing the finished sculpture.

The Great Stupa at Sanchi was made to store relics of Siddhartha Gautama (Buddha) and was originally constructed in the 3rd century BC, only to be fortified around 100 BC.

Facing the south side of the stupa, the first thing seen is the beautiful Indian stone Torana, marking the entry of the shrine. Upon closer inspection of the Torana, three Didactic Architraves are noticeable, hoisted on top of two stone posts, depicting the story of Siddhartha Gautama.

Along the right side of the bottom architrave is a fertility figure clutching a mango, positioned in the Tripanga pose; this was done to integrate the local fertility cults into learning about Buddhism. Right above the figure clutching a mango is a lion. Lions in early Indian art are a thanks to Alexander the Great’s influence on the region.

The center of the relief focuses on Queen Maya, portrayed in the Tripanga pose as she clutches a tree, much like the fertility goddess at the Great Stupa at Sanchi. This relief was thought to hold spiritual fertility properties. The wear on the breasts of Queen Maya and other figures shows this belief, as travelers would touch these areas, hoping to transfer the fertility properties to themselves. Little baby Siddhartha is seen emerging from the right side of queen Maya’s abdominal region. Siddhartha is depicted as a grown-man-baby just like in the story of his birth. Where he “emerged from Maya's right side fully formed”.

The Gupta-Mathura style uses the same emphasized Greco-Roman-styled string folds and form-fitting clothing, like the ones seen at the Kushan-Gandhara workshop. The Gupta Mathura style also borrows eyes partly closed which was used at both Kushan Mathura and Gandharas workshop.

The contrasting comparison between the Gupta Mathura styles and the Kushan Gandhara styles can be seen in the hair of the figures. In the Kushan Gandhara style, they used Greco-Roman-styled wavy hair. Meanwhile, the Gupta Mathura style used continuous spheres to make up the form of the figure's hair. The styles also contrast the way in which the figures are posed. The Gupta Mathura style uses a very stationary form, while the Kushan Gandhara style uses the Contrapposto pose to give the figure a more relaxed feel.

The large Buddha measures 53 meters, and the small Buddha measures 35 meters and both were carved directly into the sandstone mountains. These monuments were important because no one at the time would've seen anything of this magnitude.

The Buddhas have Greco-Roman-styled String Folds much like the String Folds at the Gupta-Mathura Workshop in India. The reason the Buddhas are covered in holes is due to the Buddhas' creation. After carving the form the artisan created string folds on the buddhas garments using a peg system in which the artisan carved holes on the most exterior layer of the monument. Followed by filling those holes with wooden pegs. The pegs would then be wrapped with rope and poured over with plaster.

After the Buddhas were completed they were polychromed, and the artisan held an “Eye Opening Ceremony '', which was common practice for sculptures of Buddha. The ceremony was conducted by unveiling the face for the first time, followed by consecration of the sculpture. This was done because it was believed to give spiritual powers to the Buddha.

In July of 2001, tragedy struck at the monuments, after a group of Taliban Iconoclasts decided on the Buddhas to be their next target. The monuments were greatly damaged by explosives as a senseless act of blasphemy. This was done because the Taliban wanted global attention and wanted it published.

There are no noticeable comparisons when it comes to the form or design of the bowl and vessel. The bowl is shaped as a round dish resembling a spherical cap with a seamless curve and ribbed edges. Along the bowl's edges are geometric lines forming a crosshair pattern. The lines were created by painting the surrounding negative space, allowing the lines themselves to stand out as the positive space. The inside of the bowl has geometric fish motifs, this can be attributed to the east coast neolithic Chinese peoples being fishing tribes. The interior of the bowl also contains a motif of what appears to be a theriomorphic shaman's mask. The function of these motifs is to signify shamans' zoomorphic familiar which they would summon during rituals, and for the infant to take with him or her in the afterlife.

The vessel is tulip-shaped, slowly becoming more narrow from the top down. The rim of the vessel has organic shapes that resemble a lit torch. The base of the vessel has vertical and organic linework.

Cave 20 features two Buddha statues, both larger than life. The largest of these stands at an impressive height of 15 meters. An aspect of these figures is their stylistic approach, borrowing influences from various regional art. Notably, the eyes of the Buddhas are inlaid with stones, a technique reminiscent of the famous Bamiyan Buddhas in the Hindu Kush region of Afghanistan. Additionally, the drapery on these statues exhibits Greco-Roman influences, particularly in the style of the string folds. This technique is similar to that seen in the Gupta-Mathura workshop's creations. It appears that the same peg system used in the Bamiyan Buddhas has been employed here to form the string folds of the garments. Another notable aspect of the Buddhas' style is the formation of their bodies. This design borrows heavily from local Indian artistic traditions (i.e.) Kushan Mathura, adopting a more sensational approach in contrast to the idealized human body shapes influenced by Greco-Roman figures.

Among the artifacts, Fu Hao's ax was particularly interesting. Traces of human blood were found on it, suggesting its use in ritual decapitations, a EXTREAMLY common practice in the region, as seen by sacrificial burial pits. Some of the imagery and motifs on the ax are rare for Shang art. It features the typical Shang thunder pattern, along with depictions of human heads, further indicating its use in ritual decapitation. The Axe features Jue Dragons depicted as if they are gobbling the head motif, and a jagged tooth pattern on the blade of the ax, that represents dragon teeth upon the descent to the neck of an individual being sacrificed.

Early Western Zhou bronze vessels take complete influence from those from the Shang dynasty. After conquering the Shang, the early Western Zhou adopted their styles, motifs, and designs as a symbol of dominance. However, in contrast to the Shang, the Zhou prioritized the use of more geometric shapes and the use of eccentric handles in their bronze work.

Middle 1000-771 BCE

During the middle Western Zhou period, there was a total shift from the use of traditional Shang filler motifs and Taotie. This change signifies an effort by the Western Zhou to establish their own unique identity and branding in their bronzes. The primary motif that came to define this era was the use of bird motifs. Birds became the central theme and a key design element of the Zhou's branding.

Late 1000-771 BCE

During the late Western Zhou period, the Zhou used elements from the middle Zhou era, along with two innovations. The first of these innovations was the introduction of the continuous wave pattern, a design I love. The manner in which the wave pattern moves through the vessel has an intriguing effect, drawing the viewer's eyes around the entirety of the vessel. The second innovation during this period was the use of zoomorphic handles. The evolution of handles is very intriguing, with both the early and late Zhou periods placing an emphasis on the design and function of handles in their bronzes.

These bronzes served as gifts. During the Western Zhou, only the king had the authority to commission and present bronzes, attributing to their exclusivity. In contrast, Shang bronzes were predominantly utilized for ritual purposes, marking a difference in the cultural and ancestral use of bronze between the two periods.

1. Section mold technique

   The section mold technique was a key method used for casting the shape of bronze. This involved creating the mold in sections, allowing for a clean design.

2. Lost wax

   The Lost Wax technique was used to create the

   dragons, the open work on the top, and around the lip of the bronze, as well as the joinery of the separate pieces. This method allowed for more detail in the delicate areas of the bronze.

3. Joinery

   Joinery in bronze was crucial in order to add separate

   pieces. Using this technique allowed for more intricate and complex designs, allowing for more detail in the final piece.

4. Pattern block

   The pattern block plays a role, particularly for printing

   large areas of the background as efficiently as possible.

The tomb of the first emperor of China is beyond excellence when it comes to burial hype. This extraordinary site had more than 8,000 terracotta (or baked earth) soldiers, along with 130 chariots with 520 terracotta horses, and an additional 150 terracotta cavalry horses. Each of these figures was originally painted and equipped with weapons, emphasizing the life-like appearance. Furthermore, Each figure had a quality control inscription that identified the artist and workshop responsible for its creation, showing the deep attention to detail and craftsmanship involved.

Tomb of Emperor Nintoku Japan

The tomb of Emperor Nintoku’s exterior could be regarded as the 8th wonder of the world due to its scale. The exterior of the tomb spans a width of just over 1000 feet, and more than 1500 feet in length. The exterior is surrounded by three moats and dense greenery and is shaped like a keyhole. However, the treasures of the tomb were much different than what was found in China. The figures in Emperor Ninoku’s tomb have a much softer and more welcoming appearance.

Comparison

In comparing the tombs, it becomes evident that the tomb of the first emperor of China placed a much greater focus on the contents within the tomb. Noticeable by the extensive collection of terracotta figures, the creation of which would have required numerous years to complete. Meanwhile, Emperor Nintoku of Japan had a much greater focus on the exterior, which is evident in the massive environmental design of the exterior of the tomb.