Analyzation Of Shakyamuni Paintings Of Tibet

Amongst the many brilliantly crafted Tibetan Buddhist exposures, both Buddha Shakyamuni tangkas, right dated circa 1300-1399 [ flick zero(prenominal)e 646] the other dated circa 1500-1599 [painting no. 39] caught my caveat because of the many differences in style and composition between the 2.         Shakyamuni (painting no. 646) has not been linked to a certain profligateage or specific region of Tibet but shows strong evidence of a Nepali style common in paintings from the south by its use of geometric composition and the dominance of red and low-spirited hues throughout the setting. The brilliance of its coloring makes it hard to believe that the two paintings were both done with ground mineral pigments. The later painting is far more faded and less opaque. Its evident that the artisan of painting no. 646 had put more care into the sugariness and application of the pigments. And unlike the flat, open, solid areas in the later Shakyamuni, from fro m each one one space is filled with imagery and dynamic characters, leaving very little negative space or areas unadorned. The artist was attractive in his placement of images to bring the piece together in perfect symmetry and balance. For shading and adding dimension the color deepens subtly around the edges of almost every quarry and character, devising their facial nerve features more expressive and pronounced.

The distinction between each object and character is created by bold black line and slick contrasting colors, creating sharp edges. Shakyamuni, the central image, with deep lily-livered skin, around peace ful in appearance, gazes forward with slight! ly closed eyes. The brows gravel a heavy arch and the eyes a laborious slant which curve up in the corners, making his bearing more dramatic and a bit menacing. He is self-possessed in perfect balance in the mudra of surmise as with the characters which surround him. His solid... If you want to get a copious essay, fix it on our website: OrderCustomPaper.com

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