By N. Y.) Metropolitan Museum of Art (New York, Florina H. Capistrano-Baker
A magnificent assemblage of the paintings of a sprawling quarter comprising greater than 1,700 islands, together with the Philippines, Indonesia, Brunei, and japanese Malaysia.
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If we can't see God with our personal eyes, for what function can we photograph God in artwork? through the heart a long time, the second one Commandment's caution opposed to idolatry used to be principally put aside because the strength of pictures turned boldly and visibly glaring. by way of the 12th century, one Byzantine authority may well even provide his personal revision of the Commandment: "Thou shalt paint the likeness of Christ Himself.
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Additional resources for Art of Island Southeast Asia: The Fred and Rita Richman Collection in the Metropolitan Museum of Art
The shape 8 of the pond at Saiho-ji, for example, was reworked into a loose rendering of 9 the Japanese character kokoro, which signiﬁes heart or spirit. 15 3 Musô also developed the upper area of the garden entered 4 through a roofed gate and a ﬂight of steps. 8 Saiho-ji, Kyoto, Japan. Mosses subsume all surfaces except the water of the pond Musô Soseki, attributed, c. 1338 a composition of boulders the faces of which over time have been claimed by mosses and lichens (Fig. 9). The rocks appear so natural, so much the product of hydraulic process, that it is easy to forget that they were composed by human invention, and that flowing water never inundated their surfaces.
At times, the museum also instructs us with Do Not Touch signs and other cautions that utilize more overt coding. In most cases the museum walls set off the artwork to be considered, using the environmental matrix to constrain our focus on the object. Other works of art, however, function in just the opposite way, directing us to all that surrounds them as they display their own particularities. Walter De Maria’s Lightning Field, set in the high New Mexican desert near Quemado, was completed in 1977.
The realism of the rock groupings stimulates the mind to imagine water, however. 9 Saiho-ji, Kyoto, Japan. The dry cascade Musô Soseki, attributed, c. ” This engagement represents another instance where the lack of an external subject induces greater engagement by the individual. This may or may not have been Musô’s intention; of course we do not know for sure. 16 Some say the rocks were created as seats from which to contemplate the scene; others claim they were the subjects of contemplation in and of themselves.
Art of Island Southeast Asia: The Fred and Rita Richman Collection in the Metropolitan Museum of Art by N. Y.) Metropolitan Museum of Art (New York, Florina H. Capistrano-Baker