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Essay / Research Paper Abstract
A 5 page research paper that examines two Tibetan art works, their background, dimensions and content, as well as the writer's personal impressions. These works are a Seated Avalokiteshvara sculpture and a painting of the Buddha Amoghasiddhi Attended by Bodhisattvas. Bibliography lists 4 sources.
Page Count:
5 pages (~225 words per page)
File: D0_khtibart.rtf
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Unformatted sample text from the term paper:
simple and parable-based doctrine evolved (Danto 788). The complexity of this cosmology is mirrored in Tibetan art, which depicts these personages, who have attained varying degree of enlightenment (Danto
788). The following examination of two Tibetan art works demonstrates these observations. 1. The Seated Avalokiteshvara sculpture This small ivory sculpture from Western Tibet is part of the collection at
the Metropolitan Museum of Art in New York City. A donation from Louis V. Bell and the Dodge Funds in 1972, the statue measures 9 in. x 2 1/2 in.
and dates from the seventh century. The rounded features of the sculpture are appealing and there is considerable detail in the head dress and jewelry. Avalokiteshvara is probably the best-known
figure in Buddhism, with the sole exception of the historical Shakyamuni Buddha (Avalokiteshvara). He is known as "Chenrezig" in Tibet (Avalokiteshvara). Avalokiteshvara is considered to be the quintessential embodiment of
the compassion of all the Buddhas. Although primarily manifesting in the form of a budhisattva, from the "perspective of the level of the Body of Reality," Avalokiteshvara is a "perfect
Buddha" (Avalokiteshvara). His compassionate activities radiate out into the universe bringing relief and liberation to all sentient beings (Avalokiteshvara). Considering this background, it is not surprising that looking on this
statue conveys a sense of well being to the viewer. In this statue, the Avalolkitesvara is pictured in interesting pose that suggests contemplation, as he extends his right index finger
towards his right temple (Weldon and Singer). Scholarship in this area has noted that t his image was popular in Kashmir from the seventh to the ninth centuries (Weldon and
Singer). Avalolkitesvara holds the stem of a lotus blossom in his other hand and pictured as sitting in a relaxed position on a raised platform, with a lotus supporting his
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