Abstract
This short paper explores both the art of India and the mysticism behind this art. The author describes the purposes of Indian art, citing the religious and philosophical meanings intertwined within a work. Several architectural landmarks are presented, including the complex of temples at Khajuraho. Specific styles of painting are also described.

From the Paper
" The most prominent feature of Indian art is that it does not attempt a representation of the immediate reality as such, nor does it bring merely aesthetic figurations of it, but that its substance is always blended with the religions and philosophies of India, and therefore pervaded with rich symbolism, with a sum of philosophical concepts and many divine characters. This is why artistic objects in India serve usually more than one purpose - the temples, for example, are not, in terms of style, merely architectural forms, but are closer to sculpture. Also the stupas , were originally small burial or reliquary places , but they are also cosmic diagrams by the special elements of their construction such as the harmika symbolizing the heaven of the thirty three gods , and the yasti , as the axis of the universe , rising through the harmika ,and thus uniting the world with the paradise above."

Tags:Indian, art, eroticism, sculpture, painting, architecture

Abstract
The first piece reported in this paper is an oil on canvas, painted by Mexican artist Manuel Felguerez and titled 'Entre Dos Almas', created in 1992. The next art piece is "Fernwood Figures". It originated from Vanuatu, Melanesia, in the late 19th century to early 20th century, and represents tribal ancestors.The author states that the "Sculpture of Vishnu" originates from India during the Pala period,12th century. The final piece is "The Bard", an oil on canvas, painted by a British artist Richard Westall (1765-1836). Illustrations.

Table of Contents
"Entre Dos Almas"
"Fernwood Figures"
"Sculpture of Vishnu"
"The Bard"

From the Paper
"In Felguerez's paintings, it is very apparent that the he is quite fond of abstractionism. His work, on this media and beyond, is constantly exploring and playing with the primary geometrical shapes like the circle, square and triangle. Around the early seventies, the computer began to influence Manuel's work. The paintings produced by the artist around this time were almost mechanical looking in their composition. Color schemes usually contained a mechanical grayish background color, which was perceived to have derived from his interest in the growing world of computer-generated graphics. Also found in many of these earlier works was the design principle of rhythm and repetition while remaining unified."

Tags:oil, canvas, ancestors, india, melanesia

Abstract
This paper explains that Buddhist Art sprang from the religion Buddhism; dragons, flowers, as well as Buddha himself are portrayed in paintings, statues, shrines, tapestry and many various forms and textures across many centuries of art. The author points out that not much is known about the ancient Buddhist artists, but two 19th century Buddhist artists are Utagawa Hiroshige, born in Tokyo and sometimes known as Ando Tokytaro, and Katsushika Hokusai, a master and genius of the Japanese art of woodblock printing. The paper relates that Buddhist Art continues to influence world art today; Cuiun Matsuda is a modern day Buddhist artist and a Buddhist priest. Chart.

Table of Contents
Statement of Thesis
Introduction
Aniconic Phase (5th Century - 1st Century BCE)
Iconic Phase (1st Century CE to Present)
Ancient Artists
Utagawa Hiroshige (1797-1858) Buddhist Artist
Katsushika Hokusai (1760 - 1849) Buddhist Artist
Conclusion

From the Paper
"Emperor Ashoka of the Mauryan era which was from 322 BCE to 180 BCE is defined by the first clear manifestations of Buddhist art. It was during the first and second centuries BCE that sculptures gained a characteristic of being explicit in representation of Buddha, his life and his teachings. India's representations of the Buddha were the bodhi tree, the footprint, the empty throne, the lions, the columns or the lotus. The lotus was a symbol of purity."

Tags:centuries, mauryan, hiroshige, india, woodblock

Abstract
This is an essay analyzing the influence of Buddhism from India on Chinese art. The writer discusses that this profound influence was primarily due to the cultural interchange resulting from the 'silk road' trade route, as well as other routes. The writer points out that Buddhism came to China via these trade roads, and was eventually adapted by Chinese artists. Further, the writer notes that Greek influences are also important in this artistic tradition.

From the Paper
"To a certain degree, the art produced by any given culture is a product of the synthesis of all that culture has experienced and been in contact with, though a flavor or `look' that is distinct to the given culture invariably remains. It should not come as a surprise that China was not immune to influences from other cultures, one of the most significant being Buddhism, which originated in India and spread throughout much of east Asia, including China, Japan and Korea. Buddhist iconography thus became a part of east Asian art, including Chinese art, particularly during the T'ang Dynasty."

Tags:buddhist, chinese, art

Abstract
This essay discusses the way in which Buddhism, whose origins are from India, influenced Chinese art. The essay discusses specific artists who employed Buddhist themes in their work, The writer also looks at exhibitions and architecture that reflect the tradition of using Indian Buddhism as either the subject of the work or that use Indian Buddhism to symbolically give a message to the viewer.

From the Paper
"Indian Buddhism was founded in India in 525 BC. Its creator Siddhartha Gautama--or Buddha--taught his followers four noble truths: "existence is suffering (dukha); suffering has a cause, namely craving and attachment (trishna); there is a cessation of suffering, which is nirvana; and there is a path to the cessation of suffering, the `eightfold path' of right resolve, right speech, right action, right livelihood, right effort, right mindfulness, and right concentration"."

Tags:buddhism, chinese, art

Abstract
This paper discusses how when looking at ancient Chinese art and even art today, one can easily see the influence of the Buddhists after they arrived in this country during the Han Period of 200 B.C. It looks at how Buddhism traveled from India to China and how it was transformed into something that could be readily incorporated into the local culture. It also discusses how the Buddhist influence increased to such a significant extent that huge amounts of money and human work were used to create astonishing pieces of art and elaborate temples and how this expanding interest in Buddhism led to new ways of representing deities, different forms of architecture for worship and changing rituals.

From the Paper
"Most Buddhist monks came to China by way of the Silk Road, which was a critical junction at the caravan trails that stretched from China to the Mediterranean. As the easternmost Chinese station on the route, the village of Dunhuang (Tunhuang) became the ideal location for these foreign monks to learn the language and culture before moving into central China. The missionaries and their Chinese disciples built the earliest Buddhist communities at Dunhuang in the late third and early fourth centuries. Many religious sutras were translated at Dunhuang and then distributed outward. Uncountable economic and human resources were used to produce Buddhist sutras and construct religious centers, including thousands of cave temples. "

Tags:monks, silk, road, sung, silk, temple

Abstract
This paper discusses how when looking at ancient Chinese art and even art today, one can easily see the influence of the Buddhists after they arrived in this country during the Han Period of 200 B.C. It looks at how Buddhism traveled from India to China and how it was transformed into something that could be readily incorporated into the local culture. It also discusses how the Buddhist influence increased to such a significant extent that huge amounts of money and human work were used to create astonishing pieces of art and elaborate temples and how this expanding interest in Buddhism led to new ways of representing deities, different forms of architecture for worship and changing rituals.

From the Paper
"Most Buddhist monks came to China by way of the Silk Road, which was a critical junction at the caravan trails that stretched from China to the Mediterranean. As the easternmost Chinese station on the route, the village of Dunhuang (Tunhuang) became the ideal location for these foreign monks to learn the language and culture before moving into central China. The missionaries and their Chinese disciples built the earliest Buddhist communities at Dunhuang in the late third and early fourth centuries. Many religious sutras were translated at Dunhuang and then distributed outward. Uncountable economic and human resources were used to produce Buddhist sutras and construct religious centers, including thousands of cave temples. "

Tags:monks, silk, road, sung, silk, temple

Abstract
This paper discusses the Alsdorf collection of the Art Institute of Chicago, which includes sculpture, jewelry, paintings and architectural elements from India, Nepal, Tibet, Pakistan, Bangladesh, Burma, Thailand, Cambodia and Java influenced by Hinduism. The author points out the difficulty of generalizing about Hindu influenced art because of the diversity of Hinduism. The paper relates that the region's art has been influenced by gods and goddesses, such as Shiva, Ganesa and Brahma, for thousands of years. Illustrations.

From the Paper
"In other words, the views of Hinduism hold many opposing theories that describe aspects of an eternal truth. For example, one underlying focus is that a desire for liberation from earthly evils is and should be a life ambition. These notions and concepts can be clearly witnessed in the region's art as Hinduism plays a major role in what is and was accepted as precious. The Hindu influence had a strong influence on the regions' architecture and the continuous to be a great part of the regions art. For example, Indian art is often depicted with the subjects of art, whether it is in jewelry, statues or paintings, all having various alterations made to the eyes. "

Tags:shiva, eyes, destroyer, vishnu, diversity

Abstract
This paper explains that the Indus civilization, one of the most geographically extensive ancient civilizations ever discovered, demonstrates patterns of centralization or standardization in its art and architecture. The author points out that the art produced by this empire is seen by most scholars to be far ahead of its time and more sophisticated than many ancient cultures with which it can be compared. The paper relates that the art and architecture of the Indus civilization is highly detailed, representational, and sophisticated in production and craftsmanship, reflecting an efficient culture.

From the Paper
"Architecturally, the sophistication of the Indus civilization can be seen to have progressed rapidly during these two eras also. From domesticating plants and animals and settling down into what could be called prototypical cultural methods, the Indus people had advanced to building large, intricately-planned cities and towns. Apparently,
these cities were planned on a universal design that was either widely copied or mandated for use throughout the vast civilization. The cities were walled, and were planned on an efficiently-measured and -executed grid pattern that allowed for the formation of rectangular blocks and cross-streets. As was mentioned, the eastern ends of the cities were traditionally made up of residential areas, and the western ends were dominated by a large sort of citadel. This perhaps reflects upon a separation of public and private function. The residential areas also had a large courtyard through which community interface was assumedly integrated into the plan."

Tags:harappa, standardization, representational, craftsmanship, burial

Abstract
This paper stresses that, even though Western artists are looking for new ideas when they seek Oriental input, they can only interrupt the Orient through their own Western culture. The author explains that French painter Eugene Delacroix' "Death of Sardanapalus" and Austrian artist Leopold Carl Muller's "The Market in Cairo" are examples of orientalism in Western art. The author states that the Beatles, seeking the teachings of India's gurus, brought orientalism into modern pop culture.

From the Paper
"The Western World that Delacroix knew lay on the brink of the Victorian age. Painted in 1827, the Death of Sardanapalus speaks to a people already grown accustomed to the strictures of middle-class morality. As older and wilder days ended, North Americans and Europeans were already entering into a new era of strong religious devotion, clean living, and sexual repression. The wanton abandoning of oneself to pleasure like Sardanapalus seemed to be something that was still possible only within the hidden corridors of the seraglio, a place where leering, bearded despots sought freely to satisfy their carnal lusts. The fact that Sardanapalus's world is about to be consumed in fire is but a fitting moral judgment. Though he can gape at the writhing, sensuous forms of the King's doomed attendants, the European or North American man can only dream of what he cannot have the pleasures of the flesh are condemned hellfire."

Tags:ideas, delacroix, muller, beatles, mysticism