Abstract
This essay will attempt to present a brief understanding of the role of passion in Hindu art. The main references will be two sculptures and one painting. However, there will also be a brief discussion of the role of the Devadasis as representative of passion in religion. This special class of females had a significant part in the practice of religion which involved dance and erotic acts. In addition, they were models for sculptures on certain temples which will be focused upon in the discussion.

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
An examination of Indian arts with emphasis on the images and symbolism in the Indian notions of art and religion. The author examines the influences of the Western world on Indian expression of art.

From the Paper
"For thousands of years the arts have thrived on the Indian sub-continent, with the advent of western influence and occupation taking place only within the last few hundred years. The impact of western influence upon India is unmistakable, especially in regards to her arts and religion, serving not so much as a contributor, but as a critic. To even begin to comprehend and appreciate the incredible diversity and complexity of Indian arts, we must undergo a paradigm shift of our most basic western beliefs and notions of art and religion. Therefore, an understanding of the historical interpretations of Indian art is essential. Going beyond this, we must construct a rudimentary primer on seeing Indian images, also known as daran, and trying to understand, at least at a basic level, the symbolism involved in such religiously rich imagery."

Tags:art, continent, images, india, sub

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 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
In this essay, the writer looks at the work of a select group of Native-American artists working in the post-war era. The writer notes that these artists managed to adapt a Modernist language in their own work, while simultaneously subverting that language in filtering it through their own personal experiences as Native artists. The writer points out that while some of the artists discussed here are still active, focus is limited on the period immediately after World War II and up to the 1980s. The writer provides some insights into the ways in which the Modernist paradigm has constantly been challenged by the work of Native-American artists throughout the post-war period. This paper includes color photographs of various works of art.

From the Paper
"Although Houser would later come to be known primarily for his stone sculptures, this was his first major work in stone, the result of a commission by the Haskell Institute in Lawrence, Kansas. The work was meant to be a tribute to the students of Haskell who had died fighting for the United States in the Second World War. The work is a large-scale monumental piece that, though fairly straightforward in its execution, gives us some insight into the more abstract style that Houser would later develop in the course of his prolific career. The figure depicted, clearly a Native-American Indian male, wears a somber expression on his face. He is staring forward, clearly struck by the immense tragedy of a situation he is barely able to comprehend. He is wrapped in a blanket in an effort to protect himself from the cold harshness of the external world. The sculpture is neither realistic in a monumental sense nor rooted in the traditions of Apache Indian artwork; the style is all Houser's own. The overall shape of the piece is round and smooth. But it is the stunned expression on the Indian's face that ultimately pulls us in, reminding us that there are truths of a more existential nature that cannot be stated so easily, and that it is the task of art to ask such questions."

Tags:tribal, traditions, shape, Indian, figure

Abstract
The paper relates that the drawing was accomplished by a 4 year old child in India by the name of Divij, and the gender of the child was unknown. The paper explains that a hand grip used for the drawing was most likely that used by adults, with the drawing instrument resting on the middle finger and held in place by the thumb and forefinger. The paper points out that this is, however, a quite advanced drawing position for an individual of this age. The paper relates that because of the advanced abilities of the individual anchoring did occur ("Drawing", n.d.).

From the Paper
"The drawing was accomplished by a 4 year old child in India by the name of Divij. The gender of the child was unknown. The hand grip used for the drawing was most likely that used by adults, with the drawing instrument resting on the middle finger and held in place by the thumb and forefinger. This is, however, a quite advanced drawing position for an individual of this age. Because of the advanced abilities of the individual anchoring did occur ("Drawing", n.d.). With regard to a baseline in the drawing, the baseline is indicated by the..."

Tags:art, analysis, child

Abstract
Examines how depictions of women throughout history illustrate the roles of women in various groups. Focuses on Paleolithic, Egyptian & Indian art. Venus sculptures. Reductioin of female figure to its reproductive function. Lower status depicted in size of female figure. Female deities as representatives of power & protector of society, not just fertility objects.

From the Paper
"In many cultures throughout history, depictions of women in art were far less common than representations of men. When women are shown in art the form of representation offers some clues as to the roles of women in the various groups. In the examples considered here two so-called Venus figures from Paleolithic art, two Egyptian "portraits" of women and girls of the highest class, and two goddess sculptures from India offer some insight into the ways women were perceived in these societies. They do not, however, offer more than a slight indication--especially in the Paleolithic and Indian examples--of the ways women functioned in everyday life, although it is possible to infer some things from these works of art.


Two Paleolithic sculptures of women are of the type that have been designated "Venus" figures because they are presumed to..."

Abstract
This paper discusses Albert Bierstadt's art and describes how his paintings depict the landscapes and environments of the United States West in their most idyllic and archetypal form. The paper describes some of Bierstadt's specific paintings and provides an appendix with copies of the paintings for the reader to view. The paper suggests that Bierstadt held a bombastic mentality as he profited and helped forge the New Eden image of the soon to be conquered American West.

Table of Contents:
Cultivating His Landscapes
Bierstadt's New Eden
Bierstadt as Spokesman for Manifest Destiny

From the Paper
"Bierstadt was a product of his time, a true purveyor of Manifest Destiny and profiteer over the national drive westward. By all accounts, he had no evil intent nor was he a morally bad figure. It is with the aid of historical perspective that we may see how his individual works and success played a role in the paradigm of the American West. His pervasive advertisement of a New Eden was merely one part among many in the schema of mid-19th century American society and politics. Indian Canoe is a testament to the repercussions of zealotry and the dehumanization of those who stand before faith. The weight of all humanity's consciousness is heavier for it."

Tags:depiction, landscape, Indian, manifest, destiny

Abstract
The paper explains how Modigliani is usually thought of in relation to a short, brilliant, avant garde life of much turbulence. The paper shows, however, that his unique 1911 painting, "Standing Nude with Arms Crossed" shows his deep interest in cultural transmission across Asia and beyond. The paper explains that Indochina in the 1890s was annexed by France and the artist seems to have taken interest in Angkor and its Greek, Buddhist, Hindu and other Indian influences. The paper discusses that the figure also reminds of an African fetish style but the details mainly point to the Buddhist temple art in Indochina and its varied roots.

From the Paper
"Amedeo Modigliani's "Standing Nude with Cross Arms" was part of a recent Modigliani exhibit to arrive at the Art Gallery of Ontario. (2004-2005) This work of oil on cardboard in its geometric, fetishist and strongly non-Western style prompted reading on what could be learned of its inspiration. The piece is part of the collection of Japan's Nagoya City Art Museum. It can appear as far from anything Japanese, as from the Italian heritage of the artist. In effect, learning about this curious and striking painting was an exercise in learning about a most unusual artist."

Tags:modigliani, standingnude, asiansynthesis