Category: Art

A rindik is a Balinese musical instrument that is made from bamboo. Rice farmers developed the instrument during the early years of the 20th century. A rindik is a traditional instrument whose bars are tuned in order to produce humming sounds of different pitches. To play the rindik, one requires high concentration and playing skills that take several years to master.

This instrument is one of the most complex because of the level of skills needed to construct and play it. The bars of the rindik are adjusted in order to change the sound to the required tone. The class project involved constructing a rindik from bamboo sticks. Event though we encountered several obstacles during the course of the project, we successfully completed the project in time.

The class project involved making a rindik, a Balinese instrument made from bamboo. The project involved the cooperation of three students: Sarah, Tiffany, and me. Our task was to collect bamboo materials from the forest and make a rindik from those materials. Emma and would use the instrument later for their project. We started the project by determining the materials we needed, and their specific measurements.

We acquired a rindik and disassembled it into its constituent parts. We measured the dimensions of each of the parts and recorded the measurements on a notebook. For example, we measured the dimensions of all the keys and bars. After getting the measurements, we visited a forest that was a short distance away from the campus to collect bamboo sticks. We chose a mature bamboo because we needed strong and thick pieces. We cut the bamboo into pieces with the exact measurements and carried extra pieces in case we needed them.

Our teacher, Mr. McGraw taught us how to cut the keys into different sizes and shapes, and how to tune the resonator. The rindik was to be comprised of 11 keys. Therefore, we cut 11 keys of different sizes. Each of the keys was expected to produce a different tone. When making a rindik, the keys are dried for a considerable length of time in order to stabilize the moisture content. However, since we had inadequate time to dry them, our teacher burnt the bamboo pieces.

Unfortunately, burning destroyed the pieces because they failed to produce the expected pitch. The teacher suggested that we use the pieces without drying them. This was problematic because we had to retune the rindik everyday because as the keys lost moisture, the pitch was altered. We used the additional pieces we had carried from the forest.

In addition, our teacher provided more pieces that we used to make the keys. He helped us to cut some of the keys again and gave us guidance on how to tune the resonator. However, he did not tune the bars for us and we had to do it on our own. It was difficult, but we enjoyed and learnt a lot.

We then assembled the rindik we had disassembled and continued with our project. We had to hasten the project because Emma and Helen needed the instrument in order to practice for their final project. They wanted to prepare for a musical piece that they were required to play using the rindik.

We encountered difficulties in tuning the instrument but Mr. McGraw was there to offer help. He taught us how to synchronize the tune of the bar and the resonator. Operating the instrument was a hard task. Mr. McGraw taught us how to adjust the pitch of the instrument in order to get the highest quality of sound. We had to shave the bar whenever the pitch of the bar was higher than that of the resonator and vice versa.

Remembering these instructions was difficult because none of us had ever operated a rindik before. Therefore, we noted the information on a notebook for reference. In order to produce the highest quality of music, the rindik was suspended on a wooden frame from where the keys were struck using a small stick. A wooden frame that we had made during an earlier project saved us time because we used it to mount the rindik. Even though we did not tune all the bars successfully, we continued with our project.

I marked the locations on the bars where the holes were to be drilled. Fortunately, this did not affect quality of sound produced by the instrument. After drilling the holes, we joined the bars and the keys. Due to the sizes of the holes, we used a thin rope that could pass through the small holes.

During the process of assembling the rindik, we had some difficulties with some bars. We assembled the instrument with bar some bars out of tune because we were unable to harmonize them. Despite the difficulty, we carried on with the project because Emma and Helen were waiting for the instrument. We did not want to let them down because we had promised to complete it on time and give it to them for their preparations.

Monday was the due date of the project when we were required to present the completed instrument to the instructor. However, we had a problem because the rindik was out of tune. The bars had lost moisture and altered their pitch. We had to tune all the bars again because the bars and the resonator had different pitches, and we could not present it in that state.

Presentation of the rindik marked the final stage of our project. The instrument had some weaknesses. However, I was happy because we had completed the project successfully and attained our goal. We labored a lot because of lack of experience. I was excited because we were able to complete the class project successfully.

We experienced many challenges during the course of the project. However, we never gave up and always sought help from our teacher. Mr. McGraw was very helpful because he assisted us whenever we encountered problems. He taught us several things that contributed towards the success of the project. For example, he guided and showed us how to cut the keys and tune the rindik. The project was challenging but a very worthy and priceless learning experience.

I learnt many things that added to my knowledge on musical instruments. I realized that making and tuning a rindik is a hard task. The opportunity to construct the instrument was both exciting and educational. The project was pleasant from the beginning to the end because of my great passion for music. Despite the obstacles encountered, we never lost hope or motivation. Our success could be attributed to the dedication and hard work of all the members of the group.

Public art is any work of painting, sculpture, drawing or writing done by a creative mind in a public place. It is meant for the community or a wider society. Its significant purposes include telling a story- past, present, or even future. Public art, which always receives its funding from governments and NGOs, also has the responsibility to educate the society. This essay is going tackle its benefits and effects in the community (Cartiere, 2008).

There are several merits of public art in the community or even those found in the cities. For instance, sculptures and drawings create a feeling of consciousness and belonging (Coutts & Jokela, 2010). An example is the Liberty Statue that is associated with the US’s way of living. Public art also uplifts the name of a once forgotten neighborhood or society. In addition, drawings and sculptures teach the community especially on social and political issues.

An example is a painting depicting the dying of a mother hacked by a young man. This is meant to worry the conscience of a person who is admiring the piece of art. Furthermore, sculptures and writings in public educate the society on its past heroes and heroines in order to learn from them (Cartiere, 2008). Examples include the different Greek gods that represented a number of issues in the society of Greece. In addition, public art helps improve the beauty of the community through different types of paintings and murals.

There is also earning of foreign exchange when both local and domestic tourists come to view drawings and writings in the city and neighborhoods. In addition, sculptures and paintings enhance the environmental value of the city and make places of recreation look more humane. It also creates a domestic satisfaction and commercial pride of the city, therefore, attracting clients (Coutts & Jokela, 2010). Finally, public art creates jobs through employment of painters, sculptors and writers who ensure all the work of art is in place.

Public art like drawings and sculptures have an immense expression in terms of philosophy, population and culture. For instance, public art invokes the conscious and unconscious psychology of the society to help them reflect on social and political concerns (Davies, 2006). In addition, work of public art, for example, paintings reveal the world as it is and help the society in understanding life and existence. Furthermore, public art enables the community in expressing themselves to display inner emotions concerning feelings of love or hatred.

The population also influences the art they want in public. Either this can be through a sculpture or a painting, that expresses their preferences and tastes. In addition, it controls the thought process of the population and the way they perceive issues in the community.

It also communicates to the population and makes them a part of the government in making decisions affecting them (Coutts & Jokela, 2010). Furthermore, the ability of public art to achieve neutrality in representing both classes of the society is an effective way of expression.

Alternatively, public art affects the community in terms of culture in a number of ways. In terms of telling history, paintings, murals and drawings in the parks remind the society of its values and traditions. (Davies, 2006). Open art also glorifies a past when citizens see celebrated heroes and heroines in the form of sculptures and drawings. In addition, public art is known to express the hopes and fears of the community fostering a culture of understanding the society through work of art.

In conclusion, we can mention a few things. Public art as an entity belong to the citizens and should reflect their tastes and preferences. Here, we mean public arts like Liberty Statue in US and Eiffel Towers of Paris (Cartiere, 2008). There are also sculptures and historical drawings found in the old Rome that tell a history and pride of its people. Therefore, it is upon the governments and communities to preserve such art for coming generations.

References

Cartiere, C. (2008).The practice of public art. New York, NY: Taylor & Francis.

Coutts, G. & Jokela, T. (2010). Art, community and environment: educational perspectives. Chicago, IL: University of Chicago.

Davies, S. (2006).The philosophy of art. Malden, MA: Blackwell Publishing.

Annie Hall is one of the most popular comedy films in Hollywood. Its popularity not only transcends from its themes but also from prestigious awards that the film has scooped from the industry. It is one of the comic films that won four major awards in Hollywood. Woody Allen used the film to highlight the issues that surround love and romance in the contemporary society.

As described by the star, Annie Hall is a romantic comedy that reveals the issues, which affect intimate relationships between individuals of the opposite sex. The star of the film exhibits theme elements when he falls in love with Diane Keaton, who acts as the female costar in the film (Eagan 90). Based on this information, this study therefore seeks to analyze the contents of the film, theme, and effects of music in the film.

Themes and Content

One of the key themes in the film is a necessity and absurdity that are associated with love. Alvy manages to conquer Annie’s love and reveal how love can be ridiculous and fleeting but at the same time very essential in life.

This point is exhibited when the star of the film subscribed to the idea that relationships may be absurd but are very important for an individual to lead a healthy life. To this end, Alvy Singer is also worried about relationships and, therefore, consults the pedestrians on the key elements of a successful relationship (Bailey 124).

Alvy portrays the complications that are inherent in modern relationships when he tries to reflect on his past relationships with his two ex-wives. Despite the fact that star vowed to love the two women until death separates them, he could not understand what made him break the vows. The same case applied to his relationship with Annie when both of them decided to ignore the effects of connection between them (Eagan 92).

Assessment of the content of the film reveals that the element of love has been used to highlight the transformative aspect of art. The aspect of transformation is a common feature of love in real life situation (Bailey 123). For purposes of compatibility in their relationship, both characters transform their behavior to ensure the success of the engagement. Annie exhibits the willingness to adopt new lifestyles after falling in love with Alvy.

A character such as Rob also embraces transformation when he decides to move to LA and adopt a new lifestyle. The main characters in the film, Alvy and Annie fall in love. However, their relationship is short-lived, since the two separate even before the end of the film. The scenario indicates how modern relationships are marked by unpredictable and frequent conflicts (Eagan 89).

Annie Hall is one of the comic films that have also been used to highlight the effects of cultural stereotypes in the society. Alvy labels himself as a comedian from the Jewish culture. This stereotypical approach creates comedy in the film and also highlights the element of diversity in the society (Bailey 124). The stereotype is also used in the film to eliminate cultural barriers between the characters. For example, regardless of the cultural differences between Alvy and Annie, these two unlike people fall in love and spend time together.

The two characters interacted and associated with family members from both cultures. Alvy made an effort to interact with Annie’s parents and shared a meal with them in California. However, the meeting was marked by laughter and easiness as Alvy got the opportunity to share his experiences with Annie’s family. Most characters in the film tend to get used to being culturally stereotyped except for Annie who refused to be stereotyped (Bailey 125).

Performance taken by the characters revealed that the film relied on humor to convey its message to the audience. It integrated various elements of humor to create laughter. Various activities and events were also used to create the comic effect in the film. For example, Annie is a singer who composed songs that mainly delved on love and romance, Rob acted his part by portraying the themes of the song, and Alvy played a significant role in creating the comic effect in the film (Eagan 89).

Annie revealed that social interaction for romantic purposes must be demonstrated by performance. On the other hand, Alvy indicates that performance in romantic relationships must be associated with satisfaction. For example, he made jokes on the issue of sexual satisfaction and doubted his sexual performance when he felt insecure about his love (Bailey 123).

Apart from sex, drug abuse has been employed in the film to portray the themes of freedom, the youthful nature of the characters, rebellion, and open-mindedness. The main characters in the film were youthful individuals who were very likely to rebel against the rules set by the parents. Annie’s initiative to use drugs after having sex indicates the role of drugs in leisure and entertainment (Eagan 89).

Effects of Music

To bring the themes and content into perspective, the director of the film used jazz music in the background of the film. The music also reveals the behaviors of the characters in the play. In spite of the organization of the film, jazz music creates an aspect of tranquility. This, therefore, conforms to the theme of love and romance. The whole film revolves around the issues of love, comedy, and romance. Jazz music creates a greater impact by combining the three elements together.

Jazz music is also used to give emphasis on the theme of love. For example, when Diane Keaton performs a song titled ‘It Had to Be You’ in the background of the film, the audience is able to reflect on the main theme of love. The title of the song portrays a promise or a vow that was made by the lovers in the film. The song is performed twice to create more emphasis on the main theme (Eagan 88).

Music is also used to create a festive mood when the boys choir performed a Christmas Medley. The song reveals that the setting of the film is developed in a festive season when most individuals were on vacations (Bailey 123). The Christmas Medley is also used to highlight the element of tranquility and peace.

Music is also used to portray the aspect of dilemma that greatly affected the main characters of the film. For example, Alvy was in dilemma after having separated with two women before meeting Annie. The aspect of dilemma is exhibited by the song, which was titled ‘Hard Way to Go’ and was performed by Tim Weisberg (Eagan 95).

Works Cited

Bailey, Peter. The Reluctant Film Art of Woody Allen, Lexington, KY: University Press of Kentucky, 2010. Print.

Eagan, Daniel. America’s Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, London: Continuum International Publishing Group, 2010. Print.

From classical to chromatic and traditional musical ideas

The Lehman Recital Hall hosted a concert by the Lark Quartet with Molly Morkorski on December 4^th, 2013 (Webern, Copland and Brahms). This is a cheerful modern performance venue at Lehman College of the City University of New York. It has the advantage of current acoustical design (Lehman Center).

The event featured a variety of music. The program ranged from the solidly classical to examples from the innovators of chromatic music. The performers were skilled and enthusiastic. The audience was appreciative and respectful of the pieces and the group’s efforts. The audience doubtless benefitted from the explanations, although they were a bit difficult to understand.

The first piece was by Anton Webern, who was born in the 1800s but lived and worked into the 1900s (Academic Decathlon). The Six Bagatelles were written in 1911-1913 (Lehman College Recital Hall). The name, Bagatelles, means a ‘trifle’ or something not serious (Academic Decathlon).

They show the influence of experimentation with atonality. This means that traditional intervals, such as thirds and fifths are often replaced by unexpected intervals using all of the notes in the chromatic scale. This uses all the notes on the piano, not just the 8-note traditional scale.

There is no obvious melody. However, the music was not painful to hear. The instruments made sounds that were unexpected. In a movie, these sounds might have been used for special effects. They involved the musicians plucking and strumming the strings in ways that must have surprised audiences in 1913. The first movement or bagatelle, was marked massig, meaning slowly, and it was the most moving (MusicTheory).

The next piece was Two Works for String Quartet by Aaron Copland. This was far more melodic and quite haunting. However, it was much more atonal than the more familiar music of Copland, such as Appalachian Spring. Such advanced music was a surprise from a composer whom many in the audience probably associate upbeat ballet music.

Despite the atonality, Two Works for String Quartet managed to resolve into something that the ear could interpret as melody, or at least a repetition of a theme that eventually began to seem inevitable. This piece was well received, although the somewhat confused audience clapped between movements.

The performers were gracious about this mistake. The second movement included a few notes that almost sounded in error, but this seems to have been part of the composition. This piece was actually quite memorable, in spite of not being hummable.

The third piece was the most accessible. Brahms was easy to listen to and easy to love. The Brahms Piano Quintet in F Minor, Opus 34 is actually somewhat familiar. It is played on the radio sometimes. It is completely classical and very melodic, or at least, it makes the ear believe that there is a melody there.

The piece is very emotional, with a great deal of variation in tempo, volume, and intensity over the course of the work. The inclusion of the piano made it a richer sound. Whereas in the Webern, the variety of sounds that the composer draws from the instruments is astonishing, in the Brahms, it is the variety of melodic effects that is amazing. There are several themes and several different ways that these themes are expressed (Rodda).

The music is not programmatic. Nonetheless, it invites the listener to make up a story in their heads to accompany the rise and fall and resolution of the piece, especially the march tempo section. Perhaps it is unsophisticated to say so, but this was music that one could listen to over and over again with joy.

This was a challenging set of pieces to hear, and the Brahms was by far the easiest to enjoy and begin to imagine understanding. The introduction of seriously atonal music that was nonetheless more or less pleasurable to listen to was most enlightening. This concert made this listener want to hear more of Brahms, and even, perhaps, Webern and Copland.

Works Cited

Academic Decathlon. Anton Webern. 2013. Web.

Lehman Center. Lehman Center for the Performing Arts. 2013. Lehman College of the City College of New York. Web.

Lehman College Recital Hall. “The Lark Quartet and Molly Morkorski.” Concert Program. New York, 2013. Print.

MusicTheory. German Musical Terms. 2013. Web.

Rodda, Richard. Johannes Brahms. 2004. Web.

The Lark Quartet and Molly Mokorski. By Anton Webern, Aaron Copland and Johannes Brahms. Perf. The Lark Quartet and Molly Mokorski. Lehman Recital Hall. 2013. Live Performance.

The Production Overview

Sister Act is the famous Broadway musical which could also be seen at the Fox Theatre during November nights. This fact is important because many people interested in musical and comedy should see Sister Act which can be discussed as the funny and impressing show.

The show is based on the music by Alan Menken, and the variety of wonderful songs the lyrics to which is written by Glenn Slater is presented in the musical. The story written by Cheri Steinkellner and Bill Steinkellner is based round the person of Deloris Van Cartier who became the witness of a crime and should have been hidden in a convent where this diva changed her life and the life of Mother Superior and other sisters. The character of Deloris Van Cartier was played by Raven Simone.

The Environment

The musical show could be seen at the Fox Theatre which is the effectively arranged performing arts center. While discussing the settings, it is important to note that decorative elements were chosen carefully not to draw the audience’s attention from the persons of singers.

On the contrary, the dresses of the singers were rather vivid when the elements of show were accentuated, and they were rather simple when the events in a convent were discussed. The most important and vivid factors were the observed behaviors of the singers who attracted the attention of the audience from the first second of the musical.

The Music

Sister Act is written and performed as the typical comedy musical developed according to the Broadway traditions and principles to focus on the show. The funny story presents Deloris Van Cartier, a singing diva. This woman has to hide in a convent in order to avoid the gangsters’ revenge. Mother Superior begins to supervise Deloris, and the young woman decides to help with improving the convent’s choir. Deloris succeeds in her activities, and the choir becomes really popular because of Deloris’s focus on the show.

The events of the story are reflected in the songs which can be described as belonging to funk, soul, and disco music styles. As a result, the leading singers change their singing styles according to the concrete song, contributing to the music’s variety. The use of the chorus performing soul songs is necessary to accentuate the significant and solemn events demonstrated in the musical.

The used music is different in relation to genres and their combination because it is necessary to represent the nature and mood of the discussed moment. Thus, disco emphasizes funny moments, when soul is used to depict the characters’ feelings. The songs are performed in English, and the audience has the opportunity to understand the great lyrics by Glenn Slater. This musical can exist without the music, but only in the form of a movie.

It is also necessary to describe the lighting, sets, and acting. The show is organized carefully, and the lighting is used to emphasize the leading singers whose acting is rather perfect because they reflect the characters’ emotions through music and singing styles. Thus, musical can be discussed as more interesting than the movie because the mix of dancing and singing provides the necessary focus on the characters’ emotions to produce the definite atmosphere rather than on the aspects of acting, as it is in movies.

Performance

The leading singers perform such beautiful songs as “Take Me to Heaven”, “Sunday Morning Fever”, and “Raise Your Voice” among the others. The fact that the actors represented all the emotions hidden in the songs perfectly supports the idea that the singers were prepared carefully.

The music was rather balanced in relation to loudness or softness in order to emphasize the definite moments in the songs. Furthermore, it is important to pay attention to the vocal quality of singers who demonstrated the impressing easiness while shifting from one genre to another or one singing style to another to address the character of the songs.

The audience reacted to the performers positively because this musical can be discussed as unusual in relation to all its elements. The focus on the soft narration is changed with the vivid show, and these extremes are rather pleasant for the public because they are reflected in the music’s variety.

Thus, the funky music with the elements of disco and soul based on the vivid show was the strongest feature of the musical. Moreover, the musical is effective because the audience can enjoy switching moods and tempos in the songs in order to accentuate the characters’ emotions.

General Reactions

Seeing Sister Act can add to the audience’s understanding of the genre of musical because this comedy reflects many typical features characteristic for musicals. However, this experience can be rather unique because this musical exaggerates the element of comedy in it and combines comedy with the vivid show.

Thus, it is possible to recommend attending Sister Act because the variety of songs and actions can contribute to the person’s understanding of the musical genre and to raising the moods significantly. Sister Act supports the idea that musicals are often vivid shows.

Branagh’s Hamlet is a version that sets the “to be or not to be” scene in a palace, in a room surrounded by mirrors (Eirion HyperApps, 2012). The choice of mirrors is a deliberate decision by the director to symbolize Hamlet’s internal conflict. He is contemplating suicide because his life has become difficult for him (Eirion HyperApps, 2012). The mirrors help Hamlet reflect on life and also see the advantages and disadvantages of whichever decision he would make.

Branagh uses the tone and gestures that make it possible for the audience to feel what he feels (Eirion HyperApps, 2012). He has to choose between life and death. He clenches and then raises his hand to threaten and express his anger in the way life is taking him. As the actor and the camera approach the mirror, his image also gets closer to it.

This brings out his emotions, which would be invisible in the real world. It is symbolic in the sense that dreams might come true. When Branagh jerks out his knife and directs it towards the reflection, it emerges that the desire to live overshadows that of dying (Eirion HyperApps, 2012).. He only taps the dagger at the mirror rather than using it on himself.

Laurence Olivier’s production of Hamlet presents this soliloquy in a different way. This scene displays Hamlet sitting on a cliff staring at the sea (Karldallas, 2010). He is in deep thoughts. This can be clearly seen on his face and in his voice. Initially, Hamlet seems to have totally made up his mind. He speaks in a pessimistic tone, and his facial expressions agree with his words. From the beginning to when he says ”To die: to sleep; to sleep,” we believe that he will die.

At the peak of his disillusionment, he pulls out a dagger to commit suicide, but realizes that his death will not help to solve his problems (Karldallas, 2010). The man suddenly drops his ambition to kill himself and raises his voice while reciting the remaining part of the soliloquy.

The words and performances that follow carry a somehow optimistic tone. Hamlet’s attitude to life has changed. Now he seems livelier than before, which shows his renewed readiness to live (Karldallas, 2010). Hamlet looks at his dagger and disposes it into the sea. Then, he stands up and walks to the edge of the cliff, looks into the sea and walks away from this point. This performance, therefore, takes the audience through the whole process of attitude transformation within Hamlet.

Hawke’s version takes a different setting. In this version, Hamlet walks aimlessly in a library looking very depressed (MarceloCordioli, 2008). He looks at the books on the shelves as he walks back and forth, but seems not to notice them. His choice of setting is appropriate as it helps to bring out the picture of Hamlet’s mind. His lack of concentration on the books shows that he is in trouble. At some point, he even stands in one position not knowing what to do next.

The turning point is when he sees a man shooting another man in a movie (MarceloCordioli, 2008). This makes him wake up from his “sleep”. Before this point, Hamlet thinks without speaking, which shows the audience that he is too depressed. Shortly after the movie incident, the man speaks out his thoughts loudly, thus, showing a transformed attitude to life (MarceloCordioli, 2008).

The performance I like most is the one presented by Olivier. The director chooses a very befitting setting. He puts Hamlet on top of a cliff near the sea (MarceloCordioli, 2008). He speaks in a resigned tone and his facial expression changes with the direction of his thoughts. Hamlet looks very depressed at the beginning, but becomes somehow lively when he makes up his mind to live.

This version brings out Shakespeare’s original idea better than the other two. The author wanted to bring out a very depressed Hamlet; a Hamlet who lost a father and intends to kill the person who murdered his father, and married his mother. He even ends up killing the wrong person in the process.

Olivier captures this state of mind by his choice of setting (a cliff near the sea), and Hamlet’s actions when he point a dagger at himself, throws it into the sea and walks away after deciding to spare his life (MarceloCordioli, 2008). The actor’s facial expressions are also appropriate in showing his state of mind.

The other two performances do not express Shakespeare’s ideas fully. The setting Branagh chooses is not the best as he uses too much symbolism, especially the mirrors. The palace he depicts also does not make this version bring out a vivid picture of somebody who wants to commit suicide. The palace would have done better in the scenes involving happy moments than melancholic ones.

Hawke’s version, on the other hand, only concentrates on movements, tone and facial expressions, but not on actions. It portrays Hamlet as a person in deep thought, who would not want to commit suicide or kill somebody. The use of actions would have complemented the facial expressions, movements and tone. The result would have enabled the audience to envision what Shakespeare wanted them to see.

References

Eirion HyperApps. (2012). Hamlet, To be or not to be-Kenneth Branagh. [Video file]. Web.

Karldallas. (2010). Olivier’s Hamlet Film. To be or not to be. [Video file]. Web.

MarceloCordioli. (2008). Hamlet-To be or not to be. [Video file]. Web.

Introduction

The Chinese culture has a thousandth history and embodies the traditions and religious beliefs of the Chinese people. The Metropolitan Museum of Art exhibits a beautiful collection of the Chinese household items, the décor objects and other artifacts. The aim of this essay is the describe one of the objects displayed by the museum.

The Main Body

The Chinese collection by the Metropolitan Museum of Art consists of a number of interesting cultural artifacts. In this essay, I am going to describe one of them, a porcelain dish decorated with the traditional Chinese ornament. The dish is round shaped and it is rather deep. The size of the object is 4.8 cm in height and 23.8 cm in diameter. The design is traditional Chinese with the decorations depicting the dragon and the lotuses.

The prevailing colors are blue and white. The elements are emphasized with black lines. The dish can be referred to the Jingdezhen ware. It is made of the porcelain decorated under the transparent glaze^[1]. The porcelain is the traditional medium of the Chinese ware. “China is the hometown of porcelain and the invention of porcelain was China’s great contribution to the world civilization”^[2].

The Chinese culture is saturated with the symbolism, which has a long history. The Ancient Chinese people believed that the symbols had the impact on the subconsciousness of people. It was considered that the system of conformances in the national symbolism indirectly influenced the behavior of people.

In the Chinese culture, the dragon symbolized the wisdom, energy, and strength. It was a very positive sign and represented the nobleness and greatness. According to the legend, the dragon lived in the water but had the ability to float in the air. It is still one of the most important symbols in the Chinese culture.

Lotus is another popular symbol in the country. We can also see that its flowers take the central place in the dish’s decoration as well. The lotus is the symbol of purity and beauty. Due to its natural ability to unfold with the sunrise, it is considered to be the symbol of the revival and new life. “The lotus was a rare water plant of imperial and private gardens in the past times, and in modern scenic gardens, it is even more favored and extensively planted”^[3].

The dishes similar to the one described above were used as the part of the table set. The porcelain was expensive enough. Probably, the dish described in the essay belonged to the wealthy family. The object is dated to the XVI century.

Conclusion

In order to sum up all above mentioned, it should be said that the Chinese culture has a long history. The dish displayed by the Metropolitan Museum of Art represents the Chinese culture of the XVI century. It was made of porcelain, which was the traditional medium of the Chinese ceramics.

The symbolism plays a crucial role in the national culture. The dragon is the symbol of the greatness and nobleness, whereas the lotus is considered to be the symbol of purity, beauty, and revival. Overall, the collection of the Metropolitan Museum of Art is rather interesting and helpful for the study of the Chinese art.

References

“Dish with Dragon and Lotuses”, Metmuseum. 2013. Web.

“Lotus and Traditional Chinese Culture”. Cultural-China. 2010. Web.

“Origin of Chinese Porcelain”. Chinaculture. 2013. Web.

Footnotes

1. “Dish with Dragon and Lotuses”, Metmuseum. 2013.
2. “Origin of Chinese Porcelain”. Chinaculture. 2013.
3. “Lotus and Traditional Chinese Culture”. Cultural-China. 2010.

Thesis statement: Despite the fact that Aphrodite as a mythological character comprises both the elements of physical attraction (Aphrodite Pandemos) and ethereal qualities (Aphrodite Ouraneia), which incorporate spiritual and moral qualities, most artists tend to exploit the former image more often in their works, putting the emphasis on Aphrodite’s sexuality, which can be explained not by chauvinist moods, but by the public’s unwillingness to accept another interpretation of a famous character.

Indeed, when considering the majority of artworks devoted to Aphrodite, one will find out that the goddess is rarely portrayed as Aphrodite Ouraneia; her ethereal qualities are only included into most of the artworks at best, completely ignored at worst. One of the most famous artworks, Sandro Botticelli’s The Birth of Venus depicts the beauty of innocence, yet still puts a strong emphasis on the sexuality of the character.

It would be wrong, however, to claim that every single artist exploits sexuality of the character in question to the nth degree; one of the chastest artworks devoted to the goddess of beauty and love, Aphrodite of Milos strikes with the lack of sexual connotation of the image. Even though devilments of nudity are obvious, they are not stretched to the nth degree, which allows the audience to view Aphrodite as the symbol of love and beauty.

From a certain perspective, Botticelli’s Aphrodite can also be seen as the symbol of love rather than sexuality; the use of pastel palette and the lack of obviously sexualized imagery can be considered as a proof for Botticelli’s intent to depict the innocence of young love, which borders platonic love.

The aforementioned artwork, however, is one of the few exceptions of the overall sexualized images of Aphrodite in art, not to mention the depictions of the goddess of love in popular culture. Speaking of more recent portrayals of Aphrodite as the representation of desire instead of love and beauty, one must mention such work as Robert Fowler’s Aphrodite. While one would not consider this work shallow, it still tends to capture the elements of Aphrodite Pandemos rather than Aphrodite Ouraneia.

There is no denying that each artist tends to create his own Aphrodite in accordance with his/her vision of beauty. However, it seems that in their works, most artists tend to choose the elements that stress the elements, which contribute to sexualizing the character. For instance, most artists choose to “dress” Aphrodite in the clothes that put the emphasis on her body, tending to depict such materials as silk, which also add to the sexualization of the image.

The reasons for the choice of the theme that the manner of depicting Aphrodite is based on a large variety of factors, among which, personal preferences of an artist are obviously a priority; however, most of the existing artworks prefer Aphrodite Pandemos to Aphrodite Ouraneia, which can be explained by stereotypical thinking of an artist, as well as the fact that the public is not ready to accept a sudden change in the traditional depiction of the ancient goddess.

While the reasons for the reluctance to see Aphrodite as the goddess that possesses a certain ethereal qualities can be viewed through the lens of feminism, with the application of gender profiling concept, it still seems that the phenomenon in question can be explained by laziness.

While the image of Aphrodite Pandemos seems to have been cemented in the heads of most people, the image of Aphrodite Ouraneia seems to be alien for the greatest part of the population; hence the need to exploit the former appears.

Ko-Kutani (old Kutani) is a brightly coloured Japanese porcelain or ware with striking decoration. The above squared Japanese drinking bottle coated with an extra layer of shiny coatings has four sections of the same, but not exactly similar landscape and flower patterns. It has brilliant and startling green, blue, and yellow mountains and rocks. In addition, the red trees and green pagodas at the luminous background are dazzling, which create an effect just like the other pairs of flowering ‘nadeshiko’ pinks.

The name Ko-Kutani originated from the Japanese area of Kutani, which is situated on the west coast of the main island, Honshu in the region of Kaga. In 1661, the Maeda clan started to make wares that were highly colourful and richly decorated with enamels in this region. Towards 1700, the production base could not maintain its vigour and the industry collapsed.

However, in the early period of the 18^th century, the kilns were re-opened to make the next models referred to as the Ao-Kutani or the ‘green’ ware. There were speculations that the clay and colours used in the production of the wares were becoming rare. After the 18^th century, potters produced the new forms of Kutani that they exported throughout the world.

The old Kutani has images and decorations that captured the lifestyle of the Japanese. In addition, they also reflected nature, plants, animals, and sceneries. Kutani differs from other forms of the Japanese pottery because of the extensive usages of bright colours obtained from plants and rocks in the region.

Chinese bronze mirrors are commonly narrow spherical objects, vaguely curved on the glowing smooth side and enamelled with sheds of designs on the opposite side. These bronze mirrors are symbolic in nature. They have a tiny ring or a curved dome in the middle of the opposite side, which serve as an attachment cord.

The earliest recognised mirrors could be traced to the period of 900s-800s BCE, Western Zhou. However, in the period of Han and Tang dynasties, several greatly decorated mirrors were made. These mirrors became items of expressing of mythological and cosmological thoughts and beliefs because of their reflective nature.

The typical ‘caoye’ or grass and leaf model consists of a regular ornamentation that looks like an ear of a corn and the trefoil forms on the focal surface of the mirror just near the central square. It has a caption at the square area that reads, ‘jianrizhiming, tianxiadaming’ (may you see the light of the sun and may the world enjoy great lightness). This indicates that the mirror design symbolises a type of cosmological harmony.

The Chinese bronze mirrors acted as items of displaying beauty and one’s image among the wealthy and complex cultures of the time. While these mirrors had goodwill massages, they were also objects of shamanism and mystery. They helped in daily beautification activities and acted as means of connecting people with aspects of life beyond comprehension. Hence, Chinese bronze mirrors were critical objects in spiritual activities.

The Chinese bronze mirror reflects ancient technologies in arts. For instance, analyses of the buried Chinese bronze mirrors have shown that some parts of the mirrors resisted corrosion that was common in iron or tin materials. The chemical permanence of the Chinese bronze mirror has resulted in metallurgical studies in the past decades.

Introduction

Charles Marion Russell was a West American artist born in 1864. Russell is greatly referenced for his ability to combine cowboy artistry, with other attributes like history and beauty. Russell recorded approximately 2000 works and incorporated bronze and oil in his paintings.

Russell’s collections can be found in C.M. Russell Museum Complex based in Montana. It should also be noted that, Russell was a talented storyteller and author. The works by Russell have realized financial success, as evidenced by the recent purchase of Piegans painting at $5.6 million, in the year 2005

Discussion

Russell identified with art even when he was young. He demonstrated interest in wild art, as he made sketches and molded animals using clay. His interest in wild adventure was evidenced by the early stage that he learnt to ride horses.

It should be noted that, Russell dropped out of school when he was only sixteen years and found a job in a ranch based in Montana. Russell’s job in the Montana ranch was not long-lived, as he relocated to Judith Basin and became a hunter. It was at Judith Basin, that Russell became acquainted with Western norms. Russell led his career in Montana where he died in 1926.

As a cowboy, Russell depicted weather conditions at Judith Basin by painting. Russell’s career began in 1888 after he made a sketch he named ‘Waiting for a Chinook’. Russell later improved the painted version of this sketch. During this period, Russell interacted with people of Blackfeet and became well versed with the Blacks’ norms. Russell returned to Judith Basin in1889, where he noted increase in settlements. He began working as full time artist in a studio and developed his career intensively.

Russell married an eighteen year old girl when he was at age of thirty two. After his marriage he relocated to Great Falls. Most of his works were done in Great Falls and his reputation spread locally and internationally. His wife Nancy played a crucial role in success of Russell. Nancy did not only pose in the image of Keeoma 3, but also engaged in a lot of marketing for Russell’s art especially in America and United Kingdom.

Wild Horse Hunters

One of the notable works by Russell was the Wild Horse Hunters he painted in 1913. The painting featured people chasing after untamed horses. Russell used beauty of form and color to highlight his painting. The bands that are chasing after the wild horses are led by stallions.

In this painting, Russell used background of mountains and other features he had sketched while in Judith Basin. The use of untamed horses symbolized the unrefined Western culture that was spreading to other regions. Most scholars accredit this piece of work by Russell for the aspect of humor it assumes.

The Medicine Man

The Medicine Man was also celebrated, as great work by Russell. The work depicted great reference that Russell had for Indians. It should be noted that, the piece of art defines a cultural product associated with Indians. An Indian medicine man was supposed to guide people in their movements and act as the intermediary between Indians and the spirit. In addition, a medicine man had power to talk with animals.

The painting consists of Indians, specifically the Blackfeet and a medicine man is in front of them. The background of the painting is a tree that Russell sketched back in Judith Basin. The mountain of Highwood is also highlighted in the painting. The region originally belonged to Blackfeet people, who engaged in activities like hunting.

The painting by Russell demonstrated the high esteem that an Indian medicine man was accorded. The medicine man carried a crooked rod that was crowned with feathers. Russell uses a crooked rod to signify single tribe inclination in place of the whole Black race. Russell highlights the powerful cultural product of Indian medicine.

The medicine man wears an antelope medallion around his neck that was used to identify a thief among the Indians. Further, Russell brings forth a strange shape of a key at the shoulder of a horse. Formation of such a shape meant that the one riding the horse was a thief. It should be noted that, Blackfeet were nomads and moved along with their properties. Russell highlighted poles that Blackfeet used to carry animal hides. In Russell’s paintings reference and respect among the Blacks, is evident.

Conclusion

Russell contributed significantly to the world of art. In spite of acknowledgements that Russell received, there were critics directed to his works as well. It should however be noted that, many scholars identified with Russell’s works. He employed rich aspects of nature and transcended culture boundaries, thereby securing large audience worldwide. One admirable fact about Russell was that he did not learn his art in school.

There is no mention of Russell’s study after he dropped out of school at the age of sixteen years. Nancy contributed to Russell’s success significantly especially in the marketing sector. Despite the fact that Russell was West American, he incorporated culture and norms of Blacks as well. In this regard, Russell promoted culture awareness as well as appreciation.