Art Appreciation Dorothea Lange's Migrant Term Paper

Upon the altar of which this piece would have been a part, the priests of the medieval age would have offered the sacrifice of the Mass -- in which the Body and Blood of the Christ would be offered in an unbloody manner through an act called Transubstantiation. This was a central portion of the Mass and was part of the belief system of the "age of faith" in Western civilization.

The altarpiece depicts various figures from the Christian mythology, such as Christ, the Blessed Virgin, St. Anthony and St. Sebastian. The central image, however, is the one upon which the entire mythology of the Middle Ages is based -- the Incarnation of God and His death upon the cross.

What this says about the civilization of Europe in the Middle Ages is that it had a strong desire to see their faith as both realistic and mythical. The images and patterns and persons in the altarpiece are drawn from historical narratives as well as from traditions passed down from generation to generation. Grunewald's depiction of the crucifixion, however, is particularly disturbing, for it does not shy from detailing the gruesomeness of the scene.

At the time of this painting, Europe was undergoing a radical change in theology. The Protestant Reformation was rearing its head and Europe's reliance upon the authority of the Catholic Church was about to be tested. Grunewald's altarpiece is as realistic a reminder of the faith as one could get in the 16th century -- and for that it would have been praised by pious religious, who wanted to hold firm to their beliefs. Others, like Martin Luther, who would attack the Mass as an abomination, would like have objected to an altarpiece for an altar, upon which the Mass was celebrated.

What Grunewald appears to be saying with this altarpiece is that the faith is real and alive and strong. Grunewald's depiction the crucifixion is, like the Buddha, a teaching tool for the faithful: it shows what their God suffered and who was present at His suffering. It also challenges one to be present at the crucifixion as well.

The Water and Moon Guanyin Bodhisattva

This statue of the Buddhist deity represents Asian spirituality. There are male and female characteristics to the statue, which make it appealing to both sexes of humanity. What it says about the culture of Asia and its beliefs has much to do with samsara and nirvana. The story of Buddhism, of course, follows the life of Sakyamuni, who went out in search of enlightenment. Sakyamuni goes to the guru, practices yoga, attempts the practice of self-denial to the point of nearly ruining his health. What Sakyamuni did do that would set Buddhism apart from Hinduism was this: he meditated on the samsara -- and discovered the way out: he became enlightened -- that is, he became a Buddha. Sakyamuni's enlightenment was, essentially, a kind of self-renunciation -- benevolent stoicism, in a way. While Buddha's insistence upon meditation and reason de-emphasized sacrifice and obeisance to the Hindu gods, it did not completely separate itself from the ideas of Hinduism. Buddha still acknowledged the necessity of uniting the self or soul with the divinity -- however, the necessity of worship was no longer of utmost primacy. Furthermore, what was that divinity behind the figure of gods and goddesses? It was now less clear: perhaps it was not even a divinity at all -- but rather a state: thus, Nirvana -- freedom from the cycle of reincarnation. What this statue appears to express is the idea that the Bodhisattva is a Buddha who has been through life and broken free from the cycle of reincarnation: thus, he extends to all his followers a hand in freeing themselves from the same cycle. Works Cited "Buddhist Studies." BuddhaNet. Web. 12 Aug 2011. Martinez, Eugenia Soledad. "Crossing Cultures: Afro-Portuguese Ivories of 15th and 16th Century Sierra Leone." Web. 12 Aug 2011. Michelle of Nah Tah Wahsh PSA. "Pomo Basket." Web. 12 Aug 2011. .....