Different Ending of Mural The Painted Wall and Mural demonstrate two different response of the scholar Zhu, when he hears the words of the monk: “Illusion arises from oneself, how could I explain it to you (Zeitlin 218)?” In the original story, Zhu does not reach enlightenment and flees away from the temple with his friend, the scholar Meng. He continues to perpetuate the fascinating experience with the goddess who comes from the painted wall. Even though, to some extent, he recognizes the deceptive world, the happiness he experienced in the other realm keeps him lingering around for some while because he could not little significant things in the real society. At the same time, he is reluctant to admit the indecent truth as a Confucian scholar. Confronting the sincere enlightenment of the monk in the Buddhist temple, they leave immediately because of guilt and outrage. …show more content…
At the end of the movie, he is willing to share his food with Meng and return his sword. To a certain degree, Zhu is the incarnation of the Budong monk for their unchanging benevolence. On the one hand, he monk cannot determine to be a Buddha because he has the sense of responsibility to extricate Your Highness from the unfortunate circumstances that are caused by him. On the other hand, the scholar also has the sense of obligation to rescue Mudan out of the prison after he notices her dangerous situation, while he could be blind to this selfishly. The conversion of the scholar Zhu is influenced by the benevolence of the monk more or less. Because of this, Zhu is able to attain the ultimate enlightenment, rather than flee away with his
History plays a very important role in the development of art and architecture. Over time people, events, and religion, have contributed to the evolution of art. Christianity has become a very common and well established religion, however, in the past it was hidden and a few people would worship this religion secretly. Gradually, Christianity became a growing religion and it attracted many converts from different social statuses. Christian art was highly influenced by the Greco-Romans, but it was immensely impacted by the establishment of the Edict of Milan in the year 313 AD. The Edict of Milan was so significant that scholars divide Christian art into two time periods, time before and after the Edict of Milan of 313.
...ues and morals of both religions to demonstrate how Buddhism is a parasite and is out to interfere intentionally with Confucianism, the dynasty, and the society. Not only does Han Yu utilize institutional religion to his advantage, he also applies the idea of religion and state with Buddhism and the Tang Dynasty. He uses this theme in the sense that Buddhism and the dynasty can not go hand in hand, for the religion brings nothing but destruction for the bureaucracy and the emperors. By indicating that the religion lead the emperors astray, Han Yu manipulates the people to presume that Buddhism conveys detrimental values and should be eradicated. Even though Han Yu’s portrayal appears to be accurate, he does not consider any factual evidences and simply takes into account the changes that occurred because of Buddhism as being the cause of the demise.
Chinese scholars were positive towards Buddhism and pro-Buddha. In the document of “The Disposition of Error”, an anonymous Chinese scholar answers the challenges to Buddhism in China in an argument about converting to Buddhism between Confucianists and Buddhists. A confused strict Confucianist ask if Buddhism was so great why wasn’t it recorded? “If Buddhism is the greatest and most venerable of ways...
Throughout history, women have had to continuously fight for their rights and equality in society. Women have fought to separate themselves from their controlling husbands, fought to become independently accepted and have fought to create their own destiny. Within their short stories, Charlotte Perkins Gilman and Kate Chopin address this search for freedom and independence. Chopin’s publication of “The Story of an Hour” in 1894 was not far behind Gilman’s publication of “The Yellow Wallpaper” in 1892. During this time period, women were starting to fight for more social rights and social equality. Both stories analyze the social standards of this time and the oppression of women by men.
Women have traditionally been known as the less dominant sex. Through history women have fought for equal rights and freedom. They have been stereotyped as being housewives, and bearers of children. Only with the push of the Equal Rights Amendment have women had a strong hold on the workplace alongside men. Many interesting characters in literature are conceived from the tension women have faced with men. This tension comes from men, society, in general, and within a woman herself. Two interesting short stories, “The Yellow Wall-paper" and “The Story of an Hour," focus on a woman’s fix near the turn of the 19th century. This era is especially interesting
Again, personal betterment is presented. In the end, Bao-yu does experience transformation. After another experience in the Land of Illusion, Bao-yu is changed, and decides to rehabilitate the house’s reputation. He succeeds in this effort, and leaves thereafter to become a monk. With this revelation, the effect of Taoism on Bao-yu’s character is obvious.
During the 1890’s married women had little to no freedom or rights, the men controlled
The right explanation of Lao Tzu’s view on filial piety takes into account the concept of nature which is one of the core principles of Taoism. What Lao is really saying in the statement is that any form of filial piety that begins only after a conflict has ...
The narrator first describes the wallpaper as “repellent, almost revolting” but she cannot ignore it. Her attraction to the yellow wallpaper grows as she attempts to figure out its pattern. She keeps looking at the yellow wallpaper and determines that the pattern is a woman trapped within the wallpaper, “shaking [the bars] hard”, trying to escape (542). This ultimately leads to the climatic ending with the narrator ripping the wallpaper apart, crawling on the floor alongside the rooms’ walls, and completely “losing it”. Even though the narrator’s obsession of figuring out the wallpaper’s pattern is the primary impetus that causes her to go insane, there is a greater underlying reason as to why this happened.
Although both protagonists in the stories go through a psychological disorder that turns their lives upside down, they find ways to feel content once again. In Charlotte Gilman's "The Yellow Wallpaper," a nervous wife, an overprotective husband, and a large, damp room covered in musty wallpaper all play important roles in driving the wife insane. Gilman's masterful use of not only the setting, both time and place, but also of first person point of view, allows the reader to process the woman's growing insanity. The narrator develops a very intimate relationship with the yellow wallpaper throughout the story, as it is her constant companion. Her initial reaction to it is a feeling of hatred; she dislikes the color and despises the pattern, but does not attribute anything peculiar to it. Two weeks into their stay she begins to project a sort of personality onto the paper, so she studies the pattern more closely, noticing for the first time “a strange, provoking, formless sort of figure that seems to skulk about behind that silly and conspicuous front design” (Gilman). At this point, her madness is vague, but becoming more defined, because although the figure that she sees behind the pattern has no solid shape, she dwells on it and
Xuanzang was a highly educated Buddhist monk from China, who in 629 C.E. made the long and treacherous journey along the Silk Road to India. His main objectives in his sixteen years away from home were fundamentally religious; he only wanted to study more complete scriptures to answer questions he had, which he deemed unsolvable in his own country. It is important to understand Xuanzang’s own position within the Chinese society and the type of situation it was in: Chinese Buddhists had many disagreements
“Life is a series of natural and spontaneous changes. Don't resist them - that only creates sorrow. Let reality be reality. Let things flow naturally forward in whatever way they like” (Lau Tzu). Born into a life of noodles and relaxation Po, a chubby panda, always wanted to be a Kung Fu master. Out of nowhere an opportunity arises to have his dream become reality. Po, like any normal panda snatches up this once in a lifetime opportunity and runs with it. But when the going gets tough, he doesn’t know if this is the life he was meant to live. While the film was meant for enjoyment, DreamWorks has incorporated clear examples of the three major Chinese Schools of Thought: Confucianism, Taoism, and Buddhism.
Through time due to advancements in material and painting techniques combined with the ever-increasing talent of the artists, paintings representing people have become very lifelike and are extremely realistic. Some painted portraits have as much detail as modern photographs. However, there are also paintings of people that are representational in which the artist is trying to convey a message. This paper discusses the two types through the comparison of two paintings, Abaporu and Portrait of a Lady.
At her time, Buddhism had existed in China for more than 500 years and had a widespread popularity. It was a strong ideological force for Wu Zhao to use to justify her accession to the throne. Wu Zhao legitimize her sovereignty by using the translation of the Buddhist Sutra as an ideological support. Fazang, one of the greatest translator, wrote a commentary on the Flower Garland Sutra. He marked "The Commentary on the Great Cloud Sutra provided the prophecy that she would guide the Great Zhou by turning the Golden Wheel" (Rothschild 142). Universality is one of the most important principle in Flower Garland Buddhism that represents the infinite extent of the Buddha's compassion. Also, it can be used to represent the infinite reach of the ruler's authority. Wu Zhao saw the political potential from it so she decided to use the idea of the Cakravartin to link herself with the focal Buddha. The Cakravartin is "a magnanimous conqueror who unified a disparate empire under Buddhist law" (Rothschild 145). She asked 10 Buddhist monks, to write the Commentary on the Great Cloud Sutra to support this idea. When the commentary was finished, she was able to corroborate her image as Cakravartin and to claim her sovereignty with the support of this well-designed prophetic sutra. Therefore, by using Buddhism as theory support, Wu Zhao successfully legitimize her ruling as a Buddhist
The majority of people if asked, would not be able make any distinction between street art and graffiti art. Though in reality they are actually quite different; Graffiti writing and street art are often confused with one another. They both display their work out in the open instead of in a gallery. Though, graffiti artists display their work publicly, they are really only concerned with relating to other graffiti artists; rather than the general public. On the other hand, street artists just want to catch the attention of the general public by making a statement with their art. Although street art and graffiti art seem very similar, upon closer examination the differences in technique, function, culture, and intent are revealed (Weisburg.)