The presence of Tara in the Buddhist pantheon over the centuries, both as a bodhisattva and as a female buddha, has offered a sense of inclusivity to many female practitioners.
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Wisdom, Compassion and Wrath: The Many Faces of Female Buddhist Deities – Intern Exhibition Online
For over two millennia, Buddhist practitioners have aspired to liberate themselves and all other living beings from the suffering of saṃsāra—a Sanskrit term which refers to the never-ending cycle of death and rebirth endured by all inhabitants of the six Buddhist realms of existence. In order to transcend saṃsāra, Buddhists strive to rid themselves of […]
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Guanyin and the Filial Parrot
The scene depicted in this exquisitely rendered painting illustrates the Chinese Buddhist legend of a parrot that became a disciple of Guanyin.
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Defending the Dharma: Buddhist Guardian Paintings
When the Korean government turned against Buddhism, Korean Buddhists found creative ways to continue their practice, often incorporating new imagery and deities.
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Highlights of the Collection: Marini, Horse and Rider
2019 Wilson Summer Intern Chenlu (Cindy) Zhu ’19 analyzes the work of Marino Marini, who employs the motif of bodily distortion to express postwar trauma.
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The Artistic Meditations of Elizabeth Turk
“The spirit of change, which is fundamental in any theme of impermanence, is acutely alive in all my work,” said Elizabeth Turk ’83.
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Highlights of the Collection: Everts
These artists employ the recurring motif of bodily distortion to express postwar trauma.
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From Ceramics to Scrolls, SCC Enriches Art Collections
The Scripps Collectors’ Circle met late last fall to choose a selection of new works for the College art collection.
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Highlights of the Collection: Oliveira
In this series, we look at three artists who employ the recurring motif of bodily distortion to express postwar trauma.
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Baltermants, Trial of a Bourgeois Landowner, Vietnam
In his photograph, “Trial of a Bourgeois Landowner, Vietnam,” Baltermants captures the aura of a temporary court in Communist Vietnam.
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