Monday, April 28, 2003


Korean Buddhist Prayer Container Analysis Part 5

Continuing analysis method the brought forth a couple of months ago.

2. Tripart Division of Form:

Our Korean Buddhist Prayer Container displays 3 main elements, base middle, and top.

Starting from the top, we have a knob like projection and then two distinct levels or steps. The knob appears to be just that, a knob. Perhaps is it pointing up above the piece, signifying the continuation of the piece in a non-physical realm, or maybe referring to higher concepts.

The two steps could be where a lid separates from the the container. By making them distinct, one is drawing ones attention to the idea that this is a container and the importance of the opening as well as the act of opening (also the items within.) By having the top step be larger that the lower, we have the negative space of the lower allowing the top to float or defy gravity...at the same time the top piece being bigger lends a note of finality to the closing of the opening with its proportionally larger mass.

The middle section, where the prayers presumably reside, is ornately carved. Perhaps these carvings relate to the prayers within, serving to identify them, tell their story, or be a physical manifestation of the power.

The middle section is also the most delicate, in that it lacks decoration which would make it seem heavy. This may be to convey the preciousness of the contents as well as the notion that the prayers need no further addition.

The middle's decoration is more internally focused.

The base includes two major forms. The upper portion servers to hold the container. Its balusters surround the container, protecting it, framing it, and keeping it enclosed. (It also allows the middle to grow or erupt from it much like the pistle on a flower, or a plant from the earth. Showing more upward direction.) The horizontal portion of the balusters that point out on the sides can be seen ans protection as well as the power of the prayers radiating outward.

The lower portion of the base, with its stout forms, supports the whole piece, raising it out of the ordinary plain and protecting it from the same. This part of the base, being almost the widest part, conveys the stability and firm foundation of the piece (and prayers/philosophy of those who use it.)

Top, middle, and base all have a distinct role to play in this form. The artist has utilized them wisely to convey the importance of the object, the items within, and the conceptual matter being dealt with.
10:42:29 PM