Young Abe Lincoln

Prompt: In the context of Young Abe Lincoln, explain the Controversy and the Historical information.

The creation of this sculpture was postponed several times due to controversy dealing with funding for this piece and because there were arguments of foul play when the winners of the competition were finally chosen.Many citizens of Indianapolis were upset because their tax money was being used to commission this piece.  Many thought the money allocated for this artwork could be used for other things, such as helping the mentally handicapped.  It was thought that there were already enough memorials commemorating Lincoln in the state of Indiana. $100,000 was allocated for the creation of both the sculpture and the mural in the construction budget of the building. Wilbur D. Peat, Director of the Herron Art Museum in 1960, thought:Art has a place in this building. It will not be a needless luxury or waste of public funds.  I don't think the public is so lacking in appreciation that it wants public buildings bare and unadorned.Will Lamm, an entrant in the competition, claimed that the judging committee accepted entrants after the official deadline of December 7, 1959 had passed.  He also claimed that at least one member of the committee telephoned the artist, David K. Rubins, after the deadline urging him to submit an entry. Rubins did not submit his entry until December 8, 1959, when the committee meeting to decide the winners was held.  It was also added by Lamm that three of the seven judges on the committee were absent when the winners were chosen and the original sculpture idea turned in by Rubins was not created in plaster, as stated in the invitation letter to the artists.Lamm was told by a committee member that his idea might have won had they not accepted the late entry.  Many people, including Wilbur D. Peat, Director of the John Herron Art Museum and chairman of the selection committee, brushed Lamm's accusations off as him being a sore loser.John A. Whitehead, Director of the State Office Building Commission, rejected the notion that late entries were accepted.  He stated that several of the artists were contacted on the day of judging to determine whether their expected entries would be turned in. Some artists had asked for extensions.  He also said it didn't make a difference whether the sculptures were entered in plaster or of another material.It was also controversial that throughout the judging process photography of the potential artworks were banned.Lamm's entry was a sculpture portraying Lincoln's departure from his family to going off on his own.  It included a group of seven figures.Indiana Governor Matthew E. Welsh recommended that new State Office Building Commission urge the Virginia Engineering Co., the building's general contractor, to send Rubin a letter postponing the creation of the sculpture. Welsh was an advocate of the art finances being used for the state's program for mentally handicapped. Rubin answered this letter by stating his continuation of the project and that he was going to go ahead and draw up a contract with the architects.  He already had a signed contract from the Virginia Engineering Co. after the former commission approved the expenditures for the statue and mural at $68,000.

List of sculptures of presidents of the United States

Category:Indiana Statehouse Public Art Collection

École nationale supérieure des Beaux-Arts

Category:Outdoor sculptures in Indianapolis

Placard in front of ''Young Abe Lincoln'' sculpture

Category:Statues of Abraham Lincoln in the United States

Category:Monuments and memorials in Indiana


Young Abe Lincoln

Prompt: Explain the Controversy about the Historical information of this artwork, Young Abe Lincoln.

The creation of this sculpture was postponed several times due to controversy dealing with funding for this piece and because there were arguments of foul play when the winners of the competition were finally chosen.Many citizens of Indianapolis were upset because their tax money was being used to commission this piece.  Many thought the money allocated for this artwork could be used for other things, such as helping the mentally handicapped.  It was thought that there were already enough memorials commemorating Lincoln in the state of Indiana. $100,000 was allocated for the creation of both the sculpture and the mural in the construction budget of the building. Wilbur D. Peat, Director of the Herron Art Museum in 1960, thought:Art has a place in this building. It will not be a needless luxury or waste of public funds.  I don't think the public is so lacking in appreciation that it wants public buildings bare and unadorned.Will Lamm, an entrant in the competition, claimed that the judging committee accepted entrants after the official deadline of December 7, 1959 had passed.  He also claimed that at least one member of the committee telephoned the artist, David K. Rubins, after the deadline urging him to submit an entry. Rubins did not submit his entry until December 8, 1959, when the committee meeting to decide the winners was held.  It was also added by Lamm that three of the seven judges on the committee were absent when the winners were chosen and the original sculpture idea turned in by Rubins was not created in plaster, as stated in the invitation letter to the artists.Lamm was told by a committee member that his idea might have won had they not accepted the late entry.  Many people, including Wilbur D. Peat, Director of the John Herron Art Museum and chairman of the selection committee, brushed Lamm's accusations off as him being a sore loser.John A. Whitehead, Director of the State Office Building Commission, rejected the notion that late entries were accepted.  He stated that several of the artists were contacted on the day of judging to determine whether their expected entries would be turned in. Some artists had asked for extensions.  He also said it didn't make a difference whether the sculptures were entered in plaster or of another material.It was also controversial that throughout the judging process photography of the potential artworks were banned.Lamm's entry was a sculpture portraying Lincoln's departure from his family to going off on his own.  It included a group of seven figures.Indiana Governor Matthew E. Welsh recommended that new State Office Building Commission urge the Virginia Engineering Co., the building's general contractor, to send Rubin a letter postponing the creation of the sculpture. Welsh was an advocate of the art finances being used for the state's program for mentally handicapped. Rubin answered this letter by stating his continuation of the project and that he was going to go ahead and draw up a contract with the architects.  He already had a signed contract from the Virginia Engineering Co. after the former commission approved the expenditures for the statue and mural at $68,000.

List of sculptures of presidents of the United States

Category:Indiana Statehouse Public Art Collection

École nationale supérieure des Beaux-Arts

Category:Outdoor sculptures in Indianapolis

Placard in front of ''Young Abe Lincoln'' sculpture

Category:Statues of Abraham Lincoln in the United States

Category:Monuments and memorials in Indiana


Young Abe Lincoln

Prompt: In Young Abe Lincoln, how is the Controversy of the Historical information explained?

The creation of this sculpture was postponed several times due to controversy dealing with funding for this piece and because there were arguments of foul play when the winners of the competition were finally chosen.Many citizens of Indianapolis were upset because their tax money was being used to commission this piece.  Many thought the money allocated for this artwork could be used for other things, such as helping the mentally handicapped.  It was thought that there were already enough memorials commemorating Lincoln in the state of Indiana. $100,000 was allocated for the creation of both the sculpture and the mural in the construction budget of the building. Wilbur D. Peat, Director of the Herron Art Museum in 1960, thought:Art has a place in this building. It will not be a needless luxury or waste of public funds.  I don't think the public is so lacking in appreciation that it wants public buildings bare and unadorned.Will Lamm, an entrant in the competition, claimed that the judging committee accepted entrants after the official deadline of December 7, 1959 had passed.  He also claimed that at least one member of the committee telephoned the artist, David K. Rubins, after the deadline urging him to submit an entry. Rubins did not submit his entry until December 8, 1959, when the committee meeting to decide the winners was held.  It was also added by Lamm that three of the seven judges on the committee were absent when the winners were chosen and the original sculpture idea turned in by Rubins was not created in plaster, as stated in the invitation letter to the artists.Lamm was told by a committee member that his idea might have won had they not accepted the late entry.  Many people, including Wilbur D. Peat, Director of the John Herron Art Museum and chairman of the selection committee, brushed Lamm's accusations off as him being a sore loser.John A. Whitehead, Director of the State Office Building Commission, rejected the notion that late entries were accepted.  He stated that several of the artists were contacted on the day of judging to determine whether their expected entries would be turned in. Some artists had asked for extensions.  He also said it didn't make a difference whether the sculptures were entered in plaster or of another material.It was also controversial that throughout the judging process photography of the potential artworks were banned.Lamm's entry was a sculpture portraying Lincoln's departure from his family to going off on his own.  It included a group of seven figures.Indiana Governor Matthew E. Welsh recommended that new State Office Building Commission urge the Virginia Engineering Co., the building's general contractor, to send Rubin a letter postponing the creation of the sculpture. Welsh was an advocate of the art finances being used for the state's program for mentally handicapped. Rubin answered this letter by stating his continuation of the project and that he was going to go ahead and draw up a contract with the architects.  He already had a signed contract from the Virginia Engineering Co. after the former commission approved the expenditures for the statue and mural at $68,000.

List of sculptures of presidents of the United States

Category:Indiana Statehouse Public Art Collection

École nationale supérieure des Beaux-Arts

Category:Outdoor sculptures in Indianapolis

Placard in front of ''Young Abe Lincoln'' sculpture

Category:Statues of Abraham Lincoln in the United States

Category:Monuments and memorials in Indiana


Young Abe Lincoln

Prompt: Describe the characteristics of the Controversy in Young Abe Lincoln's Historical information.

The creation of this sculpture was postponed several times due to controversy dealing with funding for this piece and because there were arguments of foul play when the winners of the competition were finally chosen.Many citizens of Indianapolis were upset because their tax money was being used to commission this piece.  Many thought the money allocated for this artwork could be used for other things, such as helping the mentally handicapped.  It was thought that there were already enough memorials commemorating Lincoln in the state of Indiana. $100,000 was allocated for the creation of both the sculpture and the mural in the construction budget of the building. Wilbur D. Peat, Director of the Herron Art Museum in 1960, thought:Art has a place in this building. It will not be a needless luxury or waste of public funds.  I don't think the public is so lacking in appreciation that it wants public buildings bare and unadorned.Will Lamm, an entrant in the competition, claimed that the judging committee accepted entrants after the official deadline of December 7, 1959 had passed.  He also claimed that at least one member of the committee telephoned the artist, David K. Rubins, after the deadline urging him to submit an entry. Rubins did not submit his entry until December 8, 1959, when the committee meeting to decide the winners was held.  It was also added by Lamm that three of the seven judges on the committee were absent when the winners were chosen and the original sculpture idea turned in by Rubins was not created in plaster, as stated in the invitation letter to the artists.Lamm was told by a committee member that his idea might have won had they not accepted the late entry.  Many people, including Wilbur D. Peat, Director of the John Herron Art Museum and chairman of the selection committee, brushed Lamm's accusations off as him being a sore loser.John A. Whitehead, Director of the State Office Building Commission, rejected the notion that late entries were accepted.  He stated that several of the artists were contacted on the day of judging to determine whether their expected entries would be turned in. Some artists had asked for extensions.  He also said it didn't make a difference whether the sculptures were entered in plaster or of another material.It was also controversial that throughout the judging process photography of the potential artworks were banned.Lamm's entry was a sculpture portraying Lincoln's departure from his family to going off on his own.  It included a group of seven figures.Indiana Governor Matthew E. Welsh recommended that new State Office Building Commission urge the Virginia Engineering Co., the building's general contractor, to send Rubin a letter postponing the creation of the sculpture. Welsh was an advocate of the art finances being used for the state's program for mentally handicapped. Rubin answered this letter by stating his continuation of the project and that he was going to go ahead and draw up a contract with the architects.  He already had a signed contract from the Virginia Engineering Co. after the former commission approved the expenditures for the statue and mural at $68,000.

List of sculptures of presidents of the United States

Category:Indiana Statehouse Public Art Collection

École nationale supérieure des Beaux-Arts

Category:Outdoor sculptures in Indianapolis

Placard in front of ''Young Abe Lincoln'' sculpture

Category:Statues of Abraham Lincoln in the United States

Category:Monuments and memorials in Indiana


Young Abe Lincoln

Prompt: In the context of Young Abe Lincoln, explain the Location history and the Historical information.

There were several suggestions for the location of this statue on or around the Indiana Statehouse grounds. The Orchard Area, the upper terrace outside the lobby and the center line of the walkway which extends south towards the Indiana Employment Security Building were some suggestions.Created to reside in the state office building plaza, the sculpture was originally located about half a block east of its present location, facing Senate Avenue. It was moved outside of the Government Center off of West Street and Robert D. Orr Ave in 1992.

List of sculptures of presidents of the United States

Category:Indiana Statehouse Public Art Collection

École nationale supérieure des Beaux-Arts

Category:Outdoor sculptures in Indianapolis

Placard in front of ''Young Abe Lincoln'' sculpture

Category:Statues of Abraham Lincoln in the United States

Category:Monuments and memorials in Indiana


Young Abe Lincoln

Prompt: Explain the Location history about the Historical information of this artwork, Young Abe Lincoln.

There were several suggestions for the location of this statue on or around the Indiana Statehouse grounds. The Orchard Area, the upper terrace outside the lobby and the center line of the walkway which extends south towards the Indiana Employment Security Building were some suggestions.Created to reside in the state office building plaza, the sculpture was originally located about half a block east of its present location, facing Senate Avenue. It was moved outside of the Government Center off of West Street and Robert D. Orr Ave in 1992.

List of sculptures of presidents of the United States

Category:Indiana Statehouse Public Art Collection

École nationale supérieure des Beaux-Arts

Category:Outdoor sculptures in Indianapolis

Placard in front of ''Young Abe Lincoln'' sculpture

Category:Statues of Abraham Lincoln in the United States

Category:Monuments and memorials in Indiana


Young Abe Lincoln

Prompt: In Young Abe Lincoln, how is the Location history of the Historical information explained?

There were several suggestions for the location of this statue on or around the Indiana Statehouse grounds. The Orchard Area, the upper terrace outside the lobby and the center line of the walkway which extends south towards the Indiana Employment Security Building were some suggestions.Created to reside in the state office building plaza, the sculpture was originally located about half a block east of its present location, facing Senate Avenue. It was moved outside of the Government Center off of West Street and Robert D. Orr Ave in 1992.

List of sculptures of presidents of the United States

Category:Indiana Statehouse Public Art Collection

École nationale supérieure des Beaux-Arts

Category:Outdoor sculptures in Indianapolis

Placard in front of ''Young Abe Lincoln'' sculpture

Category:Statues of Abraham Lincoln in the United States

Category:Monuments and memorials in Indiana


Young Abe Lincoln

Prompt: Describe the characteristics of the Location history in Young Abe Lincoln's Historical information.

There were several suggestions for the location of this statue on or around the Indiana Statehouse grounds. The Orchard Area, the upper terrace outside the lobby and the center line of the walkway which extends south towards the Indiana Employment Security Building were some suggestions.Created to reside in the state office building plaza, the sculpture was originally located about half a block east of its present location, facing Senate Avenue. It was moved outside of the Government Center off of West Street and Robert D. Orr Ave in 1992.

List of sculptures of presidents of the United States

Category:Indiana Statehouse Public Art Collection

École nationale supérieure des Beaux-Arts

Category:Outdoor sculptures in Indianapolis

Placard in front of ''Young Abe Lincoln'' sculpture

Category:Statues of Abraham Lincoln in the United States

Category:Monuments and memorials in Indiana


Young Abe Lincoln

Prompt: Focus on Young Abe Lincoln and explain the Artist.

David K. Rubins, a native of Minneapolis, studied at the Beaux Arts Institute of Design in New York and the Académie Julian and the École nationale supérieure des Beaux-Arts in Paris. Rubins worked closely with James Earle Fraser, designer of the Buffalo nickel and End of the Trail, for seven years in New York. His awards include the Paris Prize in Sculpture (1924), the Prix de Rome (1928), Fellow in Sculpture Award from the American Academy in Rome and the Grant and Sculpture Award from the National Institute of Arts and Letters.Rubins moved to Indianapolis, Indiana in 1935 to join the faculty at the John Herron Art Institute where he taught until 1967 and then an additional three years after the Herron Art Institute merged with Indiana University. He held the chairmanship of the sculpture department from 1935 to 1968. In 1970, Rubins retired and became an artist-in-residence at Herron. In 1954, Rubins book, The Human Figure, an Anatomy for Artists, was published. Other Indianapolis works of art Rubins is known for is the bust of late Indiana Governor Henry Schricker, the Eli Lilly monument in Crown Hill Cemetery, and a bust of Evans Wollens Sr.Rubins' work has been exhibited at the Minneapolis Institute of Art, National Academy of Design, Indianapolis Museum of Art, Architectural League of New York, and the "American Sculpture Today" show at the Metropolitan Museum of Art in New York.Rubins' inspiration for Young Abe Lincoln came after reading several books on Lincoln and his life, as well as looking at other sculptures of Lincoln.  Some of these others sculptures included the Abraham Lincoln statue at the Lincoln Memorial in Washington, D.C., the Mount Rushmore depiction by Gutzon Borglum, and the Lincoln sculpture by Henry Hering in Indianapolis' University Park.

List of sculptures of presidents of the United States

Category:Indiana Statehouse Public Art Collection

Category:Outdoor sculptures in Indianapolis

Placard in front of ''Young Abe Lincoln'' sculpture

Category:Statues of Abraham Lincoln in the United States

Category:Monuments and memorials in Indiana


Young Abe Lincoln

Prompt: Explain the Artist of this artwork, Young Abe Lincoln.

David K. Rubins, a native of Minneapolis, studied at the Beaux Arts Institute of Design in New York and the Académie Julian and the École nationale supérieure des Beaux-Arts in Paris. Rubins worked closely with James Earle Fraser, designer of the Buffalo nickel and End of the Trail, for seven years in New York. His awards include the Paris Prize in Sculpture (1924), the Prix de Rome (1928), Fellow in Sculpture Award from the American Academy in Rome and the Grant and Sculpture Award from the National Institute of Arts and Letters.Rubins moved to Indianapolis, Indiana in 1935 to join the faculty at the John Herron Art Institute where he taught until 1967 and then an additional three years after the Herron Art Institute merged with Indiana University. He held the chairmanship of the sculpture department from 1935 to 1968. In 1970, Rubins retired and became an artist-in-residence at Herron. In 1954, Rubins book, The Human Figure, an Anatomy for Artists, was published. Other Indianapolis works of art Rubins is known for is the bust of late Indiana Governor Henry Schricker, the Eli Lilly monument in Crown Hill Cemetery, and a bust of Evans Wollens Sr.Rubins' work has been exhibited at the Minneapolis Institute of Art, National Academy of Design, Indianapolis Museum of Art, Architectural League of New York, and the "American Sculpture Today" show at the Metropolitan Museum of Art in New York.Rubins' inspiration for Young Abe Lincoln came after reading several books on Lincoln and his life, as well as looking at other sculptures of Lincoln.  Some of these others sculptures included the Abraham Lincoln statue at the Lincoln Memorial in Washington, D.C., the Mount Rushmore depiction by Gutzon Borglum, and the Lincoln sculpture by Henry Hering in Indianapolis' University Park.

List of sculptures of presidents of the United States

Category:Indiana Statehouse Public Art Collection

Category:Outdoor sculptures in Indianapolis

Placard in front of ''Young Abe Lincoln'' sculpture

Category:Statues of Abraham Lincoln in the United States

Category:Monuments and memorials in Indiana


Young Abe Lincoln

Prompt: How does Young Abe Lincoln explain its Artist?

David K. Rubins, a native of Minneapolis, studied at the Beaux Arts Institute of Design in New York and the Académie Julian and the École nationale supérieure des Beaux-Arts in Paris. Rubins worked closely with James Earle Fraser, designer of the Buffalo nickel and End of the Trail, for seven years in New York. His awards include the Paris Prize in Sculpture (1924), the Prix de Rome (1928), Fellow in Sculpture Award from the American Academy in Rome and the Grant and Sculpture Award from the National Institute of Arts and Letters.Rubins moved to Indianapolis, Indiana in 1935 to join the faculty at the John Herron Art Institute where he taught until 1967 and then an additional three years after the Herron Art Institute merged with Indiana University. He held the chairmanship of the sculpture department from 1935 to 1968. In 1970, Rubins retired and became an artist-in-residence at Herron. In 1954, Rubins book, The Human Figure, an Anatomy for Artists, was published. Other Indianapolis works of art Rubins is known for is the bust of late Indiana Governor Henry Schricker, the Eli Lilly monument in Crown Hill Cemetery, and a bust of Evans Wollens Sr.Rubins' work has been exhibited at the Minneapolis Institute of Art, National Academy of Design, Indianapolis Museum of Art, Architectural League of New York, and the "American Sculpture Today" show at the Metropolitan Museum of Art in New York.Rubins' inspiration for Young Abe Lincoln came after reading several books on Lincoln and his life, as well as looking at other sculptures of Lincoln.  Some of these others sculptures included the Abraham Lincoln statue at the Lincoln Memorial in Washington, D.C., the Mount Rushmore depiction by Gutzon Borglum, and the Lincoln sculpture by Henry Hering in Indianapolis' University Park.

List of sculptures of presidents of the United States

Category:Indiana Statehouse Public Art Collection

Category:Outdoor sculptures in Indianapolis

Placard in front of ''Young Abe Lincoln'' sculpture

Category:Statues of Abraham Lincoln in the United States

Category:Monuments and memorials in Indiana


Young Abe Lincoln

Prompt: In Young Abe Lincoln, how is the Artist discussed?

David K. Rubins, a native of Minneapolis, studied at the Beaux Arts Institute of Design in New York and the Académie Julian and the École nationale supérieure des Beaux-Arts in Paris. Rubins worked closely with James Earle Fraser, designer of the Buffalo nickel and End of the Trail, for seven years in New York. His awards include the Paris Prize in Sculpture (1924), the Prix de Rome (1928), Fellow in Sculpture Award from the American Academy in Rome and the Grant and Sculpture Award from the National Institute of Arts and Letters.Rubins moved to Indianapolis, Indiana in 1935 to join the faculty at the John Herron Art Institute where he taught until 1967 and then an additional three years after the Herron Art Institute merged with Indiana University. He held the chairmanship of the sculpture department from 1935 to 1968. In 1970, Rubins retired and became an artist-in-residence at Herron. In 1954, Rubins book, The Human Figure, an Anatomy for Artists, was published. Other Indianapolis works of art Rubins is known for is the bust of late Indiana Governor Henry Schricker, the Eli Lilly monument in Crown Hill Cemetery, and a bust of Evans Wollens Sr.Rubins' work has been exhibited at the Minneapolis Institute of Art, National Academy of Design, Indianapolis Museum of Art, Architectural League of New York, and the "American Sculpture Today" show at the Metropolitan Museum of Art in New York.Rubins' inspiration for Young Abe Lincoln came after reading several books on Lincoln and his life, as well as looking at other sculptures of Lincoln.  Some of these others sculptures included the Abraham Lincoln statue at the Lincoln Memorial in Washington, D.C., the Mount Rushmore depiction by Gutzon Borglum, and the Lincoln sculpture by Henry Hering in Indianapolis' University Park.

List of sculptures of presidents of the United States

Category:Indiana Statehouse Public Art Collection

Category:Outdoor sculptures in Indianapolis

Placard in front of ''Young Abe Lincoln'' sculpture

Category:Statues of Abraham Lincoln in the United States

Category:Monuments and memorials in Indiana


Sermon on Mani's Teaching of Salvation

Prompt: Focus on Sermon on Mani's Teaching of Salvation and explain the abstract.

Sermon on Mani's Teaching of Salvation (Chinese: 冥王聖幀; lit. 'Sacred Scroll of the King of the Underworld') is a Yuan dynasty silk hanging scroll, measuring 142 × 59 centimetres and dating from the 13th century, with didactic themes: a multi-scenic narrative that depicts Mani's Teachings about the Salvation combines a sermon subscene with the depictions of soteriological teaching in the rest of the painting.The painting was regarded as a depiction of the six realms of saṃsāra by Japanese Buddhists, therefore it was called "Painting of the Six Paths of Rebirth" (Japanese: 六道図). After being studied by scholars like Takeo Izumi, Yutaka Yoshida, Zsuzsanna Gulácsi and Jorinde Ebert, they concluded that the painting is a Manichaean work of art. It was probably produced by a 13th-century painter from Ningbo, a city  in southern China, and is kept today in the Museum of Japanese Art Yamato Bunkakan in Nara, Nara.

File:Collection of Chinese Manichaean Hanging Scrolls.jpg

Detail: Maiden of Light on a cloud formation with her attendants.

File:Daênâ with Her Attendants (Manichaean Sermon).jpg


Sermon on Mani's Teaching of Salvation

Prompt: Explain the abstract of this artwork, Sermon on Mani's Teaching of Salvation.

Sermon on Mani's Teaching of Salvation (Chinese: 冥王聖幀; lit. 'Sacred Scroll of the King of the Underworld') is a Yuan dynasty silk hanging scroll, measuring 142 × 59 centimetres and dating from the 13th century, with didactic themes: a multi-scenic narrative that depicts Mani's Teachings about the Salvation combines a sermon subscene with the depictions of soteriological teaching in the rest of the painting.The painting was regarded as a depiction of the six realms of saṃsāra by Japanese Buddhists, therefore it was called "Painting of the Six Paths of Rebirth" (Japanese: 六道図). After being studied by scholars like Takeo Izumi, Yutaka Yoshida, Zsuzsanna Gulácsi and Jorinde Ebert, they concluded that the painting is a Manichaean work of art. It was probably produced by a 13th-century painter from Ningbo, a city  in southern China, and is kept today in the Museum of Japanese Art Yamato Bunkakan in Nara, Nara.

File:Collection of Chinese Manichaean Hanging Scrolls.jpg

Detail: Maiden of Light on a cloud formation with her attendants.

File:Daênâ with Her Attendants (Manichaean Sermon).jpg


Sermon on Mani's Teaching of Salvation

Prompt: How does Sermon on Mani's Teaching of Salvation explain its abstract?

Sermon on Mani's Teaching of Salvation (Chinese: 冥王聖幀; lit. 'Sacred Scroll of the King of the Underworld') is a Yuan dynasty silk hanging scroll, measuring 142 × 59 centimetres and dating from the 13th century, with didactic themes: a multi-scenic narrative that depicts Mani's Teachings about the Salvation combines a sermon subscene with the depictions of soteriological teaching in the rest of the painting.The painting was regarded as a depiction of the six realms of saṃsāra by Japanese Buddhists, therefore it was called "Painting of the Six Paths of Rebirth" (Japanese: 六道図). After being studied by scholars like Takeo Izumi, Yutaka Yoshida, Zsuzsanna Gulácsi and Jorinde Ebert, they concluded that the painting is a Manichaean work of art. It was probably produced by a 13th-century painter from Ningbo, a city  in southern China, and is kept today in the Museum of Japanese Art Yamato Bunkakan in Nara, Nara.

File:Collection of Chinese Manichaean Hanging Scrolls.jpg

Detail: Maiden of Light on a cloud formation with her attendants.

File:Daênâ with Her Attendants (Manichaean Sermon).jpg


Sermon on Mani's Teaching of Salvation

Prompt: In Sermon on Mani's Teaching of Salvation, how is the abstract discussed?

Sermon on Mani's Teaching of Salvation (Chinese: 冥王聖幀; lit. 'Sacred Scroll of the King of the Underworld') is a Yuan dynasty silk hanging scroll, measuring 142 × 59 centimetres and dating from the 13th century, with didactic themes: a multi-scenic narrative that depicts Mani's Teachings about the Salvation combines a sermon subscene with the depictions of soteriological teaching in the rest of the painting.The painting was regarded as a depiction of the six realms of saṃsāra by Japanese Buddhists, therefore it was called "Painting of the Six Paths of Rebirth" (Japanese: 六道図). After being studied by scholars like Takeo Izumi, Yutaka Yoshida, Zsuzsanna Gulácsi and Jorinde Ebert, they concluded that the painting is a Manichaean work of art. It was probably produced by a 13th-century painter from Ningbo, a city  in southern China, and is kept today in the Museum of Japanese Art Yamato Bunkakan in Nara, Nara.

File:Collection of Chinese Manichaean Hanging Scrolls.jpg

Detail: Maiden of Light on a cloud formation with her attendants.

File:Daênâ with Her Attendants (Manichaean Sermon).jpg


Sermon on Mani's Teaching of Salvation

Prompt: Focus on Sermon on Mani's Teaching of Salvation and explain the Description.

The painting is divided into five scenes, with titles given by Zsuzsanna Gulácsi, a Hungarian specialist on Manichaeism.The Light Maiden's Visit to Heaven: the first section at the top depicts heaven as a palatial building that forms the focus of a narration of events with the repeated images of a few mythological beings: the Maiden of Light visiting the heaven. It shows on the left the greetings by the host of heaven upon the arrival of Maiden of Light, meeting with the host in the palace in the middle and the Maiden leaving heaven on the right.Sermon Around a Statue of Mani: the second scene is the main section and largest among the five, it depicts a sermon performed around the statue of a Manichaean deity (Mani) by two Manichaean elects dressing in white on the right. The elect giving the sermon is seated, while his assistant is standing. On the left seated the layman dressing in red and his attendant, listen to the sermon.States of Good Reincarnation: the third section is further divided into four small squares, each portraying one of four classes of Chinese society in order to capture what seems to be the daily life of the Chinese Manichaean laity. From left to right, the first scene represents itinerant labourers; the second, craftsmen; the third, farmers, and the fourth, aristocrats.The Light Maiden's Intervention in a Judgement: the fourth scene shows a judge seated behind a desk surrounded by his aides in a pavilion on an elevated platform, to the front of which two pairs of demons lead their captives to hear their fates. In the upper left corner, the Maiden of Light arrives on a cloud formation with two attendants, to intervene on behalf of the man about to be judged. This section is a depiction of the Manichaean view of judgement after death. The French historian Étienne de La Vaissière compared the judgement scene with that displayed on the Sogdian Wirkak's sarcophagus, and concluded that they are strikingly similar.States of Bad Reincarnation: the final scene depicting four fearful images of hell that include, from left to right, a demon shooting arrows at a person suspended from a red frame in the upper left corner; a person hung upside down and being dismembered by two demons; a fiery wheel rolled over a person; and lastly a group of demons waiting for their next victims.

File:Collection of Chinese Manichaean Hanging Scrolls.jpg

Detail: Maiden of Light on a cloud formation with her attendants.

File:Daênâ with Her Attendants (Manichaean Sermon).jpg


Sermon on Mani's Teaching of Salvation

Prompt: Explain the Description of this artwork, Sermon on Mani's Teaching of Salvation.

The painting is divided into five scenes, with titles given by Zsuzsanna Gulácsi, a Hungarian specialist on Manichaeism.The Light Maiden's Visit to Heaven: the first section at the top depicts heaven as a palatial building that forms the focus of a narration of events with the repeated images of a few mythological beings: the Maiden of Light visiting the heaven. It shows on the left the greetings by the host of heaven upon the arrival of Maiden of Light, meeting with the host in the palace in the middle and the Maiden leaving heaven on the right.Sermon Around a Statue of Mani: the second scene is the main section and largest among the five, it depicts a sermon performed around the statue of a Manichaean deity (Mani) by two Manichaean elects dressing in white on the right. The elect giving the sermon is seated, while his assistant is standing. On the left seated the layman dressing in red and his attendant, listen to the sermon.States of Good Reincarnation: the third section is further divided into four small squares, each portraying one of four classes of Chinese society in order to capture what seems to be the daily life of the Chinese Manichaean laity. From left to right, the first scene represents itinerant labourers; the second, craftsmen; the third, farmers, and the fourth, aristocrats.The Light Maiden's Intervention in a Judgement: the fourth scene shows a judge seated behind a desk surrounded by his aides in a pavilion on an elevated platform, to the front of which two pairs of demons lead their captives to hear their fates. In the upper left corner, the Maiden of Light arrives on a cloud formation with two attendants, to intervene on behalf of the man about to be judged. This section is a depiction of the Manichaean view of judgement after death. The French historian Étienne de La Vaissière compared the judgement scene with that displayed on the Sogdian Wirkak's sarcophagus, and concluded that they are strikingly similar.States of Bad Reincarnation: the final scene depicting four fearful images of hell that include, from left to right, a demon shooting arrows at a person suspended from a red frame in the upper left corner; a person hung upside down and being dismembered by two demons; a fiery wheel rolled over a person; and lastly a group of demons waiting for their next victims.

File:Collection of Chinese Manichaean Hanging Scrolls.jpg

Detail: Maiden of Light on a cloud formation with her attendants.

File:Daênâ with Her Attendants (Manichaean Sermon).jpg


Sermon on Mani's Teaching of Salvation

Prompt: How does Sermon on Mani's Teaching of Salvation explain its Description?

The painting is divided into five scenes, with titles given by Zsuzsanna Gulácsi, a Hungarian specialist on Manichaeism.The Light Maiden's Visit to Heaven: the first section at the top depicts heaven as a palatial building that forms the focus of a narration of events with the repeated images of a few mythological beings: the Maiden of Light visiting the heaven. It shows on the left the greetings by the host of heaven upon the arrival of Maiden of Light, meeting with the host in the palace in the middle and the Maiden leaving heaven on the right.Sermon Around a Statue of Mani: the second scene is the main section and largest among the five, it depicts a sermon performed around the statue of a Manichaean deity (Mani) by two Manichaean elects dressing in white on the right. The elect giving the sermon is seated, while his assistant is standing. On the left seated the layman dressing in red and his attendant, listen to the sermon.States of Good Reincarnation: the third section is further divided into four small squares, each portraying one of four classes of Chinese society in order to capture what seems to be the daily life of the Chinese Manichaean laity. From left to right, the first scene represents itinerant labourers; the second, craftsmen; the third, farmers, and the fourth, aristocrats.The Light Maiden's Intervention in a Judgement: the fourth scene shows a judge seated behind a desk surrounded by his aides in a pavilion on an elevated platform, to the front of which two pairs of demons lead their captives to hear their fates. In the upper left corner, the Maiden of Light arrives on a cloud formation with two attendants, to intervene on behalf of the man about to be judged. This section is a depiction of the Manichaean view of judgement after death. The French historian Étienne de La Vaissière compared the judgement scene with that displayed on the Sogdian Wirkak's sarcophagus, and concluded that they are strikingly similar.States of Bad Reincarnation: the final scene depicting four fearful images of hell that include, from left to right, a demon shooting arrows at a person suspended from a red frame in the upper left corner; a person hung upside down and being dismembered by two demons; a fiery wheel rolled over a person; and lastly a group of demons waiting for their next victims.

File:Collection of Chinese Manichaean Hanging Scrolls.jpg

Detail: Maiden of Light on a cloud formation with her attendants.

File:Daênâ with Her Attendants (Manichaean Sermon).jpg


Sermon on Mani's Teaching of Salvation

Prompt: In Sermon on Mani's Teaching of Salvation, how is the Description discussed?

The painting is divided into five scenes, with titles given by Zsuzsanna Gulácsi, a Hungarian specialist on Manichaeism.The Light Maiden's Visit to Heaven: the first section at the top depicts heaven as a palatial building that forms the focus of a narration of events with the repeated images of a few mythological beings: the Maiden of Light visiting the heaven. It shows on the left the greetings by the host of heaven upon the arrival of Maiden of Light, meeting with the host in the palace in the middle and the Maiden leaving heaven on the right.Sermon Around a Statue of Mani: the second scene is the main section and largest among the five, it depicts a sermon performed around the statue of a Manichaean deity (Mani) by two Manichaean elects dressing in white on the right. The elect giving the sermon is seated, while his assistant is standing. On the left seated the layman dressing in red and his attendant, listen to the sermon.States of Good Reincarnation: the third section is further divided into four small squares, each portraying one of four classes of Chinese society in order to capture what seems to be the daily life of the Chinese Manichaean laity. From left to right, the first scene represents itinerant labourers; the second, craftsmen; the third, farmers, and the fourth, aristocrats.The Light Maiden's Intervention in a Judgement: the fourth scene shows a judge seated behind a desk surrounded by his aides in a pavilion on an elevated platform, to the front of which two pairs of demons lead their captives to hear their fates. In the upper left corner, the Maiden of Light arrives on a cloud formation with two attendants, to intervene on behalf of the man about to be judged. This section is a depiction of the Manichaean view of judgement after death. The French historian Étienne de La Vaissière compared the judgement scene with that displayed on the Sogdian Wirkak's sarcophagus, and concluded that they are strikingly similar.States of Bad Reincarnation: the final scene depicting four fearful images of hell that include, from left to right, a demon shooting arrows at a person suspended from a red frame in the upper left corner; a person hung upside down and being dismembered by two demons; a fiery wheel rolled over a person; and lastly a group of demons waiting for their next victims.

File:Collection of Chinese Manichaean Hanging Scrolls.jpg

Detail: Maiden of Light on a cloud formation with her attendants.

File:Daênâ with Her Attendants (Manichaean Sermon).jpg


Sermon on Mani's Teaching of Salvation

Prompt: Focus on Sermon on Mani's Teaching of Salvation and explain the Analysis.

Zsuzsanna Gulácsi states in her article A Visual Sermon on Mani's Teaching of Salvation: The Manichaean origin of this Chinese painting is unquestionable for three principal reasons: its dedicatory inscription that bestowed the object on a Chinese Manichaean temple most likely at Ningbo, in Zhejiang province; the iconography of its main deity, Mani, as well as that of the elect (Manichaean priests), who are shown in Chinese versions of characteristically Manichaean attire; and the significant amount of documentary evidence on the worship of Manichaean deities (Mani and Jesus) represented in pictorial and sculptural forms by the Manichaean communities of southern China, especially Fujian and Zhejiang provinces, between the 10th and 17th centuries. […] This hanging scroll is clearly not a devotional work of art that was used for the purposes of religious worship. It is dominated by a narrative character displayed throughout its complex pictorial program that relies on a large set of uniquely arranged individual scenes. Although the sequence of the scenes is logical, it is not self-evident. Their comprehension implies a beholder familiar with Manichaean religious teaching. We have seen that various compositional elements, just as a comprehensive theme, unite the individual registers (scenes) into this intricate image that is hardly suitable for casual viewing. Therefore, this silk painting can be best interpreted as a didactic work of art designed as a visual aid for religious instruction. If so, this painting constitutes a prime example of such an image that was used by a Manichaean community in ca. 13th-century southern China, possibly in the region of Ningbo, in Zhejiang province.In the article "The Origin of the Manichaean "Hades Frame" in the Yamato Bunkakan Collection, Japan", Ma Xiaohe, a scholar specializing in Manichaeism, made a hypothetical reconstruction of the evolution of the image: The author of this painting probably copied the Five Dynasties and Northern Song dynasties' Ten Kings Sutra painting and the Six Paths of the Earth and the Ten Kings painting, replacing Shakyamuni with Mani, King Yiluo with the King of Equality, Six Paths with the Three Paths, and the Bodhisattva of Guidance with the Buddha of Lightning, as well as the scenes of priests from the West speaking to the listeners, forming the basic outline. In the subsequent evolution of this diagram, the scene of the trial of the king of the underworld was absorbed from the Southern Song Dynasty's Lu Xinzhong's painting of the Ten Kings scroll, and later from the Yuan Dynasty's Lu Zhongyuan's painting of the Ten Kings scroll, resulting in the diagram we see today.

File:Collection of Chinese Manichaean Hanging Scrolls.jpg

Detail: Maiden of Light on a cloud formation with her attendants.

File:Daênâ with Her Attendants (Manichaean Sermon).jpg


Sermon on Mani's Teaching of Salvation

Prompt: Explain the Analysis of this artwork, Sermon on Mani's Teaching of Salvation.

Zsuzsanna Gulácsi states in her article A Visual Sermon on Mani's Teaching of Salvation: The Manichaean origin of this Chinese painting is unquestionable for three principal reasons: its dedicatory inscription that bestowed the object on a Chinese Manichaean temple most likely at Ningbo, in Zhejiang province; the iconography of its main deity, Mani, as well as that of the elect (Manichaean priests), who are shown in Chinese versions of characteristically Manichaean attire; and the significant amount of documentary evidence on the worship of Manichaean deities (Mani and Jesus) represented in pictorial and sculptural forms by the Manichaean communities of southern China, especially Fujian and Zhejiang provinces, between the 10th and 17th centuries. […] This hanging scroll is clearly not a devotional work of art that was used for the purposes of religious worship. It is dominated by a narrative character displayed throughout its complex pictorial program that relies on a large set of uniquely arranged individual scenes. Although the sequence of the scenes is logical, it is not self-evident. Their comprehension implies a beholder familiar with Manichaean religious teaching. We have seen that various compositional elements, just as a comprehensive theme, unite the individual registers (scenes) into this intricate image that is hardly suitable for casual viewing. Therefore, this silk painting can be best interpreted as a didactic work of art designed as a visual aid for religious instruction. If so, this painting constitutes a prime example of such an image that was used by a Manichaean community in ca. 13th-century southern China, possibly in the region of Ningbo, in Zhejiang province.In the article "The Origin of the Manichaean "Hades Frame" in the Yamato Bunkakan Collection, Japan", Ma Xiaohe, a scholar specializing in Manichaeism, made a hypothetical reconstruction of the evolution of the image: The author of this painting probably copied the Five Dynasties and Northern Song dynasties' Ten Kings Sutra painting and the Six Paths of the Earth and the Ten Kings painting, replacing Shakyamuni with Mani, King Yiluo with the King of Equality, Six Paths with the Three Paths, and the Bodhisattva of Guidance with the Buddha of Lightning, as well as the scenes of priests from the West speaking to the listeners, forming the basic outline. In the subsequent evolution of this diagram, the scene of the trial of the king of the underworld was absorbed from the Southern Song Dynasty's Lu Xinzhong's painting of the Ten Kings scroll, and later from the Yuan Dynasty's Lu Zhongyuan's painting of the Ten Kings scroll, resulting in the diagram we see today.

File:Collection of Chinese Manichaean Hanging Scrolls.jpg

Detail: Maiden of Light on a cloud formation with her attendants.

File:Daênâ with Her Attendants (Manichaean Sermon).jpg


Sermon on Mani's Teaching of Salvation

Prompt: How does Sermon on Mani's Teaching of Salvation explain its Analysis?

Zsuzsanna Gulácsi states in her article A Visual Sermon on Mani's Teaching of Salvation: The Manichaean origin of this Chinese painting is unquestionable for three principal reasons: its dedicatory inscription that bestowed the object on a Chinese Manichaean temple most likely at Ningbo, in Zhejiang province; the iconography of its main deity, Mani, as well as that of the elect (Manichaean priests), who are shown in Chinese versions of characteristically Manichaean attire; and the significant amount of documentary evidence on the worship of Manichaean deities (Mani and Jesus) represented in pictorial and sculptural forms by the Manichaean communities of southern China, especially Fujian and Zhejiang provinces, between the 10th and 17th centuries. […] This hanging scroll is clearly not a devotional work of art that was used for the purposes of religious worship. It is dominated by a narrative character displayed throughout its complex pictorial program that relies on a large set of uniquely arranged individual scenes. Although the sequence of the scenes is logical, it is not self-evident. Their comprehension implies a beholder familiar with Manichaean religious teaching. We have seen that various compositional elements, just as a comprehensive theme, unite the individual registers (scenes) into this intricate image that is hardly suitable for casual viewing. Therefore, this silk painting can be best interpreted as a didactic work of art designed as a visual aid for religious instruction. If so, this painting constitutes a prime example of such an image that was used by a Manichaean community in ca. 13th-century southern China, possibly in the region of Ningbo, in Zhejiang province.In the article "The Origin of the Manichaean "Hades Frame" in the Yamato Bunkakan Collection, Japan", Ma Xiaohe, a scholar specializing in Manichaeism, made a hypothetical reconstruction of the evolution of the image: The author of this painting probably copied the Five Dynasties and Northern Song dynasties' Ten Kings Sutra painting and the Six Paths of the Earth and the Ten Kings painting, replacing Shakyamuni with Mani, King Yiluo with the King of Equality, Six Paths with the Three Paths, and the Bodhisattva of Guidance with the Buddha of Lightning, as well as the scenes of priests from the West speaking to the listeners, forming the basic outline. In the subsequent evolution of this diagram, the scene of the trial of the king of the underworld was absorbed from the Southern Song Dynasty's Lu Xinzhong's painting of the Ten Kings scroll, and later from the Yuan Dynasty's Lu Zhongyuan's painting of the Ten Kings scroll, resulting in the diagram we see today.

File:Collection of Chinese Manichaean Hanging Scrolls.jpg

Detail: Maiden of Light on a cloud formation with her attendants.

File:Daênâ with Her Attendants (Manichaean Sermon).jpg


Sermon on Mani's Teaching of Salvation

Prompt: In Sermon on Mani's Teaching of Salvation, how is the Analysis discussed?

Zsuzsanna Gulácsi states in her article A Visual Sermon on Mani's Teaching of Salvation: The Manichaean origin of this Chinese painting is unquestionable for three principal reasons: its dedicatory inscription that bestowed the object on a Chinese Manichaean temple most likely at Ningbo, in Zhejiang province; the iconography of its main deity, Mani, as well as that of the elect (Manichaean priests), who are shown in Chinese versions of characteristically Manichaean attire; and the significant amount of documentary evidence on the worship of Manichaean deities (Mani and Jesus) represented in pictorial and sculptural forms by the Manichaean communities of southern China, especially Fujian and Zhejiang provinces, between the 10th and 17th centuries. […] This hanging scroll is clearly not a devotional work of art that was used for the purposes of religious worship. It is dominated by a narrative character displayed throughout its complex pictorial program that relies on a large set of uniquely arranged individual scenes. Although the sequence of the scenes is logical, it is not self-evident. Their comprehension implies a beholder familiar with Manichaean religious teaching. We have seen that various compositional elements, just as a comprehensive theme, unite the individual registers (scenes) into this intricate image that is hardly suitable for casual viewing. Therefore, this silk painting can be best interpreted as a didactic work of art designed as a visual aid for religious instruction. If so, this painting constitutes a prime example of such an image that was used by a Manichaean community in ca. 13th-century southern China, possibly in the region of Ningbo, in Zhejiang province.In the article "The Origin of the Manichaean "Hades Frame" in the Yamato Bunkakan Collection, Japan", Ma Xiaohe, a scholar specializing in Manichaeism, made a hypothetical reconstruction of the evolution of the image: The author of this painting probably copied the Five Dynasties and Northern Song dynasties' Ten Kings Sutra painting and the Six Paths of the Earth and the Ten Kings painting, replacing Shakyamuni with Mani, King Yiluo with the King of Equality, Six Paths with the Three Paths, and the Bodhisattva of Guidance with the Buddha of Lightning, as well as the scenes of priests from the West speaking to the listeners, forming the basic outline. In the subsequent evolution of this diagram, the scene of the trial of the king of the underworld was absorbed from the Southern Song Dynasty's Lu Xinzhong's painting of the Ten Kings scroll, and later from the Yuan Dynasty's Lu Zhongyuan's painting of the Ten Kings scroll, resulting in the diagram we see today.

File:Collection of Chinese Manichaean Hanging Scrolls.jpg

Detail: Maiden of Light on a cloud formation with her attendants.

File:Daênâ with Her Attendants (Manichaean Sermon).jpg


Sermon on Mani's Teaching of Salvation

Prompt: Focus on Sermon on Mani's Teaching of Salvation and explain the Excursus.

Eight silk hanging scrolls with Manichaean didactic images from southern China from between the 12th and the 15th centuries, which can be divided into four categories:Two single portraits (depicting Mani and Jesus)Icon of ManiManichaean Painting of the Buddha JesusOne scroll depicting Salvation Theory (Soteriology)Sermon on Mani's Teaching of SalvationFour scrolls depicting Prophetology (Prophetology)Mani's ParentsBirth of ManiEpisodes from Mani's Missionary WorkMani's Community EstablishedOne scroll depicting Cosmology (Cosmology)Manichaean Diagram of the Universe

File:Collection of Chinese Manichaean Hanging Scrolls.jpg

Detail: Maiden of Light on a cloud formation with her attendants.

File:Daênâ with Her Attendants (Manichaean Sermon).jpg


Sermon on Mani's Teaching of Salvation

Prompt: Explain the Excursus of this artwork, Sermon on Mani's Teaching of Salvation.

Eight silk hanging scrolls with Manichaean didactic images from southern China from between the 12th and the 15th centuries, which can be divided into four categories:Two single portraits (depicting Mani and Jesus)Icon of ManiManichaean Painting of the Buddha JesusOne scroll depicting Salvation Theory (Soteriology)Sermon on Mani's Teaching of SalvationFour scrolls depicting Prophetology (Prophetology)Mani's ParentsBirth of ManiEpisodes from Mani's Missionary WorkMani's Community EstablishedOne scroll depicting Cosmology (Cosmology)Manichaean Diagram of the Universe

File:Collection of Chinese Manichaean Hanging Scrolls.jpg

Detail: Maiden of Light on a cloud formation with her attendants.

File:Daênâ with Her Attendants (Manichaean Sermon).jpg


Sermon on Mani's Teaching of Salvation

Prompt: How does Sermon on Mani's Teaching of Salvation explain its Excursus?

Eight silk hanging scrolls with Manichaean didactic images from southern China from between the 12th and the 15th centuries, which can be divided into four categories:Two single portraits (depicting Mani and Jesus)Icon of ManiManichaean Painting of the Buddha JesusOne scroll depicting Salvation Theory (Soteriology)Sermon on Mani's Teaching of SalvationFour scrolls depicting Prophetology (Prophetology)Mani's ParentsBirth of ManiEpisodes from Mani's Missionary WorkMani's Community EstablishedOne scroll depicting Cosmology (Cosmology)Manichaean Diagram of the Universe

File:Collection of Chinese Manichaean Hanging Scrolls.jpg

Detail: Maiden of Light on a cloud formation with her attendants.

File:Daênâ with Her Attendants (Manichaean Sermon).jpg


Sermon on Mani's Teaching of Salvation

Prompt: In Sermon on Mani's Teaching of Salvation, how is the Excursus discussed?

Eight silk hanging scrolls with Manichaean didactic images from southern China from between the 12th and the 15th centuries, which can be divided into four categories:Two single portraits (depicting Mani and Jesus)Icon of ManiManichaean Painting of the Buddha JesusOne scroll depicting Salvation Theory (Soteriology)Sermon on Mani's Teaching of SalvationFour scrolls depicting Prophetology (Prophetology)Mani's ParentsBirth of ManiEpisodes from Mani's Missionary WorkMani's Community EstablishedOne scroll depicting Cosmology (Cosmology)Manichaean Diagram of the Universe

File:Collection of Chinese Manichaean Hanging Scrolls.jpg

Detail: Maiden of Light on a cloud formation with her attendants.

File:Daênâ with Her Attendants (Manichaean Sermon).jpg


The Rape of the Daughters of Leucippus

Prompt: Focus on The Rape of the Daughters of Leucippus and explain the abstract.

The Rape of the Daughters of Leucippus is a 1618 painting by Peter Paul Rubens and Jan Wildens. It is displayed at the Alte Pinakothek in Munich.

Category:Collection of the Alte Pinakothek

Category:Mythological paintings by Peter Paul Rubens


The Rape of the Daughters of Leucippus

Prompt: Explain the abstract of this artwork, The Rape of the Daughters of Leucippus.

The Rape of the Daughters of Leucippus is a 1618 painting by Peter Paul Rubens and Jan Wildens. It is displayed at the Alte Pinakothek in Munich.

Category:Collection of the Alte Pinakothek

Category:Mythological paintings by Peter Paul Rubens


The Rape of the Daughters of Leucippus

Prompt: How does The Rape of the Daughters of Leucippus explain its abstract?

The Rape of the Daughters of Leucippus is a 1618 painting by Peter Paul Rubens and Jan Wildens. It is displayed at the Alte Pinakothek in Munich.

Category:Collection of the Alte Pinakothek

Category:Mythological paintings by Peter Paul Rubens


The Rape of the Daughters of Leucippus

Prompt: In The Rape of the Daughters of Leucippus, how is the abstract discussed?

The Rape of the Daughters of Leucippus is a 1618 painting by Peter Paul Rubens and Jan Wildens. It is displayed at the Alte Pinakothek in Munich.

Category:Collection of the Alte Pinakothek

Category:Mythological paintings by Peter Paul Rubens


The Rape of the Daughters of Leucippus

Prompt: Focus on The Rape of the Daughters of Leucippus and explain the History.

The painting was bought in Antwerp in 1716 by Johann Wilhelm, Elector Palatine. Initially sent to Mannheim, by 1805/06 it had reached Munich.The landscape specialist Jan Wildens painted the landscape.

Category:Collection of the Alte Pinakothek

Category:Mythological paintings by Peter Paul Rubens


The Rape of the Daughters of Leucippus

Prompt: Explain the History of this artwork, The Rape of the Daughters of Leucippus.

The painting was bought in Antwerp in 1716 by Johann Wilhelm, Elector Palatine. Initially sent to Mannheim, by 1805/06 it had reached Munich.The landscape specialist Jan Wildens painted the landscape.

Category:Collection of the Alte Pinakothek

Category:Mythological paintings by Peter Paul Rubens


The Rape of the Daughters of Leucippus

Prompt: How does The Rape of the Daughters of Leucippus explain its History?

The painting was bought in Antwerp in 1716 by Johann Wilhelm, Elector Palatine. Initially sent to Mannheim, by 1805/06 it had reached Munich.The landscape specialist Jan Wildens painted the landscape.

Category:Collection of the Alte Pinakothek

Category:Mythological paintings by Peter Paul Rubens


The Rape of the Daughters of Leucippus

Prompt: In The Rape of the Daughters of Leucippus, how is the History discussed?

The painting was bought in Antwerp in 1716 by Johann Wilhelm, Elector Palatine. Initially sent to Mannheim, by 1805/06 it had reached Munich.The landscape specialist Jan Wildens painted the landscape.

Category:Collection of the Alte Pinakothek

Category:Mythological paintings by Peter Paul Rubens


The Rape of the Daughters of Leucippus

Prompt: Focus on The Rape of the Daughters of Leucippus and explain the Description.

The painting depicts the mortal Castor and the immortal Pollux abducting Phoebe and Hilaeira, daughters of Leucippus of Messenia. Castor the horse-tamer is recognisable from his armour, whilst Pollux the boxer is shown with a bare and free upper body. They are also distinguished by their horses—Castor's is well-behaved and supported by a putto, whereas Pollux's is rearing. The putto's black wing shows the twins' ultimate fate. In the painting, Phoebe and Hilaeira do not have distinguishing attributes. From the literature on Greek myths, however, we learn that Phoebe bore a son, Mnesleos, to Pollux, and Hilaeira bore a son, Anogon, to Castor. It would seem therefore, from the directions of the twins' fixed stares, that the daughter in the lower position, with her back to us, is Phoebe, and the daughter in the upper position, displaying a frontal view, is Hilaeira.

Category:Collection of the Alte Pinakothek

Category:Mythological paintings by Peter Paul Rubens


The Rape of the Daughters of Leucippus

Prompt: Explain the Description of this artwork, The Rape of the Daughters of Leucippus.

The painting depicts the mortal Castor and the immortal Pollux abducting Phoebe and Hilaeira, daughters of Leucippus of Messenia. Castor the horse-tamer is recognisable from his armour, whilst Pollux the boxer is shown with a bare and free upper body. They are also distinguished by their horses—Castor's is well-behaved and supported by a putto, whereas Pollux's is rearing. The putto's black wing shows the twins' ultimate fate. In the painting, Phoebe and Hilaeira do not have distinguishing attributes. From the literature on Greek myths, however, we learn that Phoebe bore a son, Mnesleos, to Pollux, and Hilaeira bore a son, Anogon, to Castor. It would seem therefore, from the directions of the twins' fixed stares, that the daughter in the lower position, with her back to us, is Phoebe, and the daughter in the upper position, displaying a frontal view, is Hilaeira.

Category:Collection of the Alte Pinakothek

Category:Mythological paintings by Peter Paul Rubens


The Rape of the Daughters of Leucippus

Prompt: How does The Rape of the Daughters of Leucippus explain its Description?

The painting depicts the mortal Castor and the immortal Pollux abducting Phoebe and Hilaeira, daughters of Leucippus of Messenia. Castor the horse-tamer is recognisable from his armour, whilst Pollux the boxer is shown with a bare and free upper body. They are also distinguished by their horses—Castor's is well-behaved and supported by a putto, whereas Pollux's is rearing. The putto's black wing shows the twins' ultimate fate. In the painting, Phoebe and Hilaeira do not have distinguishing attributes. From the literature on Greek myths, however, we learn that Phoebe bore a son, Mnesleos, to Pollux, and Hilaeira bore a son, Anogon, to Castor. It would seem therefore, from the directions of the twins' fixed stares, that the daughter in the lower position, with her back to us, is Phoebe, and the daughter in the upper position, displaying a frontal view, is Hilaeira.

Category:Collection of the Alte Pinakothek

Category:Mythological paintings by Peter Paul Rubens


The Rape of the Daughters of Leucippus

Prompt: In The Rape of the Daughters of Leucippus, how is the Description discussed?

The painting depicts the mortal Castor and the immortal Pollux abducting Phoebe and Hilaeira, daughters of Leucippus of Messenia. Castor the horse-tamer is recognisable from his armour, whilst Pollux the boxer is shown with a bare and free upper body. They are also distinguished by their horses—Castor's is well-behaved and supported by a putto, whereas Pollux's is rearing. The putto's black wing shows the twins' ultimate fate. In the painting, Phoebe and Hilaeira do not have distinguishing attributes. From the literature on Greek myths, however, we learn that Phoebe bore a son, Mnesleos, to Pollux, and Hilaeira bore a son, Anogon, to Castor. It would seem therefore, from the directions of the twins' fixed stares, that the daughter in the lower position, with her back to us, is Phoebe, and the daughter in the upper position, displaying a frontal view, is Hilaeira.

Category:Collection of the Alte Pinakothek

Category:Mythological paintings by Peter Paul Rubens


Mega-Gem

Prompt: Focus on Mega-Gem and explain the abstract.

Mega-Gem is an outdoor sculpture by American artist John Francis Torreano (born 1941). It is located on the Indiana University-Purdue University Indianapolis (IUPUI) campus, which is near downtown Indianapolis, Indiana, and is owned by the Indianapolis Museum of Art. The oversized sculpture, made of aluminum, is shaped like a round-cut diamond resting on one its facets and studded with 36 smaller, colored-metal rosettes.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Category:Sculptures in the Indianapolis Museum of Art

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Mega-Gem

Prompt: Explain the abstract of this artwork, Mega-Gem.

Mega-Gem is an outdoor sculpture by American artist John Francis Torreano (born 1941). It is located on the Indiana University-Purdue University Indianapolis (IUPUI) campus, which is near downtown Indianapolis, Indiana, and is owned by the Indianapolis Museum of Art. The oversized sculpture, made of aluminum, is shaped like a round-cut diamond resting on one its facets and studded with 36 smaller, colored-metal rosettes.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Category:Sculptures in the Indianapolis Museum of Art

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Mega-Gem

Prompt: How does Mega-Gem explain its abstract?

Mega-Gem is an outdoor sculpture by American artist John Francis Torreano (born 1941). It is located on the Indiana University-Purdue University Indianapolis (IUPUI) campus, which is near downtown Indianapolis, Indiana, and is owned by the Indianapolis Museum of Art. The oversized sculpture, made of aluminum, is shaped like a round-cut diamond resting on one its facets and studded with 36 smaller, colored-metal rosettes.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Category:Sculptures in the Indianapolis Museum of Art

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Mega-Gem

Prompt: In Mega-Gem, how is the abstract discussed?

Mega-Gem is an outdoor sculpture by American artist John Francis Torreano (born 1941). It is located on the Indiana University-Purdue University Indianapolis (IUPUI) campus, which is near downtown Indianapolis, Indiana, and is owned by the Indianapolis Museum of Art. The oversized sculpture, made of aluminum, is shaped like a round-cut diamond resting on one its facets and studded with 36 smaller, colored-metal rosettes.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Category:Sculptures in the Indianapolis Museum of Art

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Mega-Gem

Prompt: Focus on Mega-Gem and explain the Description.

Mega-Gem is an oversized, metallic, diamond-shaped sculpture that is tilted at an angle and composed with eighteen facets (or plates). Randomly scattered on each plate are from one to three metal rosette gems of varying colors. There are a total of 36 rosettes (six blue, six green, two red-orange, six red, eight gold, five silver and three black), all of which are made of anodized or painted cast aluminum. The main body of Mega-Gem is gray Heliarch welded aluminum plate. The sculpture measures 7'2" × 11' × 7'2" and sits on a concrete base that measures 2" × 11'. It weighs approximately 2,000 lb (910 kg).

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Indiana University-Purdue University Indianapolis

Category:Sculptures in the Indianapolis Museum of Art

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Mega-Gem

Prompt: Explain the Description of this artwork, Mega-Gem.

Mega-Gem is an oversized, metallic, diamond-shaped sculpture that is tilted at an angle and composed with eighteen facets (or plates). Randomly scattered on each plate are from one to three metal rosette gems of varying colors. There are a total of 36 rosettes (six blue, six green, two red-orange, six red, eight gold, five silver and three black), all of which are made of anodized or painted cast aluminum. The main body of Mega-Gem is gray Heliarch welded aluminum plate. The sculpture measures 7'2" × 11' × 7'2" and sits on a concrete base that measures 2" × 11'. It weighs approximately 2,000 lb (910 kg).

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Indiana University-Purdue University Indianapolis

Category:Sculptures in the Indianapolis Museum of Art

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Mega-Gem

Prompt: How does Mega-Gem explain its Description?

Mega-Gem is an oversized, metallic, diamond-shaped sculpture that is tilted at an angle and composed with eighteen facets (or plates). Randomly scattered on each plate are from one to three metal rosette gems of varying colors. There are a total of 36 rosettes (six blue, six green, two red-orange, six red, eight gold, five silver and three black), all of which are made of anodized or painted cast aluminum. The main body of Mega-Gem is gray Heliarch welded aluminum plate. The sculpture measures 7'2" × 11' × 7'2" and sits on a concrete base that measures 2" × 11'. It weighs approximately 2,000 lb (910 kg).

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Indiana University-Purdue University Indianapolis

Category:Sculptures in the Indianapolis Museum of Art

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Mega-Gem

Prompt: In Mega-Gem, how is the Description discussed?

Mega-Gem is an oversized, metallic, diamond-shaped sculpture that is tilted at an angle and composed with eighteen facets (or plates). Randomly scattered on each plate are from one to three metal rosette gems of varying colors. There are a total of 36 rosettes (six blue, six green, two red-orange, six red, eight gold, five silver and three black), all of which are made of anodized or painted cast aluminum. The main body of Mega-Gem is gray Heliarch welded aluminum plate. The sculpture measures 7'2" × 11' × 7'2" and sits on a concrete base that measures 2" × 11'. It weighs approximately 2,000 lb (910 kg).

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Indiana University-Purdue University Indianapolis

Category:Sculptures in the Indianapolis Museum of Art

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Mega-Gem

Prompt: Focus on Mega-Gem and explain the Historical information.

Mega-Gem was fabricated in 1989 with the resources of Cincinnati art dealer Carl Solway. It was presented at the Chicago International Art Exposition, where it was located on the Navy Pier in Chicago, Illinois. The presentation of Mega-Gem was promoted through posters and buttons proclaiming the sculpture to be the largest diamond in the world, weighing over 360 million carats. Mega-Gem was considered by Torreano to be one of a series of "oxy-gem" sculptures, playing on the oxymoron of combining precious gems with materials of lesser value, such as a "plywood gem", "gold gem", and Mega-Gem as "aluminum gem". Mega-Gem is one of Torreano's oversized and exaggerated jewel sculptures.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Indiana University-Purdue University Indianapolis

Category:Sculptures in the Indianapolis Museum of Art

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Mega-Gem

Prompt: Explain the Historical information of this artwork, Mega-Gem.

Mega-Gem was fabricated in 1989 with the resources of Cincinnati art dealer Carl Solway. It was presented at the Chicago International Art Exposition, where it was located on the Navy Pier in Chicago, Illinois. The presentation of Mega-Gem was promoted through posters and buttons proclaiming the sculpture to be the largest diamond in the world, weighing over 360 million carats. Mega-Gem was considered by Torreano to be one of a series of "oxy-gem" sculptures, playing on the oxymoron of combining precious gems with materials of lesser value, such as a "plywood gem", "gold gem", and Mega-Gem as "aluminum gem". Mega-Gem is one of Torreano's oversized and exaggerated jewel sculptures.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Indiana University-Purdue University Indianapolis

Category:Sculptures in the Indianapolis Museum of Art

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Mega-Gem

Prompt: How does Mega-Gem explain its Historical information?

Mega-Gem was fabricated in 1989 with the resources of Cincinnati art dealer Carl Solway. It was presented at the Chicago International Art Exposition, where it was located on the Navy Pier in Chicago, Illinois. The presentation of Mega-Gem was promoted through posters and buttons proclaiming the sculpture to be the largest diamond in the world, weighing over 360 million carats. Mega-Gem was considered by Torreano to be one of a series of "oxy-gem" sculptures, playing on the oxymoron of combining precious gems with materials of lesser value, such as a "plywood gem", "gold gem", and Mega-Gem as "aluminum gem". Mega-Gem is one of Torreano's oversized and exaggerated jewel sculptures.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Indiana University-Purdue University Indianapolis

Category:Sculptures in the Indianapolis Museum of Art

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Mega-Gem

Prompt: In Mega-Gem, how is the Historical information discussed?

Mega-Gem was fabricated in 1989 with the resources of Cincinnati art dealer Carl Solway. It was presented at the Chicago International Art Exposition, where it was located on the Navy Pier in Chicago, Illinois. The presentation of Mega-Gem was promoted through posters and buttons proclaiming the sculpture to be the largest diamond in the world, weighing over 360 million carats. Mega-Gem was considered by Torreano to be one of a series of "oxy-gem" sculptures, playing on the oxymoron of combining precious gems with materials of lesser value, such as a "plywood gem", "gold gem", and Mega-Gem as "aluminum gem". Mega-Gem is one of Torreano's oversized and exaggerated jewel sculptures.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Indiana University-Purdue University Indianapolis

Category:Sculptures in the Indianapolis Museum of Art

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Mega-Gem

Prompt: In the context of Mega-Gem, explain the Location history and the Historical information.

In 1989 Mega-Gem was presented at the Chicago International Art Exposition where it was displayed on Navy Pier along Lake Michigan in Chicago, Illinois, until 1994.In October 1994 Mega-Gem was loaned to the Indianapolis Museum of Art for two years. It arrived on October 10, 1994, and was put on display in the southwest corner of Krannert Plaza, which is a section of the IMA's grounds and gardens located on the west side of the property overlooking the White River. In 1997, after the loan period had expired, the Contemporary Art Society raised funds for Mega-Gem to be acquired by the IMA. It remained on view in Krannert Plaza until 2001, when it was relocated to the southeast corner of the IMA property near the intersection of 38th Street and Michigan Road.In late January 2009 Mega-Gem was relocated to the IUPUI campus to make way for the creation of the IMA's Virginia B. Fairbanks Art & Nature Park, which opened in June 2010. Mega-Gem was one of four IMA sculptures that were loaned to IUPUI. The others were East Gate/West Gate by Sasson Soffer, Portrait of History by Shan Zou Zhou, and Spaces with Iron by Will Horwitt. These four IMA pieces on the IUPUI campus are part of the Indianapolis Cultural Trail, which "connects neighborhoods, entertainment facilities and the city's five cultural districts" and includes Indiana Avenue, Massachusetts Avenue, Indianapolis, Fountain Square, Indianapolis, the Wholesale District, Indianapolis, and White River State Park. The Cultural Trail, completed in 2013 as a bike and pedestrian path, will connect Broad Ripple Village, Indianapolis to downtown Indianapolis via the Monon Trail.Mega-Gem is situated in the courtyard north of New York Street on the IUPUI campus, east of Lecture Hall and south of Joseph T. Taylor Hall (formerly University College), at 815 W. Michigan Street.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Indiana University-Purdue University Indianapolis

Category:Sculptures in the Indianapolis Museum of Art

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Mega-Gem

Prompt: Explain the Location history about the Historical information of this artwork, Mega-Gem.

In 1989 Mega-Gem was presented at the Chicago International Art Exposition where it was displayed on Navy Pier along Lake Michigan in Chicago, Illinois, until 1994.In October 1994 Mega-Gem was loaned to the Indianapolis Museum of Art for two years. It arrived on October 10, 1994, and was put on display in the southwest corner of Krannert Plaza, which is a section of the IMA's grounds and gardens located on the west side of the property overlooking the White River. In 1997, after the loan period had expired, the Contemporary Art Society raised funds for Mega-Gem to be acquired by the IMA. It remained on view in Krannert Plaza until 2001, when it was relocated to the southeast corner of the IMA property near the intersection of 38th Street and Michigan Road.In late January 2009 Mega-Gem was relocated to the IUPUI campus to make way for the creation of the IMA's Virginia B. Fairbanks Art & Nature Park, which opened in June 2010. Mega-Gem was one of four IMA sculptures that were loaned to IUPUI. The others were East Gate/West Gate by Sasson Soffer, Portrait of History by Shan Zou Zhou, and Spaces with Iron by Will Horwitt. These four IMA pieces on the IUPUI campus are part of the Indianapolis Cultural Trail, which "connects neighborhoods, entertainment facilities and the city's five cultural districts" and includes Indiana Avenue, Massachusetts Avenue, Indianapolis, Fountain Square, Indianapolis, the Wholesale District, Indianapolis, and White River State Park. The Cultural Trail, completed in 2013 as a bike and pedestrian path, will connect Broad Ripple Village, Indianapolis to downtown Indianapolis via the Monon Trail.Mega-Gem is situated in the courtyard north of New York Street on the IUPUI campus, east of Lecture Hall and south of Joseph T. Taylor Hall (formerly University College), at 815 W. Michigan Street.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Indiana University-Purdue University Indianapolis

Category:Sculptures in the Indianapolis Museum of Art

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Mega-Gem

Prompt: In Mega-Gem, how is the Location history of the Historical information explained?

In 1989 Mega-Gem was presented at the Chicago International Art Exposition where it was displayed on Navy Pier along Lake Michigan in Chicago, Illinois, until 1994.In October 1994 Mega-Gem was loaned to the Indianapolis Museum of Art for two years. It arrived on October 10, 1994, and was put on display in the southwest corner of Krannert Plaza, which is a section of the IMA's grounds and gardens located on the west side of the property overlooking the White River. In 1997, after the loan period had expired, the Contemporary Art Society raised funds for Mega-Gem to be acquired by the IMA. It remained on view in Krannert Plaza until 2001, when it was relocated to the southeast corner of the IMA property near the intersection of 38th Street and Michigan Road.In late January 2009 Mega-Gem was relocated to the IUPUI campus to make way for the creation of the IMA's Virginia B. Fairbanks Art & Nature Park, which opened in June 2010. Mega-Gem was one of four IMA sculptures that were loaned to IUPUI. The others were East Gate/West Gate by Sasson Soffer, Portrait of History by Shan Zou Zhou, and Spaces with Iron by Will Horwitt. These four IMA pieces on the IUPUI campus are part of the Indianapolis Cultural Trail, which "connects neighborhoods, entertainment facilities and the city's five cultural districts" and includes Indiana Avenue, Massachusetts Avenue, Indianapolis, Fountain Square, Indianapolis, the Wholesale District, Indianapolis, and White River State Park. The Cultural Trail, completed in 2013 as a bike and pedestrian path, will connect Broad Ripple Village, Indianapolis to downtown Indianapolis via the Monon Trail.Mega-Gem is situated in the courtyard north of New York Street on the IUPUI campus, east of Lecture Hall and south of Joseph T. Taylor Hall (formerly University College), at 815 W. Michigan Street.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Indiana University-Purdue University Indianapolis

Category:Sculptures in the Indianapolis Museum of Art

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Mega-Gem

Prompt: Describe the characteristics of the Location history in Mega-Gem's Historical information.

In 1989 Mega-Gem was presented at the Chicago International Art Exposition where it was displayed on Navy Pier along Lake Michigan in Chicago, Illinois, until 1994.In October 1994 Mega-Gem was loaned to the Indianapolis Museum of Art for two years. It arrived on October 10, 1994, and was put on display in the southwest corner of Krannert Plaza, which is a section of the IMA's grounds and gardens located on the west side of the property overlooking the White River. In 1997, after the loan period had expired, the Contemporary Art Society raised funds for Mega-Gem to be acquired by the IMA. It remained on view in Krannert Plaza until 2001, when it was relocated to the southeast corner of the IMA property near the intersection of 38th Street and Michigan Road.In late January 2009 Mega-Gem was relocated to the IUPUI campus to make way for the creation of the IMA's Virginia B. Fairbanks Art & Nature Park, which opened in June 2010. Mega-Gem was one of four IMA sculptures that were loaned to IUPUI. The others were East Gate/West Gate by Sasson Soffer, Portrait of History by Shan Zou Zhou, and Spaces with Iron by Will Horwitt. These four IMA pieces on the IUPUI campus are part of the Indianapolis Cultural Trail, which "connects neighborhoods, entertainment facilities and the city's five cultural districts" and includes Indiana Avenue, Massachusetts Avenue, Indianapolis, Fountain Square, Indianapolis, the Wholesale District, Indianapolis, and White River State Park. The Cultural Trail, completed in 2013 as a bike and pedestrian path, will connect Broad Ripple Village, Indianapolis to downtown Indianapolis via the Monon Trail.Mega-Gem is situated in the courtyard north of New York Street on the IUPUI campus, east of Lecture Hall and south of Joseph T. Taylor Hall (formerly University College), at 815 W. Michigan Street.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Indiana University-Purdue University Indianapolis

Category:Sculptures in the Indianapolis Museum of Art

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Mega-Gem

Prompt: In the context of Mega-Gem, explain the Acquisition and the Historical information.

Mega-Gem was loaned to the Indianapolis Museum of Art (IMA) by the Carl Solway Gallery from 1994 to 1996. In 1997 the IMA Contemporary Art Society (CAS) undertook the effort to purchase the sculpture and acquire it for the IMA. CAS President Dee Garrett led the fund drive for Mega-Gem and worked with the IMA to sell miniature gem sculptures created by Torreano in order to raise money. The CAS donated Mega-Gem to the IMA at a gala in 1997 with John Torreano in attendance.Mega-Gem was acquired by the IMA in 1997 with the accession number of 1997.6. It is credited as the Gift of Robert Shiffler, Contemporary Art Society Fund and Henry F. and Katherine D. DeBoest Memorial Fund. The value of Mega-Gem is unknown; however, prices for Torreano's work have ranged from $4,000 for smaller paintings to $30,000 for larger pieces.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Indiana University-Purdue University Indianapolis

Category:Sculptures in the Indianapolis Museum of Art

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Mega-Gem

Prompt: Explain the Acquisition about the Historical information of this artwork, Mega-Gem.

Mega-Gem was loaned to the Indianapolis Museum of Art (IMA) by the Carl Solway Gallery from 1994 to 1996. In 1997 the IMA Contemporary Art Society (CAS) undertook the effort to purchase the sculpture and acquire it for the IMA. CAS President Dee Garrett led the fund drive for Mega-Gem and worked with the IMA to sell miniature gem sculptures created by Torreano in order to raise money. The CAS donated Mega-Gem to the IMA at a gala in 1997 with John Torreano in attendance.Mega-Gem was acquired by the IMA in 1997 with the accession number of 1997.6. It is credited as the Gift of Robert Shiffler, Contemporary Art Society Fund and Henry F. and Katherine D. DeBoest Memorial Fund. The value of Mega-Gem is unknown; however, prices for Torreano's work have ranged from $4,000 for smaller paintings to $30,000 for larger pieces.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Indiana University-Purdue University Indianapolis

Category:Sculptures in the Indianapolis Museum of Art

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Mega-Gem

Prompt: In Mega-Gem, how is the Acquisition of the Historical information explained?

Mega-Gem was loaned to the Indianapolis Museum of Art (IMA) by the Carl Solway Gallery from 1994 to 1996. In 1997 the IMA Contemporary Art Society (CAS) undertook the effort to purchase the sculpture and acquire it for the IMA. CAS President Dee Garrett led the fund drive for Mega-Gem and worked with the IMA to sell miniature gem sculptures created by Torreano in order to raise money. The CAS donated Mega-Gem to the IMA at a gala in 1997 with John Torreano in attendance.Mega-Gem was acquired by the IMA in 1997 with the accession number of 1997.6. It is credited as the Gift of Robert Shiffler, Contemporary Art Society Fund and Henry F. and Katherine D. DeBoest Memorial Fund. The value of Mega-Gem is unknown; however, prices for Torreano's work have ranged from $4,000 for smaller paintings to $30,000 for larger pieces.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Indiana University-Purdue University Indianapolis

Category:Sculptures in the Indianapolis Museum of Art

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Mega-Gem

Prompt: Describe the characteristics of the Acquisition in Mega-Gem's Historical information.

Mega-Gem was loaned to the Indianapolis Museum of Art (IMA) by the Carl Solway Gallery from 1994 to 1996. In 1997 the IMA Contemporary Art Society (CAS) undertook the effort to purchase the sculpture and acquire it for the IMA. CAS President Dee Garrett led the fund drive for Mega-Gem and worked with the IMA to sell miniature gem sculptures created by Torreano in order to raise money. The CAS donated Mega-Gem to the IMA at a gala in 1997 with John Torreano in attendance.Mega-Gem was acquired by the IMA in 1997 with the accession number of 1997.6. It is credited as the Gift of Robert Shiffler, Contemporary Art Society Fund and Henry F. and Katherine D. DeBoest Memorial Fund. The value of Mega-Gem is unknown; however, prices for Torreano's work have ranged from $4,000 for smaller paintings to $30,000 for larger pieces.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Indiana University-Purdue University Indianapolis

Category:Sculptures in the Indianapolis Museum of Art

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Mega-Gem

Prompt: Focus on Mega-Gem and explain the Condition.

The fading paint on the rosettes has been a cause for concern in the past. In 1996, in preparation for Mega-Gem's acquisition into the Indianapolis Museum of Art collection, the rosettes were returned to the artist for repainting.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Indiana University-Purdue University Indianapolis

Category:Sculptures in the Indianapolis Museum of Art

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Mega-Gem

Prompt: Explain the Condition of this artwork, Mega-Gem.

The fading paint on the rosettes has been a cause for concern in the past. In 1996, in preparation for Mega-Gem's acquisition into the Indianapolis Museum of Art collection, the rosettes were returned to the artist for repainting.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Indiana University-Purdue University Indianapolis

Category:Sculptures in the Indianapolis Museum of Art

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Mega-Gem

Prompt: How does Mega-Gem explain its Condition?

The fading paint on the rosettes has been a cause for concern in the past. In 1996, in preparation for Mega-Gem's acquisition into the Indianapolis Museum of Art collection, the rosettes were returned to the artist for repainting.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Indiana University-Purdue University Indianapolis

Category:Sculptures in the Indianapolis Museum of Art

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


Mega-Gem

Prompt: In Mega-Gem, how is the Condition discussed?

The fading paint on the rosettes has been a cause for concern in the past. In 1996, in preparation for Mega-Gem's acquisition into the Indianapolis Museum of Art collection, the rosettes were returned to the artist for repainting.

Category:Indiana University – Purdue University Indianapolis Public Art Collection

Indiana University–Purdue University Indianapolis

Category:Outdoor sculptures in Indianapolis

Indiana University-Purdue University Indianapolis

Category:Sculptures in the Indianapolis Museum of Art

Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick


World peace (sculpture)

Prompt: Focus on World peace (sculpture) and explain the abstract.

World peace (Finnish: Maailman rauha or Rauha maailmalle, Swedish: Världsfreden, Russian: Мир во всем мире) is a bronze sculpture donated by the city of Moscow, Russia to the city of Helsinki, Finland, created by sculptor Oleg Kiryuhin. The sculpture was located at Hakaniemenranta in Helsinki, and it was revealed on 14 January 1990, two months after the Berlin Wall had been broken. The sculpture belongs to the collection of the Helsinki Art Museum. The sculpture was moved to storage on 8 August 2022, as part of the wave of monuments and memorials removal following the Russian invasion of Ukraine.The sculpture is 6.5 metres tall. It represents people representing different continents of the world holding the world decorated with tree leaves with one of their arms. The people in the statue have made fists with their hands not holding the world to represent a demonstration for the cause of world peace.The sculpture has caused much controversy in Finland. In 2008 it was chosen as both the third ugliest and the third most loved sculpture in Helsinki in a readers' poll held in newspapers.In August 2022 the sculpture was moved away from Hakaniemenranta because of construction of the Crown Bridges project. The sculpture was moved along the sea on a barge to storage in eastern Uusimaa.The sculpture was placed in storage and a pedestrian walkway will be built in its place. According to the Helsinki Art Museum, the sculpture will be returned near its current location after the construction.

List of monuments and memorials removed following the Russian invasion of Ukraine

Category:Removed monuments and memorials

A copy of the sculpture on top of a pillar in front of the [[Peoples' Friendship University of Russia


World peace (sculpture)

Prompt: Explain the abstract of this artwork, World peace (sculpture).

World peace (Finnish: Maailman rauha or Rauha maailmalle, Swedish: Världsfreden, Russian: Мир во всем мире) is a bronze sculpture donated by the city of Moscow, Russia to the city of Helsinki, Finland, created by sculptor Oleg Kiryuhin. The sculpture was located at Hakaniemenranta in Helsinki, and it was revealed on 14 January 1990, two months after the Berlin Wall had been broken. The sculpture belongs to the collection of the Helsinki Art Museum. The sculpture was moved to storage on 8 August 2022, as part of the wave of monuments and memorials removal following the Russian invasion of Ukraine.The sculpture is 6.5 metres tall. It represents people representing different continents of the world holding the world decorated with tree leaves with one of their arms. The people in the statue have made fists with their hands not holding the world to represent a demonstration for the cause of world peace.The sculpture has caused much controversy in Finland. In 2008 it was chosen as both the third ugliest and the third most loved sculpture in Helsinki in a readers' poll held in newspapers.In August 2022 the sculpture was moved away from Hakaniemenranta because of construction of the Crown Bridges project. The sculpture was moved along the sea on a barge to storage in eastern Uusimaa.The sculpture was placed in storage and a pedestrian walkway will be built in its place. According to the Helsinki Art Museum, the sculpture will be returned near its current location after the construction.

List of monuments and memorials removed following the Russian invasion of Ukraine

Category:Removed monuments and memorials

A copy of the sculpture on top of a pillar in front of the [[Peoples' Friendship University of Russia