* Decor of the Divine *

Jonathan Torres                    December 3, 2013                    

As instructed, students were to embark on a process similar to that of a museum curator. More specifically, respective students were to assemble ten individual pieces which correlate through a specific lens or perspective. This was done to further comprehend what it is like to be someone tasked with designating artworks for an esteemed institution; (these artworks can be found at the Metropolitan Museum website). As a curator, I wanted to visualize the setting before selecting the respective pieces. It did not take long to fathom, but I had internalized a room which was as close to the comfort of what heaven (supposedly) should feel like. After establishing the theme of the setting I searched for pieces of art which could have had religious symbolism, fantasy, luxury, and anything which is deemed universally desirable. In conjunction with this premise, I chose two small sculptures of angels (by two respective artists), one made of copper and the other being a Christmas ornament, as well as a larger sculpture of a bright bronze colored angel. The angels are direct symbolism of creatures who are pure in nature and guardians. Along with the angels, I selected two respective pieces of art which contain imagery of lions. An aquamanile (tool used to pour water) in the shape of a lion along with a candlestick which is erected off the back of a lion sculpture occupy the room. Lions have often been associated with bravery and nobility, appropriate traits for a divine room. Luxurious furniture is present as "Princely Furniture" made by the esteemed Roentgen family sits in the theoretical space. On top of the Roentgen cabinets is another piece; a small but infinitely elegant bottle made by the Chinese in the 18th century. It adorns a depiction of a European woman and child on the  spherical forefront of the bottle and the image is framed by soothing, organic swirls of blue, pink, green, and maroon with a gold cap and gold base at each respective end. Placed on a mantelpiece (as to establish prominence) is the "Head of Bhairava" a copper sculpture which seems like a mask. It is a bright copper sculpture with elegant details such as the headdress or facial features (which appear to flare due to the patterns and texture). Along the same mantel, an oil pastel painting entitled "Pleasure" shall rest. The painting itself is of a naked female wearing a floral crown and holding flowers whose essence coincides with the room. Symbolizing visceral fantasy, the image is isolated by a large golden frame-piece. Last but not least is a two foot tall, copper sculpture of a Buddhist guru named "Padmasambhava" sitting cross legged atop a rectangular shaped fixture. The subject matter of the room makes Padmasambhava a perfect fit as he is depicted as a composed, mystic being (although the ideals of Buddhism may not correlate with the content of the room). Ultimately, these items are decorations for a room as opposed to the actual makeup of a room. When digesting the pieces presented, one can envision their own ideal room with the ingredients I have put forth.