DRAGON’S LAIR

Michael SojkaApril 24, 2014LAA 101

JAR WITH PAIRED DRAGONS MING DYNASTY (1368–1644)

The paired dragons in the center are the main focal point of this Ming Dynasty piece.

The yellow dragon is an organic positive shape and is contrasted with deep red colors throughout the remaining negative shapes.

THE HOLY TRINITY WITH ST. MICHAEL

CONQUERING THE DRAGON (1666)

A religious piece from the mid 17th century depicts St. Michael, the Arch Angel, overcoming the forces of evil depicted in the 5-headed dragon.

The artist used a chiaroscuro method, effectively applying the use of light and dark graduating tones to transform the piece into a three-dimensional display.

MIRROR WITH DRAGON AND BIRD ARABESQUE, WESTERN HAN DYNASTY (206

B.C.–A.D. 9)

A Chinese circular bronze piece from the Lucy Maud Buckingham Collection.

The artist deployed radial balance where the ray-like patterns emit from the central point.

DRAGONHAN DYNASTY (206 B.C.–

A.D.))

A Chinese or Mongolian bronze sculpture from the Lucy Maud Buckingham Collection.

This piece displays horizontal balance, where the dragon appears to have equality on both sides, left and right. The tail, although smaller than the head, is given added height that creates the sense of equal balance.

PEACOCK AND DRAGONWILLIAM MORRIS (1834–1896)

A woven piece produced in England, London at Queen Square or Merton Abbey Works.

The most prominent style is of symmetry, where the piece has multiple mirror images. Perfect vertical symmetry is coupled with some segments of horizontal symmetry. The artist also deployed low contrast value patterns.

I chose these pieces because I have always been fascinated with dragons. They are mystical, unpredictable, and strong.

The pieces also show dragons in a variety of ways. Although part of a common theme, each tell a different story.

I selected pieces made from different material, timeframes, and origins to contrast the type of dragons used in art.

REASONS FOR MY SELECTIONS

Beginning

Symbolizing an entry door

GALLERY LAYOUT“ENTER THE DRAGON’S

LAIR”

End

Leaving a multi-layer complex

piece as the final impact point