Point Of View Final

These are my final six A5 works for Point Of View for alcohol.

Alcohol from the point of view of troubled people is escape. How I chose to portray this point of view was that the bottle of the alcohol would be a shelter or hideout from the problems of the outside world, such as stress, anxiety and other issues. These problems are depicted by the dark spirits circling the bottle, while inside the bottle is a little village, being protected by the alcohol. Hence, it shows that alcohol is an escape from all these troubles.


Alcohol from the point of view of alcoholics is a necessity. We see an alcohol bottle being wrapped around by leaves and vines. I wanted to show the addiction through the leaves and vines because over time, they would grow like how addiction to alcohol would become more serious after awhile. Hence, I decided to draw the vines slowly growing and being more attached to the alcohol, similar to how alcoholics need more alcohol as if alcohol is becoming a part of them now as their addiction becomes worse. Also, this work was inspired by Alex Konahin’s flora and fauna ideas.


Alcohol from the point of view of criminals is a window of opportunity. There has been many cases of crime, especially rape, because these criminals take advantage of alcohol and use it as their weapon to target their victims. Thus, I wanted to show this by drawing lots of windows and these windows would form the shape of the alcohol bottle, like how alcohol presented these criminals the chance to commit such acts.


Alcohol from the point of view of the body is poison. This was the last change to my list of point of views I wanted to show. From the picture, we can see bubbles with the skull and crossbones inside them. I wanted to show that alcohol may not seem harmful to us, hence the bubbles were small and scarce. A lot of people have basic knowledge of what alcohol can do to the body, but they still continue to drink due to social gatherings, stress or habit. And from all these sessions of drinking they may not feel any different or sick, but to the body, there may have been a lot of damage done. The body views alcohol as something it does not want inside of it, but people still continue to consume them, and slowly, they are killing themselves and poisoning their own bodies.


Alcohol from the point of view of recyclists is art. Alcohol bottles are actually very pretty and have a lot of uses for it beside storing alcohol, but they are just usually thrown away after its content has been consumed. For recyclists, they see many potential and ideas from these bottles, and through their ideas comes out art. Hence, I combined the paintbrush with the alcohol bottle. It may seem like an ordinary alcohol bottle but if you look closely, you can see the handle and bristles of the paintbrush. This work is inspired by Redmer Hoekstra’s combination of different objects.


Alcohol from the point of view of churches are weddings. During weddings, it is common to find alcohol as one of the drink options. For this point of view, I decided to combine the architecture of the church with the alcohol bottle. You can see the different features of the church, such as the cross and the rose window, and the features of the alcohol bottle such as the brand and the label sleeve of the bottle. This work is also inspired by Redmer Hoekstra’s combination works.


Point Of View Process

How I went about with this project was that I started brainstorming for objects I wish to use, keeping in mind selecting objects that would have a variety of point of views. Some objects that I was keen on doing were alcohol, books and handphones, as these objects carried with them a wide selection of point of views for me to choose.


However, I got stuck on how to portray these point of views as I had a problem of making things too literal. I came up with a few sketches for my different objects to see which would come out the best, and to be honest, I wasn’t satisfied with any of them.


Choosing handphones would be the easiest as there are a lot of things to talk about, its apps, its features. However, after consultation, it seemed that alcohol would be the best option as not a lot of people would think of using it and it can portray kind of a dark side. So, I decided to stick to alcohol and try my best to portray in a unique way.


These were the latest point of views I had for alcohol.

Point Of View Research

For this project, I have referenced from two artists. The first would be Alex Konahin. I particularly liked how the artist used flora and fauna to compose an insect and I think that the technique used is very detailed and hence I wished to replicate the same idea for my work.

alex-konahin-ink-illustrations-5 alex-konahin-ink-illustrations-14

The second artist would be Redmer Hoekstra. I was amazed at how the artist used features of animals, such as the horns, to combine with parts of machinery and objects, and why he chose certain objects for certain animals is very apt. For example, the horns of the rhinoceros had been morphed into the train’s chimneys.

rhinoship rhinotrain whale

I find these combinations very fascinating and hence I have tried my best to display this in my work.

Research paper

Chinese Buddhist Art started out as similar representations of prototypes from India, and transformed over time due to the influences of Chinese culture and values.[1] Many new celestial Buddhas and Bodhisattvas were included in Chinese Buddhist Art, extending its focus to others besides Buddha Shakyamuni.[2] From the time period of the Northern Han Dynasty to the Tang Dynasty, and through the comparison of the Colossal Buddha in Cave 20 of Yungang of the Northern Wei Dynasty and the Buddha Vairocana in the Longmen Caves of the Tang Dynasty, we would be able to address the changes in art and religion when Buddhism arrives in China.


Buddhist Art in China could be characterized into three stages of development, with each stage being further integrated into China’s culture and artistic traditions.[3] The first stage of Chinese Buddhist Art, in the context of the Northern Wei Dynasty, closely revolved around foreign techniques and iconography. The second stage portrayed the combination of local art and techniques.[4] The third stage was during the Tang Dynasty, where “naturalistic representation renders the various Buddhist deities in a life-like and approachable manner.”[5]


Figure 1: Shakyamuni Buddha with attendant Buddha, Cave 20, Yungang, China, 45 feet high, Source: WC

Figure 2: Buddha Vairocana, flanked by disciples Ananda and Kasyapa, as well as attendant Bodhisattvas, built by Wu Zetian, Fengxian Longmen Grottos, Luoyang, China

The changes in Chinese Buddhist Art could be due to the changes in influences on Chinese Buddhist Art from different eras or places from travels.[6] In Figure 1, the details of the sculpture suggest close adherence to foreign influences in early Chinese Buddhist Art. Such details are the large wide eyes, the stiff smile, the prominent nose and the robes that cling onto the body of the Buddha. These features are largely similar to Indian Buddhist Art. Additionally, features such as the urna, the wisdom bump, the elongated earlobes and the seated position of the Buddha, similar to Indian influences of the Buddha in dhyanasana under the Bodhi tree.[7] Furthermore, the Yungang style is “characterized by the flattened zigzag folds on the diagonal hemline across the chest. The schematic rendering of the hemline has been associated with Central Asian styles…”[8] In Figure 2, the Buddha Vairocana has similar features to Figure 1, such as the wisdom bump, elongated earlobes and the seated formation. However, in contrast, the sculpture appears to have a more naturalistic style, with its robes flowing more realistically. “The rich bas-relief carving of the halo recalls late Indian prototypes…”[9] Tang Dynasty Art transformed into a more life-like and classical form, which was inspired by the Indian art of the Gupta period. This resultued from the Tang Dynasty’s openness to foreign influences and “renewed exchanges with Indian culture due to the numerous travels of Chinese Buddhist monks to India from the 4th to the 11th century.”[10]

[1] “A Closer Look – The Art of Buddhism – China,” Smithsonian, accessed March 9, 2016, http://www.asia.si.edu/exhibitions/online/buddhism/china2.htm.

[2] “Chinese Buddhist Sculpture: Characteristics, History,” Encyclopedia of East Asian Art, accessed March 9, 2016, http://www.visual-arts-cork.com/east-asian-art/chinese-buddhist-sculpture.htm.

[3] Patricia Eichenbaum Karetzky, Chinese Religious Art (United Kingdom: Lexington Books, 2014), 271

[4] Patricia Eichenbaum Karetzky, Chinese Religious Art (United Kingdom: Lexington Books, 2014), 272

[5] Patricia Eichenbaum Karetzky, Chinese Religious Art (United Kingdom: Lexington Books, 2014), 274


[6] Sonia Kolesnikov-Jessop, “The Changing Face of Buddhist Sculptures,” New York Times, January 21, 2009, accessed March 17, 2016, http://www.nytimes.com/2009/01/21/arts/21iht-jessop.1.19554771.html?_r=0.

[7] Banerji, “Indian Inputs to Chinese Art.”

[8] Dorothy C. Wong, Chinese Steles: Pre-Buddhist and Buddhist Use of a Symbolic Form (Hawaii: University of Hawaii Press, 2004), 48

[9] Patricia Eichenbaum Karetzky, Chinese Religious Art (United Kingdom: Lexington Books, 2014), 287

[10] “Buddhist Art,” last modified November 10, 2015, accessed March 17, 2016, http://www.religionfacts.com/buddhism/art.