Within the Gainesville community, there is great diversity of both culture and ideas. Thanks to the University you can find people from all over the world on the same block. This offers benefits to both students traveling from afar and local students in the community, who now have the opportunity to experience foreign cultures right in their own city. This diversity is important to allow us to see from other points of view and to understand the world. By having these views, we are taught about conflicts and issues outside of our community, as well as ways we can help these cultures. Of course, the Harn Museum collection contains works that can help us see these other points of view. Harn's global collection reflects the diversity of the community by exposing us to many artifacts from various places. These works can show us national symbolism, religious beliefs, the difficulties that groups of people had to overcome, the conflicts of other cultures, and even give us a personal connection and insight into the people who create the works themselves. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The Harn Museum's Asian collections showcase a variety of collections with paintings, ceramics, and even wood carvings. The first of these pieces I will talk about is “Mount Fuji form Miho, Spring”, a work from the Inside Outside collection. This Japanese piece depicts a traditional woodcut, ink on a paper canvas. It depicts Mount Fuji from afar, along a black beach and behind a hilly mountain, placing emphasis on the natural beauty of the landscape over the people portrayed. This attention to nature, as well as the method used to create this work, are common for traditional pieces such as this. This design is like those used for pieces such as The Great Wave off]Kanagawa by Katsushika Hokusai. In comparison, these works of art are both woodcuts focusing on the majesty and power of nature as opposed to the human element (Julyan HE Cartweight and Hisami Nakamura, 2009). However, another element that these works have in common is that in both there is Mount Fuji, which resides in the background of the works. Another work in the collection, “Viridescence”, also focuses on the natural aspect of the world and puts mountainous regions at the center. This is because mountains, especially Mount Fuji, are a sacred symbol in Japan. Beyond that, it is a source of national pride (Michael Ray, 2019). Both “Viridescence” and “Mount Fuji from Miho, Spring” incorporate Japanese culture within them and help show a piece of it to those who see the works. Additionally, they also feature pieces like “Buddhistic Lion Group,” which is focused on the religious aspects of China. While symbols like Mount Fuji expose us to Japanese culture, pieces like this are just as important. Rather than showing us the symbolism of a culture, he tries to show us the religious aspects of it. In Asian cultures, religious symbols play an important role. Lions are proud, majestic, often considered a symbol of royalty, protective wisdom and pride. In Buddhism, lions are the sons of the Buddha, who work in this world and renounce happiness until all sentient beings are free from suffering (Jampa Choskyi, 1988). In Buddhist culture, lions are how Christians see [image:] Jesus Christ, came into this world as a sacrifice to be crucified for our sins. Of course, China isn't the only country with religious statues like this. The male ancestral figure of the Congo is an example of how the Beembe believe that the dead can help those who are still alive.Figures like this would be created in honor of the deceased, showing both their rank and occupation based on what they held. According to the Harn website, this figure could be a leader or a doctor, as he is holding a knife and a used medicine bottle. This figure would have been shaped in a flattering manner to respect the dead, as most cultures do with effigies of this style. However, the Beembe believe that the spirits of their ancestors will help protect them from witchcraft and often place relics of the deceased in their effigy (Stanley Museum of Art, 2014). Works like these expose us to culture in a different way than the pieces I described previously. While there is still a direct cultural connection, I could tell just by looking at these pieces that they had a religious connotation. I knew that although the lion was symbolic in various ways, I had no idea of ​​its importance in Buddhism. By looking at the background of both pieces, I discovered the connection between lions as divine entities and gained a deeper understanding of the belief system as a whole. The ancestral figure led me to investigate the importance of ancestors to the Beembe people. While these works have superficial value, they can also teach us about the religions of the country of origin and this can lead to greater understanding than an average painting could. Another branch of artwork relevant to the community is modernism, where works such as how "The Woodcutter" appeared. The artist, Robert Gwathmey, grew up in a time of racial discrimination. He believed that art and social issues were inseparable and depicted both black and white individuals speaking on behalf of his beliefs. Often using a style similar to stained glass paintings, he often portrays farmers or workers in a dark, minimalist style (Caldwell Gallery, 2008). He used his works to advocate for equality, depicting both whites and blacks in similar situations. Suzy Frelinghuysen also painted in this period. Using a Cubist style, he painted more abstract paintings that showed everyday objects instead of people. She was the first woman to have a painting placed in the permanent collection of the A. E. Gallatin Museum of Living Art. Being a foundation of women artists in America, she was one of the first female painters. Both works are currently featured in the Harn “Modern Highlights” collection. Both of these artists pushed for equality with their art. In addition to supporting black rights with his art, Robert Gwathmey featured many African American role models. Using these models, he often depicted them as hard workers, showing the importance of African Americans in society. Suzy Frelinghuysen's work also shows a changing time. Being a female artist, she would encounter many obstacles ranging from people who refused to allow her works to those who simply didn't believe a woman could do it. However, the mere existence of this piece proves that he has overcome everything he has faced. While this doesn't show us a different race or ethnicity, it does show us a different perspective that hasn't always been so common in art. As one of the first female artists, she set the bar and defied expectations, allowing more artists to follow her. By presenting both works of art, the Harn Museum shows us the first controversial works that sought to change the way of life. These works pushed boundaries simply by existing, and by presenting them, Harn exposes us to views that were very controversial at the time, showing us the history of both feminism and black rights. The Harn Museum also features a variety of African artwork. Skunder Boghossian is from Ethiopia, where he learned most ofhis artistic abilities. This work was inspired by a trip to Africa, specially constructed from pieces of Ugandan bark cloth, motoriid and sand. This piece is influenced by Ethiopian culture and iconography. The central circle is a cosmogram for many African cultures. It also displays Christian symbolism, showing a connection with the Orthodox Christian Churches and with the Ethiopian saint Samuel of Waldebba. Another work exhibited in Harn is the old man's armor. El Anatsui is a Nigerian artist, who has emerged as one of the most acclaimed artists. Old Man's Cloth is a metal sculpture constructed from bottle caps. It is inspired by ceremonial cloths; however it is made of liquor bottles which instill memories of the history of liquor imports and the colonial slave trade. This work attempts to bring together political, economic, historical and local events into one piece. These pieces come from African American artists, but beyond that they convey political messages about individual countries and society as a whole. They bring attention to African struggles and reference both the histories and culture of African countries. The fact that Harn shows these works means that people are being exposed to this story. They see the effects of the slave trade on Nigeria today. They see how the culture has not forgotten and what has become of some African cultures. A museum contains more than just paintings or sculptures. In fact, everyday objects can be considered (and should be considered) art. These objects are vases but they use the traditional term by distorting it. Each of these pieces comes from Japan and each is intended to be a means of sculptural expression (Alachua County Library, 2018). Although I have already discussed the historical importance and references that many of Harn's works display, these vases also have a different history. Tomani Tanaka, who had a translated quote on his page, said the following about his work; “Anger, happiness and other feelings are always mixed and swirling in my mind… I was thinking about how I should express the movements of my inner feelings that exist within me.” This was his description of his creative process, in which he explains that he put his own emotions and feelings into his work. These feelings and passions are visible. Black Flame, appropriately named for this passion, displays a dancing form that almost appears to move as you look at it. This piece shows not only a part of Tanaka's cultural heritage, but also his inner persona. This piece was intentionally made to showcase his inner being, beliefs and ideas. This piece is intended to show us not only a sample of Japanese culture, but what it means to be Japanese. Matsui Koyo also uses his emotions and passions, but in a different way. Rather than channeling it into his works, he focuses on overcoming his anxieties and seeking influence in the world around him. Even so, he focuses on harnessing the influence of the life around him and controlling his emotions to create his works. Asuka Tsuboi also focuses on her origins while creating her work. He himself said: "... I feel that overseas art has exerted a strong influence, but there is very little work inspired by Japanese landscapes and distinctive indigenous styles" (Asuka Tsuboi, 1991). Although times have changed since this quote, it still speaks to the fact that he has taken it upon himself to inspire the world with Japanese culture. Each of these artists uses a part of their homeland, Japan, to inspire them in the creation of these works. While each uses Japan as inspiration in a different way, Harn includes these works for.