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*Buddhist temples: Since Buddhism is not congregational, and there are no fixed periodic assemblies, the regular or occasional opening of the doors (''kaichô'') to show hidden Buddhas (''hibutsu'') was one way for temples to regulate or at least predict attendance. - Tim Screech, Obtaining Images, 119.
*Buddhist temples: Since Buddhism is not congregational, and there are no fixed periodic assemblies, the regular or occasional opening of the doors (''kaichô'') to show hidden Buddhas (''hibutsu'') was one way for temples to regulate or at least predict attendance. - Tim Screech, Obtaining Images, 119.
*Dragons were an auspicious sign. They were believed to appear when the world was in order, and to be absent when the world was corrupt. - Tim Screech, Obtaining Images, 35.
*The [[falconry]] hawk was a symbol of the samurai, as it was trained, controlled, and awaiting orders. - Obtaining Images 30.
*The most fundamental purpose of hanging a painting was that it brought auspiciousness, in accordance with the season or occasion. - Tim Screech, Obtaining Images, 40. I imagine something could be said for it simply augmenting or emphasizing the occasion as well, making spring feel more like spring, and making a somber occasion feel more somber, etc.
*In East Asia, the representation of realistic likeness in painting or sculpture was always considered an expert artisan skill, but not something of artistic talent. This is the work of the anonymous if skilled craftsman, not of a great man whose name should be lauded. Figures such as Wu Daozi and Zhang Sengyou painted creatures as they were, not as they looked, paintings that contained "spirit resonance" or vitality as described by [[Xie He]] (気韻生動). - Timon Screech, Obtaining Images, 26.
*In East Asia, the representation of realistic likeness in painting or sculpture was always considered an expert artisan skill, but not something of artistic talent. This is the work of the anonymous if skilled craftsman, not of a great man whose name should be lauded. Figures such as Wu Daozi and Zhang Sengyou painted creatures as they were, not as they looked, paintings that contained "spirit resonance" or vitality as described by [[Xie He]] (気韻生動). - Timon Screech, Obtaining Images, 26.
