Indeed, one can argue that the essay presents an accurate account of the Nepali art culture. One month ago, I had the chance of visiting a global art museum in New York City. One of the very many sections in the museum displayed the Nepali art traditions. One of the most notable aspects was the paintings, which were diverse in nature. Indeed, I could see how the art forms had evolved since the medieval times (Nepali 77). Furthermore, the paintings depicted the Nepali guardian deities, which I had read about in one of my course books. All these findings have been captured in the essay. The author states that the Nepali art has evolved and adopted varied forms since the medieval times (“Graaha or Makar crocodiles”78). Moreover, the author states that the Nepali art essentially included all the essential guardian deities. The arguments and assertions that I read about in the essay are closely related to the exhibits that I saw at the art museum, which underlines the work’s accuracy in reporting the issue.
Overall, I gained invaluable insights from this work. One of the most important ideas that I gained from the exercise is that man cannot be separated from art. As a result, man is always motivated to create artworks. Furthermore, I learned that the urge to interact with art comes from nature.
Works Cited
“Graaha or Makar crocodiles in Nepali Art.” Kathmadu: Spaces, 2012. Print.
Nepali, Uttam. Modern Contemporary Art: A View from Nepal. Fukuoka: Fukuoka Asian Art Museum, 1999. Print.
