Thematische Bibliographien / Buddhism and arts

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Auswahl der wissenschaftlichen Literatur zum Thema „Buddhism and arts“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 20. Februar 2023

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Zeitschriftenartikel zum Thema "Buddhism and arts"

Trenson, Steven. „Buddhism and Martial Arts in Premodern Japan: New Observations from a Religious Historical Perspective“. Religions 13, Nr. 5 (13.05.2022): 440. http://dx.doi.org/10.3390/rel13050440.

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This article investigates two issues regarding the Buddhism of premodern Japanese martial arts. The first issue concerns the historical channels through which Buddhist elements were adopted into martial lineages, and the second pertains to the general character of the Buddhism that can be found in the various martial art initiation documents (densho). As for the first issue, while previous scholarship underscored Shugendō (mountain asceticism) as an important factor in the earliest phases of the integration process of Buddhist elements in martial schools, this study focuses on textual evidence that points to what is referred to as “medieval Shinto”—a Shinto tradition that heavily relied on Esoteric Buddhist (Mikkyō) teachings—in scholarship. Regarding the second issue, although numerous studies have already shown the indebtedness of premodern martial schools to Buddhist teachings drawn mainly from the Esoteric Buddhist or Zen traditions, this article sheds more light on the nature of these teachings by drawing attention to the fact that they often emphasize the Buddhist thought of isshin or “One Mind”. The article illustrates how this thought was adopted in premodern martial art texts and in doing so clarifies the reasons why Buddhism was valued in those arts.

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He, Yuemin. „“Personal Items”“. Religion and the Arts 26, Nr. 1-2 (24.03.2022): 184–203. http://dx.doi.org/10.1163/15685292-02601008.

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Abstract Whereas Buddhism’s profile is rising in the US, there are surprising ways that Buddhism recirculates in more secular guises in traditionally Buddhist cultures of East Asia. This essay explores an intriguing case. Chi Li’s razor-sharp, passionate poems are quirkily “personal,” but relate very well to a wide spectrum of Chinese readers who made the popular novelist’s surprise poetry debut a bestseller in China. By studying Chi’s extensive use of Buddhist references to tap into issues dear to her, this essay shows that the Chinese readers are receptive to Buddhist ideas more as philosophies, principles, and moral codes than as explicit religion, even though Buddhism has a 2,000-year history in China. It argues that understanding this coded receptiveness helps translate Chi’s personal musings, blasts, and defiance into dialogues that address social norms, environmental issues, and individual complicity in social problems.

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Yan, Zhilong, und Aixin Zhang. „“Ritual and Magic” in Buddhist Visual Culture from the Bird Totem“. Religions 13, Nr. 8 (08.08.2022): 719. http://dx.doi.org/10.3390/rel13080719.

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Despite numerous research findings related to medieval Chinese Buddhism, the witchcraft role of bird totems in Buddhist history has not received sufficient attention. In order to fill this gap, this paper analyzes how Buddhist monks in medieval China developed a close relationship with bird-totem worship. This relationship has been documented in Buddhist scriptures, rituals, oral traditions, biographies, and mural art. Although bird-totem worship was practiced in many regions of medieval China, this paper specifically examines the visual culture of bird totems in Tibetan and Chinese Buddhism. Furthermore, some details of this culture were recorded in Buddhist texts and images. According to these works, various bird-totem patterns and symbols are believed to be effective ritual arts used by Tibetan and Chinese Buddhist monks to influence nature and the supernatural through ritual and magic.

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WINFIELD, JORDAN CARLYLE. „Buddhism and Insurrection in Burma, 1886–1890“. Journal of the Royal Asiatic Society 20, Nr. 3 (04.06.2010): 345–67. http://dx.doi.org/10.1017/s1356186310000076.

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AbstractThis article examines the significance of Buddhism in the insurgency that followed the annexation of the kingdom of Burma in 1886, demonstrating that Buddhism was a critically important part of the Burmese polity and identity. Moreover, it indicates that opposition to the British after the full colonisation of Burma was not only instantaneous, but also fuelled primarily by Buddhist sentiment. This challenges the prevailing notion that anti-colonialism in Burma – Buddhist-inspired or otherwise – was a twentieth century phenomenon. Beginning with the pre-colonial era, the article explores the intimate connection between Buddhism, the Burmese polity and the national psyche. The critical importance of the Buddhist king is emphasised in particular. When the kingdom of Burma was annexed in 1886, opposition to the British manifested itself instantaneously in the form of rebellions and insurgency. This period, sometimes referred to as the “pacification”, has been often ignored in studies. The article, using British colonial documents, shows clearly the importance of Buddhist sentiment in these uprisings as a response to the abolition of Burma's last Buddhist king. Buddhist themes present in translated rebel proclamations, as well as the widespread participation of Buddhist monks corroborate this.

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Sinclair, Tara. „Tibetan Reform and the Kalmyk Revival of Buddhism“. Inner Asia 10, Nr. 2 (2008): 241–59. http://dx.doi.org/10.1163/000000008793066713.

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AbstractThe anti-religious campaigns of the Soviet Union in the 1930s eradicated Kalmyk Buddhism from the public sphere. Following perestroika the Kalmyks retain a sense of being an essentially Buddhist people. Accordingly, the new Kalmyk government is reviving the religion with the building of temples and the attempted training of Kalmyk monks, yet monasticism is proving too alien for young post-soviets. According to traditional Kalmyk Gelug Buddhism authoritative Buddhist teachers must be monks, so monastic Tibetans from India have been invited to the republic to help revive Buddhism. The subsequent labelling by these monks of 'surviving' Kalmyk Buddhist practices as superstitious, mistaken or corrupt is an initial step in the purification of alternate views, leading to religious reform. This appraisal of historical practices is encouraged by younger Kalmyks who do not find sense in surviving Buddhism but are enthused with the philosophical approach taught by visiting Buddhist teachers at Dharma centres. By discussing this post-Soviet shift in local notions of religious efficacy, I show how the social movements of both reform and revival arise as collusion between contemporary Tibetan and Kalmyk views on the nature of true Buddhism.

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Ladwig, Patrice. „Imitations of Buddhist Statecraft“. Social Analysis 62, Nr. 2 (01.06.2018): 98–125. http://dx.doi.org/10.3167/sa.2018.620205.

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From 1893 onward, French colonialism sponsored and restructured Lao and Khmer Buddhism in order to create an ‘Indochinese Buddhism’. Over a span of several decades, the French promoted monastic education, reconstructed the major temples in Vientiane, and renovated the That Luang, the most important Buddhist relic shrine of Laos. This article explores the motivations and strategies for this endeavor, specifically focusing on French efforts to ‘re-materialize’ Lao Buddhism’s religious architecture. I argue that the renovation of these monuments as symbols and centers of power under the auspices of the École française d’Extrême-Orient was based on mimetic processes that should be understood as a form of ceremonial governmentality and colonial politics of affect, whose goal was to win the ‘sympathies’ of the colonized.

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Ashiwa, Yoshiko, und David L. Wank. „THE GLOBALIZATION OF CHINESE BUDDHISM: CLERGY AND DEVOTEE NETWORKS IN THE TWENTIETH CENTURY“. International Journal of Asian Studies 2, Nr. 2 (30.06.2005): 217–37. http://dx.doi.org/10.1017/s1479591405000100.

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The article examines the globalization of China's Buddhism. Such new modern values as science and progress, along with competition from Christianity stimulated a modern reform of Buddhism in China in the early twentieth century that was then carried abroad through emigration and other transnational movement. This paper examines the ongoing interactions among Buddhists across difference nation-state spaces that have constituted the spread of this Buddhism. We show how transnational networks of clergy and devotees are constituted through affiliations of kinship, loyalty and region. These, in turn, faciliate allocations of personnel, money, and legitimacy that have not only institutionalized Buddhism in Southeast Asian and North American overseas Chinese communities but also supported its revival in late twentieth century China.

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N., Abaev. „CHAN BUDDHISM AND VAJRAYANA IN MARTIAL ARTS“. Human Research of Inner Asia 1 (2017): 67–85. http://dx.doi.org/10.18101/2305-753x-2017-1-67-85.

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Woosung, Huh. „Confronting Empires: Manhae’s Understanding of Buddhism“. Diogenes 62, Nr. 2 (Mai 2015): 81–91. http://dx.doi.org/10.1177/0392192117703042.

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This paper outlines some key ideas of the twentieth-century Buddhist monk Han Yong-un, or Manhae. It focuses in particular on Manhae’s social engagement under the Japanese occupation. It underlines the role played by Manhae’s doctrine in reviving a national sentiment and culture in Korea. It elaborates on his doctrine of the Loved one, or nim, sketches the mutual influences of Buddhism and Confucianism in his thought, and builds on his critique of imperialism, militarism, and Korean “self-ruination.”

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Maskarinec, Gregory G., Todd T. Lewis, Subarna Man Tuladhar und Labh Ratna Tuladhar. „Popular Buddhist Texts from Nepal: Narratives and Rituals of Newar Buddhism“. Asian Folklore Studies 61, Nr. 2 (2002): 345. http://dx.doi.org/10.2307/1178989.

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Dissertationen zum Thema "Buddhism and arts"

Sörsäter, Sarah. „Läromedelsanalys av hinduism och buddhism: Orientalism, genus och jämställdhet“. Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-30543.

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Läromedel i religionskunskap på gymnasiet kan vara problematiska att använda. Religionerna hinduism och buddhism framställs ofta som österländska religioner som avviker från den västerländska religiösa normen. Likaså brister många läromedel i genus- och jämställdhetsperspektiv. Detta examensarbete har som syfte att analysera hur hinduism och buddhism framställs i tre läromedel i religionskunskap på gymnasiet i både text- och bildmaterial. Undersökningen utgår från postkolonial teoribildning och ett genus- och jämställdhetsperspektiv. Jag analyserar om det finns orientalistiska tendenser i framställningarna om hinduism och buddhism och om kvinnor och män får lika stort utrymme samt hur respektive kön framställs. Resultatet visar att hinduism och buddhism framställs utifrån ett eurocentrisk och kristocentrisk perspektiv. Båda religionerna är utsatta för exotifiering och romantisering. Det finns även ett tydligt vi- och dem-perspektiv i framställningarna av religionerna. Resultatet visar också att läromedlen i kapitlen om hinduism och buddhism inte ger män och kvinnor lika stort utrymme och att mannen ofta framställs som normen som kvinnan mäts gentemot. Berättelsen om kvinnan blir en tilläggskategori då hon inte ingår i den generella beskrivningen av religionen. Män porträtteras också i högre utsträckning i bildmaterial och skildrar ett helighetsideal medan kvinnor i större utsträckning utför vardagssysslor. Slutsatsen är att samtliga tre läromedel i någon grad innehåller orientalistiska tendenser och att de brister i genus- och jämställdhetsperspektiv.

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Sun, Chien-Yu. „The silence of the void exploring the visual language of the void from the East to the West /“. Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20050111.115826/index.html.

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Hysi, Ledio. „The Hellenic Axel: The Greek Hellenization of Central Asia and its Impact of the Development of Buddhism“. Honors in the Major Thesis, University of Central Florida, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1600.

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The study of the Hellenistic period has produced a historical construction of the various relationships that formed between the Greco-Macedonian settlers and the natives they came into contact with. Hellenic kings established kingdoms as far as modern day Pakistan, Afghanistan and India, bringing them into contact with the Persian and Indian natives. The study herein is focused on the relationship that formed between the Greco-Macedonian descendants and the Buddhist group that emerged out of India. Numismatic evidence shows that Greco-Bactrian and Indo-Greek kings held political control over regions bordering the Hindu Kush; furthermore, the Indo-Greek coins indicate a relationship between their kings and the Buddhists. Artistic representations found in various cities, such as Ai-Khanoum, illuminate on the cultural blending that occurred as Greek themes began to be represented through local techniques and material. Ancient literature and archeological remains provide further proof of interaction and help to give an identity to key Greek and Indian monarchs. With regard to Buddhism, these monarchs played an important role in the growth of the religion as, alongside artistic expression, the religion had prospered since its beginnings through the aid of royal patronage. In the Greek kingdoms the Buddhists found new mediums of artistic expression and kings that supported their monastic and lay lives; in turn the Greeks saw a pacifist religious group that attracted merchants and wealth. The relationship was mutually beneficial and numismatic evidence from the Indo-Greeks shows that their kings showed favoritism towards the Buddhists. The conclusion herein is that the Greeks provided the structural foundations for the growth of Buddhism who in turn attracted wealth and provided a medium for cooperation between the Greek monarchs and parts of the native population.
B.A.
Bachelors
History
Arts and Humanities

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O'Keeffe, Anne. „The art of presence : contemplation, communing and creativity /“. Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7072.

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The Art of Presence: Contemplation, Communing and Creativity reflects on the making of a dance theatre work called Song of Longing presented at Victorian College of the Arts in 2008. Song of Longing was made in collaboration with the cast, who participated in a process centred on improvisation. The resulting performance was a synergy of dance and unaccompanied singing.
The thesis is an investigation of the choreographer's ongoing exploration of movement, singing and improvisation, informed by Buddhist philosophy. Both the writing and the performance mirror an embodied practice - making tangible themes and concepts that have emerged into consciousness.
Central interests include the ‘life-world’ of the artist and its influence on the creative process, the concepts of spirituality, spirit and ‘flow’, the experiential focus of the inquiry, improvisation as presence and the value of art as healing and therapy.
While the perspective of the writing is drawn from the subjectivity of the practitioner, the aim of the work is to draw on the broader fields of research in these areas and to connect with the creative practices of other artists. To this end, a conventional survey of the literature has been augmented by writings and teachings on Buddhism and other spiritual practices, documentaries and visual art. Interviews with artists in Australia and India and thoughts from the performers of Song of Longing are also included.

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Svensson, Emma. „Buddhismen vs Spiritualismen, En studie om människan och världen“. Thesis, Malmö högskola, Lärarutbildningen (LUT), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-27826.

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Randall, Diane. „An art therapy programme incorporating Buddhist concepts to address issues of aggression in adult male prisoners“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1998. https://ro.ecu.edu.au/theses/1447.

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This thesis has researched and designed a programme that offers an alternative way of working with aggression in a male prison population, using an art therapy approach that incorporates Buddhist concepts as an intervention. Buddhist practices have traditionally been used in Eastern cultures to calm the mind and to develop compassion as an antidote to aggression. Therefore these practices have seen used as a basis for the design of exercises in the programme. The purpose of the programme is to offer an intervention that will complement, support, or be an alternative to existing treatments, which are primarily cognitive-behavioural in orientation. The research method for designing the programme was qualitative, based on an action research model. This paradigm has an approach of co-operative and participatory inquiry which has its roots in humanistic psychology; therefore, working in such a tradition was appropriate to the nature of the research undertaken in that it gave a humanistic and holistic character to the method. The male prison population was chosen as the focus for the proposed programme because it is a convenient sample, clearly identifiable as a group which is likely to have a problem with aggressive behaviour. If art therapy can be successfully applied with such a group, then it may have relevance to other groups exhibiting less aggressive forms of behaviour. Another potentially positive outcome of this treatment intervention is the benefit that it may have on staff, family, and others who are in contact with this population. In other words, a reduction in the stress levels of aggressive prisoners would hopefully have a more general therapeutic effect upon the quality of all the interpersonal relationships within the larger prison community. The benefit of this research to the field of art therapy is that it has explored the potential of such an intervention being used as a therapeutic strategy in dealing with aggression. The study's findings indicate that Buddhist concepts can be successfully incorporated into the design of an art therapy programme. It is hoped that this programme could be used with any population manifesting aggressive behaviours, either covertly or overtly. The results of this study could potentially benefit a range of client populations where an alternative to aggressive or violent behaviour is sought, and it is suggested that future research could be conducted by implementing the programme with diverse groups.

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Lochmann, Erin Megan. „THE ART OF NOTHINGNESS: DADA, TAOISM, AND ZEN“. UKnowledge, 2011. http://uknowledge.uky.edu/art_etds/1.

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When examining the art, actions, and writings of Zurich Dadaists it becomes apparent that there is an affinity with Eastern thought, namely Taoism and Zen Buddhism. It cannot be said that Eastern thought directly influenced the artistic production of these Dadaists. However, the philosophy of Dada artists in Zurich mirrors that of Taoism and Zen so strongly that this connection cannot be ignored, although the Western art historical cannon has done just that. Exploring this connection offers a new perspective of Zurich Dada and encourages a reconsideration of the commonly applied label of nihilism to this group of Dadaists.

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Vignato, Giuseppe. „Chinese transformation of Buddhism the case of Kuan-yin /“. Theological Research Exchange Network (TREN), 1993. http://www.tren.com.

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Xu, Yan Jun. „La beauté microscopique dans les arts plastiques contemporains“. Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H310/document.

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Cette thèse présente l'exploration humaine du monde microscopique de règle de la beauté formelle, afin de révéler la loi inhérente de l’univers dans lequel tous les êtres sont connectés et communiqués. La thèse encourage les hommes à découvrir le charme unique de l’univers via les médias d’art, et à découvrir la signification essentielle de l'humanité qui apportera plus de l’esprit d’innovation. Tirer et appliquer de nombreuses formes de beauté des cellules biologiques sous le microscope dans la création de l’art contemporain est un travail totalement innovant et magique, comme les petites cellules contiennent l’essence de l’univers. La loi de l’univers joue un rôle primordial dans la formation de la beauté du monde microscopique. Cette thèse a également étudié comment l’esprit humain participe au processus de l’esthétique microscopique qui améliore la théorie de l’esthétique dans son ensemble. Tout cela enrichit la pensée et la forme de la création des artistes contemporains. Cette thèse vise à promouvoir la construction et la communication de l’esprit du monde microscopique, et à retrouver les inspirations et les natures. C’est un sujet spirituel qui mérite l’attention des artistes contemporains
This thesis presents the human exploration of the rule of beauty, of forms in the microscopic world, to reveal the inherent law of the universe in which all beings are connected and communicated. The thesis encouraged men to experience the unique charm of the universe via the media of the arts, and to discover the essential meaning of humanity that will bring more spirits of innovation. Learning and applying the beauty of many forms of biological cells under the microscope in the creation of contemporary art is a completely innovative and magical work, since the small cells contain the essence of the universe. The law of the universe plays a crucial role in the formation of the beauty of the microscopic world. This thesis also studied how the human mind involved in the process of microscopic aesthetic that enhances the theory of aesthetics as a whole. All this enriched the thought and the form of the creation of contemporary artists.This thesis aims to promote the construction and communication of the spirit of the microscopic world, and to find the inspirations and natures. It is a spiritual subject that deserves the attention of contemporary artists

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Susanna, Mattei. „Om Nationalism och Neutralitet : En diskursanalys av representationen av de Abrahamitiska religionerna respektive shintoism och buddhism i en japansk lärobok i etik och moral för gymnasieåren“. Thesis, Stockholms universitet, Institutionen för Asien-, Mellanöstern- och Turkietstudier, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-175682.

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Bücher zum Thema "Buddhism and arts"

Buddhism and the arts of Japan. New York: Columbia University Press, 1999.

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Buddhism and the arts of Japan. 2. Aufl. Chambersburg, PA: Anima Books, 1993.

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Graham, Patricia Jane. Faith and power in Japanese Buddhist art, 1600-2005. Honolulu: University of Hawai'i Press, 2007.

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Graham, Patricia Jane. Faith and power in Japanese Buddhist art, 1600-2005. Honolulu, HI: University of Hawai'i Press, 2008.

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Bunce, Fredrick W. An encyclopaedia of Buddhist deities, demigods, godlings, saints, and demons with special focus on iconographic attributes. New Delhi: D.K. Printworld, 1994.

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Hui huang ding sheng: Sui Tang Wu dai shi qi fo jiao = Huihuangdingsheng : SuiTangWudaishiqifojiao. Zhengzhou Shi: Da xiang chu ban she, 2013.

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Bhattacharyya, Narendra Nath. Buddhism in the history of Indian thoughts. New Delhi: Manohar Publishers & Distributors, 1993.

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Palihawadana, M. Abhinandana: Papers on indology Buddhism and fine arts. Sri Lanka: Felicitation Volume Editorial Committee, 1991.

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1904-, Kunz Dora, Hrsg. Spiritual aspects of the healing arts. Wheaton, Ill., U.S.A: Theosophical Pub. House, 1985.

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Menggu zu fo jiao wen hua diao cha yan jiu. Shenyang Shi: Liaoning min zu chu ban she, 2010.

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Buchteile zum Thema "Buddhism and arts"

Maher, Derek F. „Compassion in Buddhism and Islam: The Liberal Arts and Living a Meaningful Life“. In The Pedagogy of Compassion at the Heart of Higher Education, 85–99. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-57783-8_6.

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Dolan, Marion. „Art, Architecture, and Astronomy of Buddhism“. In Decoding Astronomy in Art and Architecture, 107–27. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76511-8_9.

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Lillehoj, Elizabeth. „Stolen Buddhas and Sovereignty Claims“. In Art and Sovereignty in Global Politics, 141–67. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-349-95016-4_6.

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Lefferts, Leedom. „Textiles and Social Action in Theravada Buddhist Thailand“. In A Companion to Asian Art and Architecture, 48–69. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444396355.ch3.

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Cocco, Christelle, Zhargalma Dandarova-Robert und Pierre-Yves Brandt. „Automated Colour Identification and Quantification in Children’s Drawings of God“. In When Children Draw Gods, 191–212. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-94429-2_8.

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AbstractColour is still a relatively neglected aspect in the study both of religious art and of children’s artistic expression of the divine. Our research addresses this important gap and adds to psychological research on religious representations and conceptualization of the divine. From drawings collected in four different cultural and religious environments: Japanese (Buddhism and Shinto), Russian-Buryat (Buddhism, Shamanism), Russian-Slavic (Christian Orthodoxy) and French-speaking Swiss (Catholic and reformed Christianity) we show that children often imagine and depict god using the same colours: primarily yellow and blue. Apparently, god is often imagined by children as light or in light (yellow) and dwelling in the sky (blue). These results parallel historical and religious studies showing that the light enjoys prominent and most powerful symbolism and association with the divine. Complementary analysis of possible effect of child’s age, gender, and schooling (religious or regular) did not affect the main result. This research also introduced a novel approach to data analysis by using computer vision in psychological studies of children’s drawings. The automated colour identification method was developed to extract colours from scans of drawings. Despite some difficulties, this new methodology opens an interesting avenue for future research in children’s drawings and visual art.

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McKinnon, E. Edwards. „Buddhism and the Pre-Islamic Archaeology of Kutei in the Mahakam Valley of East Kalimantan“. In Studies in Southeast Asian Art, herausgegeben von Nora A. Taylor, 217–40. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501732584-014.

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Jilek-Aall, Louise, und Wolfgang G. Jilek. „Buddhist Temple Treatment of Narcotic Addiction and Neurotic-Psychosomatic Disorders in Thailand“. In Psychiatry The State of the Art, 673–77. Boston, MA: Springer US, 1985. http://dx.doi.org/10.1007/978-1-4757-1853-9_107.

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Kaminishi, Ikumi. „Dead Beautiful: Visualizing the Decaying Corpse in Nine Stages as Skillful Means of Buddhism“. In A Companion to Asian Art and Architecture, 513–36. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444396355.ch21.

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Dandarova-Robert, Zhargalma, Christelle Cocco, Grégory Dessart und Pierre-Yves Brandt. „Where Gods Dwell? Part II: Embodied Cognition Approach and Children’s Drawings of Gods“. In When Children Draw Gods, 171–87. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-94429-2_7.

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AbstractEmpirical demonstrations of the embodied and grounded cognition approach, involving diverse areas and phenomena, have increased exponentially in recent years. However, little research has been done in the religious domain. To the best of our knowledge, no study based on this theoretical framework has explored spatial dimension in pictorial representation of the divine in children’s drawings or in religious art in general. The present study represents the very first attempt to investigate if and how spatiality is involved in the way children depict the divine in their drawings. Drawings collected from four groups of participants (n = 1156, ages 6–15) characterized by different cultural and religious environments: Japanese (Buddhism and Shinto), Russian-Buryat (Buddhism, Shamanism), Russian Slavic (Christian Orthodoxy), and French-speaking Swiss (Catholic and reformed Christianity) were annotated using the Gauntlet annotation tool and then analysed. The main result indicates that children from all four groups generally depict god (the centre of the annotated representation) in the upper part of their drawings. Further testing indicates that the type of composition (for instance, god depicted alone or as standing on the ground where the sky is also depicted) did not serve as a major influence on the child’s placement of god.

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„Bon and Buddhism“. In Fabric of Life - Textile Arts in Bhutan, 91–104. De Gruyter, 2015. http://dx.doi.org/10.1515/9783110428612-003.

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Konferenzberichte zum Thema "Buddhism and arts"

Kheovichai, Baramee, Makoto Watanabe und Masako Wada. „A Comparative Analysis of Metaphors Constructing Danger and Force Dynamics in Buddhism Discourse“. In – The European Conference on Arts & Humanities 2020. The International Academic Forum(IAFOR), 2020. http://dx.doi.org/10.22492/issn.2188-1111.2020.11.

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Wang, Jinghui. „Lacquer Art and Buddhism: Cultural Trophallaxis and Their Aesthetic Commonality“. In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.22.

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Lakusa, Nicholas Ferdeta, und A. M. Susilo Pradoko. „Representation of Buddhism Teachings in the Show Sound of Borobudur: The Reconstruction of Karmawibhangga Relief in the Age of Hyperreality“. In 4th International Conference on Arts and Arts Education (ICAAE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210602.058.

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Yukongdi, Pakpadee. „Khao San Dam: The Archaeological Evidence of Burnt Rice Festival in Southern Thailand | ข้าวสารดำา: หลักฐานทางโบราณคดีเกี่ยวกับประเพณีการเผาข้าวในภาคใต้ของ ประเทศไทย“. In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-08.

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Recently in 2021the 11th office of the Fine Arts Department, Songkhla has reported their annual excavations in Trang Province that archaeologists have found some set of rice while excavation in process namely,1) Khao Kurum Archaeological Site, Huai Yod District and 2) Napala Archaeological Site, Muang District. The artifacts which were found associated with the rice grains on the habitation layer consisted of potsherds, animal bones, grindstone, beads, etc. The grains of rice are short and brown in colour which is examined as carbonized since the beginning at its first left. The primary examination by archaeologists has classified the rice of Napala Archaeological Site as short grain of probably Orysa sativa (Indica or Aus) rice. AMS Radiocarbon dating by Beta Analytic Testing Laboratory shows the AMS standard results and calibration dating of charred material measured radiocarbon age:1440±30BP. Because of their geographical location, both sites are incredibly located on one side of the hill slope, where they were suitable for habitat and plantation, especially tiny paddy fields and farms with sufficient water supply either small stream or well. The found rice, which now still grows uphill, probably called ‘Khao rai’ needs less water or no marsh. Comparative study of ethnographic “Atong” 1 of 12 sub-tribes of the “Garos” Tibeto-Burman in Meghalaya, India which originated slash-and-burnt socio-groups, have shown an interest in growing rice activity. According to their ritual ceremony for planting of paddy, other grain, and seeds takes place. There are many ritualistic offerings of rice such as (1) flattened rice by asking for permission to cultivate the land from the first harvested paddy in May. (2) After the harvesting in September or October, the 1st ceremony of the agricultural year is a thanksgiving ceremony to mark the end of a period of toil in the fields and harvesting of bumper crops, which is probably the most important festival of the Garos locally called “Maidan syla” meant to celebrate the after-harvested festival or burnt rice festival. Their 2nd ceremony is to revive the monsoon clouds. People throw cooked rice on the floor to symbolize hailstones. Noticing the rice, were probably the assemblage of “Khao San Dam” in many activities of these ceremonies, that is the archaeological evidence found in Khao Kurum and Napala Archaeological Sites. In the Southern part of Thailand, once the crops have already cultivated, people celebrate to welcome their outcrops most probably at the end of September to October and mark their end of plantation before the monsoon come. People prepare 4 main rice desserts put together with other necessity stuffs in the “hmrub” special large containers and donate to the ancestors through Buddhist ceremony. Though archaeological evidence shows that southern peninsular was where the migrants from the west especially India origins, who shared same habitat of hillslope, might brought their different traditions through both land trans-peninsular and sea routes then settled down inner western or eastern coast since prehistoric times. The beliefs in animism might belong to some other western migrants and with having “hmrub” is one of their unique cultural characteristic material and tradition remain. Once they settled down then converged to Buddhism, the ritual ceremony may be changed due to religion, but tradition remains the same today, that is, Bun Duean Sib on the 10th of the lunar month or September-October.

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Arnold, Matthias. „BUDDHIST STONE SCRIPTURES FROM SHANDONG, CHINA“. In Electronic Visualisation and the Arts (EVA 2008). BCS Learning & Development, 2008. http://dx.doi.org/10.14236/ewic/eva2008.1.

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Seglins, Valdis. „A BUDDHIST STATUE MADE FROM METEORITE“. In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.1/s07.021.

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Yang, Xuelan. „Landscape Art in Chinese Buddhist Temples“. In 2017 International Conference on Sports, Arts, Education and Management Engineering (SAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/saeme-17.2017.61.

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„Photography in Indonesian Archaeology of the 19th to the Early 20th Century | Fotografi dalam Arkeologi Indonesia pada Abad ke-19 sampai Awal Abad ke-20 Masehi“. In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-28.

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In Dutch East India, photographic documentation for antiquities was as up-to-date as in Europe that was developed in the last half of the 19th century. Photography became a tool for archaeological surveys which resulted in thousands of enormous resources. In this paper, the historical background regarding how these old photographs were collected and how the material circulated within archaeological activities will be elaborated. The timeline studied is limited to pre-independence Indonesia with the subject mostly focused on Hindu-Buddhist remains. The method used is literature review of both relevant new publications as well as significant old publications. Its turns out that photographic surveys of archaeology in Indonesia during the colonial period developed from early archaeological activities into systematic institutional programs. The qualities of photography were appreciated in miscellaneous application and offered substantial benefits. Photography became a documentation medium, publication complementary, archive, and object representation and substitution. This historical background of photography in the context of Indonesian archaeology marks the significant value of these photographs so that it can be the foundation of preservation for the future. Di Hindia Belanda, dokumentasi fotografis pada tinggalan purbakala sangat mutakhir sebagaimana di Eropa yang dikembangkan sejak paruh terakhir abad ke-19 M. Fotografi menjadi perangkat untuk survei arkeologi yang menghasilkan ribuan sumber daya. Dalam tulisan ini, latar belakang sejarah terkait pengumpulan foto lama tersebut serta penggunaannya dalam berbagai aktifitas arkeologi akan dijabarkan. Lini masa yang dikaji dibatasi pada Indonesia pra-kemerdekaan dengan subjek yang berfokus pada tinggalan Hindu-Buddhis. Metode yang digunakan adalah kajian pustaka, baik terbitan terbaru yang relevan maupun terbitan lama yang penting. Ternyata survei fotografi pada arkeologi Indonesia selama periode kolonial berkembang sejak aktifitas arkeologis yang masih dini hingga menjadi program institusi yang sistematis. Kualitas fotografi juga diapresiasi dalam beragam penerapan serta menawarkan manfaat yang substansial, Fotografi menjadi media dokumentasi, pelengkap publikasi, arsip, serta representasi dan substitusi objek. Latar belakang sejarah fotografi dalam konteks arkeologi Indonesia semacam ini menjadikan nilai penting dari foto-foto tersebut sehingga dapat dijadikan fondasi dalam pelestarian untuk masa depan.

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Tang, Haiyun. „Zen Buddhism Origin of Wu Weiye“. In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.127.

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Turco, Maria Grazia. „THE BUDDHIST SITE OF TOKAR-DARA 1 (SWAT, PAKISTAN). BUILDING TECHNIQUES IN THE ANCIENT GANDHARA“. In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s15.122.

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