Dissertationen: „Buddhism and arts“

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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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3

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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Nishino, Ayako. „L'Influence du théâtre Nô sur la synthèse des arts de Paul Claudel“. Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040058.

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Pendant son séjour diplomatique au Japon de 1921 à 1927, Paul Claudel a rencontré le nô, une forme du théâtre traditionnel. Le dramaturge catholique, issu de la sphère symboliste, découvre dans le nô ce qu’il imaginait pour une nouvelle forme de la « synthèse des arts », c’est-à-dire l’union parfaite entre la Poésie, la Musique et la Danse, imprégnée de spiritualité. A l’aide d’une approche à la fois génétique, historique et comparatiste, notre thèse s’attache à étudier comment il interprète le nô et comment il s’en inspire dans sa propre création. Nous analysons d’abord la manière originale dont il comprend le nô, en adaptant une double perspective, histoire de la réception du nô en Occident depuis XVIe siècle et esthétique dramatique de l’auteur. Son originalité peut être dégagée par la comparaison avec la conception japonaise du nô authentique et par la confrontation avec la vision de ses prédécesseurs occidentaux ; contrairement à ces derniers, il passe sous silence le kyôgen, farce qui accompagne le nô ; son attitude vis-à-vis du bouddhisme est ambiguë ; son essai sur le nô a de grandes qualités littéraires. Ensuite, nous étudions le processus de l’assimilation de la philosophie orientale dans son univers, à la lumière d’un adage de Zeami, fondateur du nô, cité dans le Journal de Claudel. Enfin, nous démontrons qu’il utilise des apports du nô, d’une part dans ses pièces écrites au Japon, telle La Femme et son ombre (1922), et d’autre part, dans son « oratorio dramatique », genre inauguré en 1927 : le nô est sublimé dans son univers chrétien. Claudel cosmopolite, comprend le nô, puis le métamorphose en fonction de ses propres convictions esthétiques et spirituelles
France's Ambassador to Japan from 1921 to 1927, Paul Claudel discovered there the Noh theatre which stems from a medieval performing tradition. The Catholic dramatist and symbolist poet found in the Noh what he had imagined as a new form of “synthesis of arts’’, which was for him a perfect union of Poetry, Music and Dance, open to spirituality. Our method is genetic, historic and comparative in studying his understanding of the Noh, which is a source of inspiration for him. We have adopted a double perspective: first of all we study the history of the reception of the Noh in the Western world from the 16th century onward, and combine this type of investigation with literary considerations about the dramatist's aesthetics. The originality of our poet’s vision appears in comparison with the authentic Japanese conception of the Noh plays and the interpretation of his Western predecessors. For unlike these European specialists, his silence about the Kyôgen, a comic sketch played in a Noh performance, is surprising; his attitude to Buddhism is ambiguous; his essay about the Noh has a specific literary quality. The adage of Zeami, founder of the Noh, quoted in the Claudel's Journal, throws light on the process of assimilation by his Catholic vision of oriental philosophy. Finally, we show the impact of the Noh on his plays written in Japan, like La Femme et son ombre (1922), and on his “dramatic oratorio,” a genre inaugurated in 1927. The Noh is sublimated in his Christian world. Claudel, a cosmopolitan author who aims at universality, after having penetrated the world of the Noh, integrates it in his creative practice, according to his own aesthetic and spiritual conviction

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Li, Xin Jie. „Weituo : a protective deity in Chinese Buddhism and Buddhist art“. Thesis, University of Macau, 2012. http://umaclib3.umac.mo/record=b2585607.

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Jameson, Derry. „Curating Buddhism: Reimagining Buddhist Statues in a Museum and Temple Setting“. Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19658.

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This thesis considers whether a Buddhist statue in a museum context can be both aesthetic and devotional. By reexamining the relationship between a devotional object, its surrounding space, and its viewer, this thesis will suggest how a museum gallery, though not a consecrated ritual space, can still potentially be a place for spiritual engagement akin to a religious sanctuary. Through a comparison of Gallery 16 of the Asian Art Museum, San Francisco and Mengjia Longshan Temple, Taipei, Taiwan as a case study in terms of their spaces and the movement of people within the space in relation to the objects, this thesis will consider how Buddhist statues may continue to exist as spiritual objects and works of aesthetic appreciation without losing their past as devotional icons, and I will do this by applying Victor Turner’s concepts of liminality and the liminoid.

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Cockrell, Brittany B. „Mindfulness and authentic creativity developing a healthy lifestyle“. Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/362.

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The contemporary society of the United States of America is becoming an increasingly stressful environment to live in. Our rapid advances and developments in virtual, electronic, and high-speed technology have led us to a lifestyle that operates more quickly. However, our attachment to such a face-paced lifestyle has unfortunately led us towards an increasingly stressful lifestyle. This research focuses on identifying our current society's perceptual outlook and illustrating how the practice of mindfulness can help reduce the anxieties, struggles, and mental flaws which cloud our perception. The intent of this thesis is to show how the practice of mindfulness is beneficial towards our mental health. The practice of mindfulness originated within the Buddhist tradition and has evolved into a new area of interest in the fields of mental health, psychology, philosophy, and humanities. Also, the connection between the practice of mindfulness, and the practice of authentic creativity, as demonstrated in playing the piano, is illuminated within this research. Authentic creativity thus serves as an enlightening metaphor for the elusive practice of mindfulness, and creates a more vivid understanding of the concept of mindfulness. For this thesis I have conducted a literature review in the areas of philosophy, religion, aesthetics and cognitive science. Also, I am actively participating in my research by personally practicing mindfulness and piano. Part of my methodology involves critical thinking on the personal level as I am writing journal entries about my views and thoughts concerning these processes.
B.A.
Bachelors
Arts and Humanities
Humanities

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Chiu, Angela Shih Chih. „The social and religious world of northern Thai Buddha images : art, lineage, power and place in Lan Na monastic chronicles (Tamnan)“. Thesis, SOAS, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.617604.

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Lingley, Kate Alexandra. „Widows, monks, magistrates, and concubines social dimensions of sixth-century Buddhist art patronage /“. Click to view the dissertation via Digital dissertation consortium, 2004.

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Hei, Rui. „Hariti, from a demon mother to a protective deity in Buddhism : a history of an Indian pre-Buddhist goddess in Chinese Buddhist art“. Thesis, University of Macau, 2010. http://umaclib3.umac.mo/record=b2537050.

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Bayle, Beatrice. „Conserving mural paintings in Thailand and Sri Lanka : conservation policies and restoration practice in social and historical context /“. Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7144.

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Li, Gregory Kenneth, und 李群雄. „Tantric symbolism in Vajrayogini imagery“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45166225.

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Steinmetz, Mayumi Takanashi. „Artistic and Religious Aspects of Nosatsu (Senjafuda)“. Thesis, University of Oregon, 1985. http://hdl.handle.net/1794/22962.

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195 pages
Nosatsu is both a graphic art object and a religious object. Until very recently, scholars have ignored nosatsu because of its associations with superstition and low-class, uneducated hobbyists. Recently, however, a new interest in nosatsu has revived because of its connections to ukiyo-e. Early in its history, nosatsu was regarded as a means of showing devotion toward the bodhisattva Kannon. However, during the Edo period, producing artistic nosatsu was emphasized more than religious devotion. There was a revival of interest in nosatsu during the Meiji and Taisho periods, and its current popularity suggests a national Japanese nostalgia toward traditional Japan. Using the religious, anthropological, and art historical perspectives, this theses will examine nosatsu and the practices associated with it, discuss reasons for the changes from period to period, and explore the heritage and the changing values of the Japanese common people.

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Twist, Rebecca L. „Patronage, devotion and politics a Buddhological study of the Patola Sahi Dynasty's visual record /“. Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1197663617.

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Rugola, Patricia Frame. „Japanese Buddhist art in context : the Saikoku Kannon pilgrimage route“. Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1261486365.

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Galloway, Charlotte Kendrick. „Burmese Buddhist imagery of the early Bagan period (1044-1113)“. Connect to this title online, 2006. http://thesis.anu.edu.au/public/adt-ANU20071112.160557/index.html.

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Karlsson, Klemens. „Face to face with the absent Buddha : The formation of Buddhist Aniconic art“. Doctoral thesis, Uppsala University, Department of Theology, 2000. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-421.

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Early art in Buddhist cultic sites was characterized by the absence of anthropomorphicimages of the Buddha. The Buddha was instead represented by different signs, like awheel, a tree, a seat and footprints. This study emphasizes the transformation this artunderwent from simple signs to carefully made aniconic compositions representing theBuddha in a narrative context.

Buddhist aniconic art has been explained by a prohibition against images of theBuddha or by a doctrine that made it inappropriate to depict the body of the Buddha.This study rejects such explanations. Likewise, the practice of different meditationalexercises cannot explain this transformation. Instead, it is important to understand thatearly art at Buddhist cultic sites consisted of simple signs belonging to a shared sacredIndian culture. This art reflected a notion of auspiciousness, fertility and abundance.The formation of Buddhist aniconic art was indicated by the connection of these auspi- cious signs with a narrative tradition about the life and teachings of the Buddha.

The study emphasizes the importance Sakyamuni Buddha played in the formation ofBuddhist art. The Buddha was interpreted as an expression of auspiciousness, but hewas also connected with a soteriological perspective. Attention is also focused on thefact that the development of Buddhist art and literature was a gradual and mutualprocess. Furthermore, Buddhist aniconic art presaged the making of anthropomorphicimages of the Buddha. It was not an innovation of motive for the Buddhists when theystarted to make anthropomorphic images of the Buddha. He was already there.

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Hoffman, Jeffrey. „A Crack in Everything“. Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5305.

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Contained herein is a close examination of self-awareness and self-portraiture as it applies to the works of artist Jeffrey Hoffman. Water, frozen into various forms and combined with natural elements of wood, slowly melt over an indeterminable amount of time, each droplet documented as the process transforms the elements. Through this process, we see change. We see time. We see truth. This documentation of change and time through natural elements is where the artwork comes full circle. Working with new media to explore man's interconnectivity to life, energy, and the cosmos, he produces time based installations, photographs, videos, and sculptures that serve as both existential metaphors and Tantric symbols. With the use of digital cameras and video, a record is created by which the disintegration which occurs from the unseen forces of gravity, heat and time upon sculptures made from natural elements and ice is examined. In its sculptural form, his work can be categorized as Installation art and Performance art due to its evolving nature. Each piece is intended to either change over time or to have that change halted by another temporal force like that of flowing electricity. The possibility of allowing varying levels of self-awareness to emerge through self portraiture is also examined. The existential, as well as the metaphysical, can be present in a physical form when the form is imbued with evidence of an evolutionary process. In many ways, the work serves as a self portrait. It is a means for Hoffman to examine his own existentialism as a student of the modern western world and life.
ID: 031001330; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Title from PDF title page (viewed April 8, 2013).; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 31).
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and the Computer

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Hsieh, Su-Lien. „Buddhist meditation as art practice : art practice as Buddhist meditation“. Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/1942/.

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This thesis explores the impact of meditation on art practice. Its basic hypothesis is that Buddhist meditation can expand creative capacity by enabling the practitioner to transcend the limits of everyday sense experience and consciousness. Artists engaging in meditation develop a closer, more aware relationship with their emptiness mind (kongxin), freeing them from preconceptions and contexts that limit their artistic creation. Because this practice-led research focuses on how to expand one‘s freedom as an artist, I use two models to explore studio practice, then compare and contrast them with my own prior approach. A year-by-year methodology is followed, as artistic practice develops over time. The first model is studio practice in the UK, the second is Buddhist meditation before artistic activity. The research took place over three years, each representing a distinct area. Accordingly, in area 1 (the first year), I compared studio art practice in the UK with post-meditation art practice; in area 2 (the second year), I compared studio art practice in the UK with prostration practice at Bodh-gaya, India plus meditation before act activity; in area 3 (the third year), I compared studio art practice in the UK with entering a month-long meditation retreat in Taiwan before practicing art. By Buddhist meditation I refer more specifically to insight meditation, which K. Sri Dhammananda has described as follows: Buddha offers four objects of meditation for consideration: body, feeling, thoughts, and mental states. The basis of the Satipatthana (Pāli, refers to a "foundation" for a "presence" of mindfulness) practice is to use these four objects for the development of concentration, mindfulness, and insight or understanding of our-self and the world around you. Satipatthana offers the most simple, direct, and effective method for training the mind to meet daily tasks and problems and to achieve the highest aim: liberation. (K. Sri II Dhammananda 1987:59) In my own current meditation practice before art practice, I sit in a lotus position and focus on breathing in and breathing out, so that my mind achieves a state of emptiness and calm and my body becomes relaxed yet fully energized and free. When embarking on artistic activity after meditation, the practice of art then emerges automatically from this enhanced body/mind awareness. For an artist from an Eastern culture, this post-meditation art seems to differ from the practices of Western art, even those that seek to eliminate intention (e.g. Pollock), in that the artist‘s action seem to genuinely escape cogito: that is, break free of the rational dimensions of creating art. In my training and development as a studio artist, I applied cogito all the time, but this frequently generated body/mind conflict, which became most apparent after leaving the studio at the end of the day: I always felt exhausted, and what was worse, the art that I created was somehow limited. However, my experience was that Buddhist meditation, when applied before undertaking art practice, establishes body/mind harmony and empties the mind. For this artist at least, this discovery seemed to free my art as it emerged from emptiness through the agency of my energized hand. It was this, admittedly highly personal, experience that led me to undertake the research that informs this thesis.

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Pepper, France A. (France Allison). „The thousand buddha motif : a visual chant in buddhist cave-temples along the silk road“. Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23351.

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As early as the fifth century C.E., the thousand buddha motif had become a prevalent feature in the art of many cave-temples in Gansu, China. Past scholarship concentrated on tracing the textual sources of the motif and with relating it to the practices associated with the devotion to the three thousand buddhas of the three ages. Past research has not considered how the thousand buddhas may have been a reflection of a wider range of religious practices and popular beliefs nor has it explored the motif's artistic origin.
By demonstrating that the earliest examples of the two-dimensional painted form of the thousand buddhas came from Gansu and that the motif was related to an iconographic and architectural design that existed between several Gansu cave-temple sites, this study proposes that the thousand buddha motif was a Gansu cave-temple art innovation that influenced cave-temple decor in areas west of Gansu. In addition, possible reasons for the prevalence of the motif are suggested by considering that it may have reflected the relationship between the thousand buddhas and meditative practices as well as the acts of chanting and circumambulation.

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28

Zhu, Tianshu. „Buddhas and Bodhisattvas: emanators and emanated beings in the Buddhist art of Gandhara, Central Asia, and China“. Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1182181696.

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29

Tsai, Hsing-li. „Ch'en Hung-shou's "Elegant Gathering" a late-Ming pictorial manifesto of Pure Land Buddhism /“. online access from Digital dissertation consortium, 1997. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9827494.

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30

Pan, An-yi. „Li Gonglin's Buddhist beliefs and his Lotus Society Picture an iconographic diagram of the bodhisattva path /“. online access from Digital dissertation consortium, 1997. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9811328.

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31

Neishi, Miwa. „The Formless Self“. Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461685555.

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32

Pacheco, Katie. „The Buddhist Coleridge: Creating Space for The Rime of the Ancient Mariner within Buddhist Romantic Studies“. FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/937.

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The popularization of academic spaces that combine Buddhist philosophy with the literature of the Romantic period – a discipline I refer to as Buddhist Romantic Studies – have exposed the lack of scholarly attention Samuel Taylor Coleridge and The Rime of the Ancient Mariner have received within such studies. Validating Coleridge’s right to exist within Buddhist Romantic spheres, my thesis argues that Coleridge was cognizant of Buddhism through historical and textual encounters. To create a space for The Rime within Buddhist Romantic Studies, my thesis provides an interpretation of the poem that centers on the concept of prajna, or wisdom, as a vital tool for cultivating the mind. Focusing on prajna, I argue that the Mariner’s didactic story traces his cognitive voyage from ignorance to enlightenment. By examining The Rime within the framework of Buddhism, readers will also be able to grasp the importance of cultivating the mind and transcending ignorance.

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Jane, Sarah. „Fluid Experience“. Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1353468701.

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34

Mukdamanee, Vichaya. „(De)contextualising Buddhist aesthetics“. Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:ee1e2b7f-1c97-40ec-be69-160a3a35cf03.

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'(De)contextualising Buddhist Aesthetics' is a practice-led artistic research project focusing on the interchanging transition between Buddhist and artistic practices. Essentially inspired by the concept of vipassana meditation, I created a series of performances involving repetitive actions centring on the tasks of re-arranging readymade objects into multiple precarious configurations. Many exercises challenge the laws of gravity and other physical limitations of objects, as well as encouraging the learning experience through the process of trial and error. During the course of mindful observation of the performing body and objects, the mental state gradually gains moments of stillness and silence, which approach the meaning of emptiness (suññata) in Buddhism. Repeated failures generate intermittent feelings of exhaustion and disappointment, which naturally become part of the progress, and can be personally used to develop insight into the notions of impermanence and the non-self derived from dhamma (Buddhist teachings). The video and photography documentations were edited and altered to generate a visual experience that echoes my thoughts and feelings developed during the proceedings; these moving images later inspired other series of hand-made artworks, including collages, drawings and paintings on paper and canvas, exhibited as part of the installations. Various techniques were applied so these objective components resonate a comparative experience of uncontrollability and controllability: dynamic and stillness, fast pace and slow rhythm, abstract and representation. Some two-dimensional pieces are transformed to three-dimensional and their displays keep changing from location to location, and from time to time, in conjunction with an unstable state of the mind. All artworks were created in various formats and interrelate and inform each other. They act together as evidence of the endless journey of artistic learning, which also mirrors the concept of self-learning in Buddhist meditation.

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35

Hueppauff, Anna. „The social value of contemplating poetry“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2522.

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Justifications for defunding the Arts and Humanities are well rehearsed: public funds should be reallocated toward developing skills directly leading toward sustainable employment, that is, toward labour streams demanded by industry. President John F. Kennedy took a different view, envisioning the role of the artist (and poet in particular) as an essential moral function. For Kennedy, the poet is both philosopher and prophet, providing a moral compass that leads the nation back to its better self when excesses of power have corrupted it from within. The role Kennedy assigned to poets echoes the civic/cultural practice of theoria (contemplation), a pilgrimage for the pursuit of knowledge enacted by ancient Greek intellectuals. Notably, for Plato and earlier Greek intellectuals, the insight gained from this contemplative endeavour was expected to have practical value and advance the city state, which indicates that outcomes mattered. Like Plato, Hannah Arendt also links the progress of civilisation with the quality of our thinking. As is well known now, Arendt attributes banal acts of evil to thoughtlessness, thus heightening the imperative ‘to think what we are doing’. There is evidence to suggest that contemplative compassion training can work as a potential mode to bridge the motivational gap between empathetic awareness and moral action. Western pedagogic and psychotherapeutic strategies incorporate contemplative principles for their capacity to support transformation. These interventions draw on Buddhist conceptions of wisdom, distress tolerance, and non-judgmental awareness to develop a structure for training compassion, thereby enabling the agent to move from intention to productive action. This thesis therefore explores the potential for poetry to participate in this work. The first part of this thesis considers how poets have long modelled the capacity of poetry to do political work, as demonstrated by fifth century BCE poet-legislator Solon, who recorded justifications of his laws in poetry. The second part examines how the Romantic poets foreshadowed Kennedy’s idealised philosopher poet by 200 years, including the 18th century poet Anna Letitia Barbauld, who enacted the political work elevated by Arendt through poetry and prose that outlines the obligations of the citizen and critiques the actions of the state. The third part explores how poets in the early 20th century participated (or not) in this kind of work. The contribution of ‘High Modernist’ T. S. Eliot is assessed as well as the Modernist anarchist poet, Lola Ridge, who advocated for marginalised, incarcerated, and deceased identities in both the public and private realm. By reinserting poetry into the public sphere, Ridge models how poetry can be repurposed toward political/moral ends and provide a unique platform for social critique and the emergence of new identities. The thesis concludes by considering how, in addition to public advocacy, poetry may also participate in compassion training. Following psychotherapeutic interest in Buddhist principles to facilitate transformation, this thesis explores the capacity of poetry to participate in cultivating compassion by reading T. S. Eliot’s ‘The Waste Land’ and Four Quartets and Lola Ridge’s ‘The Ghetto’ (and other poems) through the Buddhist lens of the Four Noble Truths. These readings demonstrate that poetry can do more than provide aesthetic pleasure. As an effect of and a medium for contemplation, poetry can facilitate critical thinking; further, it can stimulate creative possibilities toward realising moral ends. Crucially, it can cultivate moral agency by enlarging our capacity for compassion. In short, the contemplation of poetry can enable us to follow Arendt’s council to ‘think what we are doing’.

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36

Clarke, Wesley S. „Return to P'ong Tuk: Preliminary Reconnaissance of a Seminal Dvaravati Site in West-central Thailand“. Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1321396671.

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37

Sato, Ayako. „Integrating Morita Therapy and Art Therapy: An Analysis“. Antioch University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1300467795.

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38

Morrissey, Nicolas Michael. „Śākyabhikṣus, palimpsests and the art of apostasy the emergence and decline of Mahāyāna Buddhism in early medieval India /“. Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1835266361&sid=4&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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39

Götze, Regenbogen Thilo. „Buddhismus und Kunst /“. Marburg : Diagonal-Verl, 2004. http://catalogue.bnf.fr/ark:/12148/cb40025811z.

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40

Hall, Rebecca Sue. „Of merit and ancestors Buddhist banners of Northern Thailand and Laos /“. Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1694502661&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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41

Leoshko, Janice. „The iconography of Buddhist sculptures of the P?la and Sena periods from Bodhgay? /“. The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487327695623672.

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42

Chandrasekhar, Chaya. „Pāla-Period Buddha Images: their hands, hand gestures, and hand-held attributes“. The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1092830047.

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43

Suchan, Thomas. „The eternally flourishing stronghold: an iconographic study of the Buddhist sculpture of the Fowan and related sites at Beishan, Dazu Ca. 892-1155“. The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1054225952.

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44

Assis, Vinicius de [UNESP]. „Thangka: a pintura sagrada tibetana: tradição, história e método“. Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/141973.

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Submitted by Vinicius de Assis null (deassis.vinicius@gmail.com) on 2016-07-29T14:46:59Z No. of bitstreams: 2 THANGKA A PINTURA SAGRADA TIBETANA.docx: 18848509 bytes, checksum: 0f3bea4566b0c4667ffea6f21ff1af6f (MD5) THANGKA A PINTURA SAGRADA TIBETANA.pdf: 8432818 bytes, checksum: f357a28d3e4d03a1d5eb7cb6ce23a613 (MD5)
Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-08-01T14:18:49Z (GMT) No. of bitstreams: 1 assis_v_me_ia.pdf: 8432818 bytes, checksum: f357a28d3e4d03a1d5eb7cb6ce23a613 (MD5)
Made available in DSpace on 2016-08-01T14:18:49Z (GMT). No. of bitstreams: 1 assis_v_me_ia.pdf: 8432818 bytes, checksum: f357a28d3e4d03a1d5eb7cb6ce23a613 (MD5) Previous issue date: 2016-06-17
O presente estudo intenta apresentar os princípios básicos, históricos e processuais, da pintura tradicional tibetana, thangka. Tal objetivo se justifica pela escassez de estudos em língua portuguesa sobre o assunto. Ainda que seja perceptível nos tempos atuais uma expansão dos estudos asiáticos no Brasil, em confluência com uma crescente aproximação e interesse pela cultura oriental na contemporaneidade; esta pesquisa, por meio de estudo de campo, levantamento bibliográfico e histórico, busca a investigação e exposição do profundo e específico âmbito do simbólico, sagrado e tradicional na pintura tibetana. Acreditando que o reconhecimento das artes e teorias estéticas não eurocêntricas corroboram a cognição e produção da inestimável diversidade cultural humana.
The following study intends to present the basic, historical and procedural principles of the traditional Tibetan painting, thangka. This objective is justified by the lack of studies in Portuguese on the subject. Although it is noticeable nowadays an expansion of Asian studies in Brazil, in confluence with a growing approach and interest in Eastern culture in contemporary society; this dissertation, by field research, literature and history, wishes to investigate, explain and expose the deep and specific scope of the symbolic, sacred and traditional in Tibetan painting. Believing that the recognition of the arts and non eurocentric aesthetic theories corroborate the cognition and production of the invaluable human cultural diversity.

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45

Efurd, David S. „Early Buddhist Caves of Western India CA. Second Century BCE through the Third Century CE: Core Elements, Functions, and Buddhist Practices“. The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1210983943.

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46

Porcu, Elisabetta. „Pure Land Buddhism in modern Japanese culture /“. Leiden : Brill, 2008. http://catalogue.bnf.fr/ark:/12148/cb413311546.

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47

Twist, Rebecca L. „Patronage, devotion and politics: a Buddhological study of the Patola Sahi Dynasty's visual record“. The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1197663617.

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48

Lomi, Benedetta. „The precious steed of the Buddhist pantheon : ritual, faith and images of Batō Kannon in Japan“. Thesis, SOAS, University of London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.639412.

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49

Ming, Mei. „The evolution of Buddhism and the development of ceramic art in China“. Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38574718.

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50

Treat, Nicholas. „Xiwu yu Wudao: Wushu yu Daojia ji Shijia SixiangThe Learning of Marital Arts and Daoist and Buddhist Thought“. The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555390221952377.

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Dissertationen zum Thema „Buddhism and arts“

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