Thematische Bibliographien / Buddhist Sculptures

Auswahl der wissenschaftlichen Literatur zum Thema „Buddhist Sculptures“

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Veröffentlicht am 25. Juli 2024

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Zeitschriftenartikel zum Thema "Buddhist Sculptures"

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Jinsin, Kun. „Chinese Buddhist Sculpture of the Early Period. Iconographic Features“. Scientific and analytical journal Burganov House. The space of culture 16, Nr. 2 (10.06.2020): 114–26. http://dx.doi.org/10.36340/2071-6818-2020-16-2-114-126.

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Chinese Buddhist Sculpture of the Early Period. Iconographic Features The development period of the art of Buddhist sculpture from the mid and late era of Eastern Han to the era of Western Jin is addressed in this article. The Buddhist sculpture of this period is called early Chinese Buddhist sculpture. During this period, before individual Buddhist sculptures became official objects of worship, Buddha images were made on stone carvings in tombs, on money trees, bronze mirrors, hunping vessels, etc. They have many similarities between each other, and therefore are significantly different from Buddhist sculptures of the later period. Based on currently available archaeological materials, relief was the main form of Buddhist sculptures of this period; sculptures mainly served as decor and were not an object of worship. In terms of purpose and meaning, they were mainly associated with funeral rituals, beliefs about happy omens, beliefs about celestials, early Taoist and other ideas, etc. After putting in order and combining material on the remains of early Buddhist sculptures, the following features of the art of sculpture can be distinguished: 1. In many ways, the early Buddhist sculptures expressed the early style of Gandhara. 2. The early Buddhist statues were closely related to the themes of the celestials and Huang Lao. 3. Buddhist sculpture did not occupy the most respected position. These sculptures mainly performed a decorative function, symbolized happiness and prosperity, and were not the main object of worship. Two conclusions can be drawn from this: the art of early Buddhist sculptures and religion basically developed synchronously; after appearing in China, the art of Buddhist images immediately became Chinese.
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Syrtypova, S. K. „Buddha Akshobhya in Mongolia“. Orientalistica 2, Nr. 4 (16.01.2020): 817–37. http://dx.doi.org/10.31696/2618-7043-2019-2-4-817-837.

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This is another article in the series of researches published by the present author, which deal with the iconography and the meaning of Buddhist deities of Vajrayana in particular in Mongolian Buddhism. Buddha Akshobhya is a one of the Tathagata Buddhas, the forefathers of Five Buddha families or Five Dhyani Buddhas. The article deals with the development stages of the Akshobhya cult, some specific features of its practice among Mongolian Buddhists and the visual representations by the famous master Ondor Gegen Zanabazar (1635–1723). The author publishes here images of various sculptures of Akshobhya from the collections of temples, museums, as well as private collections in Mongolia.
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Demenova, Victoria V. „Sino-Tibetan Style of Buddhist Sculpture: Articulation of the Attribution Problem“. Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, Nr. 2 (2022): 272–86. http://dx.doi.org/10.15826/izv2.2022.24.2.039.

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This article is devoted to the concept of “style” and the possibility of its application in the attribution of works of Buddhist metal sculpture. This aspect, which, as a rule, is peripheral for classical Oriental studies, Buddhology, and history, where it is interpreted quite freely, is one of the key ones for art history and museum attribution activities. The author notes the terminological and factual diversity of the designation of the “Sino-Tibetan style” in the circle of researchers of the art of Buddhism. The author poses the question of what exactly the concept of “Sino-Tibetan style” means and whether it is an indication of the body of technical and plastic features of sculptures, or just a designation of the geography of the origin of Buddhist sculptures of the eighteenth and nineteenth centuries made in the western provinces of China. The author refers to three sculptures which are the most controversial ones from the point of view of attribution (Maitreya Buddha from the private collection of A. V. Glazyrin (Ekaterinburg), Shakyamuni Buddha, and Begtse from the collection of the Sverdlovsk Regional Museum of Local Lore), which have several similar stylistic features, and which could presumably be attributed to the “Sino-Tibetan style” of the eighteenth century. Also, the article presents the results of the study of the metal composition of these sculptures using an X-ray fluorescence analyser (spectrometer). Based on the data obtained on the content of substances in the alloy and considering the general artistic and stylistic features of metal images, the author makes a conclusion as to when the attribution designation “Tibeto-Chinese style” is the most accurate one and when it can be applied to Buddhist gilded sculptures created on the territory of China (Manchu Qin dynasty) between the eighteenth and nineteenth centuries.
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Xiao, Wei. „The Technique of Creating Buddhist Polychrome Sculpture“. Scientific and analytical journal Burganov House. The space of culture 15, Nr. 3 (10.09.2019): 55–74. http://dx.doi.org/10.36340/2071-6818-2019-15-3-55-74.

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This work focuses on the origin, development, evolution of the Chinese art of polychrome sculpture, as well as philosophical ideas, national specificities, cultural content, a religious concept, artistic specificity and aesthetic ideas manifested in this context. The study provides a picture of how the cultural specificities of China are expressed in art and how spirituality is reflected in works of art. An objective description and complete historical research of the mentioned historical sites increase the available information on them and are meant to strengthen measures intended for their protection. The first comprehensive and detailed analysis of the technology for creating Chinese traditional Buddhist polychrome sculpture is presented in the article.The subject-matter of the artworks, the characteristics of the material used to create them, and the sculpting methods are fully analyzed through the method of a thorough study of the current state of the preserved polychrome sculpture in the Shuanglin Monastery. Two thousand and fifty-four statues of polychrome sculpture, the main of which are Buddha (佛祖), Bodhisattva (菩萨), Heavenly Kings (天王) and Arhat (罗汉) are preserved in the monastery. They are divided into two large groups: circular form sculptures and bas-reliefs. Clay, wood, water, straw, and mineral pigments are the main materials used for the creation of Buddhist polychrome sculptures. Modeling and polychrome painting are two main technologies in the process of making sculptures. Modeling consisted of creating a frame, applying coarse clay and sculpting a large-scale figure, applying medium density clay, applying thin layers of clay and creating details, whitening, bas-relief painting with the chalk-glue mixture, gilding, painting, etc. From the point of view of form, the ancient Chinese Buddhist polychrome sculpture as a work of religious art had to correspond to Buddhist canons. Before starting the process of creating a statue, a craftsman had to make a sketch. During modeling, an artist was guided by the secrets of the craft passed down orally from a teacher to his student and summarized as a technical guide by his predecessors. Statue of Skanda. Dynasty Min. Shuanglin Buddhist polychrome sculpture as a form of fine art with an elaborated form and rich spiritual content perfectly combines technology and artistry.
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Tiwari, Akanksha, und Alok Shrotriya. „Divine Expressions in Pala Art: Sculptures of Transcendence with special reference to Buddhist minor Deities“. RESEARCH REVIEW International Journal of Multidisciplinary 8, Nr. 11 (14.11.2023): 155–69. http://dx.doi.org/10.31305/rrijm.2023.v08.n11.024.

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The art and iconography of the sculptures from the Pala period (8th to 12th centuries CE) in India represent a significant phase in the evolution of Buddhist and Hindu art. The Pala dynasty, which ruled over parts of present-day India and Bangladesh, was a patron of both Buddhist and Brahmanical traditions, and their art reflects a fusion of influences. This paper attempts to explore the key features and themes of sculptures from the Pala period with special reference to Buddhist minor deities. Pala period sculptures are known for their graceful and fluid style, characterized by soft contours and sensuous curves. This style is often referred to as the "Pala-Sena" style. The sculptures exude a sense of serenity and elegance, whether depicting Buddhist or Hindu deities. Buddhist sculptures from this era frequently depict the Buddha in various postures and mudras (hand gestures). The Buddha is often shown in the Dharmachakra Pravartana mudra (teaching pose) or the Bhumisparsha mudra (earth-touching pose). Bodhisattvas, Avalokiteshvara, Tara, and Manjushri are common subjects in Pala Buddhist art. These figures are portrayed with distinctive attributes and symbols that represent their qualities and attributes. The sculptures often include intricate detailing of jewelry, garments, and hairstyle, reflecting the rich artistic sensibilities of the period.
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He, Liqun. „On the development of Buddhist sculpture in Ye City and the “Ye City Style” reflected by the Bei Wuzhuang hoard“. Chinese Archaeology 16, Nr. 1 (27.11.2016): 189–200. http://dx.doi.org/10.1515/char-2016-0018.

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Abstract The Ye City was the important Buddhist cultural center of the Central Plains and North China since the 6th century CE. Since the 1950s, rather large amounts of Buddhist sculptures have been unearthed within the scope of the Ye City Site, of which the hoard at Bei Wuzhuang found in January 2012 was the most noticeable. Through the analyses to the materials, motifs, assemblages and sculpturing characteristics of some typical samples from this hoard, the Buddhist sculptures during the Northern Dynasties in the Ye City area could be divided into four phases, which are the mid through late Northern Wei Dynasty, the end of the Northern Wei through the early Eastern Wei Dynasties, the late Eastern Wei through the early Northern Qi Dynasties and the mid through late Northern Qi Dynasty. Moreover, referring to the given historic background, the derivation of the Buddhist thoughts and the cultural communication between China and the West at that time, this paper points out that the so-called dragon-tree-shaped back screen statues popular in the mid through late Northern Qi Dynasty was a brand-new sculpture type integrated the technical tradition and composition characteristics of the white marble sculpture in the Wuding Era of the Eastern Wei Dynasty and the Gupta sculpture style newly introduced in; the creation and diffusion of this sculpture type were tightly related to the Xianbeization and Western Barbarianization policies applied by the imperial court after the founding of the Northern Qi Dynasty and the reform of monastic restrictions managed by Fashang, the Buddhist comptroller-in-chief of the empire from Zhaoxuan Monastery.
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Stiller, Maya. „Precious Items Piling up Like Mountains: Buddhist Art Production via Fundraising Campaigns in Late Koryŏ Korea (918–1392)“. Religions 12, Nr. 10 (15.10.2021): 885. http://dx.doi.org/10.3390/rel12100885.

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Considering visual culture alongside written source material, this article uncovers the socioeconomic aspect of Korean Buddhist monastic life, which has been a marginalized field of research. Arguing against the idea of an “other-worldly” Buddhism, the article specifically discusses the ways in which Buddhist monasteries conducted fundraising activities in late Koryŏ period (918–1392 CE) Korea. Via fundraising strategies, which targeted wealthy aristocrats as well as the commoner population, Buddhist monks managed the production and maintenance of Buddhist material culture, such as the construction of shrines, the casting of precious sculptures, and the carving of thousands of woodblocks used for the printing of sacred Buddhist scriptures. While the scholarship on Koryŏ Buddhism has traditionally focused on meditation, doctrine, state sponsored rituals, and temples’ relationships with the royal court, this study expands the field by showing that economic activities were salient features of Koryŏ Buddhism “on the ground.” By initiating and overseeing fundraising activities, Buddhist manager-monks not only gained merit, but also maintained the presence and physical appearance of Buddhist temples, which constitute the framework of Buddhist ritual and practice.
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Бардалеева, С. Б. „Collection of the Buddhist sculptures of Mongolia of the National Museum of the Republic of Buryatia“. Iskusstvo Evrazii [The Art of Eurasia], Nr. 3(22) (30.09.2021): 68–77. http://dx.doi.org/10.46748/arteuras.2021.03.006.

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В статье впервые рассматривается собранная Национальным музеем Республики Бурятия коллекция буддийской скульптуры Монголии, связанной с именем Г. Дзанабадзара (1635–1723), основоположника монгольской школы в буддийском искусстве. В ходе изучения коллекции использовалась визуальная и сравнительная методика, а также знакомство с авторскими работами Мастера в музеях Монголии. В результате были выявлены три группы буддийских скульптур с характерными особенностями этой школы: цельное толстостенное литье, блестящая позолота, комбинированное золочение, особая техника освящения скульптур. Ярким украшением коллекции является авторская работа самого Дзанабадзара — скульптура Будды долголетия Амитаюса. Кроме того, около тридцати скульптур XVIII–XIX вв. представляют его школу. Третья группа скульптур состоит из поздних работ монгольских мастеров в виде реплик и подражаний. О коллекции монгольской скульптуры музея упоминалось в сообщении автора статьи на научной конференции в Монголии, посвященной 370-летию Дзанабадзара. Целью данной статьи является возможность ознакомить читателей с «эталонными» работами Великого Дзанабадзара и его школы, создавших базу для творчества следующих поколений художников. The collection of the Buddhist sculpture of Mongolia, which is related to the founder of the Mongolian school in the Buddhist art G. Zanabazar (1635–1723), is observed for the first time at this article. The process of research of the collection involved visual and comparative methods as well as conversance with the master’s works in museums of Mongolia. As a result, three groups of the Buddhist sculptures with special features of the school were fetched out: one-piece and heavy-walled casting, lucent gilding, special technic of sculpture consecrating. The collection cherry on top is Zanabazar’s own work — a sculpture of Buddha of longevity Amitayus. Furthermore, about thirty sculptures of 18th – 19th centuries represent his school. The third group of the sculptures consists of late works of Mongolian masters by way of replica and imitating. This collection of the Mongolian sculptures of the museum was mentioned by the article author at scientific conference in Mongolia dedicated to the 350th anniversary of Zanabazar’s birth. The article aim is to introduce to the readers the “reference” works of the great Zanabazar and his school, which prepared a basis for creation for the next generation of artists.
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Zhao, Jinchao. „Connecting the Sacred: Network Analysis of Buddhist Images on Early Medieval Chinese Pagodas from Nannieshui, Shanxi“. Religions 14, Nr. 5 (06.05.2023): 625. http://dx.doi.org/10.3390/rel14050625.

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The production of stone sculptures in the form of statues, steles, and pagodas was arguably one of the most prominent forms of Buddhist devotion in early medieval China. The abundant Buddhist imagery and devotional inscriptions adorning their surfaces provide rich information on their creation, commission, consecration, and worship, which is essential for comprehending the local community’s religious landscape. This paper employs a network analysis approach to visualize and analyze the spatial arrangement of Buddhist images on the surfaces of pagodas from Nannieshui 南涅水, Shanxi 山西 Province. Network analysis reveals that Nannieshui pagodas were commissioned and worshipped differently from other kinds of stone sculpture, as shown by its emphasis on the spatial and sequential order of Buddhist images depicted on the exterior of these pagodas.
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Elikhina, Yu I. „The artistic Heritage of Dzanabadzar and his School preserved in the Collections of the State Hermitage“. Orientalistica 3, Nr. 3 (03.10.2020): 662–80. http://dx.doi.org/10.31696/2618-7043-2020-3-3-662-680.

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The article deals with the heritage of the outstanding master of Mongolian art Gombodorzhiin Dzanabadzar (1635-1723) and his disciples, who formed the so-called “school of Dzanabadzar”. The actual subject to analysis are most significant works of Mongolian Buddhist art preserved in the collections of the State Hermitage / St Petersburg. These comprise bronze sculptures and scrolls (tankas), as well as fragments of Buddhist clay sculptures and some other items, which originate from the Sardag monastery, the moulds for which were designed by Dzanabadzar. To describe the holdings, the author uses comparative analysis of the Buddhist iconography and stylistics. The sculptural works of the master as well as his disciples are so diverse that it is almost impossible to ascertain two completely identical items. The same is relevant for the phenomenon of the Dzanabadzar school plastics. Only the images of the clay tathagatas where were used the moulds are completely identical. The article offers a cornucopia of material for further discussions regarding the Mongolian art preserved in the collections of the State Hermitage.
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Dissertationen zum Thema "Buddhist Sculptures"

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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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Leoshko, Janice. „The Iconography of Buddhist Sculptures of the Pala and Sena Periods from Bodhgaya Volume I“. The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392309418.

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Pons, Jessie. „Inventaire et étude systématiques des sites et des sculptures bouddhiques du Gandhāra : ateliers, centres de production“. Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040086.

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Les statues et les reliefs narratifs bouddhiques du Gandhāra présentent des points communs qui justifient la désignation d’un « art du Gandhāra » : le matériau, le sujet et la nature composite. Malgré cette évidente homogénéité, il existe d’importantes variations iconographiques et stylistiques. Cette thèse de doctorat tend à mettre en évidence ces variations afin de produire la première identification et caractérisation des langages stylistiques de l’art du Gandhāra. Les réflexions liminaires sur les contextes géographique, historique et religieux dans lesquels l’art du Gandhāra s’est développé sont suivies de prolégomènes sur les cadres historiographiques et théoriques de la recherche. Ils soulignent l’utilité d’une méthodologie et d’une terminologie appropriées ainsi que la nécessité d’un corpus des sculptures correctement documentées sur lequel une étude stylistique peut se fonder. L’inventaire des sculptures a permis d’identifier et de rassembler dans une base de données électronique environ 5000 oeuvres dont la provenance est attestée. La dernière partie se concentre sur l’identification des écoles, des foyers artistiques, des centres de production et des ateliers gandhāriens ainsi que sur leur caractérisation iconographique et formelle. La présentation suit une progression géographique qui permet de montrer la corrélation entre les niveaux stylistiques et la géographie gandhārienne et de déceler des réseaux d’interaction. Cette thèse propose en conclusion une reconstruction provisoire des routes anciennes de la région, un réexamen des chronologies fondées sur l’étude des styles et une réflexion sur la normalisation géographique des iconographies bouddhiques
Buddhist statues and narrative relieves from Gandhāra share common characteristics thus justifying the designation of “Gandhāran art”. The homogeneity of Gandhāran art is certainly manifest in its material, its subject and its composite nature, yet it is possible to distinguish important iconographic and stylistic variations. This doctoral thesis aims to highlight these variations in order to provide the first identification and characterisation of the various stylistic languages of Gandhāran Buddhist art. The introductory reflections on the geographical, historical and religious contexts within which Gandhāran Buddhist art developed, are followed by prolegomena of the historiographical and theoretical frameworks of the research. These emphasise the need for an appropriate methodology and terminology and the necessity for a corpus of correctly documented pieces on which a stylistic study can be founded. The preliminary inventory of Gandhāran sculptures has identified approximately 5000 pieces of known provenance gathered in an electronic database. The last part focuses on the identification of Gandhāran schools, artistic zones, production centres and workshops and on their characterisation in terms of iconography and form. The review is geographically organised, thus revealing the existing correlation between the stylistic levels and Gandhāran geography and allowing the recognition of various interaction networks. The thesis concludes with an attempt to identify ancient routes, a reassessment of old stylistically based chronologies and a reflection on the geographical normalisation of Buddhist iconographies
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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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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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Le, Thua Tien Art College of Fine Arts UNSW. „Journey to inner peace installation and sculpture from a buddhist perspective“. Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/41874.

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My Master of Fine Arts research project focuses on installation and sculpture that embodies the themes of Buddhism and War. My artwork examines how the two themes interact and influence each other. Making art, for me, is an intensely personal process of rediscovering myself. The project is an attempt to create a visual conversation between my personal experiences, memories and imagination. In particular, I explore the collective memory of the people of Hue in relation to the immediate past, and the longer historical heritage of the city and the region. Chapter One provides a background to my personal experiences of growing up in Hue, Vietnam, during a time of war. This is a relevant starting point as these experiences have shaped my life and my art practice. This chapter begins with my childhood and charts my journey into art education. Visual art is the form and methodology by which I can best express my thoughts, dreams, and reflections. Through sculpture I can share my own vision and thoughts with people from different cultural backgrounds, ideally reaching beyond existing socio-cultural boundaries. It is a personal journey that has led me toward the path of re-discovering my inner world and awakening a forward-looking perspective. Chapter Two explores the influence Buddhist philosophy has on my art practice. This chapter also discusses the work of four contemporary artists who are primarily concerned with themes of Buddhism and war. Through this research I explore how the philosophy of Buddhism gave me a new perspective on how an artist can live completely in the present, while building a bridge between the past and the future through creative practice. Buddhism is a process of everyday transformation; in practice it is an attempt to forge new beginnings in every facet of daily life. Chapter Three discusses my earlier sculpture and installation artworks. I then examine how this led me to collaborate with other international contemporary artists who share a common aesthetic or theme. Chapter Four examines my current art practice and discuss how I see it shaping my future art practice.
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Galloway, Charlotte Kendrick, und charlotte galloway@anu edu au. „Burmese Buddhist Imagery of the Early Bagan Period (1044-1113)“. The Australian National University. Faculty of Arts, 2007. http://thesis.anu.edu.au./public/adt-ANU20071112.160557.

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Buddhism is an integral part of Burmese culture. While Buddhism has been practiced in Burma for around 1500 years and evidence of the religion is found throughout the country, nothing surpasses the concentration of Buddhist monuments found at Bagan. Bagan represents not only the beginnings of a unified Burmese country, but also symbolises Burmese 'ownership' of Theravada Buddhism. ¶ While there is an abundance of artistic material throughout Burma, the study of Burmese Buddhist art by western scholars remains in it infancy due to historical events. In recent years, opportunities for further research have increased, and Bagan, as the region of Buddhism's principal flowering in Burma, is the starting point for the study of Burmese Buddhist art. To date, there has been no systematic review of the stylistic or iconographic characteristics of the Buddhist images of this period. This thesis proposes, for the first time, a chronological framework for sculptural depictions of the Buddha, and identifies the characteristics of Buddha images for each identified phase. The framework and features identified should provide a valuable resource for the dating of future discoveries of Buddhist sculpture at Bagan. ¶ As epigraphic material from this period is very scant, the reconstruction of Bagan's history has relied heavily to this point in time on non-contemporaneous accounts from Burma, and foreign chronicles. The usefulness of Bagan's visual material in broadening our understanding of the early Bagan period has been largely overlooked. This is addressed by relating the identified stylistic trends with purported historical events and it is demonstrated that, in the absence of other contemporaneous material, visual imagery is a valid and valuable resource for both supporting and refuting historical events. ¶ Buddhist imagery of Bagan widely regarded to represent the beginnings of 'pure' Theravada practice that King Anawrahta, the first Burman ruler, actively encouraged. This simplistic view has limited the potential of the imagery to provide a greater understanding of Buddhist practice at Bagan, and subsequently, the cross-cultural interactions that may have been occurring. In this light the narrative sculptural imagery of the period is interrogated against the principal Mahayana and Theravada texts relating to the life of Gotama Buddha. This review, along with the discussion regarding potential agencies for stylistic change, reveals that during the early Bagan period, Buddhism was an eclectic mix of both Theravada and Mahayana, which integrated with pre-existing spiritual traditions. Towards the end of the early Bagan period, trends were emerging which would lead to a distinctly Burmese form of Buddhist practice and visual expression.
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Lok, Wai-ying, und 駱慧瑛. „The significance of Dunhuang iconography from the perspective of Buddhist philosophy: a study mainly based onCave 45“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48199321.

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This study explores the significance of Dunhuang 敦煌 iconography from the perspective of Buddhist philosophy. The time span of the Dunhuang iconography of the Grottoes runs from the 4th to the 14th centuries. This wide coverage makes it extremely valuable for revealing the developments in art, history, culture, and religious activities in China, and neighbouring regions along the Silk Road. Most scholars have approached the Dunhuang Grottoes from the perspectives of art, history, or archaeology. However, studying the Dunhuang Grottoes from the perspective of Buddhist philosophy has remained under-researched, and therefore, less exhaustively dealt with. It is in Dunhuang Mogao 莫高 Cave 45 that one can see the most well preserved Buddha statue group, and the only Guanyin S?tra 觀音經, i. e. the Chapter of the Universal Gateway of Avalokite?vara Bodhisattva 普門品 from the Saddharmapu??ar?ka S?tra 妙法蓮華經, painted on one entire wall. This dual association has rendered Cave 45 the most ideal source for this research. In this research, Buddhist iconography will be studied in the light of Buddhist philosophy. The study also takes into account triangulation of data collected through various sources, namely: (1) Field trips in Dunhuang and related areas for primary data collection; (2) Image analyses of data collected from primary and secondary sources; (3) Verification of data in the light of both ancient and modern Buddhist literature. The research will be focused on identifying Buddhist philosophy from the mural paintings of the Guanyin S?tra and on the conceptualized understanding of the material as presented in the paintings. The causes of suffering will be identified after examining the thirty-three manifestations / appearances of Avalokite?vara as depicted here. The scenes of various desires as identified and conceptualized in the mural painting of the Cave 45 will also be studied. The Buddha statue in the centre of the statue group portrays cessation of suffering. The statues of bodhisattvas and disciples along both sides, with different facial expressions and body gestures, portray the different levels of cessation of suffering, all leading to ultimate awakening and full emancipation. In this connection, the missing pair of statues in the statue group will also be explored and identified. It is true that Dunhuang iconography, as exemplified through Cave 45, can be approached from many perspectives. However, the primary objective of this study is to show that the Dunhuang iconography is designed as an artistic portrayal of the fundamental teachings of Buddhism.
published_or_final_version
Buddhist Studies
Doctoral
Doctor of Philosophy
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Bücher zum Thema "Buddhist Sculptures"

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India. Ministry of Information and Broadcasting., Hrsg. Buddhist sculptures and monuments. New Delhi: Publication Division, Ministry of Information and Broadcasting, Govt. of India, 1994.

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Buddhist sculptures in Tibet. Hong Kong: Visual Dharma, 2001.

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Liao, Dongfan. Tibetan sculptures. Beijing: China Intercontinental Press, 2003.

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Liao, Dongfan. Tibetan sculptures. Beijing: China Intercontinental Press, 2003.

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C, Sharma R. Bharhut sculptures. New Delhi: Abhinav Publications, 1994.

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Murthy, K. Krishna. Sculptures of Vajrayāna Buddhism. Delhi, India: Classics India Publications, 1989.

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Mullick, C. C. Nalanda sculptures: Their bearing on Indonesian sculptures. Delhi: Pratibha Prakashan, 1991.

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Vajrayana Buddhism in Khajuraho sculptures. Kolkata: Power Publishers, 2012.

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Tibetan sculptures. Beijing: China Intercontinental Press, 2003.

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Rao, Manjushri. Sanchi sculptures, an aesthetic and cultural study. New Delhi: Akay Book Corp., 1994.

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Buchteile zum Thema "Buddhist Sculptures"

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Prasad, Birendra Nath. „The Socio-Religious Dimensions of Dedicatory Inscriptions on Sculptures Donated to a Buddhist Establishment in Early Medieval Magadha: Kurkihar, c. 800 CE-1200 CE*“. In Rethinking Bihar and Bengal, 41–84. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003221227-2.

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Peleggi, Maurizio. „CHAPTER FOUR. THE PLOT OF THAI ART HISTORY: BUDDHIST SCULPTURE AND THE MYTH OF NATIONAL ORIGINS“. In A Sarong for Clio, herausgegeben von Maurizio Peleggi, 79–94. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501725937-006.

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Prasad, Birendra Nath. „A Folk Tradition Integrated into Mahāyāna Buddhism: Some Observations on the Votive Inscriptions on the Sculptures of Puṇḍeśvarī/Pūrṇeśvarī/Puṇyeśvarī Discovered in the Kiul-Lakhisarai Area, Bihar“. In Rethinking Bihar and Bengal, 85–93. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003221227-3.

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„2. Early Sculptures“. In The Hindu-Buddhist Sculpture of Ancient Kashmir and Its Influences, 31–75. BRILL, 2013. http://dx.doi.org/10.1163/9789004248328_004.

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Vaneian, Elizaveta S. „The “Spectrum of Corporeality” in Japanese Buddhist Sculpture“. In Artificial Body in the World Intellectual and Artistic Culture, 31–57. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0719-9-31-57.

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This paper examines, based on concrete examples, ways in which the artificial bodies of Japanese Buddhist sculptures have been created and explores the relevant background ideas and assumptions. Particular “bodies” of Japanese sculpture can be associated, to a lesser or greater extent, with the understanding of the human body; however, in certain aspects they constitute their own reality. These variations create what I have called “the spectrum of corporeality” in Japanese Buddhist sculpture. Specifically, I review ways in which statues have been empowered as sacred objects and approximated to real beings that have their own bodies. In addition, I discuss the cult of monk mummies (whole-body relics) and the religious processions in which people “play” bodhisattvas. At first sight, the last two phenomena seem to be unrelated to sculpture, but I have tried to show a direct connection between them. Having united and combined various ideas and techniques in my discussion on “the spectrum of corporeality”, I use concrete examples from the history of Japanese Buddhist sculpture. Being an overview of practices and phenomena that have been well researched separately, this paper contributes to the existing historiography on the ontology of Buddhist imagery.
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Naz, Fozia. „Buddhist art of Gandhāra: a catalogue of newly documented sites in Malakand District“. In Gandhāran Art in Its Buddhist Context, 77–87. Archaeopress Archaeology, 2023. http://dx.doi.org/10.32028/9781803274737-06.

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In respect to Gandhāra civilization, antiquarians and archaeologists have made many discoveries in ancient Uḍḍiyāna (Swat) and the present-day Khyber Pakhtunkhwa region of Pakistan. Historically and geographically, ancient Uḍḍiyāna (Swat) occupies an important position in South and Central Asia. From the nineteenth century, archaeological explorations have entailed surveys and excavations of many sites within the confines of Uḍḍiyāna (Faccenna 1980; Stacul 1989; Callieri 2005). These sites included structural remains and cultural artefacts, consisting of pottery, coins, Buddhist sculptures, decorated stone fragments, and jewelry. The region remains rich in archaeological evidence for the explanation of the Buddhist period. The district of Malakand is one of the most important valleys among the archaeological sites of the Gandhāra region. Many examples of Buddhist-period rock art have also been reported there and their relevance to Gandhāran art has been discussed in previously published survey results (Naz 2020; Naz and Sardar 2021). The present paper will summarize Buddhist art recorded from different sites in Malakand District (Map 1). A newly documented Muslim-period graveyard with abundant, reused Buddhist sculptural fragments is also included in this article. The Gandhāran art collections in Swat, Peshawar and Chakdara Museums are not included in this paper.
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Khan, Zarawar, Fawad Khan und Ghayyur Shahab. „Gandhāran stucco sculptures from Sultan Khel (former Khyber Agency) in the collection of Peshawar Museum: a study in three parts“. In The Rediscovery and Reception of Gandhāran Art, 43–82. Archaeopress Archaeology, 2022. http://dx.doi.org/10.32028/9781803272337-3.

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The Peshawar Museum of Pakistan was inaugurated in the Victoria Memorial hall of Peshawar by the Archaeological Survey of India (ASI) in 1907, and since then, it has achieved a worldwide reputation for housing one of the best collections of Gandhāran Buddhist sculptures. The antiquities of the Museum have chiefly come from archaeological excavations and explorations of ancient sites and monuments of the former North-West Frontier Province, however, the number of artefacts has also been supplemented by the sculptures donated by the civil and military officials of the British Indian Empire. Most of the donated and gifted sculptures were collected in military operations or punitive expeditions, or purchased from the local people, as well as confiscated under the Ancient Monuments Preservation Act of 1904.
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Prabha Ray, Himanshu. „Archaeology of Buddhism in post-partition Punjab: the disputed legacy of Gandhāra“. In The Rediscovery and Reception of Gandhāran Art, 124–35. Archaeopress Archaeology, 2022. http://dx.doi.org/10.32028/9781803272337-6.

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After complex negotiations, which only compounded the trauma of the Partition of the Indian subcontinent on 15th August 1947 and the enormous humanitarian crisis that resulted from it, the cultural heritage of the Punjab was also divided, with Indian Punjab receiving from Lahore Museum a total of 627 Gandhāran sculptures, miniature paintings, and so on. Clearly, the sculptures of Gandhāra were accepted as the cultural heritage of undivided Punjab, a region that extended across both Pakistan and India. The nineteenth century kingdom of Maharaja Ranjit Singh (1780-1839), also known as the ‘lion of Punjab,’ with its capital at Lahore, now in Pakistan, stretched across the five rivers into present Afghanistan and Kashmir. In 1849 this kingdom was annexed by the East India Company and British military officials initiated a search for the legacy of the Greeks, especially that of Alexander the Great (Ray and Potts 2007; Hagerman 2009: 344-92). In the quest for cities established by Alexander, they found Buddhist stūpas, sculptures, coins, and gems. The sculptures were often seen to bear resemblance to Hellenistic art. From 1860 onwards these collections led to the development of a distinctive School of Art termed Gandhāra.
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„Buddhist clay sculptures in Central Asia: Conservation and restoration problems“. In Rammed Earth Conservation, 685–90. CRC Press, 2012. http://dx.doi.org/10.1201/b15164-116.

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Charney, Maurice. „Shakespeare’s Villains1“. In The Supervillain Reader, 106–13. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496826466.003.0010.

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Supervillains have been stock characters in popular culture for decades, and, just as we can trace the roots of modern superheroes to ancient hero tales, we can find precursors to supervillains in myths as well. In this paper I examine a “proto-supervillain” from ancient India: Aṅgulimāla, a vicious murderer who, subdued by Buddha, renounces his outlaw ways for monastic life and eventually attains nirvana, the supreme goal in early Buddhism. Aṅgulimāla is well-known in Buddhist tradition, and over the years his story has been the focus of various paintings, sculptures, folktales, popular rites, and movies. More interestingly, though, like many modern supervillains, Aṅgulimāla is deeply complex and compelling – an undeniably evil figure who is also a “victim,” and who turns out to be rather heroic. I maintain that Aṅgulimāla’s redemption reveals something important about the relationship between heroes and villains that we do well to heed.
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Konferenzberichte zum Thema "Buddhist Sculptures"

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Shao, Changzong. „Discussion on the Humanities and Artistry of Buddhist Sculptures in Wei, Jin, Southern and Northern Dynasties“. In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.008.

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Koc, Adem. „A Symbolic Taste of the City: Eskișehir Met Halva from Legend to Game“. In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.29.

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Th ere are some symbols (images) of cities in which they come to the fore. Th ese symbols can be diverse such as city silhouettes, temples, holy places, museums, festivals, natural areas, food, drinks, and desserts. Urban symbols can be an important soft power and tourism intermediary for the promotion of both the city and the country. Many examples such as Japan’s kimono, Kyoto garden, and sushi; France’s Paris Eiff el Tower; Moldova’s wine cellars; Moscow’s Kremlin Palace in Russia; Istanbul’s Topkapi Palace in Türkiye, beaches, doner kebab and baklava; Tibet’s Buddhist temples can be cited. As can be understood from these examples, a city or a small settlement can sometimes come to the fore even more than the country itself due to its symbol. Countries that benefi t from this can provide a good promotion in terms of tourism. While there are professional works in creating an image of the city, sometimes bad examples can be seen. However, creating the image of the city, strange structures or sculptures can sometimes be used for the promotion of the city. In fact, it is an interesting method which causes a very bad appearance. Even this situation sometimes causes a funny and disgusting image. For example, ill-hewn statues of fruit-vegetable, food, animals, persons or heroes, etc. It is unnecessary but it also causes bad publicity. Instead, applied kitchens, food and beverage presentations, and museums are more remarkable. In this paper, the city image “met halva”, which has come to the fore in the fi eld of gastronomy, with the cultural animations made recently in Sivrihisar district of Eskișehir province of Türkiye will be introduced.
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Hendradi, Rimuljo, Ikhsan Rosyid Mujahidul Anwari und Kinara Al Ghiffari. „Augmented reality application development on universitas airlangga Museum’s sculpture as Hindu-Buddhist history educational media“. In 4TH INTERNATIONAL SCIENTIFIC CONFERENCE OF ALKAFEEL UNIVERSITY (ISCKU 2022). AIP Publishing, 2023. http://dx.doi.org/10.1063/5.0181221.

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