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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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Kowal, Katarzyna. „The Borobudur temple: the Buddhist architecture in Indonesia“. Budownictwo i Architektura 18, Nr. 2 (18.11.2019): 005–19. http://dx.doi.org/10.35784/bud-arch.550.
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The article presents the current state of knowledge about the Borobudur temple, a valuable representative of Buddhist architecture, located in Java, Indonesia. The author presents the genesis of the temple, the facts concerning its rediscovery after centuries of oblivion, and Buddhist cosmology embodied in the form of a three-dimensional mandala on which the architectural form of Borobudur is based. The author studies Buddhist symbolism of the architectural form, reliefs and sculptures created on the basis of regional patterns and local Javanese culture of everyday life. This temple is one of the most perfect examples of translation of Buddhist cosmology and symbolism into an architectural form. At the same time, it constitutes an intercultural and timeless masterpiece of architecture and sculpture which requires particular protection, also due to the influence it exerts on the life of local Buddhist religious minorities.
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Saptono, Nanang, und Endang Widyastuti. „Identifikasi Temuan Arca di Karangnunggal, Tasikmalaya“. PANALUNGTIK 4, Nr. 2 (17.12.2021): 115–28. http://dx.doi.org/10.24164/pnk.v4i2.71.
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Sculptures are archaeological relic that are frequently found. Sculptures from the Hindu-Buddhist period often serves as a medium for worshipping. The characters depicted in the sculpture can be of gods and their pantheons, some are in the form of kings who are depicted as gods. In the area of Karangnunggal, Tasikmalaya, sculpture made of stone were found on a former plantation land that was used during the Dutch era. This article aims to provide an overview of the character that are depicted in the sculpture, the origin style of the creation, and when the sculpture was created. The method used in this research is descriptive research with a comparative approach. Based on its attributes, the Karangnunggal sculpture considered as a sculpture of embodiment. The figure that depicted was Dewi Parwati in Majapahit style. Based on the context of the findings, this sculpture indicates as an art item created at present time.
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Kim, Kyung-mi. „The Study on the Style and Value of Stone Buddha Statue of Hoeamsa Temple in Yangju“. Korean Journal of Art History 312 (31.12.2021): 109–39. http://dx.doi.org/10.31065/kjah.312.202112.004.
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This study focus on the characteristics and of the Fragment of Stone Buddha of Hoeamsa Temple(檜巖寺). As is well known, this temple had been developed rebuilding by supporting of the royal family from the late of Korea Dynasty to the early of Joseon Dynasty(朝鮮). The Hoeamsa Temple Site in Yangju(陽州) is believed to have been destroyed in a fire in the late 16th century, and various artifacts have been excavated after several excavations since 1999. This Temple has been excavated a variety of Fragment of Stone Buddha statues. The Buddha statue of Hoeamsa Temple in Yangju has a hole on top of high usnisa(肉髻), and special folds in the left arm and a thick clothing style. It was reflects the sculptural Joseon style modified by the Tibet-Chinese style. This style is very similar to that of Buddha statues produced in the 15th century, supported by the royal family of Joseon. In particular, these statues were believed to have been produced around the first half of the 15th century when the temple was heavily fortified with the support of Prince Hyo-ryeong(孝寧大君). It is also interesting to note that these statues show the sculptural features of the early Joseon Dynasty, reflecting the Tibetan-Chinese sculptures style, compared to those of the Buddhist sculptures in the first half of the 15th century during the year of Yeongrak (1403~1424) and Seondeok (1426~1435), the kings of the Ming Dynasty. This reflects the development of Buddhist sculptures in the early Joseon Dynasty in line with the trend of Buddhist art in East Asia.
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Song, Unsok. „Rediscovering the Monk-Sculptor Ch’ŏnsin: The Missing Link between the Ŭngwŏn-In'gyun and Saengnan Schools of the Honam Area in the Late Chosŏn Period“. Sungkyun Journal of East Asian Studies 22, Nr. 2 (01.11.2022): 207–31. http://dx.doi.org/10.1215/15982661-10040897.
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Abstract Of the monk-sculptor groups active in the Honam area in the southwest part of the Korean Peninsula during the late Chosŏn period, the Saengnan School was the largest, both in terms of the number of artists in the group and of the works they left behind. Studies of the group have largely focused on the sculpting activities of the Buddhist monk Saengnan (fl. late seventeenth to the early eighteenth century; 1663–1709) and his followers, while little is known about the origins of the school due to a lack of records about his formative years as an assistant. The recent discovery of four Buddhist parwŏn prayer texts has revealed that Saengnan spent the early years of his career as a sculptor assisting the monk-sculptors In'gyun and Ch’ŏnsin, who were key members of the Ŭngwŏn-In'gyun School that played a central role in the production of Buddhist sculptures in the early to late seventeenth century in the region. This study shows that the Saengnan School, the most productive group of monk-sculptors from the late seventeenth to the early eighteenth century in the Honam region, was a successor to the Ŭngwŏn-In'gyun School, through a comparative examination of these highly informative prayers and relevant Buddhist sculptures. My examination also reveals that the two schools were linked by Ch’ŏnsin, who studied sculpture under In'gyun, and in turn, taught Saengnan.
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Husarski, Roman. „Moral Entertainment – The Buddhist Hell Parks of Thailand“. Studia Religiologica 54, Nr. 3 (01.12.2021): 195–216. http://dx.doi.org/10.4467/20844077sr.21.013.16550.
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Visiting Hell parks is a popular pastime in contemporary Thailand. Situated near Buddhist temples, these gruesome sculpture gardens depict the Buddhist vision of Hell. These grotesque and violent sculptures are usually seen as an oddity and a form of low art. Perhaps for this reason, they are rarely studied by scholars. This article focuses on the parks as modern entertainment. Usually found in rural areas, these spots try to answer the challenges of the commercialisation and globalisation of Thai society. A detailed analysis of four Hell parks, Wang Saen Suk, Wat Pa Lak Roi, Wat Pa Non Sawan and Wat Pa Thewapithak, shows that these religious amusement parks serve not only as means of entertainment but are also places of Buddhist morality.
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Bajpaii, Dr Shivakant, Dr Mahendra Pal,, Ritesh Singh, Kamal Kant Verma und Shivam Dubey. „TARA SCULPTURES FROM GOPALPUR AND JABALPUR: RECENT DISCOVERIES AND COMPARATIVE ANALYSIS“. VESTIGIA INDICA: BSSS Journal of History & Archaeology 01, Nr. 01 (30.06.2023): 8–17. http://dx.doi.org/10.51767/jha0102.
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Gopalpur village is situated around 8 kilometers west to Jabalpur city on the bank of River Narmada (Lat. 23.115763°, Long. 79.824082°). This place contains a huge number of temple remains scattered in a radius of around 500 meters. The majority of the temple sites are related to Kalachuri’s of Tripuri. Gopalpur village has a number of Gond period structures in which most number of these structures are made over the earlier temples, Lakshminarayan Temple, Panchmatha, Pashupatinath temple etc. are the ideal examples of it. From Gopalpur, Tewar, Kudhan, Bheraghat a number of Buddhist sculptures have already found which are kept in Rani Durgawati State museum Jabalpur. In these sculptures notable sculptures are of Buddha, Tara, and of Yakshi’s. In recent excavation of Tewar as per the media reports three sculptures of Tara is revealed which are not published yet. An important Tara Sculpture is also kept in the Gauri shanker temple of Chausath Yogini Bheraghat1 (Plate.1). This paper will deal with the newly found Tara sculptures from Lakshminarayana temple of Gopalpur.
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Kuzhel, Yurii L., und Tatiana I. Breslavets. „Unusual Sculptures of Buddhist Deities in Japan in the Halo of Legends and Historical Facts“. Vestnik NSU. Series: History, Philology 20, Nr. 10 (20.12.2021): 72–81. http://dx.doi.org/10.25205/1818-7919-2021-20-10-72-81.
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Diverse, unusual images of Buddhist deities are ubiquitous in Japan. In a number of ways, they differ from traditional temple images, demonstrating a deviation from the canon, which dictates certain, centuries-old norms and rules regarding postures, position of feet, fingers, gestures, symbols. Simplification of expressive means, a stylized image become the predominant features in the image of extraordinary images. The appearance of unusual Buddhist sculptures in the plastic field of the country is often associated with the existence of legends, traditions, and also facts that took place throughout the history of Japan among the population. The iconography of unusual Buddhas is very diverse and encompasses both the Buddhas themselves and the bodhisattvas, Kings of Light, Heavenly Kings, and so on. Six-armed Jizō, Rope-tied Jizō, Yata Jizō, Child-giving Jizō are added to the familiar images of the Bodhisattva Jizō. Amida Buddha, who is habitually portrayed as sitting frontally, appears in a new form – standing and in profile or with his head bowed. A very colourful group is represented by deities sitting on zoomorphic thrones – lions, elephants, riding birds – knocked out of the canonical image. The traditional images of the Eleven-headed, Thousand-armed Bodhisattva Kannon always seemed unusual, although they became familiar. However, placing the bodhisattva on a mount bird – a four-legged, eight-headed raven gives reason to consider this sculpture unusual. In unusual sculptures, there is a deviation from the norm, an abstraction from the traditional image. Aesthetic ideals are not realized through a complex of canons, rather through a new figurative language, not yet fixed by tradition.
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Liang, Qiao. „The Impact of Dunhuang Intangible Cultural Heritage Colored Sculptures on the Outcome of Multi-ethnic Cultural Integration in Buddhist Art“. International Journal of Arts and Humanities Studies 2, Nr. 2 (06.09.2022): 64–67. http://dx.doi.org/10.32996/ijahs.2022.2.2.9.
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Dunhuang is one of the most important historical transportation hubs on the silk road. A major transport artery connecting east Asia, south Asia, west Asia, and Europe. There is a diverse population that lives and trades here, establishing the foundation for future diversification. The Dunhuang art is influenced by a wide variety of cultures and religions, but this paper will focus on the influences of Buddhism. Buddhist art was created with the purpose of pilgrimage and visual representations of Buddha. An ancient, local technique known as the Dunhuang color sculpture has been passed down from generations for thousands of years. Due to its malleability, this technique is stronger, more durable, and weather-resistant. The objective of the study is to find the impact of the Dunhuang intangible cultural heritage colored sculpture on the multi-Ethnic cultural integration of Buddhist art from four perspectives: (1) integration of multi-Ethnic in Dunhuang; (2) Buddhist sculpture representation; (3) colored sculpture; and (4) problems faced by intangible cultural heritage.
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Raheem, Jesmil Abdul, Shakirullah Anon, Owais Khan, Muhammad Zahoor und Lubna Anon. „Queen Maya & Yasodhara in Gandhara Buddhist Sculptures“. European Modern Studies Journal 7, Nr. 4 (12.10.2023): 235–41. http://dx.doi.org/10.59573/emsj.7(4).2023.22.
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The aim of the research was to study at the female representation in Buddhist Gandhara's sculptural history. It is a genuine revelation that the subject matter of Gandhara sculptures is the Buddhah life story, as depicted in the stone panels. We began to collect Queen Maya and Yashodhara images from Peshawar, Texila and Mardan Museum. As a result, the Gandharan perception of the female was complex: female images frequently signified prosperity, fertility, and nurture, but they also embodied seduction, disease, and death at other times. The Gandharan woman is dichotomous and replete with vigour, a synthesis of various religious, aesthetic, and political ideas. This research will contribute to the existing information about female portrayal in Buddhist and South Asian art forms, thereby advancing the work on women's roles and representation in the South Asian region.
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Шишин, М. Ю., und Д. Е. Онуфриенко. „The oeuvre of Sanzhi-Tsybik Tsybikov: experience in iconometric research“. Iskusstvo Evrazii [The Art of Eurasia], Nr. 3(30) (30.09.2023): 246–63. http://dx.doi.org/10.46748/arteuras.2023.03.017.
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Статья посвящена наследию бурятского художника-скульптора, архитектора, религиозного мыслителя Санжи-Цыбик Цыбикова (1877–1934). Рассматриваются основные темы, символы, художественные приемы и техники, используемые мастером в его произведениях, предоставлен анализ некоторых его наиболее значимых работ. Применяется междисциплинарный методологический подход, объединяющий иконометрию, иконологию, формально-стилистический и семантический методы. Показано, что иконометрия, являясь важнейшим композиционно-символическим методом в буддийской скульптуре, открывает возможности нового анализа и интерпретации произведений искусства. Проведен анализ иконометрических построений скульптур С.-Ц. Цыбикова, и в результате выявлена связь мировоззренческой (буддийской) основы его творчества с используемыми художественными приемами. The article is devoted to the oeuvre of the Buryat sculptor, architect, religious thinker Sanzhi-Tsybik Tsybikov (1877–1934). The author examines the main themes, symbols, and artistic techniques used by the artist in his works and analyses some of his most significant sculptures. An interdisciplinary methodological approach combining iconometry, iconology, formal-stylistic and semantic methods formed the basis of the research. Iconometry, being the most important compositional and symbolic method in Buddhist sculpture, opens up opportunities for new analysis and interpretation of works of art. The analysis of the iconometric constructions of S. Tsybikov's sculptures revealed the connection of the ideological (Buddhist) basis of his work with the artistic techniques used.
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Lim, Young-ae. „Four Heavenly Kings at Hwaŏmsa, Gurye: Pyŏgam Kaksŏng and Sculptor Monk In’gyun“. Korean Journal of Art History 319 (30.09.2023): 173–200. http://dx.doi.org/10.31065/kjah.319.202309.006.
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This study focuses on the sculptures of the Four Heavenly Kings at Hwaŏmsa. It had been unknown when or by whom they were made, but fortunately, I was able to propose that they were made in 1635-36 under the supervision of the sculptor monk In'gyun, based on their similarities in iconography and style to the Four Heavenly Kings at Songgwangsa, made in 1628. In'gyun participated in the erection of Buddhist sculptures at Songgwangsa, Hwaŏmsa, and Hŭngguksa. In particular, the Four Heavenly Kings at Songgwangsa were made in collaboration with Ŭngwŏn, and it is likely that with this experience, In'gyun was able to lead the project of the Four Heavenly Kings at Hwaŏmsa.</br>As for the sculpture itself, I have always been curious about the rat in the hand of the King of the West, a motif that appears only in three early-17th-century temples in Jeollanamdo. A symbol of national security and wealth, the rat motif originated in Khotan, Central Asia, passed through Tibet and into Ming China where it was made into a woodcut in 1431. It is likely that Shin Iksŏng, a son-in-law of King Sŏnjo introduced this woodcut print to Chosŏn along with other Buddhist books and prints from Ming. When Pyŏgam Kaksŏng rebuilt Songgwangsa and Hwaŏmsa, he probably consulted Ming prints and put the rat, a symbol of national security and wealth, in the hand of the King of the West. In conclusion, by this study, I have aimed to demonstrate how Buddhist iconographies were not only based on Buddhist scriptures but also created through legends and myths of each region and developed to become a new iconography.
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Yan, Lifang. „Study on the Thin Flesh Sculptures of Northern Zhou Dynasty in Maijishan Grottoes“. Highlights in Art and Design 4, Nr. 2 (27.10.2023): 71–75. http://dx.doi.org/10.54097/hiaad.v4i2.13204.
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The thin flesh sculpture of the Flying Sky mural in the Seven Buddha Pavilion of the fourth cave of Maijishan was created in the Northern Zhou Dynasty, which is the product of the fusion of Buddhist art and traditional Chinese culture. Among them, the mural uses the method of combining painting and sculpture, which is rare and novel, which not only fully reflects the intelligence and extraordinary creativity of ancient artists in China, but also has high artistic value for Buddhist sculpture art in China. Taking "thin meat sculpture" as the research object, this paper analyzes and elaborates on the historical development of Northern Zhou statues, the overview of thin meat sculpture murals, their characteristics and artistic achievements, explores the relationship between the artistic techniques of painting and sculpture and Chinese sculpture and murals, and studies the significance of thin meat sculpture in the development of Chinese Buddhist sculpture and mural art.
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Tripathy, Balaram. „Buddhist Remains of Boudh District: A Historical Study“. International Review of Social Research 9, Nr. 1 (01.06.2019): 78–83. http://dx.doi.org/10.2478/irsr-2019-0009.
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Abstract The present paper focuses on the Buddhist vestiges of Boudh District of Central Odisha. Emphasis has been laid on aspects like historical background, location of sites, literary references, colonial records pertaining to Buddhist sites of the locality, local tradition, rituals and other facets of the sites. Besides, an attempt is made to locate the sites along the Buddhist trail which even continued during the British regime. Besides, detailed study of the sites with cultural remains and sporadic findings of Buddhist sculptures have been cited to draw a holistic picture of Buddhist remains in the district.
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Zhang, Xinyue. „The Dunhuang Caves: Showcasing the Artistic Development and Social Interactions of Chinese Buddhism between the 4th and the 14th Centuries“. Journal of Education, Humanities and Social Sciences 21 (15.11.2023): 266–79. http://dx.doi.org/10.54097/ehss.v21i.14016.
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The Dunhuang Caves, situated in China's Gansu Province, are renowned globally for their significant collection of murals, sculptures, architecture, and ancient Buddhist manuscripts. These caves, established along the historic Silk Road, encapsulate a rich tapestry of cultural exchange and artistic evolution spanning from the 4th to the 14th centuries. Comprising sites like the Mogao Caves and the Yulin Caves, they not only stand as reservoirs of ancient Buddhist art but also highlight intersections between Buddhism and neighboring Central Asian and Chinese cultures. The evolution of the Dunhuang Caves' art is segmented into periods mirroring Chinese dynasties, showcasing diverse influences from various regions, marking the journey from purely religious symbols to a more secularized and inclusive representation. Concurrently, the Caves mirror the secularization trajectory of Buddhism in China. Beyond their artistic merit, the Dunhuang Caves played a pivotal role socially, reflecting the intertwined relationships between Buddhism, society, and the Chinese ruling elite. As Buddhism assimilated into Chinese life, its representation in the Dunhuang Caves evolved, ultimately serving both spiritual and political purposes. This study delves into the artistic progression and the multifaceted social implications of the Dunhuang Caves' existence.
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Song, Yan, Linlin Zhou, Yunpeng Wang, Fangzhi Liu, Juwen Guo, Ruixia Wang und Austin Nevin. „Technical Study of the Paint Layers from Buddhist Sculptures Unearthed from the Longxing Temple Site in Qingzhou, China“. Heritage 4, Nr. 4 (22.09.2021): 2599–622. http://dx.doi.org/10.3390/heritage4040147.
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In 1996, more than four hundred Buddhist statues were excavated from the Hoard of Longxing Temple site in Qingzhou, Shandong Province, China. They are of great significance in the study of Buddhism history during the Northern and Southern Dynasties of China, and have attracted widespread attention since they were unearthed. In this paper, the paint layers from 14 of the Buddhist statues unearthed from the Longxing Temple site were analyzed using portable 3D microscopy, Raman spectroscopy and X-ray fluorescence spectroscopy was used to determine the materials used in their production. Several microscopic samples were analyzed in the laboratory using scanning electron microscopy/energy dispersive spectrometer, X-ray diffraction and micro-Raman spectroscopy. The combined results from the field and laboratory analyses materials used in painting layers of these statues were identified, and the technique for the production of the sculptures was studied. After the stone sculpture of Buddha was finished, a priming layer of lead white was applied over the stone body as a ground, over which pigments were applied. These include mineral pigments (cinnabar, malachite, lapis lazuli and cerussite), Chinese ink (carbon black) and gold leaf. Cinnabar was used for the outer garments, the halos and ornaments of Buddha and Bodhisattva statues; malachite, was found primarily on the Monk’s clothing; the blue pigment, lapis lazuli, was mainly used for the Buddha’s bun, halo and outer garment edges; carbon black ink was employed for drafting and sketching clothing and decorative patterns.
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Eunwoo Jeong. „Buddhist Sculptures of Mid-Goryeo refleeting northern tradition“. KOREAN JOURNAL OF ART HISTORY 265, Nr. 265 (März 2010): 43–71. http://dx.doi.org/10.31065/ahak.265.265.201003.002.
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Lee, Byong-ho. „A Study of the Clay Buddhist Sculptures Found at the Jeongnimsa Temple Site in Buyeo Using Chinese Clay Buddhist Sculptures“. Institute of History and Culture Hankuk University of Foreign Studies 66 (25.04.2018): 3–42. http://dx.doi.org/10.18347/hufshis.2018.66.3.
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Kang, Heejung. „On the Buddhist Statues Excavated from Hoeamsa-ji in Yangju“. Korean Journal of Art History 311 (30.09.2021): 87–113. http://dx.doi.org/10.31065/kjah.311.202109.003.
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Hoeamsa Temple in Yangju province was one of the most important Buddhist temples in the early days of the Joseon dynasty from the late Koryo, which was the place dwelled by Jigong(指空), Naong(懶翁), and Muhak(無學). Even in the early Joseon Dynasty, Hoeamsa Temple served as a royal temple. Yi Saek witnessed the seven Buddha statues of 15-chuck in height and the Bodhisattva Avalokiteshvara image of 10-chuck in Hoeamsa and recorded the marvelous features of the temple in his book, Sujo-gi. However, none of these statues remain in modern days, and only fragments of the small stone Buddha statues and other Buddhist deity sculptures have been excavated at Hoeamsa-ji Temple site. It is difficult to ascertain the substance of the Buddhist sculptures of Hoeamsa temple with only a few fragments of small stone statues. From the historical records and the analysis of styles in those fragments, compared with other sculptures in the early Joseon dynasty, we can assume that Prince Hyoryeong supported these stone Buddha images. Since the large Buddha statues that Yi mentioned above were already enshrined in the main building of Hoeamsa Temple, Prince Hyoryeong would have been focused on the construction of stupas or making tiles for the renovation of shrines for the Buddha except for the large Buddha statue. Instead, he would have sponsored the artisans to sculpt small stone Buddhas and bring them to buildings or shrines other than Bokwangjeon, the main hall.<br/>Previous research estimated that the materials for those small stone Buddha images were either tuff or sandstone. There are several differences in rock quality, stone particles, color, and homogeneity compared to actual rocks. Unlike the general stone Buddha statues in Korea using granite, the Buddha statues excavated from the Hoeamsa Temple are bright yellowish-white. And the rocks are so fine in quality to make the particles indistinguishable. When we see those pieces of Buddha statues in bare eyes, it looks like kaolin stone. It is necessary to analyze the materials of these stone sculptures and confirm the rock composition or materials through more precise scientific verification. Despite the prestige of the Hoeamsa Temple in the period, the absence of a large Buddha statue is unfortunate. Even if Hoeamsa Temple served as a royal temple, jaboksa, in the early Joseon Dynasty, the hostility of the Confucian scholars was enormous. The absence of the Buddha statues and the thorough destruction of the buildings in Hoeamsa proves that Joseon finally became a Confucian country.
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S, Jeyashree. „Rama Ravana Battle Scenes in Tamil Temple Sculptures“. International Research Journal of Tamil 4, SPL 2 (28.02.2022): 349–56. http://dx.doi.org/10.34256/irjt22s253.
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The Ramayana and the Mahabharata are immortal epics that are the treasury of Indian culture. Both epics convey the values and ideals that people need. The Ramayana written in the Northern language by Valmiki is in some way the source for other Indian language Ramayanas. Kambana in Tamil and Konaputharetti in Telugu have composed Kambaramayana and Iranganatha Ramayana respectively. Sculptures can be found in the temples of Tamil Nadu including these three language Ramayanas. Thus, it is possible to realize that literature and art are interrelated. Many of the Alvars in the Vaishnava literary four-thousandth Prabhupada exemplify the message of Ramavatara. Among the Alvars, Kulasekara gives the Ramavatara reference. References to the Ramayana are also baked into vegetarian literature. The Ashoka Pillar of the Mauryan period is the beginning of the stone sculpture. Horoscope Ramayana messages in India are inscribed on Buddhist monuments. Although Rama, Krishna and Narasimhan are notable among the three incarnations of the Vaishnava deity Thirumal in Tamil Nadu, the influence on the Ramayana is due to the large number of sculptures about Rama. The Vedic Cholas in Tamil Nadu have created Vaishnava Ramayana sculptures in their temples. The influence of Vaishnavism was greatest during the Vijayanagara Nayak period following the Chola period. The Vijayanagara Nayaks built roundabouts, planes, towers, etc., along with the foundations of the temple. Of these, sculptures were placed on stones and sutas. Ravanavatha is featured in the war to fulfill the purpose of Ramavatar. The battle of Rama Ravana and Ravanavatha can be seen in the temples of Tamil Nadu as sculptures of this event.
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AMAR, ABHISHEK S. „Buddhist Responses to Brāhmaṇa Challenges in Medieval India: Bodhgayā and Gayā“. Journal of the Royal Asiatic Society of Great Britain & Ireland 22, Nr. 1 (Januar 2012): 155–85. http://dx.doi.org/10.1017/s1356186311000769.
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The sixth to twelfth centuries of the common era were marked by intense religious activity in all parts of India. In the Paramāra kingdom – the main focus of the articles in this special issue – the dominant religious forces were Jainism and the Śaiva traditions of Hinduism. While Buddhism was certainly present in central India, archaeological remains, inscriptions and post-medieval narratives suggest its role was much diminished compared to the early historic period. In substantial contrast, Buddhism remained a vibrant force in eastern India. Bodhgayā, as the site of the Buddha's enlightenment, had emerged as a sacred place by the time of Aśoka in the third century BCE and it evolved subsequently into one of the key centres of the Buddhist world. This importance is attested by existing remains at the site, including the Mahābodhi temple, monastic ruins and innumerable sculptures from medieval times.
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Brown, Robert L. „A Sky-Lecture by the Buddha“. Bulletin of the Indo-Pacific Prehistory Association 31 (26.05.2012): 17. http://dx.doi.org/10.7152/bippa.v31i0.12498.
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There is a group of sculptures that display a Buddha standing on a winged creature, often flanked by two attendants. These sculptures are associated with the Dvāravatī style of art, date to ca. 7th and 8th centuries, and are almost entirely stone. They are unique in the iconography of Buddhist art. Scholars have searched without success for the meaning of these sculptures, looking for possible narrative explanations in Buddhist texts. It is probable that they were associated with stone Wheels of the Law and were raised together with the Wheels on stone pillars. I propose that rather than a specific narrative, they represent the Buddha elevated in the sky and giving a lecture on his Law (dharma). The act of giving a teaching while elevated in the sky is found in numerous textual episodes, an act that the Buddha performed in order to awe and impress listeners on the ground so that they will accept his teachings, or to dominate in a contest with another spiritual teacher. The Wheel of the Law that was the backing of the Flying Buddha represents the Law itself, which was the substance of his lecture.
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Kim, Sunkyung. „Research on a Buddha Mountain in Colonial-Period Korea: A Preliminary Discussion“. Religions 12, Nr. 7 (19.07.2021): 551. http://dx.doi.org/10.3390/rel12070551.
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Buddhist art became the focus of discussion when Japanese scholars began to construct Korean art history as an academic discipline. This paper presents a case study of how a particular Buddhist site, Mount Nam in Kyŏngju, was recognized, researched, and represented during the colonial period (1910–1945). By analyzing representative Japanese publications on the subject, I argue that there existed disconnection between the colonial government and the site-researchers. I re-evaluate the conventional narrative that the colonizers regarded Buddhist statues as “art” removed from their original religious setting. This paper reveals a more layered picture of the early years of historical discourse on the so-called Buddha Mountain and Buddhist sculptures of Korea.
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Parimoo, Ratan. „On Re-Identification of Andhra Buddhist Jataka Relief Sculptures“. Artibus Asiae 55, Nr. 1/2 (1995): 125. http://dx.doi.org/10.2307/3249764.
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Sorensen, Henrik H. „The Buddhist Sculptures at Feixian Pavilion in Pujiang, Sichuan“. Artibus Asiae 58, Nr. 1/2 (1998): 33. http://dx.doi.org/10.2307/3249994.
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Becker, Catherine. „The Buddhavanam Replica Stupa in Telangana“. Comparative Studies of South Asia, Africa and the Middle East 43, Nr. 1 (01.05.2023): 61–81. http://dx.doi.org/10.1215/1089201x-10375357.
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Abstract The Sri Parvata Arama, or the Buddhavanam, is a Buddhist theme park near the banks of the Nagarjuna Sagar reservoir in Telangana. Sponsored by the state government, this park features at its center a full-scale replica of the Amaravati stupa. While this replica stupa might seem to revivify the largely destroyed stupa at Amaravati, this article also examines how the Buddhavanam engages with a wide-ranging visual archive in order to create a home at which every imaginable visitor—foreign and local—will encounter familiar imagery. The stupa's sculptural adornment primarily takes inspiration from limestone sculptures that once adorned ancient Buddhist sites along the Krishna River Valley. However, additional scenes on the stupa are drawn from disparate sources: reliefs carved from photographs of M. K. Gandhi, B. R. Ambedkar, and the current chief minister of Telangana appear alongside stone versions of paintings from the Mogao Caves at Dunhuang and Alchi in Ladakh. This article examines how this replica stupa and the surrounding theme park allow the new state of Telangana not only to articulate its claim to the Buddhist heritage that is now shared with the state of Andhra Pradesh but also to participate in a boom in state-sponsored religious monuments across India.
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Wang, Shiru, und Yulia Ivashko. „GENESIS OF THE VISUAL CONCEPT OF CAVES INTERIORS OF THE DUNHUANG TEMPLE COMPLEX (4TH – 14TH CENTURIES)“. Spatial development, Nr. 5 (24.11.2023): 3–11. http://dx.doi.org/10.32347/2786-7269.2023.5.3-11.
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The cave temple complex of Dunhuang is a unique example of a large-scale synthesis of arts in the interiors of sanctuaries of the 4th – 114th centuries. The article systematizes the scientific source base, the materials of the graduate student's own field studies, and on their basis, the periodization of wall paintings and sculptures is analyzed and the peculiarities of the genesis of the figurative concept, methods of artistic expression, common plots, etc. are determined.
The innovation of the presented research consists in summing up the evidence base for known theses. This is traced by various defining features, which are specific plots in different periods, compositional structure, polychromy, methods of detailing. Using the example of the wall painting with Buddha, the well-known chronology of the three stages of the development of the wall painting is visually argued and detailed:
– 1st stage – period of development (Northern Liang Dynasty (401-439), Northern Wei Dynasty (439-534), Western Wei Dynasty (535-556), Northern Zhou Dynasty (557-581));
– 2nd stage – the period from prosperity to decline (Sui dynasty (581-618), Tang dynasty (618-907), Five Dynasties and Ten Kingdoms (907-960), the Northern Song dynasty (960–1127);
– 3rd stage – period of borrowings (Xi Xia dynasty (1038-1227), Yuan dynasty (1271-1368).
A comparison of the stages of the development of frescoes and sculptures and the periods of the appearance, flourishing and decline of various genres of wall painting (religious Buddhist, portrait, landscape) showed that despite the fact that the political and economic situation, the cultural and artistic preferences and religious commitment of the rulers equally influenced the activation of the development or the decline of art, the stages of development of mural painting and sculpture do not always coincide. In the same way, the period of the appearance and spread of various subjects was analyzed and it was proved that the canonical Buddhist images also underwent significant changes, giving rise to new and new compositions (for example, the appearance in the Tang era of the composition "Buddha in Nirvana" with a giant figure of the Buddha, or the spread of sculptures of a multi-armed Guanyin in the Yuan era).
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Kim, Gwanghee. „Production Techniques of Clay Buddhist Sculptures from the Joseon Dynasty“. Misulsa Yeongu : Journal of Art History 39 (31.12.2020): 61–90. http://dx.doi.org/10.52799/jah.2020.12.39.61.
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Choe, Songeun. „The Research on Buddhist Sculptures ofGoryeo Period in North Korea“. Journal of Humanities 32 (28.02.2021): 147–78. http://dx.doi.org/10.31658/dshr.32.7.
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Kuzhel, Yu L., und T. I. Breslavets. „Artistic features of pedestals, halos, mandorlas of Japanese Buddhist sculptures“. Japanese Studies in Russia, Nr. 3 (08.10.2022): 6–22. http://dx.doi.org/10.55105/2500-2872-2022-3-6-22.
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Ricci, Chiara, Paola Buscaglia, Debora Angelici, Anna Piccirillo, Enrica Matteucci, Daniele Demonte, Valentina Tasso et al. „A Technical Study of Chinese Buddhist Sculptures: First Insights into a Complex History of Transformation through Analysis of the Polychrome Decoration“. Coatings 14, Nr. 3 (13.03.2024): 344. http://dx.doi.org/10.3390/coatings14030344.
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Artifacts pertaining to Buddhist culture are often studied in relation to their circulation from India throughout the rest of Asia; however, many traveled to Europe during the last few centuries as trade commodities and pieces for the art market, losing any devotional purpose in favor of a specific aesthetic sensitivity that was typically adapted to Western taste to appeal to collectors. This article presents a technical study of seven polychrome wooden sculptures from the Museo d’Arte Orientale (MAO) in Turin, Italy. Originally from China, these objects are generally attributed to the late Ming–early Qing dynasties (16th–18th centuries) based merely on stylistic and iconographic considerations. Scientific analysis sought to expand the available knowledge on their constituting materials and fabrication techniques, to address questions on their authenticity, to assess their state of preservation, and to trace the history of transformations they have undergone while transitioning from devotional objects to private collection and museum artwork. By delving into the sculptures’ intricate paint stratigraphy, the results were also key to guiding treatment choices. The outcomes of this study were featured in the MAO exhibition “Buddha10. A Fragmented Display on Buddhist Visual Evolution” (October 2022–September 2023).
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Songeun Choe. „Buddhist Image of the Mireuksa Temple of the Baekche Period Seen Through East-Asian Buddhist Sculptures“. Journal of Paekche Culture 2, Nr. 43 (August 2010): 123–58. http://dx.doi.org/10.35300/bjclab.2.43.201008.123.
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Wang, Ru. „Investigation and Research on the Statues of Northern Zhou Grottoes in the Longdong Area“. Journal of Social Science and Humanities 6, Nr. 6 (30.06.2024): 61–64. http://dx.doi.org/10.53469/jssh.2024.6(06).12.
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The Longdong region, as a pivotal birthplace of Chinese cave art, holds a distinctive geographical position. Its collection of cave temples from the Northern Dynasties period is notably well-preserved, bearing significant academic value. Moreover, the cave temples from the late Northern Dynasties period constitute a crucial component of research on Chinese cave temples, marking the transitional phase between the Northern Wei and Tang dynasties, which represent two pinnacle epochs in the domain of Chinese cave art. The text primarily delves into the evolution of the Northern and Southern cave temples during the Northern Zhou Dynasty, exploring their impact on the regional Buddhist culture. Additionally, it thoroughly analyzes the influence of external cultures on the cave sculptures in the Longdong region during the Northern Zhou period, as well as their integration with local and ethnic minority cultures. The research reveals that the cave art in the Longdong region not only imitates the cave art of the Central Plains and the Western Regions but also embodies the unique regional cultural characteristics and spirit of innovation. Through a comprehensive examination of cave sculpture styles, clothing features, and other aspects, this study holds significant implications for understanding the developmental trajectory of Buddhist art in the Longdong region during the Northern Zhou period and regional cultural exchanges.
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Gul, Subhani. „NOTE ON SOME A BUDDHIST NARRATIVE RELIEFS FROM AMLUK-DARA STUPA, SWAT“. Pakistan Journal of Social Research 04, Nr. 04 (31.12.2022): 884–90. http://dx.doi.org/10.52567/pjsr.v4i04.899.
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The general theme behind the Gandhara art was the iconography of Budhha i.e. Buddhha life stories, previous life stories, miracles etc. There is some variation in depiction of sculptures sometime due to sectarian and regional variation. The present study is therefore focused on some Buddhist narrative reliefs from Amluk-dara stupa wherein the unique narrative scenes are depicted. Keywords: Gandhara, Amluk-dara, Birth of Siddhārtha, First bath of Siddhārtha.
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Maillart-Garg, Meena, und Michael Winkelman. „The “Kamasutra” temples of India: A case for the encoding of psychedelically induced spirituality“. Journal of Psychedelic Studies 3, Nr. 2 (29.05.2019): 81–103. http://dx.doi.org/10.1556/2054.2019.012.
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The essay proposes that entheogenic mushrooms and shamanic experiences are encoded in the Khajuraho Temples of India. Erotic sculptures of Khajuraho have statues with limbs depicted in strange positions, separated from the body or with orientations that are anatomically impossible. These represent dismemberment experiences typical of shamanic and mystical initiation, a phenomenon with precedents in Hindu and Buddhist traditions. The central placement of mushroom depictions in the temple structures indicates that their identities should be sought among entheogenic mushrooms, but features that could distinguish entheogenic mushroom species are often ambiguous. Nonetheless, the centrality of their placement supports the entheogenic hypothesis. While the presence of multiple fungi and plant sources for soma seems likely, the argument for the originality of Amanita muscaria is made in assessing the principal names of the God Vishnu with respect to features of the mushroom. Various associations of the Gods at Khajuraho and other sites suggest the broad identification of Hindu Gods with entheogenic mushrooms. Icons of mushroom are also secretly encoded in the Khajuraho sculptures in association with the so-called vandalized or broken sculptures of Khajuraho. A repeated “figure 8” pattern suggests that the artists deliberately constructed them to appear vandalized in order to encode information depicting the early stage of A. muscaria and other entheogenic fungi. These encoded figures provide support for the argument that A. muscaria, Hindu God Vishnu, Jain Mahaveera, and the Buddha (and perhaps other Gods and Goddesses of Vedic/Jain/Hindu/Buddhist pantheon) could be interconnected. This paper concludes with an assessment of the implications of this entheogenic evidence for the reinterpretation of central aspects of religious beliefs and ideologies of India.
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Jera-Bezard, Robert, und Monique Maillard. „Symposium « Development of Buddhist and Hindu Sculptures in Early Indian Art »“. Arts asiatiques 42, Nr. 1 (1987): 112–13. http://dx.doi.org/10.3406/arasi.1987.1227.
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Rubin, Khau Ming. „Early Tarim Basin Buddhist Sculptures from Yanqi (Karashahr): A New Dating“. Journal of Inner Asian Art and Archaeology 4 (Januar 2009): 83–100. http://dx.doi.org/10.1484/j.jiaa.3.23.
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Syrtypova, S. Kh D. „Buddha Amitayus and the artistic heritage of Zanabazar (1635-1723)“. Orientalistica 5, Nr. 2 (29.06.2022): 282–300. http://dx.doi.org/10.31696/2618-7043-2022-5-2-282-300.
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Images of Buddha Amitayus are recognizable by the main attribute -a vessel with the elixir of immortality placed in his palms, which rest upon his knees. The images of various versions are very often found in the Tibeto-Mongolian Buddhist regions. This is explained by the wide popularity of his cult. The Amitayus cult is one of the tantric ways to protect the life and health of the believer. Rituals aim to extend the time of life on purpose to continue the active practice of Buddhism. Among the main texts connected to the cult are the “Sukhavati-vyuha Sutra” (1st century), "Amitayus-dhyana Sutra” (4th century), and the "Longevity Sutra”. Amitayus is a power manifestation of Tathagata Buddha Amitabha, the head of the lotus family. He lives in the Pure Lands of Sukhavadi, where Amitayus stays among the bodhisattvas in the retinue of Buddha Amitabha. This factor is directly linked to the idea of a long life. The Western Paradise of Sukhavati is a place where all the material and bodily needs are readily available to live beings. The aggression and the acquisitiveness are defeated, and people are exclusively concerned with their spiritual growth. The great Mongolian artist, educator and head of state paid due attention to the cult of Amitayus, which is evidenced by the magnificent sculptures which constitute his artistic heritage. These are large sculptures of Buddha Amitayus from the Museum-Temple of the Choijin Lama in Mongolia and the Museum of the History of Buryatia in Ulan-Ude, Russia. The sculptures differ in size, technique, plastic, as well as some details. At the same time, proportions, filigree processing at all stages of production, unity of aesthetics and style remain unchanged.
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Petrova, Olga. „Japan: Travel notes“. ARTISTIC CULTURE. TOPICAL ISSUES, Nr. 19(1) (13.06.2023): 18–24. http://dx.doi.org/10.31500/1992-5514.19(1).2023.283114.
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The article covers some of the most prominent cultural landmarks of central Japan. Nara, Kyoto, Osaka, and their suburbs and nearest region were the foundation and all the fundamental principles of Japanese architecture and art, in particular the art of calligraphy, ceramics, red lacquer painting, and the famous Japanese weaponry. Nara became Japan’s first permanent capital in 710 (by the order of Empress Gemmei), a 72-year period in Japanese history known as the “Nara Age.” It is noted that Buddhism, and later Zen Buddhism, first came to this territory from China. For twelve centuries, Buddhist art was considered a “Japanese classic.” On the territory of the Nara temple complex, one can observe the organic coexistence of ancient Shintoism and Buddhism adapted to the consciousness of the Japanese. In the central region, a revered archaeological site is the underground structure of Isi-Butai, which dates to the ancient Asuka period (538–645). Despite many years of research of this attraction, the so-called “stone stage”, the water pipe laid in the dungeon, other details remain mysterious (about their origin) and are of keen interest to archaeologists. The paper also provides information about the Horyuji architectural ensemble (607–623). The focus is on the personality and educational role of Prince Shyotoku, who succeeded Empress Hashihito no Anahobe, the prince’s mother. The Chugudi temple (Ikaruga’s old palace) was dedicated by Shōtoku to his mother’s memory. Now there are only a few stones from this temple. Information is provided about the sculptural masterpiece of the Asuka era—the statue (national treasure) Nyoirin Kannon Bosatsu, which is one of the most poetic sculptures in Japanese plastic. Special attention is paid to the embroidered sacred banner Tenjukoku Shūchō Mandala depicting the “Land of Heavenly Longevity.” The fabric is considered the oldest embroidery in Japan.
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Huo, Wei. „On the early lokapāla statues in the Buddhist sculptures unearthed in Chengdu“. Chinese Archaeology 20, Nr. 1 (25.11.2020): 171–78. http://dx.doi.org/10.1515/char-2020-0016.
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AbstractIn recent years, some lokapāla statues which might be carved in the Liang dynasty of the Southern Dynasties are unearthed in Chengdu area, the features of which have some differences from that of the lokapāla statues of the northern system found in Khotan, Dunhuang and other areas; they have some similarities with the early lokapāla statues of the Northern Wei dynasty, but also have some differences. The early lokapālas in the Buddhist scriptures have only names and titles with little concrete descriptions; the archaeologically discovered lokapāla statues enriched our understandings of this motif.
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Jeong, Seongkwon. „Buddhist sculptures of Taebong and Rock-carved Buddha in Dongsong-eup, Cheorwon“. JOURNAL OF KOREAN CULTRUAL HISTORY 56 (31.12.2021): 29–67. http://dx.doi.org/10.29334/mhsh.2021.12.56.29.
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