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Journal articles on the topic 'Buddha sculpture'
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Talesara, Priyank, and Aniruddh Bahuguna. "Decoding of the Story Superimposed of Buddhist Sculpture unearth from Bharja and testifying its relation to this Silk-route area of Sirohi District, India." Technium Social Sciences Journal 7 (April 25, 2020): 302–11. http://dx.doi.org/10.47577/tssj.v7i1.410.
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Rohida police station recovered an old sculpture, accidentally discovered from the cemetery of Bharja/Bhaja village. It is a broken bronze Buddhist Idol and very rare sculpture. It has exquisite Antique beauty with rust in red and corrosion in green. Sculpture of Buddha seated in Padma Asana (lotus posture) and his hand in Dhyan Mudra (meditation posture). Buddha is wearing the robe; the robe is decorated with the scene of Buddhacharita story, superimposed on the visible crust. This Sirohi district has the history of Jainism and Hinduism only, till the date there is no evidence regarding Buddhism practices in Sirohi district of Rajasthan. Sirohi is famous from its silk route in the valley, ancient Chandrawati city and Mount Abu, where thousands of temples of Jainism and Shivanism were built. Objective: what were the technique and technology used to manufacture sculpture? Where this artefact came from? What are the main characteristics & features of this sculpture? What carving scene depicted in this sculpture? Research analysis: For analysis of this sculpture we carefully look sculpture and magnify scene to compare with the stories of Buddhacharita. Moreover, check out that this sculpture is indigenous work of ancestral craftsmen or not. Also compare superimposed stories of Buddha and his life. Scientific method: Buddha sculpture is hollow in nature but very heavy in weight; Craftsman used the lost wax method to manufacture it. In ancient time the science behind manufacturing sculpture is very time consuming, first sculptors need to imagine about the subject, draft and then mould through melting, condensing, chiselling, hammering and exquisite carving. One of the oldest methods of metal casting according to Archaeo-metallurgy is bee wax method; this technique is now termed as the lost wax method. Conclusion: In the end, we like to conclude that in the history of Sirohi exploration, first time unearths the Buddhist sculpture but we have certain doubts that it mustn’t belong to Sirohi district. This idol is required for further critical research like dating and detailed mould-casting technique used in the manufacturing of this sculpture.
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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, no. 2 (June 10, 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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Ullah, Irfan, Muhammad Akram Soomro, and Mudassar Zulfiqar. "A Review of Archaeological Reports and Literature on the Gandhara Sculpture Collection of the Royal Ontario Museum." Academic Journal of Social Sciences (AJSS ) 4, no. 3 (November 11, 2020): 377–403. http://dx.doi.org/10.54692/ajss.2020.04031212.
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This review paper focuses on a forty-three-piece collection of Gandhara sculpture in the Royal Ontario Museum in Toronto, Canada. Although individual pieces of Gandhara sculpture are widely known to scholars, much of the collection of the Gandhara sculpture of the Royal Ontario Museum is unknown to scholars. In this paper, these sculptures have been described and analysed as a collection. The paper is organised on Gandhara ancient history, physical geography, and the history of the Buddha image in ancient subcontinent Pakistan in South Asia. Emphasis is placed on the era of the Kushan Empire from the 1st to 4th century AD when the school of Gandhara sculpture achieved its highest levels of production and craftsmanship. The Gandhara School of sculpture produced work continuously for at least six centuries and reached its peak of achievement during the era of the Kushan Empire that dominated Central Asia and Northern sub-continent India-Pakistan from the 1st to 4th centuries AD.
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Istanto, Riza, and T. Triyanto. "Religious Tolerance Through Stone Sculpture Production: The Case of Indonesian Sculptors." Walisongo: Jurnal Penelitian Sosial Keagamaan 27, no. 1 (July 30, 2019): 179–98. http://dx.doi.org/10.21580/ws.27.1.3630.
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The purpose of this research is to analyze the value of tolerance reflected in the stone-sculpture production in Muntilan. This study used a sociology research approach with an ethnographic research design. The data collection techniques were conducted through ethnographic observation and interviews as well as document data. The results showed that the stone craft production in Muntilan is local wisdom that reflects the value of tolerance. Most of the rock artisans are Moslems, but they continued stone sculpture production that is part of the Hindhu-Buddist tradition. The product is oriented towards consumer demand, which is a contrast to the beliefs of sculptors such as Buddha statues, Hindu deities, statues of Jesus, as well as statues of other religions. The sculptures separated themselves between work and religious issues. It illustrates an open attitude as well as tolerance in accepting and understanding differences. Such local wisdom with a long-standing tolerance value in the community is a potential for community development in realizing a harmonious and peaceful life.
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Yusuf, Muhamad Satok. "ARCA BHAIRAWA (HAYAGRĪWA LOKEŚWARA) PADANGROCO BERLANGGAM SENI SIŊHASĀRI." AMERTA 40, no. 1 (June 26, 2022): 41–56. http://dx.doi.org/10.55981/amt.2022.19.
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Abstrak. Para peneliti terdahulu meyakini bahwa arca Bhairawa dari Situs Padangroco, Provinsi Sumatra Barat berlanggam Majapahit berdasarkan konteks relasi historis Raja Ādityawarman dengan Kerajaan Majapahit dan penggambaran arca dalam postur tegak kaku seperti arca Majapahit pada umumnya. Tinjauan terhadap langgam arca seharusnya juga memperhatikan ornamen dan gaya seninya. Penelitian ini berupaya mengkaji ulang ikonografi dan langgam arca Bhairawa Padangroco yang diduga kuat berlanggam Siŋhasāri dan bukan perwujudan Bhairawa. Analisis yang digunakan ialah analisis ikonografi dan perbandingan gaya seni. Hasil kajian ulang ikonografis pada penelitian ini menunjukkan bahwa arca Bhairawa Padangroco merupakan perwujudan Hayagrīwa sebagai manifestasi Awalokiteśwara dalam wujud mengerikan, yang di dalam agama Buddha didudukkan sebagai simbol penguasaan terhadap kekuatan diri sendiri. Lebih lanjut dikemukakan bahwa arca Bhairawa Padangroco ialah Hayagrīwa Lokeśwara. Berdasarkan hasil analisis perbandingan gaya seni arca, ditemukan bahwa arca Bhairawa Padangroco memiliki langgam Siŋhasāri. Adapun arca yang digunakan sebagai pembandingnya ialah dua arca kembarannya dari Situs Candi Jago dan koleksi Metropolitan Museum of Arts, arca kembar Siŋhasāri lainnya, dan arca-arca berlanggam Siŋhasāri dan Majapahit.
Kata kunci: Reinterpretasi, Bhairawa, Padangroco, Ikonografi, gaya seni.
Abstract. The Sculpture of Bhairawa (Hayagrīwa Lokeśwara) of Padangroco as Art of Siŋhasāri. Previous researchers believed that the Bhairawa sculpture from the site of Padangroco, West Sumatra Province was in Majapahit style based on the historical context of King Ādityawarman’s relationship with the Majapahit Kingdom and the depiction of the sculpture in a rigid upright posture like Majapahit sculptures in general. A style review of the sculpture should also pay attention to its ornamentation and art style. This study seeks to reinterpret the iconography and style of the Bhairawa Padangroco sculpture, which is strongly suspected to be in the Siŋhasāri style and not the embodiment of Bhairawa. The study used iconographic analysis and comparison of art styles. The results of the iconographic review show that the Bhairawa Padangroco sculpture is the embodiment of Hayagrīwa as a manifestation of Awalokiteśwara in a terrible form, which in Buddhism is positioned as a symbol of mastery over one’s strength. It was further stated that the Bhairawa Padangroco sculpture was Hayagrīwa Lokeśwara. Based on the results of the comparative analysis of sculpture art styles, it was found that the Bhairawa Padangroco sculpture has the Siŋhasāri style. The sculptures used as comparisons are the two twin sculptures from the site of Jago Temple and the Metropolitan Museum of Arts’ collection, other Siŋhasāri twin sculptures, and the sculptures in Siŋhasāri and Majapahit styles.
Keywords: Reinterpretation, Bhairawa, Padangroco, Iconography, art style.
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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, no. 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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Yan, Lifang. "Study on the Thin Flesh Sculptures of Northern Zhou Dynasty in Maijishan Grottoes." Highlights in Art and Design 4, no. 2 (October 27, 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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Xiao, Wei. "The Technique of Creating Buddhist Polychrome Sculpture." Scientific and analytical journal Burganov House. The space of culture 15, no. 3 (September 10, 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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Arissusila, I. Wayan, and Ni Luh Putu Trisdiyani. "Pasang Surut Kerajinan Patung Kayu Pada Industri Pariwisata Di Desa Batubulan Kangin." Ganaya : Jurnal Ilmu Sosial dan Humaniora 4, no. 2 (September 13, 2021): 589–606. http://dx.doi.org/10.37329/ganaya.v4i2.1400.
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The wooden sculpture craft in Batubulan Kangin Village began in 1968. The learning process was more than twenty people, and took place in Guang Village. In 1970, after they were proficient at making sculptures, they taught their villages starting with statues of Garuda, Ramayana and others. These crafts have marketing opportunities and motivate craftsmen to increase their creativity. When there was the first Bali bombing, and the globalization market, these crafts experienced a decline. Based on that, the problems were posed, namely: How is the process of realizing wooden sculptures, what products are produced, and how are the ebb and flow of wooden sculptures in Batubulan Kangin Village. The purpose of this study was to describe the ebb and flow of wooden sculpture in the tourism industry in Batubulan Kangin Village. This study uses data collection techniques carried out by observation, interviews and document studies. Data analysis was carried out with a qualitative approach, based on aesthetic theory and social change. The results of this study are the process of realizing wooden sculptures starting from the exploration of ideas, shapes, selection of materials, tools, work processes and finishing. The products produced are statues of Garuda Wisnu, Rama Shinta, Hanoman, Chinese Dragon, Kwan Im, Toa Pe Kong, Buddha, Barong, Rangda, Saraswati, Sri, Durga, Lord Shiva, Ganesha and Kwan Sing Tee Koen statues. The ups and downs of wooden sculpture can be seen from 1970. In that year there were about twenty people who were skilled at making sculptures and developing them, for example the statue of Garuda, Ramayana, and others. The existence of these crafts, has marketing opportunities and motivates craftsmen to increase their creativity. When the first Bali bombing occurred, the globalization market, and the corona virus, these crafts experienced a decline, but craftsmen continued to produce these crafts.
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Dulal, Lok N. "Bronze Sculpture of Mara Vijaya of National Museum, Nepal: A Study of Iconographic Perspective." Molung Educational Frontier 14 (July 22, 2024): 179–204. http://dx.doi.org/10.3126/mef.v14i01.67902.
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In Buddhism the images display the story and event of temptation of Mara to disturb and misguide devotion during the process of enlightenment of Siddhartha Gautam. The art which reflects this is called the icon of Mara Vijaya. The legend regarding the story of temptation of evil Mara over the good Sidhhartha Gautam can be found in several Buddhist texts. Due to the iconographic features and themes of the Buddha Jataka stories of temptation of Mara, the bronze sculpture of national museum is considered as an important specimen. The figures of Lord Buddha, demon Mara, his daughters, army troops, Ganesh and other animal’s figures have been sculptured in very attractive ways in this bronze relief. This paper explores the major iconographic features and to examine its importance as the bronze art heritage of Nepal. It employs qualitative approach and primary data and secondary information have been used. Required secondary information has been generated from journals, books and electronic versions of different sources while primary data have been collected by doing field study in national museum with in-depth observation of such relief.
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Tetiana, SHTYKALO, and CHEPURKO Artem. "IMAGE OF BUDDHA IN SCULPTURE ART: TRADITIONS AND MODERNITY." Humanities science current issues 3, no. 56 (2022): 87–92. http://dx.doi.org/10.24919/2308-4863/56-3-13.
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Young-ae, Lim. "Mountaintop Stone Giants." Buddhist Studies Review 40, no. 2 (March 9, 2024): 127–57. http://dx.doi.org/10.1558/bsrv.28560.
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The royal capital of Silla, presently known as Kyongju, is bordered in all directions by mountains that are the sites of giant rock-carved Buddhas. Occupying the summits of the surrounding mountains known as the “Five Sacred Mountains of the Silla Royal Capital” (wanggyong oak), the rock-carved Buddhas provided the Silla people with an accessible and convenient means of worship outside of the Buddhist temple. More importantly, the construction of Sokkuram Grotto on Mt. T’oham during the mid-eighth century was a reflection of the Silla belief that the mountain was Mt. Sumeru. The Sokkuram Buddha sculpture represented the Buddha’s residence at the summit of Mt. Sumeru, and was simultaneously the antecedent to the consecration of the Silla royal capital. Soon after, large-scale Buddha images were carved on the rock faces of neighboring mountaintops as a continuation and replication of this process, eventually resulting in a new macrocosm of Buddhism centered around the Silla royal capital.
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Bajpaii, Dr Shivakant, Dr Mahendra Pal,, Ritesh Singh, Kamal Kant Verma, and Shivam Dubey. "TARA SCULPTURES FROM GOPALPUR AND JABALPUR: RECENT DISCOVERIES AND COMPARATIVE ANALYSIS." VESTIGIA INDICA: BSSS Journal of History & Archaeology 01, no. 01 (June 30, 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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Kholis, Nurman. "Vihara Avalokitesvara Serang: Arsitektur dan Peranannya dalam Relasi Buddhis-Tionghoa dengan Muslim di Banten." Jurnal Lektur Keagamaan 14, no. 2 (December 31, 2016): 327. http://dx.doi.org/10.31291/jlk.v14i2.504.
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The Vihara Avalokitesvara (a Buddhist place of worship) is located in Pama¬rican, Customs, Serang. This vihara is the oldest vihara in Banten and was built in the 16th century. Nuances of Chinese and Buddhist architecture may be seen in the dragon decoration among other things and in the menyeruapi burning paper of the pagoda and in the painting and sculpture of Kwan lm Pouw Sat, and the sculpture of Wie Tho Pou Sat. There is a large statue of the Buddha and a picture of the lotus flower. And yet there are Islamic nuances also. There is a relief depicting the wedding of Princess Ong Tin with Syarif Hidayatullah. This vihara is visited by many Muslims as well as by Buddhists.
Keywords: Vihara, Buddha, Chinese, Islam, Banten
Vihara Avalokitesvara berlokasi di Pamarican, Pabean, Serang. Vihara ini merupakan vihara yang tertua di Banten dan diperkirakan dibangun sekitar abad ke-16. Untuk mengungkapkan unsur-unsur etnis dan agama pada arsitektur vihara ini dianalisis secara semiotik. Berdasarkan analisis ini maka diketahui unsur-unsur bernuansa Tionghoa yaitu antara lain hiasan naga, tempat pembakaran kertas yang menyeruapi pagoda, lukisan dan patung Dewi Kwan Im, patung Kwan lm Pouw Sat, dan patung Wie Tho Pou Sat. Adapun unsur-unsur agama Buddha dalam vihara ini antara lain patung besar Buddha Gautama dan gambar bunga teratai. Selain itu juga terdapat unsur bernuansa Islam yaitu pada relief yang menggam¬barkan pernikahan Putri Ong Tin dengan Syarif Hidayatullah. Karena itu, vihara ini juga dikunjungi oleh banyak umat Islam.
Kata Kunci: vihara, Buddha, Tionghoa, Islam, Banten
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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], no. 3(22) (September 30, 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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Doraiswamy, Rashmi. "The After Life of the Buddha: Parinirvana Images in Eurasia." Ideas and Ideals 13, no. 4-2 (December 27, 2021): 458–75. http://dx.doi.org/10.17212/2075-0862-2021-13.4.2-458-475.
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This article examines religions in which the life of the spiritual leader is as important as the death, and where the narratives of death (and not just of life) enter the image cycles in art. The Buddha willed himself to die when he was eighty at Kushinagara. Buddhism is one of the rare world religions where there is a huge repertoire of mahaparinairvana images. Buddhism values the release from the cycle of rebirths and deaths. The sets and cycles of images that make up the representation of the death of the Buddha in sculpture and paintings in caves spread across Eurasia are described in detail. The death images are important spatially, materially and culturally. These images began to be made in Mathura, were perfected at Gandhara and travelled all the way across Central Asia to China and beyond. The relics left behind after cremation were enshrined in stupas. They represented a continuation of dharma, of the presence of the Buddha even after he had passed on. The article analyses in detail three caves – Cave 26 in Ajanta in Maharashtra, India; Cave 205 in Kizil in Kucha, Central Asia (East Turkestan) and Cave 148 in Mogao, Dunhuang, China. All three caves juxtapose monumental images of the Dying Buddha with different themes related to his death: The Temptation of Demon Mara in Cave 26, Ajanta; how King Ajatashatru was told of Buddha’s passing along with the cremation of the coffin with the mahaparinirvana Buddha in it in Cave 205, Kizil. Cave 148 at Mogao contains the most complete set of scenes and images representing events pre- and post- Buddha’s death in sculptures and murals. In addition, there are Chinese interpretations of the Pure Lands in large murals.
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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, no. 2 (September 6, 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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Kuzhel, Yurii L., and Tatiana I. Breslavets. "Unusual Sculptures of Buddhist Deities in Japan in the Halo of Legends and Historical Facts." Vestnik NSU. Series: History, Philology 20, no. 10 (December 20, 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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Guan, Guifa. "Features of “Sculpture” and “Painting” in Buddhist Statue Art." Education Reform and Development 6, no. 6 (July 18, 2024): 255–60. http://dx.doi.org/10.26689/erd.v6i6.7631.
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The solemn radiance of the Buddha, coupled with delicate brushwork, vibrant colors and exquisite craftsmanship, captivates and dominates the art of painted Buddhist statues. This art form, characterized by a unique style of representation, integrates the elements of sculpture, painting, engraving and drawing, enhancing the charm and spirituality of Buddhist statue art. Artists leverage their imagination and masterful skills, incorporating the essence of Tibetan Buddhism to depict the spiritual beliefs of mythical worlds vividly.
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Fowles, P. Stephen, John H. Larson, Christopher Dean, and Maja Solajic. "The laser recording and virtual restoration of a wooden sculpture of Buddha." Journal of Cultural Heritage 4 (January 2003): 367–71. http://dx.doi.org/10.1016/s1296-2074(02)01141-x.
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Wang, Shiru, and Yulia Ivashko. "GENESIS OF THE VISUAL CONCEPT OF CAVES INTERIORS OF THE DUNHUANG TEMPLE COMPLEX (4TH – 14TH CENTURIES)." Spatial development, no. 5 (November 24, 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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Zhou, Xiao. "The symbolic meaning of the sculpture "Faceless Buddha" in the work of Tsiu Tsitsing." Bulletin of Lviv National Academy of Arts, no. 51 (October 10, 2023): 146–54. http://dx.doi.org/10.37131/2524-0943-2023-51-14.
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History of development of Chinese jade carving art is dating back some 8000 years into Neolithic period The development of the ideas of Chinese jade carving, the change of their external forms, reflects the close relationships between reality (the objective world) and the inner world of man. The difference between contemporary and traditional jade carvings lies in the artist’s conscious desire to convey and disseminate his own worldview in society. The purpose of contemporary jade carving does not stop at the description of the traditional image and form by the artist, but also, through embodiment in form, tries to reveal an individual aesthetic perception. Jade carved works, possessing symbolic meaning, have a significant impact on the complex interaction between material and spiritual world of the artist; having a deep, symbolic meaning, these works affect the feelings and spirit of people as well. Tsiu Tsitsing (born in 1979) is the most famous and influential jade sculptor in contemporary China from the end of the 20th century and at the start of the 21st century, his jade articles have a distinct personal style, are original and modern. His works not only contain the thoughts and concepts of Buddhism (Zen-Buddhism), Taoism (Lao-Zhuang philosophy), and Confucianism (literary view) in traditional Chinese culture, but also integrate the concepts and formal language of Western modern art. As the most representative type of his (Tsiu Tsitsing) extensive oeuvre of sculptures, the series of jade carvings of " faceless Buddha" contain profound cultural information. The creative subject by inventing new system of symbolic language creates a new world of jade carving. At the same time, the creative subject re-examines the possibility of the current integration of Chinese traditional culture and Western modern art with the help of this symbol system.
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Song, Yan, Linlin Zhou, Yunpeng Wang, Fangzhi Liu, Juwen Guo, Ruixia Wang, and Austin Nevin. "Technical Study of the Paint Layers from Buddhist Sculptures Unearthed from the Longxing Temple Site in Qingzhou, China." Heritage 4, no. 4 (September 22, 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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Hsu, Hsin-Hui, and Dean Sully. "Fusing and refreshing the memory: Conserving a Chinese lacquered Buddha sculpture in London." Studies in Conservation 61, sup3 (August 2016): 124–30. http://dx.doi.org/10.1080/00393630.2016.1227119.
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Ahn, Yeo-Jin. "The period of manufacture through the four-sided carved Buddha statues in Gulbul Temple Site in Gyeongju." RESEARCH INSTITUTE FOR THE MAHAN-BAEKJE CULTURE 39 (June 30, 2022): 250–79. http://dx.doi.org/10.34265/mbmh.2022.39.250.
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Seokjosa-myeon Buddha statue of Gulbulsa Temple Site is a representative one-year work of Unified Silla sculpture, as there is a literature record that it was already built from 742 to 764 during the reign of King Gyeongdeok by the 4th 사Sabulsan Gulbulsan Mountain Manbulsan조에. Nevertheless, several questions have been raised as to whether each statue of the Buddha in Seokjosa-myeon was produced at the same time and whether it was created during the reign of King Gyeongdeok. Accordingly, this paper compared and reviewed the method and style of the construction of each statue of the Four Sided Stone Buddha with those created in China, Japan, and the Unified Silla Period to present the relationship between the ancestors and the time of construction.
The earliest period of the construction of the stone Buddha at Gulbulsa Temple Site was in the early 8th century, and the latest one was in the late 8th century to the early 9th century. In other words, it was considered that the standing Buddha and Bodhisattva in the south and the standing Buddha in the north did not exceed the lower limit of 764 years after the upper limit of 719. Standing Amitabha Buddha in Seomyeon and Seated Bhaisajyaguru Buddha in Dongmyeon are in the middle of the 8th century. Standing Bhaisabha Bodhisattva in Seomyeon is in the middle of the 8th centuryIt was suggested that it was built in the early 9th century. In particular, the left arm of the standing statue of Amitabha Buddha and the side of the pedestal are neatly cut, and artificial traces of being pecked on the rock wall on the right side of the standing statue of Amitabha continue to the damaged part of the southern side. In this regard, based on the records that King Gyeongdeok built a temple at the site of the Four Stone Buddhas after his visit to the Three Kingdoms, it is highly likely that the statue was newly built at the time of the temple's construction.
The latest statues of the Bodhisattva are 11 sides, 6 sides, 11 sides, 6 sides, and 6 sides, including the Gilt-bronze 11 sides, 6 sides, 6 sides, and the National Museum of India, 11th and 10th centuries. In addition, it was set from the late 8th century to the early 9th century in that the construction period of the 11-sided Gwaneum Bodhisattva in the Unified Silla Period was in the 8th to 9th centuries.
The existence name of each statue placed on the slope was "Kofuku Jiryugi" and "Kofukuji Acting" described in the 3rd year of Changtae (900), and under the control of the Southern Buddha, it was established as "Shin Line-hyungil" and "Amitabha-myeon" in the north of Silla.
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Syrtypova, S. Kh D. "Maitreya and Zanabazar in Mongolia." Orientalistica 5, no. 5 (December 25, 2022): 1043–61. http://dx.doi.org/10.31696/2618-7043-2022-5-5-1043-1061.
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An article is made in a series about the artistic activity by a brilliant sculptor and extraordinary thinker G. Zanabazar (1635–1723), whose criation predetermined the development of Buddhism and the entire course of events in Mongolia. The cult practice of Maitreya as one of the heroes of the bodhisattvas and as the Buddha of the Future among the Mongolian peoples arose under the decisive necessity of the first rituals performed under the influence of Undur-Gegen in the Erdene-Zuu monastery in 1657. Ritual meetings of the Buddha or Maitreya's cycle have become one of the most beloved, very colorful and festive events in the large-scale life of the most important Buddhist monasteries. The divine image of a beautiful, young yogi with the image of a stupa in his hair, an antelope skin on his left shoulder, a jug of sacred water and a gesture of preaching the teaching and at the same time granting protection, a noble Zanabazar, distinguished by elegances and nobility, and very close in style and spirit to the best works by Nepalese masters of the XI–XIV centuries. The sculpture of the standing bodhisattva Maitreya, 72 cm high, made by Undur-Gegen Zanabazar, is one of the main shrines of the capital's biggest Gandantegchenling Monastery. The rarest painting, the thangka of Maitreya Zanabazar, is found in the G. Zanabazar Fine Arts Museum in Ulaanbaatar. The second type of image of Maitreya is the crowned Buddha, sitting in bhadraasana on a high seat, also widespread in Tibeto-Mongolian Buddhism, and one of them is located in the Choijin Lama Museum-Temple in Ulaanbaatar, it belongs to the Zanabazar’s school. In this article, for the first time, a detailed description of the works by Zanabazar associated with to the cult of Maitreya is made.
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Huang, Bing. "The Posture of Lalitāsana: Buddhist Posing Hierarchy in a Tang-Dynasty Chinese Bronze Sculpture." Religions 13, no. 8 (August 13, 2022): 740. http://dx.doi.org/10.3390/rel13080740.
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The rubric of the presence of Buddhist sculpture in the absence of an actual deity represents an admirable aspect of Buddhist art, especially sculpture, where the best works have drawn on this paradox in an astounding fashion. An important element in the realization of this religious archetype is the Buddhist statues’ sublime poses. This article demonstrates the Buddhist posture hierarchy, based on a case study of a Tang-Dynasty Chinese Buddhist Bronze collected by the Pulitzer Arts Foundation, the posture of which is identified as lalitāsana: one leg pendant and the other bent horizontally. This article shows how this pose engendered various other compositional situations and postures popular in East Asia icon design and, moreover, that this sculpture might form part of an assemblage, where the pose indicates the central Buddha figure, to which all of the other figures are formally and doctrinally posed following a hierarchy. This article argues that Buddhist figures of different religious ranks are characterized by their pose and degree of movement. This research proves that the myriad forms of Buddhist postures and hierarchy have been devised to illustrate mythologies and philosophical, doctrinal, or social concepts, and their representations, in turn, have engendered other myths and beliefs.
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Liu, Sicong, and Xiaoqi Yang. "The Architectural Style of Ancient Buddhist Temples between China and Thailand: The Baima Temple in Luoyang, China, and the Temple of the Emerald Buddha in Krung Thep Maha Nakhon, Thailand." Communications in Humanities Research 4, no. 1 (May 17, 2023): 459–64. http://dx.doi.org/10.54254/2753-7064/4/20220687.
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Baima Temple is the earliest one which was established after the time of the first introduction of Buddhism. It transforms and integrates Tianzhu Buddhist thought into Chinese traditional characteristics. It is known as ' the first ancient temple in China '. As one of Thailand's three national treasures, the Temple of the Emerald Buddha shows the unique artistic characteristics of Thailand's ancient architecture and is known as the artistic treasure of Thailand's Buddhist architecture, sculpture, and painting. Starting from the influencing factors of the two temples, this paper takes color as the main research object to study the differences between the architectural styles of the two temples and the cultural differences behind them.
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Elikhina, Yuliia I. "The Dunhuang and Yulin cave museum complexes." Issues of Museology 12, no. 2 (2021): 296–309. http://dx.doi.org/10.21638/spbu27.2021.212.
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The article examines the caves of Dunhuang and Yulin — world famous Buddhist complexes. The tradition of cave temples with wall paintings and sculpture came from India. The Dunhuang and Yulin caves were decorated in this manner. The highest peak in the development of Dunhuang art falls on the period of the Tang Dynasty (618-907), it was at this time that numerous murals appeared depicting the Pure Land of Buddha Amitabha, the Lord of the West, where the souls of the righteous dwell, the Pure Land of Buddha of healing Bhaishajyaguru and other subjects. The main source for the creation of works of art in Dunhuang was Chinese Buddhism, which was formed under the influence of local cults and beliefs and was reflected in the sutras. A certain influence on the painting of Dunhuang was exerted by the art of the cave complexes of the Great Silk Road, and later by the artistic and iconographic traditions of the Tanguts and Mongols. The findings from Dunhuang in the collection of the State Hermitage Museum includes three hundred items. In 1914–1915, the Second Russian Turkestan Expedition under the leadership of academician S. F. Oldenburg worked there and brought these artifacts back. In addition, the expedition acquired a large number of manuscripts in Sanskrit, Chinese, Uyghur, Sogdian, Tibetan and Tangut. Currently, these priceless monuments are kept at the Institute of Oriental Manuscripts in St. Petersburg. The Dunhuang and Yulin cave complexes are a monument of world culture in terms of their size, quantity and quality of paintings, as well as in the variety of subjects, which constitute an encyclopedia of Buddhism in pictorial and sculptural images.
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Bautze-Picron, Claudine. "Some Observations on Vārāhī in Bihar and Bengal." Cracow Indological Studies 24, no. 2 (December 19, 2022): 117–48. http://dx.doi.org/10.12797/cis.24.2022.02.05.
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The sheer intensity of the encounter between the Buddhist and Hindu pantheons in ‘Eastern India’ (comprising the Indian states of Bihar, Jharkhand, West Bengal and present Bangladesh) from the 7th to the 12th century, was unmatched in any other region.1 It left, above all, a visual and textual trail in the Buddhist iconography, as attested by the presence of two Mātṛkas (Mothers) among the members of Māra’s army attacking the Buddha on the night of his Awakening, Brahmanical deities being incorporated into the Buddhist world: Vārāhī appears in the Jagdishpur sculpture, and Cāmuṇḍā in a large fragment from a sculpture which must have been as large as the Jagdishpur image and used to stand in Lakhisarai, more fragments of it being preserved in the Indian Museum (Fig. 1).2 Further, the key component of Vārāhī iconography,3 the hog head, became an integral part of the images of Buddhist deities like Mārīcī and Vajravārāhī. The cultural background within which the images of the goddess were incorporated helps to understand this twofold phenomenon, the representation of her being transferred to a Buddhist context and some of her specific features being embedded in the iconography of Buddhist deities.
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Griffiths, Arlo, Nicolas Revire, and Rajat Sanyal. "An Inscribed Bronze Sculpture of a Buddha in bhadrāsana at Museum Ranggawarsita in Semarang (Central Java, Indonesia)." Arts asiatiques 68, no. 1 (2013): 3–26. http://dx.doi.org/10.3406/arasi.2013.1809.
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Liu, Jian Wei, Zhi Qiang Jiang, Xin Sun, and Hao Hu. "Integration of close Range Photogrammetry and Structured Light Scanner for Cultural Heritage Documentation." Advanced Materials Research 468-471 (February 2012): 1966–69. http://dx.doi.org/10.4028/www.scientific.net/amr.468-471.1966.
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This paper proposes an integrated three-dimensional(3D) shape acquiring and digitizing method for cultural heritage documentation by combining industrial close range photogrammetry and structured light scan techniques. The operation principle is introduced, the process of raw data acquisition and data post-processing are presented . A 2.5m high ancient Buddha sculpture of over 1500 years old located in Qingyang, China was measured and modeled to test the availability and reliability of the proposed system. Compare to conventional 3D digitizing methods, the proposed system can potentially meet a number of specific needs in the field of cultural heritage documentation, it is more flexible, low cost, less field work, capable of grabbing the 3D shape of large objects, meanwhile recording accurate detail information of local area, without physically contacting with object surface.
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Rohasmezan Bin Hashim and Zaimie Bin Sahibil. "SIMBOL BUDAYA MASYARAKAT SABAH DALAM KARYA SENI ARCA “WARISAN” OLEH CHEE SING TECK." Jurnal Gendang Alam (GA) 14, no. 1 (June 26, 2024): 93–99. http://dx.doi.org/10.51200/ga.v14i1.5184.
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Seni arca adalah karya seni yang mempunyai fungsi sebagai objek budaya dengan mengetengahkan aktiviti kehidupan masyarakat setempat. Pelbagai media dan teknik diolah bagi membentuk seni arca yang bersifat tiga dimensi. Ia diolah oleh pengarca dengan mempunyai mesej yang tersurat dan tersirat tentang budaya masyarakat setempat. Kajian ini akan membuktikan arca “Warisan” mempunyai mesej yang tersirat atau makna budaya masyarakat setempat di Sabah. Teori ikonografi digunakan dalam kajian ini bagi mengeluarkan ikon budaya pada reka bentuk dan makna arca yang dihasilkan oleh Chee Sing Teck. Tiga peringkat proses menginterpretasi arca “Warisan” dalam pengunaan teori ikonografi ini. Peringkat pertama adalah peringkat asas yang mengkaji olahan unsur dan prinsip rekaan. Peringkat kedua adalah peringkat sekunder yang mengkaji mengkaji dari olahan unsur dan prinsip rekaan tadi bergabung mewujudkan ikon atau motif atau imej tembikar, aksesori pakaian tradisi dan motif pada corak pakaian masyarakat tradisi di Sabah. Akhir sekali, peringkat ketiga adalah peringkat interinsik iaitu gabungan kajian di peringkat pertama dan kajian di peringkat kedua membentuk makna dalaman yang membawa mesej tentang aktiviti dalam kehidupan masyarakat di Sabah. Kajian ikonografi terhadap arca “Warisan” yang dihasilkan oleh Chee Sing Teck telah mengesan bahawa arca ini mempunyai simbol budaya tentang masyarakat tradisi di Sabah. Kata Kunci: Simbol; Ikon; Budaya; Seni Arca; Ikonografi ABSTRACT Sculpture art is a work of art that serves as a cultural object by emphasising the activities of local communities. Various media and techniques are used to create three-dimensional sculptural art. The sculptor processes it by writing and implying a message about the local culture. This study will demonstrate that the "Warisan" sculpture has an inferred message or cultural significance to the Sabah people. In this study, iconography theory is utilised to extract cultural icons from the design and meaning of Chee Sing Teck's sculptures. Three steps of viewing the "Warisan" sculpture using this iconographic approach. The first level is the fundamental level, which covers element processing and design principles. The second step investigates how the components and design concepts are integrated to create pottery icons, motifs, or images, traditional clothing accessories, and motifs on traditional clothing patterns in Sabah. Finally, the third level is the internal level, which combines the first and second levels' studies to create an internal meaning that conveys a message about the activities of the Sabah community. The iconographic research of Chee Sing Teck's sculpture "Warisan" revealed that it serves as a cultural symbol for Sabah's traditional community. Keywords: Symbols; Icons; Culture; Sculpture Arts; Iconography
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이희정. "The research on the sculpture technique and characteristics of wooden buddha statue in latter Chosun Dynasty through scientific methods." Journal of Seokdang Academy ll, no. 59 (July 2014): 305–52. http://dx.doi.org/10.17842/jsa.2014..59.305.
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Wei, Lian. "Buddhist Architecture Exchanges between China and Pakistan." Pacific International Journal 6, no. 3 (September 28, 2023): 43–49. http://dx.doi.org/10.55014/pij.v6i3.397.
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This study explores the friendly exchanges in Buddhist architecture between China and Pakistan from a geographical perspective. It probes mainly into the exchanges occurring from the 1st to the 10th century AD between ancient China and ancient Pakistan (the region where Pakistan is presently located). With the channels for exchanges between China and South Asia opening up and the Silk Road being established, the large-scale eastward spread of Buddhism became possible, creating opportunities for Buddhism communication between people of the two nations. The design and construction of Chinese Buddhist temples, pagodas and grottoes exhibit features typical of Buddhist architecture in ancient Pakistan, particularly the Gandhara Buddhist sculpture art that has profound influence on Buddha statues in China. In over a thousand years Chinese Buddhist architecture absorbed elements from that of ancient Pakistan, yet created its unique Chinese style, showing a perfect integration of the two cultures. The Buddhist architecture exchanges between ancient China and ancient Pakistan have far-reaching significance in promoting cultural communication and strengthening the friendship between people of the two nations.
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신은숙. "The Clay Statues of Yangji of the Silla Period -Focusing on the Green Ceramic Sculpture and the Clay Statue of the Buddha-." Korean Journal of Art and Media 12, no. 4 (November 2013): 7–34. http://dx.doi.org/10.36726/cammp.2013.12.4.7.
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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 (December 31, 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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Lin, Zejie, Zhijun Li, and Meizi Xie. "Narrative Integration: An In-Depth Exploration of the “Buddha Story Stele” in the Maiji Mountain Grottoes." Religions 15, no. 3 (February 20, 2024): 254. http://dx.doi.org/10.3390/rel15030254.
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This research delves into the intricacies of the “Buddha Story Stele” in Cave 133 of the Maiji Mountain Grottoes, China, examining the sculptural combinations and conceptual nuances rooted in Buddhist culture from the 5th to the 6th centuries CE. The research focuses on discerning the identities of the “Two Adjacent-Seated Buddhas” and the Cross-Legged Bodhisattva carved on the stele, concurrently delving into the embedded symbolic significance within its structural composition. Our investigation posits that the upper, middle, and lower segments of the “Buddha Story Stele” respectively symbolize the post-Nirvana Dharmakāya Shakyamuni, the Bodhisattva Shakyamuni, and the Buddha Shakyamuni of Sumedha. Advancing scholarly discourse, it reevaluates the Cross-Legged Bodhisattva’s identity and the configuration of the “Two Adjacent-Seated Buddhas”, elucidating the interplay of imagery and conceptual themes. This study provides pivotal insights into the sculptural arrangement and religious thought transmission in the Maiji Mountain Grottoes, contributing significant academic and cultural value to preserve this unique heritage.
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Syrtypova, S. K. "Buddha Akshobhya in Mongolia." Orientalistica 2, no. 4 (January 16, 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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Yoo, Daeho. "Sculptor Monk Eunghye and the Myungbujeon Hall Buddha Sculptures at Gwallyongsa Temple, Changnyeong." Misulsa Yeongu : Journal of Art History 44 (June 30, 2023): 71–99. http://dx.doi.org/10.52799/jah.2023.06.44.71.
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Kang, Heejung. "On the Buddhist Statues Excavated from Hoeamsa-ji in Yangju." Korean Journal of Art History 311 (September 30, 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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Lee, Haiju. "The Context and Implication of the Rabbit Figure Supporting the Celadon Incense Burner with Openwork Auspicious-character Design Lid in the National Museum of Korea: Focusing on the Symbolism of the Rabbit and the Atlas Motif." Paek-San Society 127 (December 31, 2023): 211–41. http://dx.doi.org/10.52557/tpsh.2023.127.211.
Full textAbstract:
This study discusses the symbolism of the rabbit statue on the base of a celadon incense burner with an openwork auspicious-character design lid in the National Museum of Korea. Chapter II analyzes the overall design of the incense burner, pointing out that although the rabbit statue is small in size, it is a three-dimensional figure with detailed carving of each part of the body and inlaid techniques used to express the eyes, making it an important component that embodies artistry beyond a simple base. Chapter III explores the spectrum of perceptions of the rabbit by examining rabbit sculptures from before the Goryeo period. As a symbol of fertility and longevity, thought to be a guide to the quick passage of the souls of the dead to the afterlife, rabbits were attached to funerary urns in the Silla period. They were depicted as moon symbols in Goguryeo tomb paintings and Unified Silla roof-end tiles. In Unified Silla, rabbits were also carved into royal tombs as members of the Twelve Great Deities to show the despotic kingship of the kings guarding the tomb, or were majestically displayed in stupas to represent the authority of Bhaisajyaguru. In Chapter IV, the meaning of the three rabbits supporting the incense burner was derived from three aspects. First, the intention of the rabbit's representation on the incense was inferred from the similarities between the rabbit's self-sacrifice and the offering of incense in The Jataka Tales of the Rabbit's Original Life (Sasa Jataka), which is to burn oneself and offer it to the gods. Since the rabbit was Buddha in the previous life, the life in which he practiced the great act of selflessness, it is believed that the rabbit was chosen to stand alone on the base of the incense burner, even though it does not symbolize absolute physical power. Through this carving of the rabbit, it can be seen that the 12th-century Goryeo people understood the offering of incense and the act of self-sacrifice in the same context. Second, the appearance of rabbits in historical texts and geographical journals from the Three Kingdoms and Goryeo periods was examined. In doing so, the chapter describes who recognized rabbits as auspicious animals in addition to being a symbol in Buddhism. Third, it discusses the internationalization of Goryeo culture, which is reflected in the sculpture of the atlas that supports the top. It is interpreted that the incense burner represents the cosmopolitanism of Goryeo culture because the rabbit statue on the incense burner was arranged in a form similar to the atlas statues popular in ancient Greece, Persia, and India and spread along the Silk Road.
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Elikhina, Yu I. "Some gifts of the 13th Dalai Lama to Nicholas II in the collection of the State Hermitage." Orientalistica 4, no. 2 (July 14, 2021): 406–18. http://dx.doi.org/10.31696/2618-7043-2021-4-2-406-418.
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The Tibetan collection of the State Hermitage contains some of the gifts of the 13th Dalai Lama to the Russian Emperor Nicholas II. The State Archives of the Russian Federation has a document titled “A copy of the list of Tibetan gifts sent to the Winter Palace”. It consists of two lists, the first list describes 14 items, the second - 9. Almost all of these gifts were in the private rooms of Nicholas II in the Winter Palace. Of course, not all things have survived to this day. Number 1 in the first list is the chakra (wheel of teaching), the sign of the king offered to the Tibetan rulers upon accession to the throne, as a sign of goodwill (Inventory No. KO-884, Tibet, late 19th century); number 4 is a silver teapot, partially gilded (Inventory No. KO-896, Tibet, end of the 19th century); number 5 - men’s turquoise hoop earring; at number 9 - a gold reliquary gau (Tib. Ga'u), decorated with turquoise, such were worn and are worn by Tibetan women on the chest; at number 10 - women’s gold earrings decorated with turquoise. Earrings and a reliquary after the organization of the Oriental Department and the redistribution of exhibits were included in the collection of art objects of Central Asia. From the second list, presumably, there is a sculpture of Buddha Shakyamuni in the Hermitage collection. It is quite possible that enamel objects and some others have also been preserved in different collections of the Oriental Department. In addition, the collection contains two pencil portraits of the 13th Dalai Lama, painted by the Russian artist N. Ya. Kozhevnikov in 1905 in Urga (present-day Ulan Bator). The Dalai Lama was hiding in Mongolia during the British expansion into Tibet in 1903-1904. Thus, some of the gifts of the 13th Dalai Lama are presented in the Tibetan collection of the Hermitage. Some of them are masterpieces, such as the silver chakra, others are very typical ethnographic objects.
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Gul, Subhani. "NOTE ON SOME A BUDDHIST NARRATIVE RELIEFS FROM AMLUK-DARA STUPA, SWAT." Pakistan Journal of Social Research 04, no. 04 (December 31, 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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Brown, Robert L. "A Sky-Lecture by the Buddha." Bulletin of the Indo-Pacific Prehistory Association 31 (May 26, 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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Abuku, M., S. Hiranuma, S. Wakiya, D. Ogura, and T. Fumoto. "Dependency of conservation conditions of Takase stone Buddha, Oita, Japan, on anisotropy of liquid water diffusivity." Journal of Physics: Conference Series 2069, no. 1 (November 1, 2021): 012204. http://dx.doi.org/10.1088/1742-6596/2069/1/012204.
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Abstract Takase Stone Buddhas is one of the important old stone buddha sculptures curved into the inner wall of a cave in Oita, Japan. It is located in the cave curved into the cliff of a hill of volcanic tuff. In general, because the cave is currently protected from rain and direct solar radiation by the roof shelter and waterproof treatment, the Buddhas is well conserved and no currently ongoing weathering can be clearly observed. However, because of a high ground water level, there is a concern in the influence of water evaporation at and near the surface of the stone buddhas and the wall of the cave on their deterioration. In the past, we conducted a long-term field survey of conservation environment to obtain yearly data set of the conservation environment that can be used as input of numerical simulations of heat and water transport in the material. In this paper, we report measurement data of the ground water level as well as the liquid water diffusivity of the tuff stone that significantly affects the conservation condition. We also performed numerical analyses on heat and moisture transport in the tuff stone layer and stone buddhas. The simulation results show that the conservation condition of Takase stone Buddha strongly depends on the anisotropy of liquid water diffusivity of the tuff stone.
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Syrtypova, S. Kh D. "Vajradhara Buddha in Mongolia." Orientalistica 2, no. 1 (September 7, 2019): 62–76. http://dx.doi.org/10.31696/2618-7043-2019-2-1-62-76.
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Abstract: the article deals with the Vajradhara Buddha iconography and sculptural images. Vajradhara is a symbol of the dharmakaya i.e. the primordial Buddha, the fundamental principle of the whole pantheon of deities of the Vajrayana. Due to the genius and inspirations of Zanabazar (1635–1723), the great artist and the spiritual leader of Mongolia, the Adi-Buddha Vajradhara became the holiest figure in Mongolian Buddhism and also religious symbol of the whole country. The author analyses various sculptural images of Vajradhara both as single deity and as a yab-yum symbol (a representation of the primordial union of wisdom and compassion, depicted as a male deity in union with his female consort) by Ӧndӧr Gegen Zanabazar or related to him. The artefacts are currently being preserved in the Buddhist monasteries, temples and the museums of art as well as in private collections in Mongolia. The latter have not yet received their full description and often remain unrecorded.
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Muka, I. Ketut, and Ni Made Rai Sunarini. "Forms And Functions Of Sandstone Handicrafts In Singapadu Kaler Village In The Global Era." Mudra Jurnal Seni Budaya 33, no. 3 (September 27, 2018): 360. http://dx.doi.org/10.31091/mudra.v33i3.500.
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In this era, the forms and functions of sandstone handicrafts in Singapadu Kaler Village have undergone very rapid development and change. This is marked by the emergence of various types of sandstone handicrafts, which enrich the arts and culture of Bali in particular and Indonesia in general. Several forms of sandstone handicrafts produced by craftspeople in Singapadu Kaler Village are very popular and much in demand by consumers. Among these are garden lampshades, wall lights, ventilation decor, flower pots, fauna and flora bas-relief, statues of the Buddha, and other sculpture motifs. These forms have a different function, style and aesthetic impression than traditional sandstone handicrafts in other regions. Overall, the products were created as a result of the influence of globalization, which gave birth to a wide variety of forms and innovations. Hence, it is important to write about so that the forms and functions as well as the messages contained within them can be clearly revealed. A qualitative interpretive method was used to analyze this phenomenon with a cultural studies approach utilizing deconstructivist theory and postmodern aesthetic theory. This lead the authors to the general conclusion that these new forms and functions of sandstone handicrafts have given rise to positive and negative impacts, which have not only been accepted by the craftspeople, but also the broader community of Singapadu Village and consumer society. In addition, these handicrafts also contain important creative, economic, aesthetic, and cultural change functions. This brief article hopes to be useful as a medium for study by secondary and higher education institutions of art or the general public about the field of sandstone handicrafts growing in Singapadu Kaler Village. It also hopes to be a useful reference for writers and researchers in other regions, so that the repertoire of scientific knowledge on sandstone handicrafts in Indonesia can become more widely known.Dewasa ini bentuk dan fungsi kerajinan batu padas di Desa Singapadu Kaler mengalami perkembangan dan perubahan sangat pesat. Hal ini ditandai munculnya berbagai jenis kerajinan batu padas dengan fungsi yang berbeda sehingga memperkaya khasanah seni budaya Bali khususnya dan di Indonesia pada umumnya. Ada beberapa bentuk dan fungsi kerajinan batu padas yang sangat populer dan diminati para konsumen merupakan produksi perajin-perajin dari Desa Singapadu Kaler Gianyar. Bentuk kerajian batu padas tersebut memiliki fungsi, gaya dan kesan estetis yang berbeda dengan bentuk kerajinan batu padas tradisional didaerah lain. Secara keseluruhan kerajinan yang diciptakan tersebut pada dasarnya akibat dari pengaruh globalisasi, sehingga melahirkan bentuk dan fungsi kerajinan batu padas yang sangat variatif dan inovatif. Hal tersebut berdampak positif dan negatif tidak saja diterima oleh para pengrajin, namun lebih luas, pada masyarakat desa dan masyarakat konsumen. Selain itu, bentuk dan fungsi kerajinan batu padas di Desa Singapadu Kaler secara umum mengandung fungsi yang bereka macam dan sangat penting, antara lain: fungsi kreatipvitas, ekonomi, estetis, dan fungsi perubahan budaya. Metode yang dipakai untuk menganalisis permasalahan adalah kualitatif dengan pendekatan kajian budaya, memanfaatkan, teori dekonstruksi, dan teori estetika postmodern. Tulisan ini diharapkan dapat dipakai sebagai media pembelajaran baik oleh lembaga pendidikan seni tingkat menengah dan perguruan tinggi atau masyarakat umum, khususnya dalam bidang kerajinan batu padas yang berkembang di Desa Singapadu Kaler Gianyar. Di samping itu tulisan ini juga dapat dijadikan acuan oleh para penulis dan peneliti dalam melakukan penelitian ilmiah yang lain, agar khasanah ilmu pengetahuan seni kerajinan batu padas di Indonesia semakin diketahui dan berkembang dengan pesat.
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Geunja Yoo. "Studies on the Buddhist Sculptures of Cheongryeonsa Temple in Yangju Created in late Joseon Dynasty." 불교문예연구 ll, no. 11 (August 2018): 297–336. http://dx.doi.org/10.35388/buddhi..11.201808.009.
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Lee, Byongho. "Review of the Research History of the Relics Excavated from the Temple Site in Gunsu-ri, Buyeo." Institute for Historical Studies at Chung-Ang University 56 (August 31, 2022): 5–65. http://dx.doi.org/10.46823/cahs.2022.56.5.
Full textAbstract:
This report attempts to arrange the research history of the major remains and relics excavated from the Temple Site in Gunsu-ri, Buyeo, with a view to promoting inter-academy studies on the results of the excavation of the site, which dates from the Sabi Period of Baekje (538-660).
Chapter II introduces the background to the discovery of the temple site in Gunsu-ri, which was the first such site to be found in Buyeo during the Japanese colonial era, and its investigation process, and then summarizes the report that was published after the excavation and investigation, the academic report published after 1945, and the database material and re-written report on the excavated relics.
Chapter III describes the research results and the issues related to the remains found at the center of the temple, including the main hall and wooden pagoda sites. Regarding the main hall site, this chapter introduces the issues related to a double stylobate, a foundation stone (found between the top and bottom stylobates), and a stylobate made of roof tiles; while, regarding the wooden pagoda, it explains the importance of studying the method of “mounding” the foundation soil, and discusses the presence of a steep road (to transport stones), an underground-style foundation stone (which supported the main pillar), and the method of installing the reliquaries. In addition, it explains which kinds of building remains need to be clarified and compared to other temples in Buyeo.
Chapter IV covers the research results and issues related to the major relics excavated from this site in terms of art history, archaeology, and the history of architecture. In particular, it explains the significance of two Buddhist statues found at the site, namely the Pyrophyllite Stone Seated Buddha and the Gilt-bronze Standing Bodhisattva, in terms of the history of sculpture in Korea; the importance of leaf decoration fragments made of clay; and the importance and issues related to convex roof-tiles and concave roof-tiles in terms of general roof tile studies in ancient East Asia.
The temple site in Gunsu-ri exhibits the typical characteristics of a Buddhist temple that was built during the Sabi period of Baekje, and whose major remains and relics represent the universality of Baekje’s temples.