Dissertations / Theses on the topic 'Buddhist and Hindu images'
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Tenzin, Kencho. "Shankara a Hindu revivalist or a crypto-Buddhist? /." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-11302006-094652/.
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Thesis (M.A.)--Georgia State University, 2006.Kathryn McClymond, committee chair; Jonathan Herman, Christopher White, committee members. Electronic text (70 p.) : digital, PDF file. Description based on contents viewed Apr. 20, 2007; title from title screen. Includes bibliographical references (p. 60-61).
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Shaw, Richard. "Iconography of Siddhas on south Indian temples." Thesis, Lancaster University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340652.
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Kim, Bo-Young. "Indefinite boundaries reconsidering the relationship between Borobudur and Loro Jonggrong in Central Java /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467888511&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Wilkinson, Sandra Margaret. "Young British Hindu women's interpretations of the images of womanhood in Hinduism." Thesis, University of Leeds, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246939.
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Cover, Jennifer Joy. "Bodhasar̄a by Narahari an eighteenth century Sunskrit treasure /." Connect to full text, 2008. http://hdl.handle.net/2123/4085.
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Thesis (Ph. D.)--University of Sydney, 2008.Title from title screen (viewed March 11, 2009) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Indian Sub-Continental Studies. Includes bibliographical references.
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Lomi, Benedetta. "The precious steed of the Buddhist pantheon : ritual, faith and images of Batō Kannon in Japan." Thesis, SOAS, University of London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.639412.
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Chandrasekhar, Chaya. "Påla-period Buddha images their hands, hand gestures, and hand-held attributes /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1092830047.
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Thesis (Ph. D.)--Ohio State University, 2004.Document formatted into pages; contains xvi,375 p.; also contains graphics. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2009 Aug. 18.
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SAKUMA, Ruriko. "LOKEŚVARA IMAGES PRESERVED AT THE NEPALESE BUDDHIST TEMPLE CATURBRAHMA MAHĀVIHĀRA IN BHAKTAPUR." 名古屋大学印度哲学研究室 (Department of Indian Philosophy, University of Nagoya), 1993. http://hdl.handle.net/2237/19180.
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Kim, Jeong-Eun. "Sabangbul during the Chosŏn dynasty : regional development of Buddhist images and rituals." Thesis, SOAS, University of London, 2011. http://eprints.soas.ac.uk/13105/.
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Kim, Sunkyung. "Decline of the law, death of the monk Buddhist texts and images in the Anyang Caves of late sixth-century China /." Click to view thedissertation via Digital dissertation consortium, 2005.
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Chiu, Angela Shih Chih. "The social and religious world of northern Thai Buddha images : art, lineage, power and place in Lan Na monastic chronicles (Tamnan)." Thesis, SOAS, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.617604.
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Abraham, Susan. "The razor's edge of sanctity images of the divine feminine in India /." Theological Research Exchange Network (TREN), 1995. http://www.tren.com.
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Tobler, Judith. "Gendered signs of the sacred : contested images of the mother in psychoanalysis, feminism, and Hindu myth." Doctoral thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/13910.
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Bibliography: leaves 333-354.This thesis engages a multi-disciplinary theoretical approach to identifying, analysing, and interpreting discourse relating to the feminine and the maternal found at the intersection of psychoanalysis, feminism, and religion. The study explores embodiment, gender, and the sacred as expressed in symbolic representations of the mother and the institution of motherhood in patriarchy. I have therefore drawn on Freudian and post-Freudian theories, gender analysis, feminist critical analysis, and classical Hindu goddess myth to discern ways in which sacred images of the mother serve to reinforce the oppression of women on the one hand and can be transformed to provide empowering symbols for women's lived reality on the other. Theory of sacred space is also employed, particularly with regard to the human production of the sacred through the contested politics of sacred space.
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Boehm, Christian Matthias. "The concept of 'danzō' : 'sandalwood images' in Japanese Buddhist sculpture of the 8th to 14th centuries." Thesis, SOAS, University of London, 2005. http://eprints.soas.ac.uk/28795/.
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This thesis examines Buddhist images known as danzo (sandalwood sculptures) in Japan from the 8th to 14th centuries in terms of the types of material used to make them, their distinctive form (as determined by iconography and style), and the religious functions for which they were used. All three of these fundamental defining elements are considered essential for a comprehensive understanding of danzo as religious icons, but for the clarification of crucial issues the first two chapters examine each of these elements separately. Chapters One and Two consider issues concerning definitions of materials, form according to different iconographic types and period styles, the expression of shogon (sublime adornment) and religious functions. Chapter Three provides a classification of the various types of dangan (portable sandalwood shrines). Chapters Four to Six examine the various iconographic types classified according to Nyorai, Kannon, and other Bosatsu and tutelary deities. This dissertation proposes a new definition of the form of danzo based on the distinction between the type-style and period-style, in which the expression of the aesthetic-religious concept of shogon is argued to be of central significance and danzo are considered as objects of shogon par excellence. Furthermore, textual evidence is presented to suggest that the two most common religious functions of danzo were as icons in ceremonies and for personal devotion for high-ranking monks, aristocrats, and members of the imperial family, which reflects the special sanctity ascribed to these images. The aim of this dissertation is to arrive at a more inclusive understanding of danzo as religious icons with distinctive material, formal and functional characteristics that define them as a unique group of religious icons within Japanese Buddhist sculpture.
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Lin, Fan 1972. "Visual images of Vimalakīrti in the Mogao caves (581-1036)." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98553.
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This thesis examines the visual images of Vimalakirti, an ancient Indian lay Buddhist, painted on the walls of the Buddhist cave complex at Dunhuang, Gansu province, between 581 and 1036. The sixty-nine Vimalakirti, paintings preserved at Dunhuang are a valuable source for the exploration of historical, religious, and artistic dimensions of wall paintings and sutras. These visual images, together with other textual sources such as sutras, commentaries, and inscriptions, suggest a variety of interesting questions: Why was this theme repeatedly represented? Do the images all have the same prototype? Is there a spiritual function contained in the layout of the caves and composition of the wall paintings? Did the meaning of these images change according to historical context? Did the patrons have a political scheme in mind when commissioning these devotional artworks? While it is difficult to provide definitive answers to all these questions, this thesis will attempt to clarify them and offer preliminary answers on the basis of available visual and textual sources.The introduction of this thesis includes an overview of basic concepts related to wall paintings, a short history of the transmission of the Vimalakirti,-nirdesa Sutra, and a review of past scholarship on Vimalakirti, paintings and related subjects. The body of the thesis is divided into three main chapters. The first chapter describes the important visual representations of Vimalakirti, before the Sui dynasty. The second chapter of the thesis will provide an introduction to representations of Vimalakirti, at Dunhuang from the late sixth to the early eleventh centuries. The third chapter examines the social functions and symbolic meanings of the Vimalakirti, paintings at Dunhuang.
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Barker, G. "Jesus at the borders of belief : a phenomenological test of a pluralist Christology." Thesis, University of Wales Trinity Saint David, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683098.
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Prostak, Michaela Leah. "Monstrous Maternity: Folkloric Expressions of the Feminine in Images of the Ubume." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3714.
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The ubume is a ghost of Japanese folklore, once a living woman, who died during either pregnancy or childbirth. This thesis explores how the religious and secular developments of the ubume and related figures create a dichotomy of ideologies that both condemn and liberate women in their roles as mothers. Examples of literary and visual narratives of the ubume as well as the religious practices that were employed for maternity-related concerns are explored within their historical contexts in order to best understand what meaning they held for people at a given time and if that meaning has changed. These meanings and the actions taken to avoid becoming an ubume and to avoid interacting with one create a metanarrative that contributes to our understanding of the historical experience of women.
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Desoutter, Delphine. "Printing the faith in Southeast Asia : the Buddhist production of seals and stūpas (7th–13th century CE)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA142/document.
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L’impression répétée d’une image – sceau – ou d’un stūpa en trois dimensions sur un morceau d’argile est une pratique bouddhique pour obtenir du mérite, dont en témoigne la quantité importante retrouvée en Asie du Sud-Est. Ces objets comportent des images représentant un ou plusieurs dieux et stūpas, parfois accompagnées d’un texte, ou bien un texte seul. Jusqu’à présent, seules des études régionales se sont intéressées à ce sujet et aucune n’a prêté attention aux moules utilisés pour leur production. La présence de moules en terre-cuite et en bronze est attestée entre le VIIème et le XIIIème siècle, ces derniers présentant une iconographie raffinée et une technique élaborée. Nous postulons que leur utilisation était propre à certaines cultures et nous mettons en avant trois groupes de moules en bronze, correspondant aux régions du centre du Myanmar, à la Thaïlande et au Cambodge, ainsi qu’à l’Indonésie occidentale et à la péninsule malaise.Centrée sur le catalogue des moules en bronze, cette étude explore leurs liens avec les objets imprimés sous les angles de la production, de l’archéologie, de l’iconographie et de la stylistique, fournissant ainsi une vue d’ensemble synthétique des sceaux et stūpas. Premièrement, la constitution d’une typologie, à la fois des produits et des outils de reproduction, permet de comprendre quelles techniques étaient utilisées pour leur fabrication, et conduit à distinguer l’existence de différents ateliers et usages. Deuxièmement, le recensement des contextes archéologiques connus clarifie les intentions de la production au-delà de l’obtention de mérite, et questionne la valeur religieuse des moules. Finalement, l’analyse des images examine leurs caractéristiques locales, régionales ou inter-régionales, ainsi que leur degré de correspondance avec le répertoire connu des impressions. La nature petite et mobile des sceaux, stūpas et de leurs moules a permis leur diffusion, mais est aussi probablement responsable de leur disparition, à cause de leur fragilité ou de la réutilisation du métal. Cette étude ne sera donc jamais complète. Toutefois, l’approche transversale de ces témoignages de l’art bouddhique apporte un éclairage nouveau sur les différents liens culturels, politiques et religieux qui prévalaient en Asie du Sud-EstThe repeated impression of an image or of a three-dimensional stūpa on a piece of clay is a Buddhist practice to obtain merit, well attested in Southeast Asia by the vast amount of seals and stūpas discovered. The images depict a single or several deities and stūpas, sometimes accompanied by a text, or they bear text alone. Until now, only regional studies have focused on these artefacts and none have looked at the moulds used for their production. During the 7th to the 13th century CE, we find evidence of terracotta and bronze moulds, the latter demonstrating a refined iconography and an elaborate technical expertise. We postulate that their use was specific to some cultures and bring forward three groups of bronze moulds, corresponding to the areas of central Myanmar, Thailand and Cambodia, and western Indonesia and the Malay Peninsula. Centred on the catalogue of the bronze moulds, this study explores their connection to the printed objects through their production, archaeology, iconography and stylistics; thereby, also providing a selective overview of the seals and stūpas. First, the establishment of a typology, both of the products and of the reproduction tools, helps to understand which techniques were resorted to during the manufacture, and lead to distinguish the existence of different workshops and developments. Secondly, the survey of the known archaeological contexts clarifies the intentions of the production beyond merit making, and questions the religious value of the mould. Finally, the analysis of the images examines their local, regional or inter-regional features, and the extent of their match with the repertoire of known imprints. The small and movable nature of the seals, stūpas and their moulds resulted in their diffusion but also most probably in their disappearance because of their fragility or due to the reutilization of the metal. This study will hence never be complete. Nevertheless, the transverse approach to these evidences of Buddhist art sheds new light on the different connections—cultural, political and religious—that prevailed in Southeast Asia
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Benson, Martin L. "Beginner's Mind." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2365.
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My art distills my relationship to spirituality, digital culture, and the practices and side-effects therein, into a simplified visual language. The work manifests in the form of paintings, drawings, and light sculptures. Meditation and mindfulness training are a large part of my influence and interests. I often wonder how mindfulness practice can be mirrored in my artwork, not only in my process for creating the work, but also with what the resulting imagery does for the viewer. My intention is to provide an art form that invites one to look and experience one’s own capacity to observe, without the need for immediate intellectualization. I wish to offer people an opportunity to focus their attention on the phenomenological sensations that emanate from the art, to take a step back from the conceptual part of the mind, and step into a part that’s more fundamental to our moment to moment reality.
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Revire, Nicolas. "The Enthroned Buddha in Majesty : an Iconological Study." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA157/document.
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Cette thèse étudie en détail un type particulier de représentation du Bouddha où il est représenté assis sur un trône prééminent, le bhadrapīṭha ou bhadrāsana, dans une posture majestueuse avec les deux jambes pendantes, c’est-à-dire assis en bhadrāsana ou dans l’attitude « de bon augure ». Cette iconographie, étroitement associée à l’imagerie du trône, se retrouve largement représentée dans l’art de l’Asie du Sud, de l’Est et du Sud-Est, et est, en règle générale, intimement liée aux modèles de la royauté, de la fertilité, et même du divin. Plusieurs implications notables ressortent de cet examen iconologique concernant les origines, la diffusion, et le développement de l’art bouddhique dans ces contrées, particulièrement au cours du premier millénaire de notre èreThis dissertation provides a detailed study of a particular representation of the Buddha, in which he sits on a prominent throne, i.e. a bhadrapīṭha or bhadrāsana, in a majestic posture with two legs pendant, that is, in bhadrāsana or the “auspicious pose.” This pendant-legged imagery, generally associated with the throne, has been found widely depicted in South, East, and Southeast Asian art and is, as a rule, mostly associated with kingship, fertility, and even divinity. The results of this iconological examination have wide implications for understanding the origins, spread, and development of Buddhist art in those lands, particularly during the first millennium CE
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"Rebellion and response in ancient India: political dynamics of the Hindu-Buddhist tradition." Tulane University, 1986.
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Historical approaches to the civilization of India can provide a useful complement to the predominately synchronic ethnographic analyses of anthropology. In particular, a fully historical view illuminates the many conflicts and tensions within Indian society that have shaped its pervasive religious idiom. The relationship between Brahminism and Buddhism, in ancient times, reflects a deeper ethno-political alignment of Aryans versus aboriginals on the subcontinent, and each of these religious traditions developed in dialectical opposition to the other through the centuries. The ethnic conflict at the origin of these religions later became merged with issues of class conflict as sectors of society depressed under the Brahminic system allied themselves with the heterodox movements. Buddhism in particular attained great strength due to its monastic organization, and provide the most important challenge to the supremacy of the Brahminic priesthood. The failure of both legislation and persecution to contain this upheaval eventually resulted in the tactical assimilation of Buddhism into the new, syncretic religion of Hinduism, in which the Brahminic power center retained its controlling position. Hinduism and Buddhism must thus be redefined as sociopolitical, rather than purely 'religious' phenomena for our understanding of Indian society to be complete. The paradigm of rebellion in the name of religion and response in the form of assimilation can be applied to situations up to the present day in India. The dynamics of religious conflict also shed light on the relationship between power and symbol which has been the focus of much of contemporary anthropological theoryacase@tulane.edu
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McGonigle, Gregory William. "Diversifying college and university chaplaincy." Thesis, 2021. https://hdl.handle.net/2144/42656.
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Since the 1990s, the religious diversity of United States universities has increased, with growing numbers of students, faculty, and staff who are Muslim, Hindu, Buddhist, and Humanist. To support these demographics, university chaplaincies have been developing beyond their Christian and Jewish compositions to include chaplains and programs for these traditions. Through interviews with such chaplains, this project thesis examines how these chaplaincies developed, the preparation the chaplains needed, their responsibilities, and the current challenges and future prospects of these programs. It provides advice for university leaders about how and why to develop their spiritual life programs to support today’s religious diversity.2023-06-03T00:00:00Z
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Cozad, Laurie. "The orthodox roots of Indian snake worship : an examination of the Hindu and Buddhist textual traditions /." 1999. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9951777.
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楊涵茵. "Study on Feminine Images in Buddhist Art:examples of Avalokitesvara and Tara." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/16200349012930667103.
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碩士國立新竹教育大學
人資處美勞教學碩士班
95
This thesis is structured by the archetype theory of analytic psychology, as proposed by C. G. Jung and deals with feminine image analysis of Avalokitesvara and Tara as its subject. Jung discovered archetype motives in the myth and helped to bridge the gap between myth and psychological activities in real life. Try to learn how archetype functions in our spiritual life is equal to know how myth could affect our human life. Religion comes from myth. By examining the archetype motives in religion, we can open a window for our psychological activities as to see elements of myth that affect our life. Through archetype viewpoint that focusing on various feminine images of Avalokitesvara and Tara, we can find that the Buddhist art is adept in using feminine images and empower goddesses to give impact on our inner life. One of Jung’s main archetype of collective unconsciousness is the great mother goddess archetype, which could easily be found in many myths . Self is the most important archetype in Jung’s analytic psychology. It constitutes the core of our entire conscious and subconscious and our integrated spirit. Religious experience is one that reflects such self archetype as well. Under the cognitive system of the Buddhism, religious experience is one function of psychology. In our interior life, the consciousness which after integration goes far into the boundary of unconsciousness, arriving at a blend of both for satisfying our psychological needs. This is also a course that blends with our fundamental intelligence as well. And such religious experience runs the same course for our psychological self perfection. Our feminine consciousness of great mother goddess archetype is derived from symbol, which through suggestion and association could raise our conscious mind to assimilate those contradictary factors for a new synthesis. The feminine images of Avalokitesvara and Tara were concretized from our unconscious level to our conscious operation of image creation. And their implied great mother goddess archetype reflects the authentic reality of our human mind. This research of my thesis aims to help modern women recognize the remarkable influence of foresaid feminine images on human inner life, by adopting a comprehensive vision to pursue one’s self completion as central goal of life. By renovating myth to its contemporary sense, and exploring our emotion and reason to utilize those most natural, spontaneous, and unsusceptible archetype power, we come to grasp the phenomenon itself from bone to skin as to accomplish the effect of our activating mind. Key words: Avalokitesvara, Tara, archetype, great mother goddess, collective unconscious, feminine image.
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Wang, Xin-man, and 王馨蔓. "The Study of the Images of Buddhist Sculptures in Tezuka Osamu’s Manga." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/69157452579912839579.
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碩士國立中央大學
藝術學研究所
102
In 2011, Tokyo National Museum held an exhibition entitled “BUDDHA—The Story in Manga and Art,” in which the original drawings of the manga Buddha by Tezuka Osamu (1928-1989) were juxtaposed with some Buddhist sculptures. It inspired me to think about the possibility of comparing manga with Buddhist sculptures and other art works. In fact, in addition to this work, Tezuka also depicted many images of Buddhist sculptures during his four-decade career. These images spanned different creative periods, appeared in different subjects, and were presented in diverse styles. It indicates that the images of Buddhist sculptures in Tezuka’s works are so significant that they are worth more discussion. This thesis collects as many as possible the images of Buddhist sculptures in Tezuka’s manga and discusses the following issues: the changing in style, the sources of these images, and the characteristics of Tezuka’s Buddhist sculptural images. The style of Tezuka’s Buddhist sculptural images changes in different periods. It is simple and flat at first, and becomes elaborate and realistic. Then, in the third stage, it is simple and clear. During the period from the late 1960s to the early 1970s, Tezuka’s works are most realistic, exquisite and dramatic, and the Buddhist images were depicted as paintings rather than ordinary manga. The style of this period is very special in Tezuka’s whole creative career. From the late 1960s, Tezuka began to include famous Buddhist sculptures into his manga. By comparing a lot of plates from Japanese text books and art historical books, I found that Tezuka often picked Buddhist sculptures that are assigned as National Treasures or Important Cultural Properties. These images are most famous and likely to be familiar to the Japanese public. It is possible that the readers could recognize the images quickly and feel close to them. By this way, Tezuka arouse reader’s reading interest and curiosity. The stylistic features of Tezuka’s Buddhist sculptural images from the late 1960s to the early 1970s are most attractive. We find the stylistic source from “gekiga” trend which rose in the late 1950s. Tezuka’s Buddhist sculptural images had a lot in common with those of Mizuki Shigeru (1922- ). When the mainstream of the manga circles was leaded by new trends, Tezuka adopted the popular styles actively and responded with competitive consciousness rather than falling behind too long. In this period, Tezuka published in the media that did not take commercial value for the first concern, and he could create in higher experimental and artistic form. This showed that Tezuka was eager to raise manga to artistic level. This thesis points out four characteristics of Tezuka’s Buddhist sculptural images: first, Tezuka often used cinematic devices in terms of changing viewpoints and zooming. Second, he frequently chose famous Buddhist Sculptures assigned as National Treasures or Important Cultural Properties of Japan. Third, he integrated intellectual contents into manga, but the pictorial images were still the main focus. Fourth, he often conveyed ideas of strong critical and enlightening senses and this indicates that he values the educational function of manga. This thesis considers that even though Tezuka learned from gekiga, he chose what he wanted rather than fully accepting the style in vogue. He integrated desirable parts into his works, and presented as what with Tezuka’s own features.
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Piper, Robert Kent Piper Robert Kent. "Looking back to point zero : reverence for the unknown /." 2005. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11939.
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Thesis (M.A.)--York University, 2005. Graduate Programme in Musicology.Typescript. Title on accompanying compact disc: Reverence...thesis. Includes bibliographical references (leaves 47-48). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11939
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Ramachandran, Tanisha. "Representing idols, idolizing representations : interpreting Hindu images from the nineteenth century to the early twentieth century." Thesis, 2008. http://spectrum.library.concordia.ca/975224/1/NR45676.pdf.
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At various points in history and in different geographical locations, the Hindu image has been signified and re-signified by Hindus and others. Hindu images serve a multitude of purposes--functioning politically, socially and religiously. To formulate an accurate social history or cultural biography of the Hindu image, it is necessary to examine the means, by which it travels, as well as the reception, placement and context of the object at various points on the route. It is my contention that while the trajectories that the images have traveled provide a significant cultural biography, it is discourse that not only paves the path it follows, but also gives the image significance. Using Foucauldian and postcolonial theories of representation that highlight avenues of knowledge production, this dissertation provides a social history of the Hindu image from the early nineteenth century until the early twentieth century in an Indian and Euro-American context. By examining texts produced by Orientalists, missionaries, art critics, Hindu reformers and Hindu nationalists, this dissertation will demonstrate how the Hindu image is signified through a series of discursive battles. Through these interactions we can trace the differing forms of the Hindu image as God, idol, art, and symbol. The overall aim of this dissertation is to demonstrate that the Hindu image does not have an essentialized meaning; rather it is the various textual strategies that construct the image's meaning and usage. While the materiality of the image is fundamental, it is the narrative that defines and sustains its existence--in effect, it is discourse that works to determine its form and function.
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Dark, Jann, University of Western Sydney, College of Arts, and School of Communication Arts. "Relationship in the field of desire." 2006. http://handle.uws.edu.au:8081/1959.7/16867.
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This thesis is divided into two parts. Part One, entitle “Working Through Condensation” describes a type of practice, Part Two, entitled “The Tourist and the Tourist Tout”, unravels and explores what was discovered through that practice. The intersection of two personal discoveries have been formative in my art practice. The first relates to the Indian Hindu and Buddhist concept of formlessness found in certain Tantric cosmogonies. This began, for me, an interest in the phenomenon of emptiness as an ontological awareness of how “art” or “creativity” happens. The second event was the hearing of a phrase, which I call a found phrase. The phrase, “working through condensation”, suggested a metaphoric tool for conceptualising my practice, through an analogous use of the process of condensation. I was struck by a similarity between my conception of the above found phrase and Tantric cosmogeny. In Part One of this thesis, I develop a link between elements in Tanta cosmogony, the found phrase and the Situationist Internationalist practice of derive as a basis for practice. This thesis has been largely constituted by three research journeys to India, where the conception and results of this practice unfolded.Doctor of Creative Arts (DCA)
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Chen, Tzu-miao, and 陳姿妙. "The Research of Paintings in Ming Dynasty at Baoning Temple, Shanxi－Based on Buddhist Images." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/76024891054063998810.
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碩士中國文化大學
藝術研究所
95
Water-land Rituals are the biggest and the most important Buddhist activities in Buddhist temples. People gather around to experience the spirit of Buddhism: help all creatures and save all the life in the world. Water-land paintings are the art works which are hung up when a “Water-land Ritual” is held. The contents of the paintings are mainly Buddha, Bodhisattva, Arhan, and Deva-Loka; the general public is also portrayed in the paintings. The paintings show all the life on earth in the universal view in Buddhism. It is a great pity that even though there are large amounts of Water-land paintings, only few researches are done on them. The 139 scrolls of Water-land paintings preserved in Baoning Monastery in Youyu County, Shanxi, are the best preserved set of this type of paintings ever found; they were beautifully made. Not only were the works completed in detail with great care, but also the colors were sophisticated. The contents of the paintings included three religions: Confucianism, Taoism, as well as Buddhism. Since the major topics of these paintings were clearly stated on top, these Water-land paintings provide significant directions for people nowadays and in the future to research on the art of Water-land paintings. The aim of this thesis is to discuss the contents of and the religious meanings behind the Water-land paintings preserved in Baoning Monastery. The comparison of styles of the pictures along with the origins of the fashion of the paintings will be made within this thesis. Moreover, we will also look into the backgrounds of this set of paintings, such as who the author might have been, or from which organization the paintings might have been done. Overall, this thesis is carried out in hope that we can all learn something about the art of Water-land paintings.
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Owen, Lisa Nadine. "Beyond buddhist and brahmanical activity: the place of the Jain Rock-Cut Excavations at Ellora." Thesis, 2006. http://hdl.handle.net/2152/2592.
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Yi, Lidu. "The Third-phase of the Yungang Cave Complex—Its Architectural Structure, Subject Matter, Composition and Style." Thesis, 2010. http://hdl.handle.net/1807/32963.
Full textAbstract:
Abstract
The Yungang Cave Complex in Shanxi province is one of the largest Buddhist sculpture repositories produced during the Northern and Southern Dynasties. This thesis argues that the iconographic evolution of the Yungang caves underwent three developing phases which can be summarized as the five Tan Yao Caves phase, the transitional period, and the sinicized third-phase under the reigns of five Northern Wei (386-534) emperors Wencheng 文成 (452-465), Xianwen 獻文 (466-471), Xiaowen 孝文(471-499), Xuanwu 宣武 (500-515) and Xiaoming 孝明 (516-528).
This dissertation studies the Yungang third-phase caves, namely those caves executed after the capital was moved from Pingcheng 平城 to Luoyang 洛陽in the year 494. It focuses primarily on what we call the western-end caves, which are composed of all the caves from cave 21 to cave 45, and as cave 5-10 and cave 5-11 are typical representations of the third-phase and even today are well preserved, they are also included in this study.
Using typology method, as well as primary literary sources, this study places the western-end caves in their historical, social and religious context while focusing on four perspectives: architectural lay-out, iconographic composition, subject matter and style of representation. It deals with such questions as: what these images represent, what is their connection with Buddhist literature, what is the origin of the style of the western-end caves, what is the relationship between sculpture and painting, what is the relationship between the monastic life and Buddhist art, what was the status of Yungang after the transfer of the capital to the south, and who were the patrons. This study sheds new light on the changes in the iconographic motifs over the time from the first-phase to the third-phase and constructs a timeline for the sequence of construction of the western-end caves.
The study also investigates the iconographical inter-relationship between the Yungang third-phase caves and those in the Longmen and to a lesser extent, the Gongxian complexes, as well as some relatively small caves in Shanxi province in order to trace the spread of the “Yungang Style.” This will map out the evolution in Buddhist iconographical style throughout the Central Plain of China.
Although the caves of the first two phases have been studied extensively, this study is the first comprehensive examination of the Yungang third-phase caves. It is also the first investigation of the interrelationship between the Yungang style and that of other sites such as Longmen and Gongxian, as well as individual caves in the Shanxi area. This work is based on a broad consultation of primary text material and, most importantly, on first hand site observations by the researcher, which are documented by an extensive photographic record.
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Chu, Pei-Ying, and 朱珮瑩. "Study of the Images of Buddhist Monks and Taoist Priests in Hua-Ben Novels of Ming and Ching Dynasties." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/78885178407277728646.
Full textAbstract:
碩士淡江大學
中國文學學系
92
In Chinese classics, Buddhist monks and Taoist priests are a group of people who took frequent appearance. Dated back in the Wei-Jin and the Southern and Northern Dynasties, the appearance of Buddhist monks and Taoist priests had already taken place. Although their appearance was not common, they gradually became the main characters in Novels, especially in Hua-Ben Novels of Ming and Ching Dynasties, and form a large personage group. Besides the new representations and story plots, they exhibited assessment of two extremes. The phenomenon proved the significance of the images of Buddhist monks and Taoist priests in literature and culture, and worth further study. In this vein, this study conducted overall and systematic analysis on the images of Buddhist monks and Taoist priests in the realm of Hua-Ben Novels. Although Buddhist monks and Taoist priests belong to different religious systems, and include both male and female practitioners, the commonality – practitioner was expounded as one group on the whole, but detailed when it was necessary. The purpose of this study was to discover the imbedded connotation from the superficial structure. In terms of study on Ming and Ching novels and sociological study, it is an area worth further attention. The structure and main contents of this paper are as follows: Chapter 1 Introduction explains the research motive and purpose, defines the scope of Ming and Ching Dynasties, literature materials, and research methodology. Chapter 2 discusses the evolution of the meaning of Buddhist monks and Taoist priests and the development of their images. First, the historical evolution of the terms “Buddhist monks” and “Taoist priests” were clarified to obtain accurate connotation. Secondly, the literature development of the images of Buddhist monks and Taoist priests was discussed based on the origin of literature image, as well as the difference of their images in classical Chinese and vernacular Chinese novels, and changes in the images. Chapter 3, based on the literature, defines the standard for classification and analyzes the types of Buddhist monks and Taoist priests, namely positive type, common type and negative type to discuss the characteristics of Buddhist monks and Taoist priests to probe into the deeper connotation. Chapter 4 discusses the relationship between Buddhist monks and Taoist priests in Ming and Ching literature to the society, and the effect of civilization of religions among the two, as well as the effect of the interaction of Buddhist monks and Taoist priests with various social levels. Chapter 5 probes into the artistic accomplishment of the images of Buddhist monks and Taoist priests in literature, and the advancement of personage representation in Ming and Ching literatures, the characteristics of the personage representation of Buddhist monks and Taoist priests in Ming and Ching literatures. The story plots of the images of Buddhist monks and Taoist priests were summarized to further deliberate on the function and meaning of their images in the model, in order to generalize the cultural significance of the images of Buddhist monks and Taoist priests. The phenomenon was presented on the Confucian standpoint, thus, the viewpoint was not entirely objective but fair enough. Chapter 6 Conclusion summarizes the key points of the study on the image of Buddhist monks and Taoist priests in Ming and Ching literature.
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Chen, Feng-yi, and 陳豐佾. "The Images of Guanyin Bodhisattva in the Journey to the West－From the Perspectives of Buddhist and Daoist Texts." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/87383276215203677857.
Full textAbstract:
碩士雲林科技大學
應用外語系碩士班
98
Guanyin plays an important role in the classic novel, The Journey to the West, but Guanyin’s importance in this novel has not been fully explored by the readers and scholars of The Journey to the West. Guanyin is most well-known in China for her compassion and in many manifestation stories, and she would come to people’s rescue as long as people call her name with great sincerity. In this paper, I will make a comparison and contrast of the description of Guanyin in The Journey to the West with the depiction of Guanyin in Buddhist texts to clarify the similarities and differences between Guanyin’s images in The Journey to the West and that in Buddhist Sutras and manifestation stories. I will also use Daoist materials to trace some of the possible origins of Guanyin image in The Journey to the West. Keywords: Guanyin, The Journey to the West, Buddhist, Daoist, Manifestation.