Relevant bibliographies by topics / Buddhist art

Academic literature on the topic 'Buddhist art'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Buddhist art"

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RAPIADI, RAPIADI, WISTINA SENERU, VIKE APRILIANIN MARWINTARIA SAPUTRI, PANNA PANNA, and ADI KRISTIANTO. "MEMPERKUAT IDENTITAS GENERASI BUDDHIS YANG UNGGUL BERLANDASKAN NILAI-NILAI BUDDHAYANA (BUDDHIS CAMP PEMUDA BUDDHAYANA SEPROVINSI NTB)." COMMUNITY : Jurnal Pengabdian Kepada Masyarakat 3, no. 2 (February 13, 2024): 46–53. http://dx.doi.org/10.51878/community.v3i2.2726.

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The Buddhist Camp activities for Buddhayana youth throughout NTB Province which will be held on 07–09 April 2023 at Vihara Jaya Wijya, North Lombok, West Nusa Tenggara, carry the theme "Strengthening the Identity of a Superior Buddhist Generation Based on Buddhayana Values". This theme was chosen because the young generation of Buddhists is the hope for the future of Buddhism. Buddhayana Youth Buddhist Camp throughout NTB Province is an activity that aims to strengthen the identity of a superior Buddhist generation based on Buddhayana values. carried out through a series of activities, such as Dharma classes, group discussions, and meditation. Participants are given a deep understanding of Buddhist teachings and empowered to apply them in everyday life. The result is young people who are more connected to religious values and are able to use Buddhayana as a moral foundation in their actions. Buddhist Camp participants are also given the opportunity to develop themselves through various activities, such as mindfulness and art. These activities can help participants to better understand themselves and their potential. Buddhist Camp participants are encouraged to practice Buddhist teachings in their daily lives. ABSTRAKKegiatan Buddhis Camp pemuda buddhayana se-Provinsi NTB yang diselenggarakan pada tanggal 07–09 April 2023 di Vihara jaya Wijya Lombok Utara, Nusa Tenggara Barat, mengusung tema "Memperkuat Identitas Generasi Buddhis yang Unggul Berlandaskan Nilai-Nilai Buddhayana". Tema ini dipilih karena generasi muda Buddhis merupakan harapan masa depan agama Buddha. Buddhis Camp Pemuda Buddhayana se-Provinsi NTB merupakan sebuah kegiatan yang bertujuan untuk memperkuat identitas generasi Buddhis yang unggul dengan landasan pada nilai-nilai Buddhayana. dilakukan melalui serangkaian kegiatan, seperti kelas Dharma, diskusi kelompok, dan meditasi. Peserta diberikan pemahaman mendalam terhadap ajaran Buddha dan diberdayakan untuk mengaplikasikannya dalam kehidupan sehari-hari. Hasilnya adalah pemuda yang lebih terkoneksi dengan nilai-nilai agama dan mampu menjadikan Buddhayana sebagai landasan moral dalam tindakan mereka.Peserta Buddhis Camp juga diberikan kesempatan untuk mengembangkan diri melalui berbagai kegiatan, seperti mindfulness, dan seni. Kegiatan-kegiatan tersebut dapat membantu peserta untuk lebih memahami diri sendiri dan potensinya.Peserta Buddhis Camp didorong untuk mempraktikkan ajaran Buddha dalam kehidupan sehari-hari.
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Blackburn, Anne M. "Buddhist Connections in the Indian Ocean: Changes in Monastic Mobility, 1000-1500." Journal of the Economic and Social History of the Orient 58, no. 3 (July 6, 2015): 237–66. http://dx.doi.org/10.1163/15685209-12341374.

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Since the nineteenth century, Buddhists residing in the present-day nations of Myanmar, Thailand, and Sri Lanka have thought of themselves as participants in a shared southern Asian Buddhist world characterized by a long and continuous history of integration across the Bay of Bengal region, dating at least to the third centurybcereign of the Indic King Asoka. Recently, scholars of Buddhism and historians of the region have begun to develop a more historically variegated account of Buddhism in South and Southeast Asia, using epigraphic, art historical, and archaeological evidence, as well as new interpretations of Buddhist chronicle texts.1 This paper examines three historical episodes in the eleventh- to fifteenth-century history of Sri Lankan-Southeast Asian Buddhist connections attested by epigraphic and Buddhist chronicle accounts. These indicate changes in regional Buddhist monastic connectivity during the period 1000-1500, which were due to new patterns of mobility related to changing conditions of trade and to an altered political ecosystem in maritime southern Asia.
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Syrtypova, S. Kh D. "Toward a Methodology for the Study of Buddhist Fine Art: (using an example of Zanabazar’s works)." Orientalistica 6, no. 3-4 (November 19, 2023): 534–47. http://dx.doi.org/10.31696/2618-7043-2023-6-3-4-534-547.

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The article provides a comparative analysis of different approaches to the study of Buddhist iconography and objects of religious art: scientific academic and traditional Buddhist. Their main goals and objectives, understanding of the fine art style in art history and the Buddhist tradition are considered. The possibility and necessity of using diverse sources of research, or rather, the complex and multidisciplinary principle of working with cult images of Buddhas, bodhisattvas and deities for the most profound and adequate understanding of them, as well as exhibiting them in a museum or other exhibition space, is argued. The ideal model for the development of such a research methodology, in the author's opinion, is the work of the greatest Buddhist master Gombodorjiin Zanabazar (1635–1723), who combined the qualities of both an artist, a highly educated Buddhist adept, spiritual mentor, and a ruler of the state. The types of written and other verbal sources, as well as the types of objects or visual sources that should be used to reveal the theme of Buddhist artistic creativity are considered. It was also made an attempt to formulate the most urgent tasks and promising directions for researchers of Tibeto-Mongolian Buddhists fine arts.
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Chiu, Chao Chi. "‘Bodhisattva Bodies’: Early Twentieth Century Indian Influences on Modern Japanese Buddhist Art." Arts 13, no. 4 (June 30, 2024): 114. http://dx.doi.org/10.3390/arts13040114.

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The first decade of the twentieth century marked a turning point for Japanese Buddhism. With the introduction of Western academia, Buddhist scholars began to uncover the history of Buddhism, and through their efforts, they discovered India as the birthplace of Buddhism. As India began to grow in importance for Japanese Buddhist circles, one unexpected area to receive the most influence was Japanese Buddhist art, especially in the representation of human figures. Some artists began to insert Indian female figures into their art, not only to add a sense of exoticism but also to experiment with novel iconographies that might modernize Buddhist art. One example included the combination of Indian and Japanese female traits to create a culturally fluid figure that highlighted the cultural connection between Japan and India. Other artists were more attracted to “Indianizing” the Buddha in paintings to create more historically authentic art, drawing references from both Indian art and observations of local people. In this paper, I highlight how developments in Buddhist studies in Japan led to a re-establishment of Indo–Japanese relationships. Furthermore, I examine how the attraction towards India for Japanese artists motivated them to travel abroad and seek inspiration to modernize Buddhist art in Japan.
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Dubey, Shobharam. "Buddhist Art Center of Bihar." RESEARCH HUB International Multidisciplinary Research Journal 9, no. 2 (February 20, 2022): 14–19. http://dx.doi.org/10.53573/rhimrj.2022.v09i02.003.

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Mahatma Buddha took birth in Lumbini, Nepal and spread Buddhism in Uttar Pradesh and Bihar. The remains of Buddhist architecture in the form of stupas, chaityas and Bihar are spread over the states of Uttar Pradesh, Madhya Pradesh, Bihar, Maharashtra and Andhra Pradesh in the form of Buddhist art centers of India. The state of Bihar has been the abode of Buddha. Bodh Gaya situated here is famous for the Buddha's enlightenment. Among the famous Buddhist art centers of Vihara state, Laurianandangarh, Rajgir, Nalanda, Bodh Gaya and Vaishali are the main ones. Abstract in Hindi Language: लौरियानन्दनगढ़, राजगीर, नालन्दा, बोधगया, वैशाली।
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Juwarso, Tata Ananta Nur, Dwi Sagitha Febrianti, Misdayanti, and Sulaiman. "Buddhist Economic: For Student Creativity Program in Entrepreneurship by Catera Zebuart Product." International Journal of Science and Society 4, no. 2 (July 4, 2022): 299–308. http://dx.doi.org/10.54783/ijsoc.v4i2.472.

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Several sources of primary Buddhist scriptures, secondary literature, and scientific articles were examined to find out what economic system was derived from the teachings of Buddhism described by Gautama Buddha. The principles of Buddhist economics are investigated from the personal and social ethics of the Buddhists that underlie the system. An economic system that adheres to Buddhist moral norms, and attitudes towards property and wealth that inspire in economic endeavors in particular entrepreneurial behavior. The method used is systematic content analysis. Entrepreneurship based on Buddhist values ​​is also analyzed to be applied in the Student Creativity program in the field of Entrepreneurship. Generosity which is the principle of Buddhist economics in this study is also applied. Through an institution approved by the Directorate General of Buddhist Community Guidance together with the Directorate of Taxes, the Ministry of Finance, six formal institutions similar to the Amil Zakat Agency in Islamic Religious Institutions were obtained. Meanwhile, the selected product is based on the creative economy in the form of a conscious work of art called Catera Zebuart.
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Stiller, Maya. "Precious Items Piling up Like Mountains: Buddhist Art Production via Fundraising Campaigns in Late Koryŏ Korea (918–1392)." Religions 12, no. 10 (October 15, 2021): 885. http://dx.doi.org/10.3390/rel12100885.

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Considering visual culture alongside written source material, this article uncovers the socioeconomic aspect of Korean Buddhist monastic life, which has been a marginalized field of research. Arguing against the idea of an “other-worldly” Buddhism, the article specifically discusses the ways in which Buddhist monasteries conducted fundraising activities in late Koryŏ period (918–1392 CE) Korea. Via fundraising strategies, which targeted wealthy aristocrats as well as the commoner population, Buddhist monks managed the production and maintenance of Buddhist material culture, such as the construction of shrines, the casting of precious sculptures, and the carving of thousands of woodblocks used for the printing of sacred Buddhist scriptures. While the scholarship on Koryŏ Buddhism has traditionally focused on meditation, doctrine, state sponsored rituals, and temples’ relationships with the royal court, this study expands the field by showing that economic activities were salient features of Koryŏ Buddhism “on the ground.” By initiating and overseeing fundraising activities, Buddhist manager-monks not only gained merit, but also maintained the presence and physical appearance of Buddhist temples, which constitute the framework of Buddhist ritual and practice.
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Trenson, Steven. "Buddhism and Martial Arts in Premodern Japan: New Observations from a Religious Historical Perspective." Religions 13, no. 5 (May 13, 2022): 440. http://dx.doi.org/10.3390/rel13050440.

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This article investigates two issues regarding the Buddhism of premodern Japanese martial arts. The first issue concerns the historical channels through which Buddhist elements were adopted into martial lineages, and the second pertains to the general character of the Buddhism that can be found in the various martial art initiation documents (densho). As for the first issue, while previous scholarship underscored Shugendō (mountain asceticism) as an important factor in the earliest phases of the integration process of Buddhist elements in martial schools, this study focuses on textual evidence that points to what is referred to as “medieval Shinto”—a Shinto tradition that heavily relied on Esoteric Buddhist (Mikkyō) teachings—in scholarship. Regarding the second issue, although numerous studies have already shown the indebtedness of premodern martial schools to Buddhist teachings drawn mainly from the Esoteric Buddhist or Zen traditions, this article sheds more light on the nature of these teachings by drawing attention to the fact that they often emphasize the Buddhist thought of isshin or “One Mind”. The article illustrates how this thought was adopted in premodern martial art texts and in doing so clarifies the reasons why Buddhism was valued in those arts.
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Haitov, Eshmamat. "BUDDHIST ART MONUMENTS IN UZBEKISTAN." CURRENT RESEARCH JOURNAL OF HISTORY 02, no. 05 (May 20, 2021): 1–5. http://dx.doi.org/10.37547/history-crjh-02-05-01.

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Liu, Xiaodan, Huiwen Xia, Tao Ma, and Qi Dang. "The evolution and spread of the image of "Nagas Bathing Siddhartha" in Buddhism Art." Trans/Form/Ação 46, spe (2023): 263–84. http://dx.doi.org/10.1590/0101-3173.2023.v46esp.p263.

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Abstract: The image of the “Nagas Bathing Siddhartha”, an important theme in Buddhist art, was produced in India and has appeared successively in Xinjiang, Gansu, Qinghai, Shanxi, Shaanxi, Henan, Shandong, Jiangsu, Sichuan, Tibet and other places in China during the process of Buddhism spreading to the east. However, its forms and contents differ in different regions and different periods. Therefore, it is conducive to understand the sinicization process of Indian Buddhist art and can deepen the understanding of the specific contents of Buddhist art exchanges to study the differences. The innovative point of view of this paper is that the distribution of “Nagas Bathing Siddhartha” is “regional,” and the variation of its style reflects the route and regional characteristics of Buddhist transmission.
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Dissertations / Theses on the topic "Buddhist art"

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

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This thesis explores the impact of meditation on art practice. Its basic hypothesis is that Buddhist meditation can expand creative capacity by enabling the practitioner to transcend the limits of everyday sense experience and consciousness. Artists engaging in meditation develop a closer, more aware relationship with their emptiness mind (kongxin), freeing them from preconceptions and contexts that limit their artistic creation. Because this practice-led research focuses on how to expand one‘s freedom as an artist, I use two models to explore studio practice, then compare and contrast them with my own prior approach. A year-by-year methodology is followed, as artistic practice develops over time. The first model is studio practice in the UK, the second is Buddhist meditation before artistic activity. The research took place over three years, each representing a distinct area. Accordingly, in area 1 (the first year), I compared studio art practice in the UK with post-meditation art practice; in area 2 (the second year), I compared studio art practice in the UK with prostration practice at Bodh-gaya, India plus meditation before act activity; in area 3 (the third year), I compared studio art practice in the UK with entering a month-long meditation retreat in Taiwan before practicing art. By Buddhist meditation I refer more specifically to insight meditation, which K. Sri Dhammananda has described as follows: Buddha offers four objects of meditation for consideration: body, feeling, thoughts, and mental states. The basis of the Satipatthana (Pāli, refers to a "foundation" for a "presence" of mindfulness) practice is to use these four objects for the development of concentration, mindfulness, and insight or understanding of our-self and the world around you. Satipatthana offers the most simple, direct, and effective method for training the mind to meet daily tasks and problems and to achieve the highest aim: liberation. (K. Sri II Dhammananda 1987:59) In my own current meditation practice before art practice, I sit in a lotus position and focus on breathing in and breathing out, so that my mind achieves a state of emptiness and calm and my body becomes relaxed yet fully energized and free. When embarking on artistic activity after meditation, the practice of art then emerges automatically from this enhanced body/mind awareness. For an artist from an Eastern culture, this post-meditation art seems to differ from the practices of Western art, even those that seek to eliminate intention (e.g. Pollock), in that the artist‘s action seem to genuinely escape cogito: that is, break free of the rational dimensions of creating art. In my training and development as a studio artist, I applied cogito all the time, but this frequently generated body/mind conflict, which became most apparent after leaving the studio at the end of the day: I always felt exhausted, and what was worse, the art that I created was somehow limited. However, my experience was that Buddhist meditation, when applied before undertaking art practice, establishes body/mind harmony and empties the mind. For this artist at least, this discovery seemed to free my art as it emerged from emptiness through the agency of my energized hand. It was this, admittedly highly personal, experience that led me to undertake the research that informs this thesis.
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Vignato, Giuseppe. "Chinese transformation of Buddhism the case of Kuan-yin /." Theological Research Exchange Network (TREN), 1993. http://www.tren.com.

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

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

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This thesis considers whether a Buddhist statue in a museum context can be both aesthetic and devotional. By reexamining the relationship between a devotional object, its surrounding space, and its viewer, this thesis will suggest how a museum gallery, though not a consecrated ritual space, can still potentially be a place for spiritual engagement akin to a religious sanctuary. Through a comparison of Gallery 16 of the Asian Art Museum, San Francisco and Mengjia Longshan Temple, Taipei, Taiwan as a case study in terms of their spaces and the movement of people within the space in relation to the objects, this thesis will consider how Buddhist statues may continue to exist as spiritual objects and works of aesthetic appreciation without losing their past as devotional icons, and I will do this by applying Victor Turner’s concepts of liminality and the liminoid.
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Mukdamanee, Vichaya. "(De)contextualising Buddhist aesthetics." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:ee1e2b7f-1c97-40ec-be69-160a3a35cf03.

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'(De)contextualising Buddhist Aesthetics' is a practice-led artistic research project focusing on the interchanging transition between Buddhist and artistic practices. Essentially inspired by the concept of vipassana meditation, I created a series of performances involving repetitive actions centring on the tasks of re-arranging readymade objects into multiple precarious configurations. Many exercises challenge the laws of gravity and other physical limitations of objects, as well as encouraging the learning experience through the process of trial and error. During the course of mindful observation of the performing body and objects, the mental state gradually gains moments of stillness and silence, which approach the meaning of emptiness (suññata) in Buddhism. Repeated failures generate intermittent feelings of exhaustion and disappointment, which naturally become part of the progress, and can be personally used to develop insight into the notions of impermanence and the non-self derived from dhamma (Buddhist teachings). The video and photography documentations were edited and altered to generate a visual experience that echoes my thoughts and feelings developed during the proceedings; these moving images later inspired other series of hand-made artworks, including collages, drawings and paintings on paper and canvas, exhibited as part of the installations. Various techniques were applied so these objective components resonate a comparative experience of uncontrollability and controllability: dynamic and stillness, fast pace and slow rhythm, abstract and representation. Some two-dimensional pieces are transformed to three-dimensional and their displays keep changing from location to location, and from time to time, in conjunction with an unstable state of the mind. All artworks were created in various formats and interrelate and inform each other. They act together as evidence of the endless journey of artistic learning, which also mirrors the concept of self-learning in Buddhist meditation.
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Lingley, Kate Alexandra. "Widows, monks, magistrates, and concubines social dimensions of sixth-century Buddhist art patronage /." Click to view the dissertation via Digital dissertation consortium, 2004.

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

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

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

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Books on the topic "Buddhist art"

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Service, Korean Overseas Information, ed. Korean Buddhist art. Seoul, Korea: Korean Overseas Information Service, 1986.

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editor, Gunton Gabrielle, and Chalk Bella illustrator, eds. Tibetan Buddhist art. London: Quartet Books Limited, 2019.

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1931-, Mittal Kewal Krishan, and Agrawal Ashvini, eds. Buddhist art and thought. New Delhi: Harman Pub. House, 1993.

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Grünwedel, Albert. Buddhist art in India. New Delhi: Asian Educational Services, 1999.

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Museum, Asia Society, ed. Pilgrimage and Buddhist art. [New York]: Asia Society, 2010.

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Rama. Buddhist art of Nāgārjunakoṇḍa. Delhi: Sundeep Prakashan, 1995.

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Proser, Adriana G. Pilgrimage and Buddhist art. [New York]: Asia Society, 2010.

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Rao, Vinay Kumar. Buddhist art of Pagan. Delhi: Agam Kala Prakashan, 2011.

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Bhirasri, Silpa. Thai Buddhist art (architecture). 6th ed. Bangkok, Thailand: Fine Arts Dept., 1988.

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G, Proser Adriana, and Asia Society Museum, eds. Pilgrimage and Buddhist art. New Haven: Yale University Press, 2010.

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Book chapters on the topic "Buddhist art"

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Löwner, Gudrun. "Buddhist-Christian Dialogue in Art." In The Routledge Handbook of Buddhist-Christian Studies, 323–36. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003043225-32.

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Wang, Michelle C. "Buddhist Art and Architecture in East Asia." In The Wiley Blackwell Companion to East and Inner Asian Buddhism, 424–43. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118610398.ch21.

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Zhang, Ellen Y. "Motherhood and Reproduction: ART from a Buddhist Perspective." In Religion and Human Rights, 41–53. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-86938-0_5.

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Lefferts, Leedom. "Textiles and Social Action in Theravada Buddhist Thailand." In A Companion to Asian Art and Architecture, 48–69. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444396355.ch3.

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"Buddhist Art." In Buddhism and Jainism, 291. Dordrecht: Springer Netherlands, 2017. http://dx.doi.org/10.1007/978-94-024-0852-2_100162.

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Lopez, Donald S. "Tibetan Buddhism." In Treasures of Tibetan Art, 19–30. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195097139.003.0002.

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Abstract The influence of Buddhism on Tibet since its introduction in the seventh century has been profound, serving as a catalyst for developments in almost every facet of the Tibetan world: in art, with the development of the Tibetan painted scroll; in architecture, with the design of temples, monasteries, and stupas; in politics, with the institution of the Dalai Lama; in social structure, with a large segment of the male population becoming celibate monks; in language, with the creation of the Tibetan script for the purpose of translating Buddhist scriptures; in literature, with the composition of thousands of Buddhist texts in a vast variety of genres; and, of course, in religion. In this essay I will briefly outline the history of Buddhism in Tibet, before going on to discuss some of the fundamental doctrines of Tibetan Buddhism, doctrines reflected so vividly in the Jacques Marchais collections.It is important to understand at the outset that the majority of Tibetan Buddhist beliefs and doctrines are shared by Buddhists throughout Asia. Buddhism has both changed the cultures it has encountered and been changed by them, so that we speak of Indian Buddhism, Chinese Buddhism, Japanese Buddhism, and so on. Tibetan Buddhism is one of the major forms of Buddhism in Asia, with its influence extending far beyond the borders of Tibet, to the Kalmyk region of Russia near the Caspian Sea in the west, to Siberia in the north, to Mongolia, China, and Manchuria in the east, and to the Sherpa regions of Nepal in the south. This religious tradition is properly referred to as Tibetan Buddhism, rather than Lamaism, an anachronistic and pejorative term that mistakenly suggests that the religion of Tibet is not Buddhism. It is, therefore, perfectly acceptable to refer to the Mongols, for example, as Tibetan Buddhists, much as one might say that the Spanish are Roman Catholics.Buddhist thought, practice, and institutions were imported into Tibet beginning in the seventh century, most importantly from India. From that point, Buddhism in Tibet developed rapidly, with the early centuries marked by contacts with influential Buddhist
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MKRTYCHEV, TIGRAN. "Buddhism and Features of the Buddhist Art of Bactria-Tokharistan." In After Alexander: Central Asia before Islam. British Academy, 2007. http://dx.doi.org/10.5871/bacad/9780197263846.003.0024.

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This chapter examines Buddhism and the features of the Buddhist art in the Bactria-Tokharistan region of Central Asia. The findings indicate that Buddhism spread to Bactria in the Kushan period because of the support of the Kushan nobility. During the first to third centuries there was a considerable growth of Buddhist art, mainly that of the monumental variety. Most of the work on the decoration of Buddhist monuments at that time was undertaken by professional artists who did not belong to the Buddhist community.
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"Evolution of Buddhist Art." In Proceedings of the XXII World Congress of Philosophy, 53–58. Philosophy Documentation Center, 2008. http://dx.doi.org/10.5840/wcp22200861103.

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Naz, Fozia. "Buddhist art of Gandhāra:." In Gandhāran Art in Its Buddhist Context, 77–87. Archaeopress Publishing Ltd, 2023. http://dx.doi.org/10.2307/jj.15135946.11.

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"4. The Secret Art of Dying." In The Buddhist Dead, 134–74. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824860165-007.

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Conference papers on the topic "Buddhist art"

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Yang, Xuelan. "Landscape Art in Chinese Buddhist Temples." In 2017 International Conference on Sports, Arts, Education and Management Engineering (SAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/saeme-17.2017.61.

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Tanabe, Tadashi. "The transmission of Dionysiac imagery to Gandhāran Buddhist art." In Third International Workshop of the Gandhāra Connections Project. Archaeopress Archaeology, 2020. http://dx.doi.org/10.32028/9781789696950-5.

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Li, Jian, and Hong Yu. "Analysis on Pedigree Sorting, Activation and Utilization of Buddhist Cultural Heritage of Three Hills and Five Gardens Buddhist." In 2022 3rd International Conference on Language, Art and Cultural Exchange（ICLACE 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220706.036.

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Huang, Yu-Hsiung, and Su-Chu Hsu. "The Creative Design and Social Service Practice of zen_Farm." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-65-full-huang-et-al-zen-farm.

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We developed "zen_Farm" through waste recycling and makers, with the aim of guiding people to practice how to calm their minds. Utilize the concept of "Every drop of calm water makes all things green" to remind the world to cherish the natural environment and live in peace with all things. The main purpose of zen_Farm is to emphasize the calmness and concentration of "Mind Meditation". Its special feature is that people use the stability of their heartbeats to drive the water source of zen_Farm. In recent years, the world has gradually developed a new form of creative community that combines digital media to gather community awareness and improve the current situation of the community, which can bring new energy and stimulate new thinking in urban areas. We practically integrate zen_Farm into social practice, including: (1) The installation is located at Dharma Drum Mountain, the most important Buddhist unit in Taiwan. Let the Buddhist masters in the park use the concept of plant irrigation to reflect the natural environment to be sustainable and green. Guide them to finally become one with nature. (2) The installation was installed at Shakeng Elementary School in Taiwan, allowing students to renovate the campus together and irrigate the plants through their own heartbeats to create a common memory on the campus. The zen_Farm is not only an interactive installation art work made by makers, it makes the campus of Buddhist parks and rural schools more friendly and beautiful, and it also supports the concept of environmental protection. We also hope to achieve the long-standing goal of digital art creators - "Media Transparency" through the creative design and social practice of zen_Farm. Participating in meditation activities can connect the emotional memories of the community together and establish a shared memory in the campus.
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Xiaoshu, Li, Mohd Johari Mohd Yusof, Ser Hiong, Velu Perumal, and Wang Xiufeng. "Background Study of Chinese Buddhist Grotto Statue Art using SLR." In Proceedings of the 2nd International Conference on Design Industries & Creative Culture, DESIGN DECODED 2021, 24-25 August 2021, Kedah, Malaysia. EAI, 2022. http://dx.doi.org/10.4108/eai.24-8-2021.2315234.

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Li, Jiahao. "Discussion on the Sinicization of the Art of Buddhist Sutra Illustration." In 2021 Conference on Art and Design: Inheritance and Innovation (ADII 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220205.015.

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Kongdee, Nop, and Suparada Prapawong. "The Creation of Contemporary Character of Lord Wessuwan in Buddhist Art." In 2022 Joint International Conference on Digital Arts, Media and Technology with ECTI Northern Section Conference on Electrical, Electronics, Computer and Telecommunications Engineering (ECTI DAMT & NCON). IEEE, 2022. http://dx.doi.org/10.1109/ectidamtncon53731.2022.9720369.

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Ye, Ting. "The Buddhist Narration in Chen Ruoxi’s “The Lotus of Wisdom”." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.048.

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Yan, Li. "The Development of Chinese Buddhist Music and Its Interaction with Folk Music." In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.38.

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Wang, Xiaohong. "A Brief Discussion on the Buddhist Literature and Art of the Tang Dynasty." In 6th International Conference on Social Science, Education and Humanities Research (SSEHR 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/ssehr-17.2018.51.

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Reports on the topic "Buddhist art"

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Seneviratne, Kalinga. Exploring the role of Buddhist monks’ and nuns’ engagement in community development as catalysts for social change and sustainable development in Lao People’s Democratic Republic: A case study of the Buddhism for Development Project at Ban Bungsanthueng, Nongbok District, Khammouane Province, by Toung Eh Synuanchanh. Unitec ePress, November 2018. http://dx.doi.org/10.34074/thes.revw4499.

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The topic of this research report is an important one in the context of Asia’s rapid economic development in recent years, and the need to rethink development policy and especially methodologies of development communications, so the mistakes of the past will not be replicated. Thus, the study is an important initiative at this period of time. The research takes as a case study the Buddhism for Development Project (BDP) implemented at Ban Bungsanthueng village in the Khammouane Province by its Buddhist Volunteer Spirit for Community network (BVSC network). The fieldwork took place at the BDP’s training centre in Vientiane and the Buddhist initiatives at Ban Bungsanthueng. The research demonstrates how the BDP and its network apply participatory approaches through interpersonal communication, such as sermon delivery, Dhamma (Buddhist teachings) talk, and daily interaction with villagers and project members.
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Editors, Intersections. Everyday Religion and Sustainable Environments in the Himalayas. Intersections, Social Science Research Council, February 2024. http://dx.doi.org/10.35650/int.4046.d.2024.

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This article describes the multi-year effort by the India and China Institute at the New School to study the practice of Hinduism, Buddhism, Jainism, Sikhism, and the indigenous Bon tradition of Tibet by Himalayan populations.
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Yilmaz, Ihsan, and Nicholas Morieson. Civilizational Populism Around the World. European Center for Populism Studies (ECPS), July 2022. http://dx.doi.org/10.55271/pp0012.

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This article addresses an issue of growing political importance: the global rise of civilizational populism. From Western Europe to India and Pakistan, and from Indonesia to the Americas, populists are increasingly linking national belonging with civilizational identity—and at times to the belief that the world is divided into religion-based civilizations, some of which are doomed to clash with one another. As part of this process, Hinduism, Buddhism, Islam, and Christianity have all been commandeered by populist parties and movements, each adept at using the power of religion—in different ways and drawing on different aspects of religion—to define the boundary of concepts such as people, nation, and civilization.
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You might also be interested in the extended bibliographies on the topic 'Buddhist art' for particular source types:
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