Relevant bibliographies by topics / Buddhist art objects Thailand

Academic literature on the topic 'Buddhist art objects Thailand'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Buddhist art objects Thailand"

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Cassaniti, Julia L. "Moralizing emotion: A breakdown in Thailand." Anthropological Theory 14, no. 3 (August 6, 2014): 280–300. http://dx.doi.org/10.1177/1463499614534551.

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Emotional practices serve as privileged sites for moral action in a Buddhist community in Northern Thailand. In this article I draw out some of the theoretical implications of this emphasis for the study of morality, combining an anthropological focus on moments of moral breakdown with a psychological claim about the importance of emotion in moral practice. I do this through a case of emotions experienced surrounding a Northern Thai man afflicted with a severe alcohol-related illness. I trace the emotions experienced by the man, his friends, and his family during this difficult time, and analyze the ways in which their emotions are moralized within their community. Contrasting these emotions with quite different reactions raised by the same situation by members of a nearby Christian Karen community, I show how such emotions are broadly connected to locally constructed religious ideas about the value of calmness and the letting go of affective attachments. Through this study I argue that emotions provide new evidence for culturally variable expressions of morality, less as the underpinning of moral judgments and more as objects of moral assessments, and in doing so suggest a new theoretical and methodological domain for the anthropological study of morality.
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Krairiksh, Piriya. "Re-visioning Buddhist art in Thailand." Journal of Southeast Asian Studies 45, no. 1 (January 10, 2014): 113–18. http://dx.doi.org/10.1017/s0022463413000635.

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The Asian Civilisations Museum, Singapore, is to be congratulated for organising a splendid exhibition of Thai Buddhist art entitled ‘Enlightened ways: The many streams of Buddhist art in Thailand’, which ran from 30 November 2012 to 17 April 2013, and for publishing the exhibition catalogue as well as a separate monograph, Buddhist storytelling in Thailand and Laos, which elucidates the long cloth scroll depicting the story of Prince Vessantara on display at the exhibition.
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Singsu, Santi, and Metta Sirisuk. "The Development of Contemporary Buddhist Art in Northeastern Thailand." International Journal of Religion and Spirituality in Society 10, no. 4 (2020): 25–35. http://dx.doi.org/10.18848/2154-8633/cgp/v10i04/25-35.

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Lee, Seunghye. "Korea's First Museum and the Categorization of “Buddhist Statues”." Sungkyun Journal of East Asian Studies 21, no. 1 (May 1, 2021): 51–81. http://dx.doi.org/10.1215/15982661-8873892.

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Abstract The establishment of a museum in the precinct of Ch'anggyŏnggung Palace in 1909 marked an important moment in the historiography of Korean art. Although recent studies have examined the founding, organization, and financing of the first Korean museum, the formation of its Buddhist art collection and its historical implications remain unexamined. Given that not a single Buddhist temple was allowed to exist within the capital city, the entry of these objects into the palace demonstrates a radical paradigm shift in the royal court's relation to Buddhist icons. The museum's Buddhist art collection reveals what was available in the art market of the time and what was considered worthy of being collected in a royal museum. Through close examination of Korea's first museum and its collection, this study traces the recontextualization of religious icons into art objects and the historical implications behind the category of “Buddhist statues.”
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Husarski, Roman. "Moral Entertainment – The Buddhist Hell Parks of Thailand." Studia Religiologica 54, no. 3 (December 1, 2021): 195–216. http://dx.doi.org/10.4467/20844077sr.21.013.16550.

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Visiting Hell parks is a popular pastime in contemporary Thailand. Situated near Buddhist temples, these gruesome sculpture gardens depict the Buddhist vision of Hell. These grotesque and violent sculptures are usually seen as an oddity and a form of low art. Perhaps for this reason, they are rarely studied by scholars. This article focuses on the parks as modern entertainment. Usually found in rural areas, these spots try to answer the challenges of the commercialisation and globalisation of Thai society. A detailed analysis of four Hell parks, Wang Saen Suk, Wat Pa Lak Roi, Wat Pa Non Sawan and Wat Pa Thewapithak, shows that these religious amusement parks serve not only as means of entertainment but are also places of Buddhist morality.
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Chapakdee, Thanom. "Art of Engagement: Visual Art of Thailand in Global Contexts." International Journal of Creative and Arts Studies 3, no. 1 (December 29, 2017): 21. http://dx.doi.org/10.24821/ijcas.v3i1.1832.

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This paper on the topic of Art of Engagement: Visual Art of Thailand in Global Contexts, attempts to explore that “global contexts” is transformed because of the impacts rapid change in economics, politics, society and culture. Globalization based on the notion of Global art and transform Thai art scene into the state of international art movement such as Installation art, Performance art, Community art, i.e. these movement becomes the mainstream of art since 1980s. This kind of movement which artist has created the art objects, space, time and sphere as a model of sociability which audiences can participate with people in community as relational art practice. The relational art becomes the space of exchange and participants can share experienced of taste, aesthetic, criticism which it’s related to art objects and sphere of community. This paper will explains that relational art is in the process of art of engagement. That is why art has become the community engagement which art objects and practical based are of the relational art and relational aesthetics.
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Virunanont, Pannee. "Traditional Intricate Paper Cutting Techniques of Southern Thailand: Background, Beliefs, and Cultural Animation of Thai Buddhist Culture." Manusya: Journal of Humanities 23, no. 1 (March 21, 2020): 60–85. http://dx.doi.org/10.1163/26659077-02301004.

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Intricate paper cutting of Southern Thailand is a traditional folk art, which is passed down from one generation to another. However, there are no detailed studies or records of the historical backgrounds, beliefs, and cultural animation of Thai-Buddhist culture in Southern Thailand concerning this folk art. This study, therefore, aims to examine this art form in Songkhla and Nakhon Sri Thammarat provinces, which have their own cultural identities. The goal is to register this art form as a part of cultural heritage. The compilation of vital data includes (1) paper characteristics, (2) paper engraving methods, (3) colours, (4) instruments, (5) pattern designing, (6) purposes of the arts, (7) origins and history, and (8) knowledge of transferring methods. The findings reveal the origins of the beliefs and Buddhist faith of the community. The intricate paper cutting techniques are still maintained in the form of decorations found at auspicious events, festivals, and cultural ceremonies in every region of Thailand. The techniques of this art form are in decline but its use still prevails in community life, remaining favourites at auspicious festivities and cultural events for the sake of conserving distinct identities.
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Rana, Poonam R. L. "Symbolism behind Art and Colour denoted on the Buddhist Prayer Flags." SIRJANĀ – A Journal on Arts and Art Education 6, no. 1 (December 1, 2019): 54–61. http://dx.doi.org/10.3126/sirjana.v6i1.39673.

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Sacred Prayer Flags of different colours and symbols are not just decorative pieces. Symbols have more deeper meaning and the attached intangible beliefs than their mere outer creativity. Each and every colour and objects symbolizes good fortune, health, happiness, protection. The prayer flags are very sacred, because they contain texts from the holy sutras termed as 'mantras' and symbols that should be respected. Hence the painted or printed objects and colours are of great values to humanity.
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Shandyba, Sergey V. "From Temple to Household Altar (Butsudan and Zushi in Japanese Culture)." Study of Religion, no. 3 (2019): 43–52. http://dx.doi.org/10.22250/2072-8662.2019.3.43-52.

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The article focuses on one of the most important Buddhist sacred objects of Japanese religion known as household altar (butsudan) as well as the miniature icon case (zushi) which has genetic relation with the latter. These objects are the most typical examples of religious art in Japan. Aside from their major religious significance in Japanese culture, various religious ideas and many skillful techniques were incorporated to them that transform them into wonderful works of art. The Buddhist family altar is one of the most peculiar objects that characterize Japanese religiosity. This paper examines some issues of the origin, development and existence of a Buddhist altar. It is the center of family worship and devotional activities in Japan, as an important communication tool between this world and the world of the afterlife; it also produces a sense of continuity between the generations, e.g. when people report to the ancestors events related to the living members of the family. In Japan, where religion is increasingly observed critically, religious practices centered on the Butsudan are one of the country’s most enduring social and religious traditions.
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Won-In, Krit, Sorapong Pongkrapan, and Pisutti Dararutana. "Raman Spectroscopic Study on Decorative Glasses in Thailand." Advanced Materials Research 324 (August 2011): 501–4. http://dx.doi.org/10.4028/www.scientific.net/amr.324.501.

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Glasses have been used as decorative objects in Thailand for several hundred years. Decorative glasses can generally be seen as architectural components in old styled palaces and Buddhist objects. There were various colors ranging from transparent to amber, blue, green and red with different shades among glass of different colors. Fragments of archaeological glass samples were characterized for the first time using Raman microscopy with the aim of obtaining information that would lead to identification of the glass samples by means of laser scattering. The samples were also investigated using other techniques, such as particle induced X-ray emission spectroscopy and scanning electron microscope operated with energy dispersive X-ray fluorescence spectrometer. They were mostly lead-silica based glasses. The colors resulted from metal ions. The difference in chemical composition was confirmed by Raman signature spectra.
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Dissertations / Theses on the topic "Buddhist art objects Thailand"

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Hall, Rebecca Sue. "Of merit and ancestors Buddhist banners of Northern Thailand and Laos /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1694502661&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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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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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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Bayle, Beatrice. "Conserving mural paintings in Thailand and Sri Lanka : conservation policies and restoration practice in social and historical context /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7144.

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Clarke, Wesley S. "Return to P'ong Tuk: Preliminary Reconnaissance of a Seminal Dvaravati Site in West-central Thailand." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1321396671.

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Books on the topic "Buddhist art objects Thailand"

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McNair, Scott Miriam, ed. Buddhist sculpture of Northern Thailand. Chicago: Buppha Press, 2004.

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Burmese crafts: Past and present. Kuala Lumpur: Oxford University Press, 1994.

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Dhammasiri, Kandarapanguwe. The Buddha images and pagodas in Thailand. Bangkok, Thailand: Mahachulalongkorn Rajavidyalaya Buddhist University Press, 1991.

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Images of the Buddha in Thailand. Singapore: Oxford University Press, 1989.

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Ta zhong de mi mi: Fo bao. Shanghai: Shanghai wen yi chu ban she, 2003.

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Khōsitphiphat, Chalœ̄mchai. Creating Buddhist art for the land. Bangkok: Amarin Printing and Publishing, 2005.

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Blessing power of the Buddhas: Sacred objects, secret lands. Shaftesbury, Dorset: Element, 1993.

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Ruhr, Kulturstiftung, and Ausstellung Tibet - Klöster Öffnen Ihre Schatzkammern (2006, Essen), eds. Tibet: Klöster öffnen ihre Schatzkammern. Essen: Kulturstiftung Ruhr, 2006.

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Phraphuttharūp khūbān khūmư̄ang =: The sacred Buddha images of Thailand. Krung Thēp: Samnakphim Thiphākō̜n, 2004.

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Kungnip Kyŏngju Pangmulgwan: Gyeongju National Museum. Sŏul Tʻŭkpyŏlsi: Tʻongchʻŏn Munhwasa, 2002.

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Book chapters on the topic "Buddhist art objects Thailand"

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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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Jilek-Aall, Louise, and Wolfgang G. Jilek. "Buddhist Temple Treatment of Narcotic Addiction and Neurotic-Psychosomatic Disorders in Thailand." In Psychiatry The State of the Art, 673–77. Boston, MA: Springer US, 1985. http://dx.doi.org/10.1007/978-1-4757-1853-9_107.

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Chirapravati, M. L. Pattaratorn. "Development of Buddhist Traditions in Peninsular Thailand: A Study Based on Votive Tablets (Seventh to Eleventh Centuries)." In Studies in Southeast Asian Art, edited by Nora A. Taylor, 172–93. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501732584-012.

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Shen, Hsueh-Man. "Between One and Many: Multiples, Multiplication and the Huayan Metaphysics." In Proceedings of the British Academy Volume 181, 2010-2011 Lectures. British Academy, 2012. http://dx.doi.org/10.5871/bacad/9780197265277.003.0008.

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Modern art history practice often treats Buddhist icons or ritual objects as unique objects, focusing on their originality and uniqueness. This text investigates how the paradoxical Buddhist doctrine of ‘the one and the many’ was translated into visual language through manipulation of the relationship between copies and the original. It analyses the different tactics and strategies formulated around given socio-historical frameworks to visualise the notion of infinity, and ultimately the structure of the universe, and suggests that multiple copies of a single design were more potent a vehicle than single objects in expressing ideas related to the Buddhist metaphysics.
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Chiu, Angela S. "Buddha Images as Objects of Transferrable Power." In The Buddha in Lanna. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824858742.003.0007.

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Modern scholars explain the development of Thai Buddhist art as driven by a long-standing tradition of copying revered models. Nonetheless, how people of the past determined which models to copy has been deliberated by only by a handful of scholars. The work of A. B. Griswold, M.L. Pattaratorn Chirapravati, Piriya Krariksh and Stanley Tambiah indicates the interplay of doctrine, politics and prestige which influenced which Buddha images were most revered and copied. Evidence from chronicles shows that powerful statues were not visually distinctive, a positive characteristic that facilitated copying. Images were usually described by their material, weight and size, which reflect the donor’s financial outlay and therefore merit-generating potential of the image. The limited set of iconographies facilitated the comparison of statues in this monastic ‘economy’ of donation and merit exchange. Though the Buddha image was ‘singularized’ by its enshrinement, it was still understood as a ‘commoditized’ object.
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Medhekar, Anita, and Farooq M. Haq. "Promoting Trade and Economic Relations via Buddhist Spiritual Tourism Circuit Between India and Southeast Asia." In Evaluating Trade and Economic Relations Between India and Southeast Asia, 167–85. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-5774-7.ch009.

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Spiritual tourism is one of the oldest forms of tourism. The purpose of this chapter is to review the key reasons for lack of promotion of investment and economic relations via tourism services related to Buddhist heritage and spiritual tourism circuit and sites to Southeast Asian countries as well as to domestic tourists. Sarnath, in Varanasi, is the hub of Buddhism in India, opened in 2016. There is road, rail, and air connection from Sarnath to various other Buddhist sites. This circuit can be promoted in counties of Southeast Asia and South Asia to spiritual followers of Buddhism as well as ‘New Age' Buddhists. Thailand, Japan, and Korea have invested in spiritual infrastructure in Sarnath for their citizens who visit for Buddhist pilgrimage. This chapter identifies the challenges, opportunities, and provides recommendations for the Indian government to provide a business friendly environment and to encourage foreign direct investment for state-of-the-art infrastructure development from Southeast Asian nations around the Buddhist spiritual tourism circuit.
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