Journal articles: '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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Jinsin, Kun. "Chinese Buddhist Sculpture of the Early Period. Iconographic Features." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (June 10, 2020): 114–26. http://dx.doi.org/10.36340/2071-6818-2020-16-2-114-126.

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Chinese Buddhist Sculpture of the Early Period. Iconographic Features The development period of the art of Buddhist sculpture from the mid and late era of Eastern Han to the era of Western Jin is addressed in this article. The Buddhist sculpture of this period is called early Chinese Buddhist sculpture. During this period, before individual Buddhist sculptures became official objects of worship, Buddha images were made on stone carvings in tombs, on money trees, bronze mirrors, hunping vessels, etc. They have many similarities between each other, and therefore are significantly different from Buddhist sculptures of the later period. Based on currently available archaeological materials, relief was the main form of Buddhist sculptures of this period; sculptures mainly served as decor and were not an object of worship. In terms of purpose and meaning, they were mainly associated with funeral rituals, beliefs about happy omens, beliefs about celestials, early Taoist and other ideas, etc. After putting in order and combining material on the remains of early Buddhist sculptures, the following features of the art of sculpture can be distinguished: 1. In many ways, the early Buddhist sculptures expressed the early style of Gandhara. 2. The early Buddhist statues were closely related to the themes of the celestials and Huang Lao. 3. Buddhist sculpture did not occupy the most respected position. These sculptures mainly performed a decorative function, symbolized happiness and prosperity, and were not the main object of worship. Two conclusions can be drawn from this: the art of early Buddhist sculptures and religion basically developed synchronously; after appearing in China, the art of Buddhist images immediately became Chinese.

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Bloom, Phillip. "Reflections on “Reflections of the Buddha” and “Buddhist Art: Objects and Contexts”." Archives of Asian Art 62, no. 1 (2012): 81–90. http://dx.doi.org/10.1353/aaa.2012.0012.

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Albery, Henry. "Pleasure and Fear: On the Uneasy Relation between Indic Buddhist Monasticism and Art." Religions 13, no. 12 (December 16, 2022): 1223. http://dx.doi.org/10.3390/rel13121223.

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When monastics of the Indic North and Northwest around the turn of the Common Era made the decision to introduce art into monasteries, current cultural assumptions regarding the aesthetic experience of such objects, which were axiomatically negated by Buddhist ideology, led to certain confrontations in law and praxis and an attempt to resolve these within certain monastic legal codes (vinaya) redacted during this period. Tracing the historical relation between monasticism and art in this context, this paper focuses on two such uneasy relations. The first deals with an opposition between the worldly aesthetics of pleasure associated with art and fashion and the aesthetics of asceticism as a representation of monasticism’s renunciate ideal. The second considers the aesthetics of fear associated with images of deities, the rejection of such objects as mere signs, and the resulting acts of theft and iconoclasm enacted upon them. It will show that resolution to both was sought in a particular semiotic which negated the aesthetic experience of such objects and rendered them signs with a significance that accorded with Buddhist ideology. Yet the solution remained incomplete, with issues arising when the same ideology was applied to monasticism’s own representation in the art of monasteries, stūpas and Buddha-images.

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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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Xu, Min. "Chinese art: A survey of collections and research materials in the United States." Art Libraries Journal 39, no. 2 (2014): 43–47. http://dx.doi.org/10.1017/s0307472200018319.

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During the 20th century a range of museums in the United States were engaged in acquiring Chinese art objects, developing major collections of painting and calligraphy, ancient bronze, Buddhist sculpture, ceramics and other decorative arts. Research materials on Chinese art have been collected by art libraries in major museums and the East Asian libraries of the main research universities. The author surveys significant Chinese art collections in museums and research libraries in the United States today.

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Chang, Ya-Liang. "An Investigation of Naga Art in Buddhist Temples of Mueang Chiang Mai District, Thailand." South East Asian Review 45-46, no. 1 (January 21, 2022): 153–71. http://dx.doi.org/10.32381/sear.2020-2021.45-46.1.8.

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Chaiyakot, Prachyakorn, and Parichart Visuthismajarn. "A Pattern Of Rural Tourism In The Songkhla Lake Basin, Thailand." International Journal of Management & Information Systems (IJMIS) 16, no. 2 (March 27, 2012): 173. http://dx.doi.org/10.19030/ijmis.v16i2.6916.

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This article aims to determine a pattern of rural tourism that harmonizes with the Songkhla Lake Basin (SLB) resources in southern Thailand. Data were collected through a field survey, focus group discussions involving tourism stakeholders, a snowball sampling technique with SLB experts, and questionnaires with 400 tourists. The study found that the SLB tourism resources are located in a mountain range, in the foothills, in the lowlands, on the coast, and on a lake. The tourism field consists of a natural way of life; belief in Buddhist doctrines and the presence of monks, natural beauty, and sacred objects; folklore plays; local traditional events; and archaeological and historical sites. Ecotourism, cultural tourism, archaeological tourism and historical tourism are the aspects of rural tourism that harmonize with components of the SLB resources.

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Berezkin, Rostislav. "Illustrations of the Mulian Story and the Tradition of Narrative Painting in China (Tenth–Fifteenth Centuries)." Religion and the Arts 20, no. 1-2 (2016): 5–28. http://dx.doi.org/10.1163/15685292-02001002.

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The story of Mulian rescuing his mother’s soul from hell was featured in numerous pictorial versions of different formats in China. They could take the form of multi-scene handscrolls, illustrations in manuscripts and editions, and separate scenes in devotional religious art objects such as murals and reliefs. The Mulian subject was of primary importance in the popularization of Buddhist ideas among different layers of society. The earliest extant pictorial versions of this story in China (tenth century) were related to Buddhist storytelling with the use of visual devices. Illustrations appeared in several written versions of the Mulian story that were circulated among different layers of society in China in the twelfth through fifteenth centuries. These illustrated versions showed different degrees of elaboration, spread among common folk and the imperial courts of the Yuan and Ming dynasties. In this article I explore the functions of the narrative illustrations of the Mulian story in various social contexts. These functions were quite varied in case of most art objects analyzed here: pictures in woodblock editions and manuscripts augmented the textual part and also made them appealing to the lay readers.

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Sirisawad, Natchapol. "Significance of the Śrāvastī Miracles According to Buddhist Texts and Dvāravatī Artefacts." Religions 13, no. 12 (December 9, 2022): 1201. http://dx.doi.org/10.3390/rel13121201.

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The story of the Śrāvastī miracles is one episode of the Buddha’s biography that is depicted in the art forms of Dvāravatī from about the 7th to the 11th centuries CE. The fact that many artefacts were produced—in such variety, over such a long period, and at so many sites—shows the popularity of the scene of the Śrāvastī miracles in the Dvāravatī culture. The objective of this research paper is to analyze the significance of the story of the Śrāvastī miracles that affected the creation of Dvāravatī art in Thailand by examining the textual sources together with the Dvāravatī artefacts. The analysis shows that the stories of the Śrāvastī miracles were significant in various ways, being one of the Buddha’s necessary deeds, a principal miracle only performed by the Buddha, a means of converting others to Buddhism, and a key source for the idea of making Buddha images as an act of merit. These significant features may explain the popularity of the Śrāvastī miracle theme in Dvāravatī culture.

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McDaniel, Justin. "The Bird in the Corner of the Painting: Some Problems with the Use of Buddhist Texts to Study Buddhist Ornamental Art in Thailand." Moussons, no. 23 (September 22, 2014): 21–53. http://dx.doi.org/10.4000/moussons.2966.

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Kinnard, Jacob. "It Is What It Is (Or Is It?)." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 6, no. 1-3 (June 27, 2012): 101–16. http://dx.doi.org/10.1558/post.v6i1-3.101.

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Books are a common motif in the art of medieval Indian Buddhism. The questions addressed in this article are: What are these Buddhist images of books? What are they images of? Or, more to the point, are they images of anything at all? This article suggests that such images are like sculptural snapshots. These are not images not to be worshipped—although the main goddesses or bodhisattvas presented in the images were certainly objects of veneration—but they are images of worship. As such, they may be evidence of this worship, but they may also be rhetorical or polemical statements about the importance of the book in the Buddhist communities that produced them.

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PELEGGI, MAURIZIO. "From Buddhist Icons to National Antiquities: Cultural Nationalism and Colonial Knowledge in the Making of Thailand's History of Art." Modern Asian Studies 47, no. 5 (February 1, 2013): 1520–48. http://dx.doi.org/10.1017/s0026749x12000224.

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AbstractIn the mid 1920s Prince Damrong Rajanubhab and George Coedès jointly formulated the stylistic classification of Thailand's antiquities that was employed to reorganize the collection of the Bangkok Museum and has since acquired canonical status. The reorganization of the Bangkok Museum as a ‘national’ institution in the final years of royal absolutism responded to increasing international interest in the history and ancient art of Southeast Asia, but represented also the culmination of several decades of local antiquarian pursuits. This paper traces the origins of the art history of Thailand to the intellectual and ideological context of the turn of the twentieth century and examines its parallelism to colonial projects of knowledge that postulated a close linkage between race, ancestral territory and nationhood.

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Sharaeva, Tatyana I. "Особенности иконографии в калмыцкой вышивке: традиционные и современные практики." Oriental Studies 14, no. 2 (July 20, 2021): 314–36. http://dx.doi.org/10.22162/2619-0990-2021-54-2-314-336.

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Introduction. The Kalmyks are a Mongolic Buddhist people that arrived in the Volga region in the 17th century. The specific ethnic features of Buddhism professed by the Kalmyks took shape over centuries of Russian suzerainty and were determined by various historical factors, including prolonged remoteness from Buddhist centers, the total eradication of Buddhist monasteries and centuries-long ban on spiritual guidance experienced in the 20th century, and the official Buddhist restoration by the early 21st century. Goals. The work aims at identifying and comparing traditional and contemporary Buddhist thangka patterns as elements to mirror particular features of Kalmyk iconography, as essential objects of religious cult and cultural heritage at large. Results. The paper shows that in the pre-20th century period Kalmyks used different techniques for producing thangkas — painting, embroidery, and applique ones. In the late 18th century onwards, imports of religious attributes from Tibet and Mongolia were restricted, and the role of art workshops affiliated to local Buddhist temples increased. That resulted in further development of thangka painting schools and the shaping of somewhat ethnic style in depicting Buddhist deities characterized by certain differences from canonical images. The old thangkas from private and public collections have served a basis for the restoration of ethnic painting traditions integral to Kalmykia’s Buddhism proper. The contemporary practices of producing divine images are closely related to stages in the regional development of Buddhism from the late 20th century to the present, lay Buddhist experiences, women’s leisure-time activities, and ethnic entrepreneurship. The study concludes contemporary Kalmyk needlewomen are guided by traditional rules of religious craftsmanship.

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Aung, Myo Nyunt. "Comparing Encased Stupas in Thailand and Myanmar." Nakhara : Journal of Environmental Design and Planning 21, no. 2 (October 19, 2022): 213. http://dx.doi.org/10.54028/nj202221213.

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This article compares the design of encased stupas from the 15th to 19th centuries CE in Thailand along with examples from Myanmar in order to highlight the shared custom of encasement alongside the differences which developed over time. Archaeological evidence of stupa encasement is plentiful, particularly in Thailand, and shows variations in the design of space and patronage. In both these countries, the second or new donor sometimes left a gap between the original inner and new outer structure for patrons and pilgrims to move around the inner structure in veneration. This article compares examples alongside the customs and beliefs that underpin the function and meaning of the encasement. Archaeological evidence of encasement in Thailand is complemented by the presence of relics of the Buddha, kings, amulets, precious stones, and possibly consecration deposits reviewed through the chronology, epigraphy, architecture, art styles and reliquaries of five Buddhist stupas dating from the 15th to 19th centuries CE. These are compared with examples from the author’s native country of Myanmar, where some encasements have a space between inner and outer stupas and relics have been recorded. While there are many similarities, in Myanmar the relic deposits from research to date have been found in many parts of the stupa, which is somewhat different from Thailand. Together, these comparative and contextual aspects contribute to a deeper understanding of the relationships in patronage traditions and also differences in encasement design between the neighboring countries of Myanmar and Thailand.

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Syrtypova, S. K. D. "Interpretation of the image of the Goddess Tara by Zanabazar compared to that by his predecesors and followers (from Sri Lanka to Siberia)." Orientalistica 3, no. 2 (May 31, 2020): 348–78. http://dx.doi.org/10.31696/2618-7043-2020-3-2-348-378.

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In continuation of the study of the art heritage of Zanabazar (1635–1723), we have traced the connection between the textual and art systems of the Buddhist cult ofTaragoddess. This goddess was of particular importance for the master Zanabazar. In his turn, Zanabazar was recognized as the incarnation of the great Tibetan scholar Jetsun Taranatha (1575–1634), whose name means “Protected byTara”. Undur-Gegen Zanabazar had deep spiritual relationship with the Savior Goddess both from his previous incarnations as well as directly transmitted by his teachers, especially the IV Panchen Lama Lobsan Choiky Gyaltsen (1570–1662). The article deals with outstanding sculptural images of Tara by Dzanabazar and also by the artists of earlier times and by the followers of his style who came fromSri Lanka,Nepal,Tibet,Mongolia, Buryatia. The actual objects are currently preserved in various collections throughout the world. Among them that of the British Museum in London, the Metropolitan and the Rudin Museums in the United States, the Potala in Lhasa, the State Hermitage and the Russian Ethnographical Museum in St. Petersburg and Mongolian museums of Ulaanbaatar. Specific examples show how the canonical Buddhist standards of iconography were implemented under the influence of different regional ethnic craft traditions. The works by famous Buddhist artists, such as Sonam Gyaltsen (16th cent.), Choiing Dorje (1604–1664) as well as little-known Buryat masters of the late 19th century were used to compare with the masterpieces by Zanabazar.

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Soontranon, N., P. Srestasathiern, and S. Lawawirojwong. "3D Modeling from Multi-views Images for Cultural Heritage in Wat-Pho, Thailand." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XL-5/W7 (August 13, 2015): 403–7. http://dx.doi.org/10.5194/isprsarchives-xl-5-w7-403-2015.

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In Thailand, there are several types of (tangible) cultural heritages. This work focuses on 3D modeling of the heritage objects from multi-views images. The images are acquired by using a DSLR camera which costs around $1,500 (camera and lens). Comparing with a 3D laser scanner, the camera is cheaper and lighter than the 3D scanner. Hence, the camera is available for public users and convenient for accessing narrow areas. The acquired images consist of various sculptures and architectures in Wat-Pho which is a Buddhist temple located behind the Grand Palace (Bangkok, Thailand). Wat-Pho is known as temple of the reclining Buddha and the birthplace of traditional Thai massage. To compute the 3D models, a diagram is separated into following steps; Data acquisition, Image matching, Image calibration and orientation, Dense matching and Point cloud processing. For the initial work, small heritages less than 3 meters height are considered for the experimental results. A set of multi-views images of an interested object is used as input data for 3D modeling. In our experiments, 3D models are obtained from MICMAC (open source) software developed by IGN, France. The output of 3D models will be represented by using standard formats of 3D point clouds and triangulated surfaces such as .ply, .off, .obj, etc. To compute for the efficient 3D models, post-processing techniques are required for the final results e.g. noise reduction, surface simplification and reconstruction. The reconstructed 3D models can be provided for public access such as website, DVD, printed materials. The high accurate 3D models can also be used as reference data of the heritage objects that must be restored due to deterioration of a lifetime, natural disasters, etc.

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Syrtypova, Surun-Khanda D. "Автопортрет и Будда Ваджрасаттва у Дзанабазара." Oriental Studies 13, no. 4 (December 25, 2020): 1045–77. http://dx.doi.org/10.22162/2619-0990-2020-50-4-1045-1077.

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Introduction. Jebtsundamba Khutuktu Öndör Gegeen Zanabazar was Mongolia’s first ruler to hold both secular and spiritual power. In the late 17th century, the country witnessed dramatic internecine wars, and his overriding goal was to unify the nation and increase the educational level. Virtually all his self-portraits discovered depict Zanabazar as a real priest with iconographic markers of Buddha Vajrasattva. The selected Buddhist symbol is supposed to deliver a deepest nonverbal sermon and mysterious testament of the prominent Buddhist master. Goals. The paper seeks to further reveal, examine, and describe objects of artistic heritage authored by Öndör Gegeen Zanabazar and currently stored in state, public, administrative, and private collections of Mongolia and Russia. Results. The work is a first attempt to examine Zanabazar’s self-portraits — both sculptural and graphic ones (including tiny elements of different thangkas) — in their structural unity in the context of his meditative practices. The descriptions of the pictures compiled with due regard of Buddha Vajrasattva-related tantric texts and facts of Öndör Gegeen’s biography may be viewed as sources for historical and art studies in Vajrayana Buddhism. The analysis of textual and graphic materials attempts to interpret Zanabazar’s unique position as both a spiritual and Buddhist arts master.

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Folan, Lucie. "Wisdom of the Goddess: Uncovering the Provenance of a Twelfth-Century Indian Sculpture at the National Gallery of Australia." Collections: A Journal for Museum and Archives Professionals 15, no. 1 (March 2019): 5–41. http://dx.doi.org/10.1177/1550190619832383.

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The history of Prajnaparamita, Goddess of Wisdom, a twelfth-century Indian Buddhist sculpture in the National Gallery of Australia collection, has been researched and evaluated through a dedicated Asian Art Provenance Project. This article describes how the sculpture was traced from twelfth-century Odisha, India, to museums in Depression-era Brooklyn and Philadelphia, through dealers and private collectors Earl and Irene Morse, to Canberra, Australia, where it has been since 1990. Frieda Hauswirth Das (1886–1974), previously obscured from art-collecting records, is revealed as the private collector who purchased the sculpture in India in around 1930. Incidental discoveries are then documented, extending the published provenance of objects in museum collections in the United States and Europe. Finally, consideration is given to the sculpture’s changing legal and ethical position, and the collecting rationales of its various collectors. The case study illustrates the contributions provenance research can make to archeological, art-historical, and collections knowledge, and elucidates aspects of the heterodox twentieth-century Asian art trade, as well as concomitant shifts in collecting ethics.

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Herren, Madeleine. "“Very old Chinese bells, a large number of which were melted down”." Global Europe – Basel Papers on Europe in a Global Perspective, no. 120 (August 3, 2021): 37–54. http://dx.doi.org/10.24437/globaleurope.i120.455.

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In the second half of the 19th century, Buddhist bells from Japan began to arrive in Switzerland. The fact that these were objects listed in the so-called ethnographic collections is not surprising and the history of collecting has been a subject of postcolonial research. However, remarkably, the travel route of these bells, some of which weighed over a ton, could not be documented. Until now, the way how the bells were imported into Switzerland as unknown, and the problem of their provenance unsolved. This article argues that a global history approach provides new insights in two respects: The consideration of materiality allows a new nderstanding of the objects, while the activities of local collectors, seen from a micro-global point of view, reveal the local imprints of the global. Within this rationale, a history of individual bells in the possession of individual art lovers and museums translates into a history of scrap metal trade, allows to consider the disposal of disliked objects at their place of origin, and opens up a global framing of local history. Using global history as a concept, the historicity of the global gains visibility as we look at the intersection of materiality and the local involvement of global networks. Ultimately, as we follow the journey of the bells, reinterpreting scrap metal into art has formed a striking way in which local history assimilates the global.

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Guarde-Paz, César, and Witney Cheung Kwan-wai. "The Master and the Skull: Painted Daoist Narratives on Song-Yuan Dynasty Ceramic Pillows." Acta Orientalia Academiae Scientiarum Hungaricae 75, no. 2 (June 3, 2022): 251–84. http://dx.doi.org/10.1556/062.2022.00206.

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This paper explores the convergence of motives between philosophy and art through the examination of a curious object at the University Museum and Art Gallery of the University of Hong Kong – a unique stone-ware pillow featuring the unconventional representation of a skeleton enthusiastically beaten by two herding boys. The scene, which evokes the episode of Zhuangzi’s pillowing of a skull, presents a number of elements that allow us to deconstruct the complex connections between Buddhist and Daoist imagery featuring skulls and herding boys, as well as the way popular beliefs were instrumentalized into religious performances and luxury objects for either personal enlightenment or for the conversion of the masses. In the conclusion, we analyze additional examples of Daoist narratives in ceramic pillows and other luxury products, drawing conclusions on the stoneware industry and its role in medieval times in the proselytization and the development and understanding of religious beliefs.

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Sirivesmas, Veerawat, and Alias Yussof. "Malaysia-Thailand, Beyond the New Ornamentalism in Contemporary Jewelry." International Journal of Creative and Arts Studies 2, no. 2 (December 18, 2015): 65. http://dx.doi.org/10.24821/ijcas.v2i2.1799.

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Towards a new perspective of pedagogical approach and constructive criticism in art practice based education, the investigation is focusing on Malaysia-Thailand contemporary art & craft jewelry in academic area. From the traditions of national craft heritage the jewelry, silverware and metalwork is now a day almost lost its conservation to their modern people and its community. The Jewelry is representative of national artifact of high crafting. It passes through present where number of contemporary art objects and lifestyle design gadgets are already dominating new behavioral to society. From this perspective, the different between lifestyle and culture can shape up concept and identity of contemporary jewelry. Where the traditional elements can still remain in somewhere with us! Many academicians, designer makers are working and try to modernize these national prides which obtained the traditional implicit knowledge and local wisdoms. The art and design education also concerns this matter by raising many cultural topics involved into curriculum. It becomes a subject that students can reflect their role of preservation or expression on their cultural contents. The cross cultural perspective of rising perception of the author on contemporary jewelry education between Thailand and Malaysia has begun in 2008 by the invitation of Department of Fine Metal, Universiti Teknologi MARA (UiTM) Malaysia. The UiTM invited a staff (author ) of Department of Jewelry Design, Silpakorn University Thailand, as an external assessor for final year student assessment. The participatory research occasionally began from that point under the pedagogical framework. Observations, interviews, critics on student artworks, were the main activity process that both of students and staff of institution also interacted according to the process of assessment. Definitely, the differentiation between the students’ outcome of jewelry project in Malaysia and Thailand are obviously divergence. However, the traditional ornament of each country and cultural influences also be noticed that have been frequently inspired in students’ work. The constructive criticism was always the core discussion during the students’ assessment and exit meeting with UiTM department members. During year by year, there were number of improvements can be noticed not only on the students’ outcomes but also the academic relationship through collaboration activities that create among two institutions.

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Runra, Prasirt, and Sukanya Sujachaya. "Tradition and Creativity of the Rahu Symbol in Buddhist Temples: Case Study of Paintings, Sculptures and Amulets in Central and East of Thailand." Manusya: Journal of Humanities 22, no. 2 (August 26, 2019): 222–53. http://dx.doi.org/10.1163/26659077-02202006.

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The objective of the study was to analyze the transmission and application of Rahu symbolism in contemporary Thai society. Data was collected from both documents and a field study in central and eastern Thailand. It was found that in traditional Thai art, the Rahu symbol is portrayed as his face swallowing the sun or the moon. This kind of Rahu symbol is found in Buddhist temples. Such appearances of the Rahu symbol are related to the belief that Rahu has a protective function. Interestingly, the sculpture of Rahu’s body rather than only his face has become popular in contemporary Thai society. Nowadays, Rahu sculptures tend to be located in specific places. A ritual of worshipping Rahu is often created with offerings of food generally of black color. In addition, the Rahu symbol is now created in several other forms such as posters, magic cloths and amulets. Such newly created art forms of Rahu are due to modern interpretations and meanings of the Rahu symbol in contemporary Thai society. These newly-developed meanings of the Rahu symbol are interesting since they can be applied to deal with people’s problems in the socio-cultural and political context of contemporary Thai society.

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Wattanarak, Suchada. "An Analysis of the Communication of Provincial Identities in Mascots to Promote Tourism in Thailand." Jurnal Komunikasi Pembangunan 19, no. 01 (January 26, 2021): 1–12. http://dx.doi.org/10.46937/19202133399.

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This research analyzed the communication of provincial identities in mascots to promote tourism in Thailand through the conceptual frameworks of semiotic theory and identity concept. It is a qualitative research using an analysis of mascot components, an analysis of provincial identities that appear in the mascots, and in-depth interviews. The tools used consisted of a symbolic component analysis table with provincial identities and in-depth interviews.The sample group consisted of 23 mascots and 5 policymakers and mascot designers.Results of the study revealed that senders use mascots that are cute, friendly, and straightforward. Most of the senders use the encoding of sign in the icon level that looks like or resembles real objects to make them interesting and easy to understand. In addition, there is the encoding of sign in the index level that is reduced from real objects into patterns of costumes and accessories that make the mascots stand out. In terms of provincial identities, it was found that the meanings of the various symbols are transmitted in the dimensions of bringing up the distinctive identities of the province in seven aspects: 1) traditions and beliefs, 2) archaeological sites and antiques, 3) food and products, 4) famous tourist attractions, 5) costumes, 6) art and culture, and 7) other identities.

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Ryder, Lewis. "The Hilditch–McGill Chinese Palace Temple: Exhibitions, Mass Culture, and China in the British Imagination in the 1920s." Twentieth Century British History 33, no. 1 (December 14, 2021): 129–53. http://dx.doi.org/10.1093/tcbh/hwab038.

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Abstract In February 1926, Chinese art collector John Hilditch opened the Hilditch–McGill Chinese Palace Temple in Manchester. Filling a garage with Chinese objects and performing what he claimed to be Buddhist rituals, Hilditch insisted the temple offered visitors a chance to see Chinese art in ‘actual Chinese fashion and atmosphere’. This article analyses Hilditch’s attempts to construct an authentic temple and visitor accounts of its realism to analyse the relationship between high and low culture, and how China was understood and imagined in the 1920s. It shows how Hilditch’s combination of sensory effects adopted from mass culture and claims to museum notions of scientific verification, in addition to the projection of well-established stereotypes of China, skewed understandings of authenticity and invited faith—albeit most likely ‘ironic’ faith—in the temple’s legitimacy. Scholars have argued that the rise of mass culture prompted art museums to restructure on high cultural values but interpretation of the temple as a museum shows that the lines between mass culture and museums were blurred. The temple thereby encourages a broader definition of museums and complicates our understanding of interwar culture more generally by showing how the categories of high and low culture were less stable than some scholars have presumed.

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Hall, Rebecca S. "Enlightened Ways: The Many Streams of Buddhist Art in Thailand. Edited by Heidi Tan. Singapore: Asian Civilisations Museum, 2012. 267 pp. ISBN 9789810746285 (cloth)." Journal of Asian Studies 75, no. 1 (January 19, 2016): 273–74. http://dx.doi.org/10.1017/s0021911815002016.

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Jarusawat, Piyapat, Andrew Cox, and Jo Bates. "Community participation in the management of palm leaf manuscripts as Lanna cultural material in Thailand." Journal of Documentation 74, no. 5 (September 10, 2018): 951–65. http://dx.doi.org/10.1108/jd-02-2018-0025.

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Purpose The cultural heritage of the Lanna region of upper Northern Thailand is unique. One of its distinctive features is palm leaf manuscripts (PLMs), which are viewed simultaneously as examples of sacred writing and religious symbols, means of transferring cultural knowledge, artefacts of beauty and fragile historical documents. Local people still care about these objects, and speak the language but knowledge of the script is limited. The purpose of this paper is to explore the views of community members and experts about the value and management of PLMs as the basis for developing a model of community-based collection management. Design/methodology/approach Because the purpose was to explore differing perceptions and beliefs around PLMs the study adopted an interpretivist worldview. Data were collected through interviews with local people with an interest in PLMs and experts who advised on organising them. In addition, observation and a photo inventory method was used to collect data. Data were analysed thematically. Findings The results showed that while both groups saw the value of the knowledge PLMs contained, the community placed particular importance on the earning of “merit” through activities related to them as Buddhist objects. Experts gave particular emphasis to the knowledge of herbal medicine contained in the PLMs. The community valued indigenous storage and preservation practices. Experts were particularly pre-occupied with the intellectual property issue around medical knowledge and convenient storage and digitisation. Research limitations/implications Existing theory around libraries, archives and museums suggest some starting points for how community participation might be managed, but the unique circumstances of Lanna PLMs calls for a distinctive approach. Practical implications The paper identifies a pathway suitable to the Lanna context that can build on current local practices, to enhance community participation in the management of PLMs, including a consideration of the role of information professionals. Originality/value This paper is one of the first to extend thinking about participatory practices in the library, archive and museum literature to the context of Thailand and specifically to the case of PLMs, in the Lanna region. Rigorous data analysis of a substantial body of evidence has enhanced the understanding of the different types of value placed on PLMs. It identifies an important but not unbridgeable tension between how local people and experts view PLMs. It builds on previous library, archive and museum theory to propose a realistic model of how communities and experts (including librarians) can work together to protect the rich cultural resource represented by PLMs.

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Schalk, Peter. "The Vallipuram Buddha Image "Rediscovered"." Scripta Instituti Donneriani Aboensis 16 (January 1, 1996): 295–312. http://dx.doi.org/10.30674/scripta.67235.

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When, at the end of the 19th century, the Visnu kovil in Vallipuram, in Vatamaracci, in northern Ilam (Lanka) was (re)built, a Buddha statue was unearthed close to this temple, 50 yardsnortheast of it. It remained in the lumber room of this temple until 1902, when it was set up in Old Park at Yalppanam under a bo-tree. In 1906, the Vallipuram Buddha image was presented by Governor Sir Henry Blake to the King of Siam, who was particularly anxious to have it, as it was supposed to be of an archaic type. This event together with the statue, was forgotten for almost 90 years. All Tamilar and Sinhalese born after 1906 have never seen the Vallipuram Buddha image, provided they have not gone to and found it in Thailand. The study of the religious significance per se, in its historical setting, of the statue is important. The Vallipuram Buddha image is a typical creation of Amaravati art, the spread of which documents the spread of Buddhism to Ilam, where it exercised a decisive influence on the first period of the development of Buddhist art in the Anuratapuram school. We get then a geographical triangle of a cultural encounter between Amaravati, Anuratapuram in its first phase, and Vallipuram. This happened at a time when Buddhism was still not identified as Sinhala Buddhism, but just as Buddhism. The study of the Vallipuram statue is thus a way of transcending or at least suspending for some time polarising ethnic identities, not ethnic identities as such.

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Bazarov, A. A. "COLLECTION OF OBJECTS OF BUDDHIST FINE ART (TANGKHA, TSAKLI) OF THE IMBTS SB RAS AS AN OBJECT OF STUDYING THE DAILY VISUAL PRACTICES OF BURYAT BUDDHISTS." Culture of Central Asia: written sources 14 (2021): 224–35. http://dx.doi.org/10.31554/2304-1838-2021-14-224-235.

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Halim, Andre. "THE MEANING OF ORNAMENTS IN THE HINDU AND BUDDHIST TEMPLES ON THE ISLAND OF JAVA (ANCIENT - MIDDLE - LATE CLASSICAL ERAS)." Riset Arsitektur (RISA) 1, no. 02 (July 17, 2017): 170–91. http://dx.doi.org/10.26593/risa.v1i02.2391.170-191.

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Abstract- As one of the relics of the Classical Era, temples and shrines have been known as a means of worshipping the gods and goddesses or one’s ancestors, especially in the religions of Hinduism and Buddhism. Observers often regard the ornaments of these temples as mere visual art objects, as eye candy that may beautify their outward appearance. However, when examined more closely, these ornaments carry a certain meaning in each of the temples. The aim of this research study is to explore the deeper significance of these ornaments and their location. This research can be classified as qualitative, using the descriptive-analytical method. Employing the Purposive Sampling method regarding ornamentation, eleven temples have been selected that meet the research requirements. Both Hinduism and Buddhism have been known to make a division into three worlds, namely the lower, middle and upper spheres. This division has also shaped the elements of temples into their respective head, body and legs/feet. Further categorization yields six motifs, all of which can be found in temples in various shapes, consisting of several types of ornament that embellish the three elements mentioned above. Each of the motifs carries a variety of meanings. In this research study, the relationship between the meanings and their exact location (placement) is analyzed, indicating that they are in keeping with the division into three worlds, but then again there are ones that do not follow that pattern, and still others that are not affected at all. Development of the physical shape of the ornaments has occurred in several ornaments, but the majority of the changes in their physical shape has left no impact on the meaning contained within these ornaments.Keywords: temple, ornament, meaning, placement, physical shape

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Bloembergen, Marieke. "The Politics of “Greater India,” a Moral Geography: Moveable Antiquities and Charmed Knowledge Networks between Indonesia, India, and the West." Comparative Studies in Society and History 63, no. 1 (January 2021): 170–211. http://dx.doi.org/10.1017/s0010417520000419.

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AbstractSince the nineteenth century, today's South and Southeast Asia have become part of scholarly and popular geographies that define the region as a single, superior, civilization with Hindu-Buddhist spiritual traits and its origins in India. These moral geographies of “Greater India” are still current in universities, museums, textbooks, and popular culture across the world. This article explores, for the period from the 1890s to the 1960s, how networks of scholars, intellectuals, and art collectors linking Indonesia, mainland Asia, and the West helped shaping these moral geographies and enabled the inclusion of predominantly Islamic Indonesia. It contributes to recent debates on the role of religion and affections in Orientalism by following object-biographies and focusing on knowledge exchange via the networks they connected, and by exploring the possibilities, violence, and limits of cultural understanding as objects travel from their sites of origin to elsewhere in the world. The article conceptualizes moral geographies as a heuristic device to understand how people have imagined their belonging to a transnational space—in this case Greater India—whether they live inside or outside of that space. It examines the impact these moral geographies have on processes of inclusion and exclusion, particularly their common disregard for Indonesia's Islamic cultures. It warns against pitfalls of transnational, “Oceanic” approaches to Asian history that focus on cultural flows, as these can exaggerate the region's cultural unity and, in doing so, reify the moral geographies of Greater India that the article interrogates.

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Panboonyuen, Teerapong, Sittinun Thongbai, Weerachai Wongweeranimit, Phisan Santitamnont, Kittiwan Suphan, and Chaiyut Charoenphon. "Object Detection of Road Assets Using Transformer-Based YOLOX with Feature Pyramid Decoder on Thai Highway Panorama." Information 13, no. 1 (December 25, 2021): 5. http://dx.doi.org/10.3390/info13010005.

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Due to the various sizes of each object, such as kilometer stones, detection is still a challenge, and it directly impacts the accuracy of these object counts. Transformers have demonstrated impressive results in various natural language processing (NLP) and image processing tasks due to long-range modeling dependencies. This paper aims to propose an exceeding you only look once (YOLO) series with two contributions: (i) We propose to employ a pre-training objective to gain the original visual tokens based on the image patches on road asset images. By utilizing pre-training Vision Transformer (ViT) as a backbone, we immediately fine-tune the model weights on downstream tasks by joining task layers upon the pre-trained encoder. (ii) We apply Feature Pyramid Network (FPN) decoder designs to our deep learning network to learn the importance of different input features instead of simply summing up or concatenating, which may cause feature mismatch and performance degradation. Conclusively, our proposed method (Transformer-Based YOLOX with FPN) learns very general representations of objects. It significantly outperforms other state-of-the-art (SOTA) detectors, including YOLOv5S, YOLOv5M, and YOLOv5L. We boosted it to 61.5% AP on the Thailand highway corpus, surpassing the current best practice (YOLOv5L) by 2.56% AP for the test-dev data set.

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Lepekhov, Sergey. "THE CONCEPTION OF ILLUSIONARY EXISTENCE IN THE «RATNA-GUNA-SAMCAYA-GĀTHĀ»." Culture of Central Asia: written sources 13 (December 16, 2020): 3–31. http://dx.doi.org/10.30792/2304-1838-2020-13-3-31.

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The main subject of this paper are the possible ways of forming the concept of illusion (māyopamavada) in the philosophy of Madhyamaka. A special place in this process is occupied by the early prajñāpāramitā sutras. One of the objects of research is the prajñāpāramitā Sutra “Ratna-guna-samcaya-gāthā” (“Prajñāpāramitā in Verses about the Accumulation of Precious Qualities”). Due to the Prajñāpāramitā texts, the Buddhist idea of the illusionary existence became an essential part of the far Eastern culture and art. On the example of “Ratna-guna-samcaya-gāthā”, we can see the dynamics of the concept of “illusory world” how it was formed in the Prajñāpāramitā texts. As an example of further development of the concept and its application to the philosophical ideas of Madhyamaka, are used individual texts of Nāgārjuna (“Ratnāvalī”, “Yuktiṣāṣṭika”, “Lokātīta-stava”). Some variants of the issues of reference and designation (namely, the need to correlate the reference, denotate and designate with the object, and in turn, with the localization of the intensional, i.e., the meaning of the concept and the extensional one) are compared as in modern logic and the solutions, proposed by madhyamikas. The new approach to the study of Madhyamaka as a “philosophy of language” suggests very promising opportunities for study of both logical and philosophical heritage of Nāgārjuna and its connection with the entire previous prajñāpāramitā tradition. The Appendix contains a translation of the seven final chapters (XXVI–XXXII) of “Ratna-guna-samcaya-gāthā” from Sanskrit and Tibetan into Russian.

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Г. Г., Король,. "THE PHENOMENON OF THE MEDIEVAL SAYAN - ALTAI SMALL ARTISTIC METALWORK AND THE ‘RIDDLES’ OF I. P. TOVOSTIN’S COLLECTION (HELSINKI)." SCIENTIFIC REVIEW OF SAYANO-ALTAI, no. 1(33) (October 26, 2022): 123–41. http://dx.doi.org/10.52782/kril.2022.1.33.005.

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Феномен расцвета декоративности преимущественно ременных украшений (торевтики малых форм, изготовленной из цветного металла) всадника в конце I - начале II тыс. связан с периодом экспансии Кыргызского каганата и обширнейших контактов енисейских кыргызов в Центральной Азии. Анализ структуры декора и семантики некоторых мотивов позволяет выделить пласт наиболее популярных мотивов и образов, связанных с влиянием «пришлых» религий - манихейства, возможно, буддизма. Многие мотивы воспринимались и становились популярными, адаптируясь к восприятию на основе местных традиционных представлений. Предметы (случайные находки) из коллекции И. П. Товостина (Museovirasto, Хельсинки) из Минусинской котловины Среднего Енисея, территории первичного развития культуры енисейских кыргызов, отражают не только почти весь спектр форм украшений и структуры декора в искусстве Саяно-Алтая, но и некоторые характерные особенности торевтики малых форм в целом. В коллекции выявлено два уникальных предмета, неизвестных по публикации А. М. Тальгрена 1917 г. Это ременная накладка с образами буддийского содержания и литник для отливки серег характерной формы. Даны их анализ и оценка важности для изучения вопросов контактов и влияний, а также местной цветной металлообработки. The phenomenon of flourishing decorativeness, primarily, of horseman belt ornaments (non - ferrous small artistic metalwork), in the late 1st - early 2nd millennium is associated with the period of ‘expansion’ of the Kyrgyz Khaganate and the extensive contacts of the Yenisei Kyrgyz in Inner Asia. The analysis of the main themes of décor and semantics of some motifs makes it possible to identify the layer of the most popular designs and images connected with the influence of ‘foreign’ religions - Manichaeism and, possibly, Buddhism. Many motifs were borrowed and became popular due to adaptation to the perception of locals based on their traditional concepts. Objects (chance finds) of I. P. Tovostin’s collection (the Finnish Heritage Agency, Helsinki) come from the Minusinsk Basin (the Middle Yenisei), the original territory of the Yenisei Kyrgyz culture. The collection reflects not only almost the entire range of ornamentation forms and main themes of décor in the Sayan-Altai art, but also some hallmarks of small artistic metalwork as a whole. Two unique objects were revealed in the collection: a belt end plaque with a composition of Buddhist images and a sprue for casting earrings of a specific shape. The paper presents their analysis and evaluates their significance for studying contacts and influences, as well as local non - ferrous metalworking.

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Kapišovská, Veronika V. "Фотографии артефактов монгольского цама, сделанные чехословацкими исследователями в 1950-х и 1960-х гг.: новый взгляд на старые документы." Oriental Studies 13, no. 6 (December 30, 2020): 1513–23. http://dx.doi.org/10.22162/2619-0990-2020-52-6-1513-1523.

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Introduction. This paper deals with two sets of colour photographs of Mongolian tsam masks taken by Czechoslovak archaeologist Lumír Jisl (1921–1969) and art photographer Werner Forman (1921–2010) in Mongolia during the period of 1956–1963. Werner Formanʼs photographs appeared in Lamaistische Tanzmasken. This unpretentious, slim volume, with a text composed by B. Rinchen (with the apparent assistance of a former tsam ceremony master, giving it unequivocal authenticity) holds a unique position: it was published 32 years after the last eye-witness description of the Mongolian tsam given by Shastina in 1935 (including black-and-white photographs), and some two decades before the series of tsam mask photographs featured in Tsultemʼs Mongolian Sculpture and Iskusstvo Mongolii ʻMongolian Artʼ. In contrast, Lumír Jislʼs photographs, apart from the few that were published during his lifetime, were preserved in a family archive for more than fifty years. The goal of this paper is to describe the circumstances under which these colour photographs came into being. A brief account is given of the visits to Mongolia undertaken by Lumír Jisl and Werner Forman. The general background of Czechoslovak-Mongolian cooperation in its first decade after the establishment of diplomatic relations between the two countries is also sketched out. At that time, tsam masks were stored in the Choijin Lama Temple, one of the very few monastic complexes to survive the antireligious campaign of the late 1930s; the temple became shelter to many religious artefacts. In addition to photographing this temple complex, Lumír Jisl photographed the tsam masks during research trips to at least three regional museums. This paper also describes the different goals and visions of both Lumír Jisl and Werner Forman when photographing the tsam masks, resulting in differing modes of execution. In conclusion, I examine the changes in perspective of the Buddhist monks following the general atmosphere of mistrust and fear engendered by the antireligion campaigns and repressions of the late 1930s, as well as the subsequent partial easing of these repressions. Not only were Forman and Jisl both invited to take photographs of religious artefacts, but they also received assistance in doing so. The Mongolian monks who helped Forman and Jisl had to accept, however, the drastically changed status of these artefacts: once sacred items used in religious ritual dance, they were now objects of Mongolian artistic heritage.

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Tsygankov, Alexander S. "History of Philosophy. 2018, Vol. 23, No. 2 TABLE OF CONTENTS Theory and Methodology of History of Philosophy Rodion V. Savinov. Philosophy of Antiquity in Scholasticism This article examines the forms of understanding ancient philosophy in medieval and post-medieval scholasticism. Using the comparative method the author identifies the main approaches to the philosophical heritage of Antiquity, and to the problem of reviving the doctrines of the past. The Patristics (Epiphanius of Cyprus, Filastrius of Brixia, Lactantius, Augustine) saw the ancient cosmological doctrines as heresies. The early Middle Ages (e.g., Isidore of Seville) assimilated the content of these heresiographic treatises, which became the main source of information about ancient philosophy. Scholasticism of the 13th–14th cent. remained cautious to ancient philosophy and distinguished, on the one hand, the doctrinal content discussed in the framework of the exegetic problems at universities (Albert the Great, Thomas Aquinas, etc.), and, on the other hand, information on ancient philosophers integrated into chronological models of medieval chronicles (Peter Comestor, Vincent de Beauvais, Walter Burleigh). Finally, the post-medieval scholasticism (Pedro Fonseca, Conimbricenses, Th. Stanley, and others) raised the questions of the «history of ideas», thereby laying the foundation of the history of philosophy in its modern sense. Keywords: history of philosophy, Patristic, Scholasticism, reflection, critic DOI: 10.21146/2074-5869-2018-23-2-5-17 World Philosophy: the Past and the Present Mariya A. Solopova. The Chronology of Democritus and the Fall of Troy The article considers the chronology of Democritus of Abdera. In the times of Classical Antiquity, three different birth dates for Democritus were known: c. 495 BC (according to Diodorus of Sicily), c. 470 BC (according to Thrasyllus), and c. 460 BC (according to Apollodorus of Athens). These dates must be coordinated with the most valuable doxographic evidence, according to which Democritus 1) "was a young man during Anaxagoras’s old age" and that 2) the Lesser World-System (Diakosmos) was compiled 730 years after the Fall of Troy. The article considers the argument in favor of the most authoritative datings belonging to Apollodorus and Thrasyllus, and draws special attention to the meaning of the dating of Democritus’ work by himself from the year of the Fall of Troy. The question arises, what prompted Democritus to talk about the date of the Fall of Troy and how he could calculate it. The article expresses the opinion that Democritus indicated the date of the Fall of Troy not with the aim of proposing its own date, different from others, but in order to date the Lesser World-System in the spirit of intellectual achievements of his time, in which, perhaps, the history of the development of mankind from the primitive state to the emergence of civilization was discussed. The article discusses how to explain the number 730 and argues that it can be the result of combinations of numbers 20 (the number of generations that lived from the Fall of Troy to Democritus), 35 – one of the constants used for calculations of generations in genealogical research, and 30. The last figure perhaps indicates the age of Democritus himself, when he wrote the Lesser Diakosmos: 30 years old. Keywords: Ancient Greek philosophy, Democritus, Anaxagoras, Greek chronography, doxographers, Apollodorus, Thrasyllus, capture of Troy, ancient genealogies, the length of a generation DOI: 10.21146/2074-5869-2018-23-2-18-31 Bembya L. Mitruyev. “Yogācārabhumi-Śāstra” as a Historical and Philosophical Source The article deals with “Yogācārabhūmi-Śāstra” – a treatise on the Buddhist Yogācāra school. Concerning the authorship of this text, the Indian and Chinese traditions diverge: in the first, the treatise is attributed to Asanga, and in the second tradition to Maitreya. Most of the modern scholars consider it to be a compilation of many texts, and not the work of one author. Being an important monument for both the Yogacara tradition and Mahayana Buddhism in general, Yogācārabhūmi-Śāstra is an object of scientific interest for the researchers all around the world. The text of the treatise consists of five parts, which are divided into chapters. The contents of the treatise sheds light on many concepts of Yogācāra, such as ālayavijñāna, trisvabhāva, kliṣṭamanas, etc. Having briefly considered the textological problems: authorship, dating, translation, commenting and genre of the text, the author suggests the reconstruction of the content of the entire monument, made on the basis of his own translation from the Tibetan and Sanskrit. This allows him to single out from the whole variety of topics those topics, the study of which will increase knowledge about the history of the formation of the basic philosophical concepts of Yogācāra and thereby allow a deeper understanding of the historical and philosophical process in Buddhism and in other philosophical movements of India. Keywords: Yogācārabhūmi-śāstra, Asaṅga, Māhāyana, Vijñānavāda, Yogācāra, Abhidharma, ālayavijñāna citta, bhūmi, mind, consciousness, meditation DOI: 10.21146/2074-5869-2018-23-2-32-43 Tatiana G. Korneeva. Knowledge in Nāșir Khusraw’s Philosophy The article deals with the concept of “knowledge” in the philosophy of Nāșir Khusraw. The author analyzes the formation of the theory of knowledge in the Arab-Muslim philosophy. At the early stages of the formation of the Arab-Muslim philosophy the discussion of the question of cognition was conducted in the framework of ethical and religious disputes. Later followers of the Falsafa introduced the legacy of ancient philosophers into scientific circulation and began to discuss the problems of cognition in a philosophical way. Nāșir Khusraw, an Ismaili philosopher of the 11th century, expanded the scope of knowledge and revised the goals and objectives of the process of cognition. He put knowledge in the foundation of the world order, made it the cause and ultimate goal of the creation of the world. In his philosophy knowledge is the link between the different levels of the universe. The article analyzes the Nāșir Khusraw’s views on the role of knowledge in various fields – metaphysics, cosmogony, ethics and eschatology. Keywords: knowledge, cognition, Ismailism, Nāșir Khusraw, Neoplatonism, Arab-Muslim philosophy, kalām, falsafa DOI: 10.21146/2074-5869-2018-23-2-44-55 Vera Pozzi. Problems of Ontology and Criticism of the Kantian Formalism in Irodion Vetrinskii’s “Institutiones Metaphysicae” (Part II) This paper is a follow-up of the paper «Irodion Vetrinskii’s “Institutiones Metaphysicae” and the St. Petersburg Theological Academy» (Part I). The issue and the role of “ontology” in Vetrinskii’s textbook is analyzed in detail, as well as the author’s critique of Kantian “formalism”: in this connection, the paper provides a description of Vetrinskii’s discussion about Kantian theory of the a priori forms of sensible intuition and understanding. To sum up, Vetrinskii was well acquainted not only with Kantian works – and he was able to fully evaluate their innovative significance – but also with late Scholastic textbooks of the German area. Moreover, he relied on the latters to build up an eclectic defense of traditional Metaphysics, avoiding at the same time to refuse Kantian perspective in the sake of mere reaffirming a “traditional” perspective. Keywords: Philosophizing at Russian Theological Academies, Russian Enlightenment, Russian early Kantianism, St. Petersburg Theological Academy, history of Russian philosophy, history of metaphysics, G.I. Wenzel, I. Ya. Vetrinskii DOI: 10.21146/2074-5869-2018-23-2-56-67 Alexey E. Savin. Criticism of Judaism in Hegel's Early “Theological” Writings The aim of the article is to reveal the nature of criticism of Judaism by the “young” Hegel and underlying intuitions. The investigation is based on the phenomenological approach. It seeks to explicate the horizon of early Hegel's thinking. The revolutionary role of early Hegel’s ideas reactivation in the history of philosophy is revealed. The article demonstrates the fundamental importance of criticism of Judaism for the development of Hegel's thought. The sources of Hegelian thematization and problematization of Judaism – his Protestant theological background within the framework of supranaturalism and the then discussion about human rights and political emancipation of Jews – are discovered. Hegel's interpretation of the history of the Jewish people and the origin of Judaism from the destruction of trust in nature, the fundamental mood of distrust and fear of the world, leading to the development of alienation, is revealed. The falsity of the widespread thesis about early Hegel’s anti-Semitism is demonstrated. The reasons for the transition of early Hegel from “theology” to philosophy are revealed. Keywords: Hegel, Judaism, history, criticism, anti-Semitism, trust, nature, alienation, tyranny, philosophy DOI: 10.21146/2074-5869-2018-23-2-68-80 Evgeniya A. Dolgova. Philosophy at the Institute of Red Professors (1921–1938): Institutional Forms, Methods of Teaching, Students, Lecturers The article explores the history of the Institute of the Red Professors in philosophy (1921–1938). Referring to the unpublished documents in the State Archives of the Russian Federation and the Archive of the Russian Academy of Sciences, the author explores its financial and infrastructure support, information sphere, characterizes students and teachers. The article illustrates the practical experience of the functioning of philosophy within the framework of one of the extraordinary “revolutionary” projects on the renewal of the scientific and pedagogical sphere, reflects a vivid and ambiguous picture of the work of the educational institution in the 1920s and 1930s and corrects some of historiographical judgments (about the politically and socially homogeneous composition of the Institute of Red Professors, the specifics of state support of its work, privileges and the social status of the “red professors”). Keywords: Institute of the Red Professors in Philosophy, Philosophical Department, soviet education, teachers, students, teaching methods DOI: 10.21146/2074-5869-2018-23-2-81-94 Vladimir V. Starovoitov. K. Horney about the Consequences of Neurotic Development and the Ways of Its Overcoming This article investigates the views of Karen Horney on psychoanalysis and neurotic development of personality in her last two books: “Our Inner Conflicts” (1945) and “Neurosis and Human Grows” (1950), and also in her two articles “On Feeling Abused” (1951) and “The Paucity of Inner Experiences” (1952), written in the last two years of her life and summarizing her views on clinical and theoretical problems in her work with neurotics. If in her first book “The Neurotic Personality of Our Time” (1937) neurosis was a result of disturbed interpersonal relations, caused by conditions of culture, then the concept of the idealized Self open the gates to the intrapsychic life. Keywords: Neo-Freudianism, psychoanalysis, neurotic development of personality, real Self, idealized image of Self DOI: 10.21146/2074-5869-2018-23-2-95-102 Publications and Translations Victoria G. Lysenko. Dignāga on the Definition of Perception in the Vādaviddhi of Vasubandhu. A Historical and Philosophical Reconstruction of Dignāga’s Pramāṇasamuccayavṛtti (1.13-16) The paper investigates a fragment from Dignāga’s magnum opus Pramāṇasamuccayavṛtti (“Body of tools for reliable knowledge with a commentary”, 1, 13-16) where Dignāga challenges Vasubandhu’s definition of perception in the Vādaviddhi (“Rules of the dispute”). The definition from the Vādaviddhi is being compared in the paper with Vasubandhu’s ideas of perception in Abhidharmakośabhāṣya (“Encyclopedia of Abhidharma with the commentary”), and with Dignāga’s own definition of valid perception in the first part of his Pramāṇasamuccayavṛtti as well as in his Ālambanaparīkśavṛtti (“Investigation of the Object with the commentary”). The author puts forward the hypothesis that Dignāga criticizes the definition of perception in Vādaviddhi for the reason that it does not correspond to the teachings of Vasubandhu in his Abhidharmakośabhāṣya, to which he, Dignāga, referred earlier in his magnum opus. This helps Dignāga to justify his statement that Vasubandhu himself considered Vādaviddhi as not containing the essence of his teaching (asāra). In addition, the article reconstructs the logical sequence in Dignāga’s exegesis: he criticizes the Vādaviddhi definition from the representational standpoint of Sautrāntika school, by showing that it does not fulfill the function prescribed by Indian logic to definition, that of distinguishing perception from the classes of heterogeneous and homogeneous phenomena. Having proved the impossibility of moving further according to the “realistic logic” based on recognizing the existence of an external object, Dignāga interprets the Vādaviddhi’s definition in terms of linguistic philosophy, according to which the language refers not to external objects and not to the unique and private sensory experience (svalakṣaṇa-qualia), but to the general characteristics (sāmānya-lakṣaṇa), which are mental constructs (kalpanā). Keywords: Buddhism, linguistic philosophy, perception, theory of definition, consciousness, Vaibhashika, Sautrantika, Yogacara, Vasubandhu, Dignaga DOI: 10.21146/2074-5869-2018-23-2-103-117 Elizaveta A. Miroshnichenko. Talks about Lev N. Tolstoy: Reception of the Writer's Views in the Public Thought of Russia at the End of the 19th Century (Dedicated to the 190th Anniversary of the Great Russian Writer and Thinker) This article includes previously unpublished letters of Russian social thinkers such as N.N. Strakhov, E.M. Feoktistov, D.N. Tsertelev. These letters provide critical assessment of Lev N. Tolstoy’s teachings. The preface to publication includes the history of reception of Tolstoy’s moral and aesthetic philosophy by his contemporaries, as well as influence of his theory on the beliefs of Russian idealist philosopher D.N. Tsertelev. The author offers a rational reconstruction of the dialogue between two generations of thinkers representative of the 19th century – Lev N. Tolstoy and N.N. Strakhov, on the one hand, and D.N. Tsertelev, on the other. The main thesis of the paper: the “old” and the “new” generations of the 19th-century thinkers retained mutual interest and continuity in setting the problems and objectives of philosophy, despite the numerous worldview contradictions. Keywords: Russian philosophy of the nineteenth century, L.N. Tolstoy, N.N. Strakhov, D.N. Tsertelev, epistolary heritage, ethics, aesthetics DOI: 10.21146/2074-5869-2018-23-2-118-130 Reviews Nataliya A. Tatarenko. History of Philosophy in a Format of Lecture Notes (on Hegel G.W.F. Vorlesungen zur Ästhetik. Vorlesungsmitschrift Adolf Heimann (1828/1829). Hrsg. von A.P. Olivier und A. Gethmann-Siefert. München: Wilhelm Fink, 2017. XXXI + 254 S.) Released last year, the book “G.W.F. Hegel. Vorlesungen zur Ästhetik. Vorlesungsmitschrift Adolf Heimann (1828/1829)” in German is a publication of one of the student's manuskript of Hegel's lectures on aesthetics. Adolf Heimann was a student of Hegel in 1828/29. These notes open for us imaginary doors into the audience of the Berlin University, where Hegel read his fourth and final course on the philosophy of art. A distinctive feature of this course is a new structure of lectures in comparison with three previous courses. This three-part division was took by H.G. Hotho as the basis for the edited by him text “Lectures on Aesthetics”, included in the first collection of Hegel’s works. The content of that publication was mainly based on the lectures of 1823 and 1826. There are a number of differences between the analyzed published manuskript and the students' records of 1820/21, 1823 and 1826, as well as between the manuskript and the editorial version of H.G. Hotho. These features show that Hegel throughout all four series of Berlin lectures on the philosophy of art actively developed and revised the structure and content of aesthetics. But unfortunately this evidence of the permanent development was not taken into account by the first editor of Hegel's lectures on aesthetics. Keywords: G.W.F. Hegel, H.G. Hotho, philosophy of art, aesthetics, forms of art, idea of beauty, ideal DOI: 10.21146/2074-5869-2018-23-2-131-138 Alexander S. Tsygankov. On the Way to the Revival of Metaphysics: S.L. Frank and E. Coreth Readers are invited to review the monograph of the modern German researcher Oksana Nazarova “The problem of the renaissance and new foundation of metaphysics through the example of Christian philosophical tradition. Russian religious philosophy (Simon L. Frank) and German neosholastics (Emerich Coreth)”, which was published in 2017 in Munich. In the paper, the author offers a comparative analysis of the projects of a new, “post-dogmatic” metaphysics, which were developed in the philosophy of Frank and Coreth. This study addresses the problems of the cognitive-theoretical and ontological foundation of the renaissance of metaphysics, the methodological tools of the new metaphysics, as well as its anthropological component. O. Nazarova's book is based on the comparative analysis of Frank's religious philosophy and Coreth's neo-cholastic philosophy from the beginning to the end. This makes the study unique in its own way. Since earlier in the German reception of the heritage of Russian thinker, the comparison of Frank's philosophy with the Catholic theology of the 20th century was realized only fragmentarily and did not act as a fundamental one. Along with a deep and meaningful analysis of the metaphysical projects of both thinkers, this makes O. Nazarova's book relevant to anyone who is interested in the philosophical dialogue of Russia and Western Europe and is engaged in the work of Frank and Coreth. Keywords: the renaissance of metaphysics, post-Kantian philosophy, Christian philosophy, S.L. Frank, E. Coreth DOI: 10.21146/2074-5869-2018-23-2-139-147." History of Philosophy 23, no. 2 (October 2018): 139–47. http://dx.doi.org/10.21146/2074-5869-2018-23-2-139-147.

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Becker, Catherine. "Regarding “Buddhist Art: Objects and Contexts”." Archives of Asian Art 62, no. 1 (2012). http://dx.doi.org/10.1353/aaa.2012.0010.

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Limprapoowiwattana, Chanatporn. "The art of Buddhist connectivity: Organic rice farming in Thailand." Agriculture and Human Values, December 29, 2022. http://dx.doi.org/10.1007/s10460-022-10363-w.

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AbstractThis article analyses the interplay between the International Federation of Organic Agriculture Movements (IFOAM) standard, Buddhist socio-economic imaginaries, and values within the global production network (GPN) of organic rice. It asks, “How do transnational standardisation and local values interact in the global production network of organic rice?” Little research has been conducted on the imaginaries and values embedded in the GPNs of organic food. This research aims to fill this gap by examining the transition to organic agriculture among two prominent organic rice farming communities in Thailand, namely the Naso Producer Group and the Ban Thap Thai Organic Agricultural Cooperative. The article draws on a combination of desk research; interviews with governmental and non-governmental officials, standard experts/certifiers, and representatives of the IFOAM; focus group discussions and photo-elicitation sessions with organic rice farmers; on-site observations; and participant observations of mindfulness meditation courses and interviews with Buddhist monks. The results show that Buddhist socio-economic imaginaries have informed the way in which Thai organic rice farmers reconnect to their arable land through an organic farming method, enabling them to live meaningfully and mindfully. This implies that the connectivity of the GPNs of organic rice is not created purely by standards and certifications formulated by transnational private actors; rather, it is also shaped to a large extent by community values and shifts in local mindsets. This article contributes to the literature on food philosophy in the developing world and the governance of the GPNs of organic rice.

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Chang, Ya-Liang. "An Investigation of Naga Art in Buddhist Temples of Mueang Chiang Mai District, Thailand." SSRN Electronic Journal, 2021. http://dx.doi.org/10.2139/ssrn.3759516.

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Батырева, Светлана Гарриевна. "Buddhist art in the museum as a source base of scientific research." Искусство Евразии, no. 4(15) (December 27, 2019). http://dx.doi.org/10.25712/astu.2518-7767.2019.04.018.

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В настоящей статье рассматривается проблема изучения музейной коллекции буддийского изобразительного искусства Калмыкии, а также сохранения художественного наследия в условиях глобализации культур. Автор ставит цель создать научно обоснованные информационные ресурсы на базе исследования музейных коллекций и экспонатов. Информация составляет суть музейного дела, в основе которого лежит научно-исследовательская деятельность, объединяющая сферы комплектования, учета и хранения фондов, с одной стороны, с другой коммуникативная, связанная с экспозиционно-выставочной деятельностью. Исходными в работе музея являются не только сохраняемый фонд, но и сведения об экспонатах, собираемые в процессе комплектования фонда и создания каталога музейного собрания, состоящего из коллекций. Основываясь на богатой традиции описания и каталогизации предметов искусства, а также применяя современные технологии и искусствоведческие методы, стало возможным подготовить и издать научный каталог коллекций основного фонда Музея традиционной культуры имени Зая-пандиты Калмыцкого научного центра РАН. This article discusses the problem of studying the museum collection of Buddhist fine art in Kalmykia, as well as preserving the artistic heritage in the context of globalization of cultures. The author aims to create scientifically based information resources that include research on museum collections and exhibits. Information is the essence of museum business, which is based on research activities that combine the fields of acquisition, accounting and storage of funds, on the one hand, and on the other hand, communicative activities related to exposition and exhibition activities. The initial work of the museum is not only the preserved fund, but also information about the exhibits collected in the process of acquiring the fund and creating a museum collection catalog consisting of collections. The Zaya-Pandita Museum of Traditional Culture of the Kalmyk Scientific Center of the Russian Academy of Sciences stores and presents in the educational sphere multidisciplinary and largely unique information about the cultural heritage of the people. Based on a rich tradition of describing and cataloging objects of art, as well as using modern technologies and art criticism methods, it has become possible to prepare and publish a scientific catalog of the collections of the main fund of the Zaya-Pandita Museum of Traditional Culture.

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Асалханова, Екатерина Владимировна. "Buddhist collection of The National Museum of Ust-Orda Buryat Autonomous Okrug: study and cataloging." Искусство Евразии, no. 4(15) (December 27, 2019). http://dx.doi.org/10.25712/astu.2518-7767.2019.04.016.

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В статье исследуется буддийская коллекция Национального музея Усть-Ордынского Бурятского округа, включающую иконы-танка, скульптуру, ритуальные предметы, музыкальные инструменты. Целью исследования является изучение экспонатов и составление каталога этой коллекции. С помощью метода сравнительного анализа отечественных и зарубежных коллекций проводится атрибуция экспонатов. Автор представил междисциплинарное исследование с применением методов музееведения, истории, искусствоведения, этнологии, культурологии. Результатом проведенной работы стал аннотированный и иллюстрированный каталог буддийской коллекции Национального музея Усть-Ордынского Бурятского округа. Область применения результатов: музееведение, искусствоведение, образование. The article is about the buddhist collection of The National Museum of Ust-Orda Buryat Autonomous Okrug (included Thangka, sculpture, ritual objects, musical instruments). The aim of the research is to study the exhibits and compile a catalog of this collection. Using the method of comparative analysis of domestic and foreign collections, the author carries out the attribution of exhibits. The author presented an interdisciplinary study using the methods of museology, history, art history, ethnology, cultural studies. The result of the work was an annotated and illustrated catalog of the Buddhist collection of The National Museum of Ust-Orda Buryat Autonomous Okrug. The scope of the results: museology, art history, education.

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