Dissertations / Theses: 'Buddhist art'

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

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

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Vignato, Giuseppe. "Chinese transformation of Buddhism the case of Kuan-yin /." Theological Research Exchange Network (TREN), 1993. http://www.tren.com.

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

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Chiu, Angela Shih Chih. "The social and religious world of northern Thai Buddha images : art, lineage, power and place in Lan Na monastic chronicles (Tamnan)." Thesis, SOAS, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.617604.

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

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This thesis considers whether a Buddhist statue in a museum context can be both aesthetic and devotional. By reexamining the relationship between a devotional object, its surrounding space, and its viewer, this thesis will suggest how a museum gallery, though not a consecrated ritual space, can still potentially be a place for spiritual engagement akin to a religious sanctuary. Through a comparison of Gallery 16 of the Asian Art Museum, San Francisco and Mengjia Longshan Temple, Taipei, Taiwan as a case study in terms of their spaces and the movement of people within the space in relation to the objects, this thesis will consider how Buddhist statues may continue to exist as spiritual objects and works of aesthetic appreciation without losing their past as devotional icons, and I will do this by applying Victor Turner’s concepts of liminality and the liminoid.

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Mukdamanee, Vichaya. "(De)contextualising Buddhist aesthetics." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:ee1e2b7f-1c97-40ec-be69-160a3a35cf03.

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

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Lingley, Kate Alexandra. "Widows, monks, magistrates, and concubines social dimensions of sixth-century Buddhist art patronage /." Click to view the dissertation via Digital dissertation consortium, 2004.

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

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

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

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Li, Gregory Kenneth, and 李群雄. "Tantric symbolism in Vajrayogini imagery." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45166225.

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Karlsson, Klemens. "Face to face with the absent Buddha : The formation of Buddhist Aniconic art." Doctoral thesis, Uppsala University, Department of Theology, 2000. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-421.

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Early art in Buddhist cultic sites was characterized by the absence of anthropomorphicimages of the Buddha. The Buddha was instead represented by different signs, like awheel, a tree, a seat and footprints. This study emphasizes the transformation this artunderwent from simple signs to carefully made aniconic compositions representing theBuddha in a narrative context.

Buddhist aniconic art has been explained by a prohibition against images of theBuddha or by a doctrine that made it inappropriate to depict the body of the Buddha.This study rejects such explanations. Likewise, the practice of different meditationalexercises cannot explain this transformation. Instead, it is important to understand thatearly art at Buddhist cultic sites consisted of simple signs belonging to a shared sacredIndian culture. This art reflected a notion of auspiciousness, fertility and abundance.The formation of Buddhist aniconic art was indicated by the connection of these auspi- cious signs with a narrative tradition about the life and teachings of the Buddha.

The study emphasizes the importance Sakyamuni Buddha played in the formation ofBuddhist art. The Buddha was interpreted as an expression of auspiciousness, but hewas also connected with a soteriological perspective. Attention is also focused on thefact that the development of Buddhist art and literature was a gradual and mutualprocess. Furthermore, Buddhist aniconic art presaged the making of anthropomorphicimages of the Buddha. It was not an innovation of motive for the Buddhists when theystarted to make anthropomorphic images of the Buddha. He was already there.

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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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Galloway, Charlotte Kendrick. "Burmese Buddhist imagery of the early Bagan period (1044-1113)." Connect to this title online, 2006. http://thesis.anu.edu.au/public/adt-ANU20071112.160557/index.html.

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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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Steinmetz, Mayumi Takanashi. "Artistic and Religious Aspects of Nosatsu (Senjafuda)." Thesis, University of Oregon, 1985. http://hdl.handle.net/1794/22962.

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195 pages
Nosatsu is both a graphic art object and a religious object. Until very recently, scholars have ignored nosatsu because of its associations with superstition and low-class, uneducated hobbyists. Recently, however, a new interest in nosatsu has revived because of its connections to ukiyo-e. Early in its history, nosatsu was regarded as a means of showing devotion toward the bodhisattva Kannon. However, during the Edo period, producing artistic nosatsu was emphasized more than religious devotion. There was a revival of interest in nosatsu during the Meiji and Taisho periods, and its current popularity suggests a national Japanese nostalgia toward traditional Japan. Using the religious, anthropological, and art historical perspectives, this theses will examine nosatsu and the practices associated with it, discuss reasons for the changes from period to period, and explore the heritage and the changing values of the Japanese common people.

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Warner, Lachlan Phillip. "Art Practice as Buddhist Practice: A Soteriology through Suffering." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/17924.

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The thesis examines the Buddhist concept of suffering, portrayed through visual art. The central questions are how can art be used to understand Buddhist suffering and, conversely, how can Buddhist suffering be used in the creation and perception of visual art. My thesis is based on an understanding of suffering (Dhukkha) described in the Early Buddhist Texts. Suffering is addressed through the Khandhas; collective processes that recognize human subjectivity as shifting. The Khandhas show that we are just processes of cause and effect. The Khandhas also bridge divides between reason and affect, mind and body, drawing on the work of Sue Hamilton and Peter Harvey. These theorists describe a Buddhism that has been termed modernist, where there is a renewed focus on suffering. The 4 artworks use the Buddha’s principle metaphor for suffering; of being on fire. The first two suites show seated bodies burning, portraying the universality of suffering. The third suite has nuns standing in a panorama of gold, representing immanent enlightenment. The fourth suite utilizes an image of my ‘self’ as the site of suffering. The dissertation compares Dhukkha to the works of Theodor Adorno, Susan Sontag, Mieke Bal and Mark Ledbetter as theorists of suffering. Adorno saw the representation of suffering as gratuitous, reinforcing existing systems of repression. For Bal, representations of suffering are only possible through inflection; changing forms so that exploitation is removed but art remains. Buddhism however sees suffering as intrinsic to all representation. Ledbetter then posits suffering as one part of a larger process of seeing that includes voyeurism. Works by six artists are paired and compared to understand different ways of articulating suffering. Colombian artist Doris Salcedo uses materials that speak of the lives of people missing in war torn Colombia. In contrast Oscar Munoz uses video to invoke the suffering and transience of both life and images. The work of Bill Viola is examined to show immediacy in the apprehension of pain and suffering. Viola’s works are juxtaposed with Zhang Huan who uses ash to invoke existential suffering. Finally, late works by Mark Rothko and Richard Serra are analyzed to understand the transformation and ending of suffering through abstracted forms. The artworks are lastly compared to a history of Buddhist self-sacrifice, including suicide and self-immolation. Both the artworks and these acts relate to the Buddhist understanding of ‘self’. Ultimately that ‘self’ is a delusion. The understanding of the delusion provides release from suffering, which is the aim of Buddhism.

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Efurd, David S. "Early Buddhist Caves of Western India CA. Second Century BCE through the Third Century CE: Core Elements, Functions, and Buddhist Practices." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1210983943.

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Lomi, Benedetta. "The precious steed of the Buddhist pantheon : ritual, faith and images of Batō Kannon in Japan." Thesis, SOAS, University of London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.639412.

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Bunyasakseri, Thirawut. "Timeless Stories: Investigating Contemporary Approaches to Hindu and Buddhist Art." Thesis, Griffith University, 2020. http://hdl.handle.net/10072/392408.

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Art has been a form of communication used to convey religious lessons in Thailand (formerly the Kingdom of Siam) since ancient times. While present-day Thais are still intensely committed to religious practices, many understand less and less of the precise information embedded in this art form. Moreover, religious artworks in Thailand do not reflect current society and do not have much in common with contemporary art. Therefore, this research investigates the potential causes that have disconnected religious art from Thai society and explores possible ways to utilise elements from the Thai religious art style in a contemporary painting practice. This research is primarily a studio-based investigation, but is supported by traditional discursive research practices, including a historical and contemporary analysis of the original functions and the evolution of painting styles of religious art, specifically Ramayana-inspired paintings across periods of times and regions. Relevant theories regarding iconology and visual representation are employed to guide the understanding and interpretation of these religious paintings. This research also investigates the interrelation between art and nationalist ideology after the political regime change in Thailand during the 19th century. The new state system intensely sought to promote national identity and imbued religious art with a new meaning that supported this nation building. What is now known as Thai “traditional” art has strict rules in place in terms of preservation, reproduction, and standardisation. Also, part of the pre-studio research was a visual survey I undertook of relevant artworks, including a range of contemporary paintings which utilise elements from traditional art to create works that reflect contemporary society. In the studio section of this creative research, I have created four series of paintings that experiment with the artistic value inherent in traditional art and attempt to modernise Thai traditional painting, making it meaningful to contemporary audiences. This may not only offer another way of creating religious painting but could also possibly be another method of preservation, ensuring the longevity of Thai traditional art.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Pepper, France A. (France Allison). "The thousand buddha motif : a visual chant in buddhist cave-temples along the silk road." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23351.

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As early as the fifth century C.E., the thousand buddha motif had become a prevalent feature in the art of many cave-temples in Gansu, China. Past scholarship concentrated on tracing the textual sources of the motif and with relating it to the practices associated with the devotion to the three thousand buddhas of the three ages. Past research has not considered how the thousand buddhas may have been a reflection of a wider range of religious practices and popular beliefs nor has it explored the motif's artistic origin.
By demonstrating that the earliest examples of the two-dimensional painted form of the thousand buddhas came from Gansu and that the motif was related to an iconographic and architectural design that existed between several Gansu cave-temple sites, this study proposes that the thousand buddha motif was a Gansu cave-temple art innovation that influenced cave-temple decor in areas west of Gansu. In addition, possible reasons for the prevalence of the motif are suggested by considering that it may have reflected the relationship between the thousand buddhas and meditative practices as well as the acts of chanting and circumambulation.

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Galloway, Charlotte Kendrick, and charlotte galloway@anu edu au. "Burmese Buddhist Imagery of the Early Bagan Period (1044-1113)." The Australian National University. Faculty of Arts, 2007. http://thesis.anu.edu.au./public/adt-ANU20071112.160557.

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Buddhism is an integral part of Burmese culture. While Buddhism has been practiced in Burma for around 1500 years and evidence of the religion is found throughout the country, nothing surpasses the concentration of Buddhist monuments found at Bagan. Bagan represents not only the beginnings of a unified Burmese country, but also symbolises Burmese 'ownership' of Theravada Buddhism. ¶ While there is an abundance of artistic material throughout Burma, the study of Burmese Buddhist art by western scholars remains in it infancy due to historical events. In recent years, opportunities for further research have increased, and Bagan, as the region of Buddhism's principal flowering in Burma, is the starting point for the study of Burmese Buddhist art. To date, there has been no systematic review of the stylistic or iconographic characteristics of the Buddhist images of this period. This thesis proposes, for the first time, a chronological framework for sculptural depictions of the Buddha, and identifies the characteristics of Buddha images for each identified phase. The framework and features identified should provide a valuable resource for the dating of future discoveries of Buddhist sculpture at Bagan. ¶ As epigraphic material from this period is very scant, the reconstruction of Bagan's history has relied heavily to this point in time on non-contemporaneous accounts from Burma, and foreign chronicles. The usefulness of Bagan's visual material in broadening our understanding of the early Bagan period has been largely overlooked. This is addressed by relating the identified stylistic trends with purported historical events and it is demonstrated that, in the absence of other contemporaneous material, visual imagery is a valid and valuable resource for both supporting and refuting historical events. ¶ Buddhist imagery of Bagan widely regarded to represent the beginnings of 'pure' Theravada practice that King Anawrahta, the first Burman ruler, actively encouraged. This simplistic view has limited the potential of the imagery to provide a greater understanding of Buddhist practice at Bagan, and subsequently, the cross-cultural interactions that may have been occurring. In this light the narrative sculptural imagery of the period is interrogated against the principal Mahayana and Theravada texts relating to the life of Gotama Buddha. This review, along with the discussion regarding potential agencies for stylistic change, reveals that during the early Bagan period, Buddhism was an eclectic mix of both Theravada and Mahayana, which integrated with pre-existing spiritual traditions. Towards the end of the early Bagan period, trends were emerging which would lead to a distinctly Burmese form of Buddhist practice and visual expression.

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Lee, Hyunseok. "Representing Korean Buddhist art and architecture : a 3D animated documentary installation." Thesis, Loughborough University, 2011. https://dspace.lboro.ac.uk/2134/9420.

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This practice-led research One Mind - seeks to represent Korean Buddhist architectural aesthetics and Buddhist spiritual ideas using the animated documentary genre as a form of creative representation. It is intended that the piece be shown either as an installation in a gallery, or within a museum or cultural exhibition context. The key goal is to offer this digital artwork to European audiences, in a spirit of engendering the same feeling state as when present in the real monastery, encouraging an understanding of the sacred, and experiencing a form of transcendence. My art work in some ways functions as a digital restoration of sacred architecture outside its real environment and context, and seeks to document cultural heritage and knowledge. One Mind is different from a classic form of documentary, though, because it does not echo the idea of documentary based on live-action footage as a mode of non-fiction record and expression. I have particularly stressed the suggestiveness of the architectural aesthetics and the philosophic principles embedded in the environment. I have sought to bring my own subjective artistic interpretation to Korean Buddhism accordingly, resisting typical character animation and classical narrative, seeking instead, to encourage the viewer to be part of the environment. I focus on the meaning in Buddhist buildings and the landscape they are part of, and dramatise the environment, using the poetic tone of the voice over performance, the sound track of Buddhist chanting, and the visual effects and perspectives of computer generated imagery. This digital visualisation of the Buddhist s spiritual world is informed by a Buddhist s traditional way of life, but, most importantly, by my own past experience, feelings and memory of the Buddhist monastery compound, as a practising artist. My thesis is categorised into eight chapters. Chapter One offers an overview of the aims and objectives of my project. Chapter Two identifies my research questions and my intended methodology. Chapter Three focuses on important background knowledge about Korea s natural and cultural aspects and conditions. Chapter Four offers an analysis of the issue of the Korean cultural identity, suggesting that a more authentic image of Korea and Korean-ness is available in the philosophy and spiritual agenda of Buddhism. Chapter Five addresses the practical ways in which digital restoration of architecture has taken place, identifying three previous cases which both resemble and differ from my own project. Chapter Six looks at the specific characteristics of Korean Seon Buddhism and architecture, and engages with three theoretical approaches about the spatial composition of the monastery, and the ways it may help in constructing the monastery in a digital environment. Chapter Seven offers an evaluation and validation of my artwork, having adopted the approach of creating an animated spiritual documentary to reveal Buddhist philosophy and experience as a model of Korean cultural identity. Chapter Eight offers some conclusions about my intention, process and outcomes.

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Errington, Elizabeth. "The western discovery of the art of Gandhara and the finds of Jamalgarhi." Thesis, SOAS, University of London, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262251.

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Lin, Wei. "The Buddhist Caves at Qixiashan, China (Southern Dynasties, 420-589 CE)." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1181919094.

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Kim, Sunkyung. "Decline of the law, death of the monk Buddhist texts and images in the Anyang Caves of late sixth-century China /." Click to view thedissertation via Digital dissertation consortium, 2005.

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Efurd, David. "Early Buddhist caves of western India ca. second century BCE through the third century CE core elements, functions, and Buddhist practices /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1210983943.

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Pan, An-yi. "Li Gonglin's Buddhist beliefs and his Lotus Society Picture an iconographic diagram of the bodhisattva path /." online access from Digital dissertation consortium, 1997. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9811328.

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Sato, Ayako. "Integrating Morita Therapy and Art Therapy: An Analysis." Antioch University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1300467795.

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Chandrasekhar, Chaya. "Påla-period Buddha images their hands, hand gestures, and hand-held attributes /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1092830047.

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Thesis (Ph. D.)--Ohio State University, 2004.
Document formatted into pages; contains xvi,375 p.; also contains graphics. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2009 Aug. 18.

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Twist, Rebecca L. "Patronage, devotion and politics a Buddhological study of the Patola Sahi Dynasty's visual record /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1197663617.

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Sengupta, Anusua. "Buddhist art of Bengal : from the 3rd century B.C. to the 13th century A.D. /." Delhi : Rahul publishing house, 1993. http://catalogue.bnf.fr/ark:/12148/cb37473886z.

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Texte remanié de: Ph.D.--Department of ancient Indian history and culture--Calcutta--University of Calcutta, 1980. Titre de soutenance : A survey of Buddhist art of Bengal from the third century B.C. to the thirteenth century A.D.
Bibliogr. p. 195-204. Index.

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Pok, Chong Boon. "The mind of the everyday in contemporary fine art and Zen Buddhist practice." Thesis, London Metropolitan University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540605.

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Since the beginning of the 20th century, contemporary art has been saturated with references to the everyday and there are a mass of available views addressing the subject by profound social thinkers such as Henri Lefebvre, Michel de Certeau and Agnes Heller. Towards the end of the 20th century and at the beginning of the newmillennium, scholars and writers such as Helen Westgeest, Alexandra Munroe, Arthur C. Danto, Jacquelynn Baas and Mary Jane Jacob began researching the relationship between Western art and Zen. Among these views, an Eastern perspective is lacking, particularly in relation to Zen Buddhist practice of the everyday. The aim of this research is to make a comparative study of the mind of the everyday in contemporary fine art and Zen Buddhist practice, including in art-making from the beginning of the 20th century to recent contemporary fine art practice and understanding, from the West and the East, as represented within, and integral to, my art practice. This research emerged from my personal experience and discoveries as an artist working from a Buddhist background. It adopts reflective qualitative research methods and theory grounded in practice and observed experiences. The core of the research is my studio practice with the theoretical framework operating in the intersection of personal and social perspectives. I situated this enquiry within my own cultural background, the context of Zen Buddhism and its teachings. It developed an enhanced understanding of the everyday in contemporary fine art and Zen Buddhist practice in new and original ways, through bringing forward and integrating the physical and theoretical components of my studio practice.The everyday in my studio practice refers to things we encounter day-in and day-out that we are unlikely to give a second thought, like background noise, we hear it but hardly pay any attention to it. The thesis explored the understanding of Beginner's Mind, the spirit of attentiveness, the idea of the circle, art and meditation, it-is-ness, the relativity of things, "nothingness" and the entanglement of art and life as they revolve around my studio practice, all of which have a connection with Zen Buddhist practice of the everyday. This research serves as both territory expansion and to provide new sources for the `art world' and Zen Buddhists, offering a more balanced understanding of the concepts of the everyday in contemporary fine art and Zen Buddhist practice. Extended study may also be made in connection with psychoanalysis, and the cultural significance of food, cooking and eating in the Far East.

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Karlsson, Klemens. "Face to face with the absent Buddha : the formation of Buddhist Aniconic art /." Uppsala : Acta Universitatis Upsaliensis : Univ.-bibl. [distributör], 1999. http://publications.uu.se/abstract.xsql?dbid=421.

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Lai, Alessia Daisy <1994&gt. "Buddhist influences in Chinese art- Zhang Huan and his relationship with contemporary society." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/16113.

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The purpose of this dissertation is to analyze the work of contemporary artist Zhang Huan, focusing on the close relationship between his artworks and Buddhism. The analysis will start from the first steps taken by the artist in the Beijing East Side Village and will highlight all the developments of his art until today, focusing, in particular, on his trips to Tibet and his life in the USA, and to the artist’s life in connection with the Chinese avant-garde movement and its Buddhist implications.

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Leoshko, Janice. "The Iconography of Buddhist Sculptures of the Pala and Sena Periods from Bodhgaya Volume I." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392309418.

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Brown, Kerry Lucinda. "Dīpaṅkara Buddha and the Patan Samyak Mahādāna in Nepal: Performing the Sacred in Newar Buddhist Art." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3635.

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Every four years, in the middle of a cold winter night, devotees bearing images of 126 Buddhas, Bodhisattvas, and other important deities assemble in the Nepalese city of Patan for an elaborate gift giving festival known as Samyak Mahādāna (“The Perfect Great Gift”). Celebrated by Nepal’s Newar Buddhist community, Samyak honors one of the Buddhas of the historical past called Dīpaṅkara. Dīpaṅkara’s importance in Buddhism is rooted in ancient textual and visual narratives that promote the cultivation of generosity through religious acts of giving (Skt. dāna). During Samyak, large images of Dīpaṅkara Buddha ceremoniously walk in procession to the event site, aided by a man who climbs inside the wooden body to assume the legs of the Buddha. Once arranged at the event, Dīpaṅkara is honored with an array of offerings until dusk the following day. This dissertation investigates how Newar Buddhists utilize art and ritual at Samyak to reenact and reinforce ancient Buddhist narratives in their contemporary lives. The study combines art historical methods of iconographic analysis with a contextual study of the ritual components of the Samyak Mahādāna to analyze the ways religious spectacle embeds core Buddhist values within in the multilayered components of art, ritual, and communal performance. Principally, Samyak reaffirms the foundational Buddhist belief in the cultivation of generosity (Skt. dāna pāramitā) through meritorious acts of giving (Skt. dāna). However, the synergy of image and ritual performance at Samyak provides a critical framework to examine the artistic, religious, and ritual continuities of past and present in the Newar Buddhist community of the Kathmandu Valley. An analysis of the underlying meta-narrative and conceptualization of Samyak suggests the construction of a dynamic visual narrative associated with sacred space, ritual cosmology, and religious authority. Moreover, this dissertation demonstrates the role of Samyak Mahādāna in constructing Buddhist identity in Nepal, as the festival provides an opportunity to examine how Newar Buddhists utilize art, ritual, and performance to reaffirm their ancient Buddhist heritage.

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Tsai, Hsing-li. "Ch'en Hung-shou's "Elegant Gathering" a late-Ming pictorial manifesto of Pure Land Buddhism /." online access from Digital dissertation consortium, 1997. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9827494.

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Yen, Chih-hung. "Bhaiṣajyaguru at Dunhuang." London : University of London, 1997. http://catalog.hathitrust.org/api/volumes/oclc/68914537.html.

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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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Suchan, Thomas. "The eternally flourishing stronghold: an iconographic study of the Buddhist sculpture of the Fowan and related sites at Beishan, Dazu Ca. 892-1155." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1054225952.

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Randall, Diane. "An art therapy programme incorporating Buddhist concepts to address issues of aggression in adult male prisoners." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1998. https://ro.ecu.edu.au/theses/1447.

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This thesis has researched and designed a programme that offers an alternative way of working with aggression in a male prison population, using an art therapy approach that incorporates Buddhist concepts as an intervention. Buddhist practices have traditionally been used in Eastern cultures to calm the mind and to develop compassion as an antidote to aggression. Therefore these practices have seen used as a basis for the design of exercises in the programme. The purpose of the programme is to offer an intervention that will complement, support, or be an alternative to existing treatments, which are primarily cognitive-behavioural in orientation. The research method for designing the programme was qualitative, based on an action research model. This paradigm has an approach of co-operative and participatory inquiry which has its roots in humanistic psychology; therefore, working in such a tradition was appropriate to the nature of the research undertaken in that it gave a humanistic and holistic character to the method. The male prison population was chosen as the focus for the proposed programme because it is a convenient sample, clearly identifiable as a group which is likely to have a problem with aggressive behaviour. If art therapy can be successfully applied with such a group, then it may have relevance to other groups exhibiting less aggressive forms of behaviour. Another potentially positive outcome of this treatment intervention is the benefit that it may have on staff, family, and others who are in contact with this population. In other words, a reduction in the stress levels of aggressive prisoners would hopefully have a more general therapeutic effect upon the quality of all the interpersonal relationships within the larger prison community. The benefit of this research to the field of art therapy is that it has explored the potential of such an intervention being used as a therapeutic strategy in dealing with aggression. The study's findings indicate that Buddhist concepts can be successfully incorporated into the design of an art therapy programme. It is hoped that this programme could be used with any population manifesting aggressive behaviours, either covertly or overtly. The results of this study could potentially benefit a range of client populations where an alternative to aggressive or violent behaviour is sought, and it is suggested that future research could be conducted by implementing the programme with diverse groups.

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Gordon, Robert Edward. "The Heart in the Matter: Design, Belief and a History of Buddhist Architecture in America." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/556587.

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This dissertation explores Buddhist architecture in America from the nineteenth century through the present day. It examines significant examples of Buddhist architecture with respect to the spiritual beliefs of the practitioners who created them. Its goal is to understand these structures from the point of view of human experience. Given the large number of Buddhist structures that exist in the U.S., the narrative navigates the major contours of its development. It follows in isometric fashion the parallel history of Buddhism’s emergence in America that started with the California Gold Rush and its influence on the New England Transcendentalists. Proceeding chronologically through the twentieth and early twenty-first-centuries, the historical sweep of Buddhism’s architectural presence in America is articulated by exploring important structures in depth with respect to Buddhist belief, human emotion, socio-political contexts, and religious faith. A number of hermeneutic binaries are employed throughout the history presented here. Space and Place, East and West, Interior and Exterior, and Spirit and Matter are the major motifs implemented to explicate the buildings and environments under investigation. The overwhelming feeling pervading the discourse and design of Buddhist architecture and its co-extensive belief system is that of the heart. The human proclivity to attach personal meaning and deep emotion to a space or a place is at the express core of the Buddhist structures that house Buddhist practices. As a result, the study’s methodology is inspired by Yi-Fu Tuan’s humanistic geography, whose work explores the relationship between environment and human subjective experience. The study finds that ritual, lineage, and heritage work in tandem with heart, home, and the human body in the construction, understanding and experience of Buddhist architecture. It argues that traditional forms and practices derived from each community’s home culture infused a sense of shelter and protection onto these buildings. Buddhist belief and its associated architecture assuaged the new and sometimes hostile setting of the United States. As the first study of its kind, this dissertation opens the field of Buddhist architecture in America as a distinct branch of scholarly inquiry.

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Maudsley, Catherine Ruth. "Ritual meanings of "water and land" : a study of Buddhist cermonial paintngs [sic] of the Song and Yuan dynasties /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19882166.

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Chang, Elizabeth. "Reduce, Repeat." Thesis, The University of Sydney, 2012. http://hdl.handle.net/2123/12019.

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Presence is the quality of art that strikes a viewer; its energy is palpable. In every moment it is completely alive and in every moment after is alive once more. In 1967, critic, Michael Fried explained the importance of art’s ability to affect viewer continuously in this way and names the temporal affect of presentness as the most significant motivation of Minimalism; the essence of reduction is in this temporality. With much of the visual language of the Contemporary resting on the foundations of Minimalism, the temporal philosophy that is rooted in its vocabulary and aesthetics becomes an afterthought in the formalist discourse that Contemporary art is often framed by. To understand the reductive aesthetic comprehensively, the theory of temporal presence should be revisited. This paper is divided in two parts, the first will establish the philosophical foundations of Empty time and the second will apply concepts of Emptiness and Nothingness to reductive aesthetics. Crucial to presence are the temporal, spatial and experiential modes that are active in it. The meeting point of time and space, the current now, is where these encounters manifest but in the present moment, the movement of past-becoming-present-becoming-future occurs without our even feeling it. The ‘passing of time’ never actualises in our sensory experience, so we should cease to approach time in this way. Buddhist and Nietzschean philosophies raise concerns with this linear approach to time. To better understand the form of the present and the temporal language of reduction, I will examine the durationless model of time that shapes the sensation of experience. Buddhist, Śūnyatā and Nietzsche’s eternal return, will be examined to reconcile the disconnect between experiencing and the movement of time. The second component of the paper will examine the minimalist models of reduction, monochrome and repetition, against Fried’s essay. A clear lineage of presence becomes evident in the Contemporary’s thematic trends of ‘immaterial’ and ‘formless’, considering these examples demonstrate the legacy of reduction. To track the historical development of the minimal tradition, I will begin with Lucio Fontana (reduction) and move through to Yves Klein (monochrome) and finish with Lee Ufan (repetition). I intuitively apply the three aforementioned aesthetics to my creative practice and. Repetition plays a significant role; the demand for patience, will and perdurance is absorbing and, for me, the greatest teacher of time. The repeated gesture is an immersive exercise; it requires becoming absolutely attuned to time and Being. The mark is simultaneously the lingering anticipation of the next moment and mourning the passing of the last; it is a punctuation of Being. Time’s value is often treated as a commodity, so our desire to attain and hold it is overwhelming. It is in my practice that I can unlearn the ideas of time passing, running out, fading or eroding. The commitment to repeat infinitely eases the tension of chasing time.

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Zhang, Lan. "The hidden path : an elementary view of the symbols in the Kālachakra Mandala." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/372977.

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The overall goal of this research project and associated creative work is to assist the general public in reading the Kālachakra mandala. A prominent type of Tibetan Buddhist art, it has been employed by the Fourteenth Dalai Lama as a means of promoting Tibetan culture. Understanding the Kālachakra mandala is a means of understanding Tibetan Buddhism, which can assist in transmitting and preserving the related culture. Despite years of disseminating the Kālachakra mandala, a lack of understanding still surrounds it, which is due to three main reasons: the complexity of related academic resources; occasional incorrect information given on the mandala; and commonly held misconceptions in the West. These factors have not only prevented people from gaining a correct understanding of the Kālachakra mandala but also generated negative influences on the transmission of Tibetan Buddhism and its associated culture. Therefore, I use the concept of the five elements (earth, water, fire, air, and the void) to provide an interpretive ‘bridge’ or ‘path’ towards a better understanding of the Kālachakra mandala. In this way, the symbols are no longer perceived individually, as in most books on maṇḍalas; instead, they are perceived in the organised context of the five elements. The posters are stylised with a secular twist; they are used as ‘visual texts’ in the wall charts so that a wider range of viewers (from both Western and Eastern backgrounds) will be able to identify these esoteric symbols. Consequently, the integration of the above processes not only reveals the relationship between every single symbol that can lead to an accessible understanding, but also ensures the correct reading of the Kālachakra maṇḍala within a Tibetan context. This method can be extended to the reading of other types of maṇḍalas as well as the interpretation of wider range of Tibetan Buddhist artworks.
Thesis (PhD Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Ker, Yin. "Figurer, voir et lire l’insaisissable : la peinture manaw maheikdi dat de Bagyi Aung Soe (1923/24–1990)." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040144.

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Héritier de l’universalisme humaniste de Rabindranath Tagore par sa formation à Śāntiniketan en Inde, le ditpère de l’art moderne birman Bagyi Aung Soe (1923/24–1990) se consacra à figurer les réalités ultimes enfonction des enseignements bouddhiques. Pour ce faire, il mit au point un langage pictural qu’il baptisa lapeinture « manaw maheikdi dat » qui signifie la création artistique par la culture mentale. Ses référencesvisuelles, variant de la physique à l’ésotérisme bouddhique, de la culture populaire à la poésie, comprennent toutce qui fut à sa portée intellectuelle et spirituelle dans la Birmanie socialiste militaire de 1962 à 1988. Soninsistance sur la somme des héritages propres à cet espace-temps, de même que son dépassement descloisonnements conceptuels selon les disciplines, les frontières nationales ou les divisions chronologiques, exigeun récit conçu au regard des significations contextuelles, un récit adapté et affranchi du modèle prétendumentinternational de l’art euraméricain. Afin de proposer un récit sur comment il compta rendre manifestel’insaisissable selon les circonstances propres au contexte de sa vie, nous mettons l’accent sur les conditionsaccueillant la genèse et la diffusion de cette production artistique dite « la plus moderne de l’art moderne » enraison de sa dimension transnationale et transhistorique. À partir d’une sélection parmi plus de quatre milleoeuvres et de centaines de témoignages écrits et oraux recueillis, nous examinons non seulement la fabrication decette peinture qui reste aussi non étudiée en Birmanie qu’inconnue de la scène internationale, mais aussi lesmanières dont nous pouvons la lire et la voir
A student at Rabindranath Tagore’s ashram in Śāntiniketan, India, Myanmar’s “father of modern art” BagyiAung Soe (1923/24–1990) embraced his Indian gurus’ concept of art and the artist. In the spirit of the laureate’shumanist universalism, he strove to picture Buddhist teachings. His signature idiom christened “manawmaheikdi dat”, which has yet to be studied in Myanmar and is virtually unknown at the international level, reliedon meditation to achieve advanced mental power in order to picture the most elemental components of allphenomena, and its visual references included all that was possibly accessible under socialist rule in Burma(1962–1988). With little regard for artistic conventions and categorisations according to discipline, nation andchronology, Aung Soe drew from the sum of artistic, intellectual and spiritual traditions defining his space andtime, varying from quantum physics to esoteric Buddhism, from popular culture to poetry. The nature of hisapproach, method and subject matter, coupled with his country’s exceptional circumstances, demands a newnarrative of art that is unfettered by the assumptions inherent to the purportedly international framework ofEuramerican modern art. Focusing on the contextual significances of the genesis and reception of manawmaheikdi dat painting, this dissertation examines the making, the reading and the seeing of this pictoriallanguage whose transnational and transhistorical dimension renders it “the most modern of modern art”. Basedon a selection of the artist’s works and writings, as well as witnesses of his life and practice, we attempt a storyof how he pictured and made manifest the formless on his own terms

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Vaughan, Cassandra N. "The Buddhist Worldview of Neon Genesis Evangelion: Positioning Neon Genesis Evangelion in a Japanese Cultural Context." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1259592113.

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Schmidt, Carolyn Woodford. "Bodhisattva headdresses and hair styles in the Buddhist art of Gandhāra and related regions of Swāt and Afghanistan." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1231508735.

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Choi, Hyejeong. "Mireuksa, A Baekje Period Temple of the Future Buddha Maitreya." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1431044236.

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Dissertations / Theses on the topic 'Buddhist art'

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