Journal articles on the topic 'Buddhist art'
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1
RAPIADI, RAPIADI, WISTINA SENERU, VIKE APRILIANIN MARWINTARIA SAPUTRI, PANNA PANNA, and ADI KRISTIANTO. "MEMPERKUAT IDENTITAS GENERASI BUDDHIS YANG UNGGUL BERLANDASKAN NILAI-NILAI BUDDHAYANA (BUDDHIS CAMP PEMUDA BUDDHAYANA SEPROVINSI NTB)." COMMUNITY : Jurnal Pengabdian Kepada Masyarakat 3, no. 2 (February 13, 2024): 46–53. http://dx.doi.org/10.51878/community.v3i2.2726.
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The Buddhist Camp activities for Buddhayana youth throughout NTB Province which will be held on 07–09 April 2023 at Vihara Jaya Wijya, North Lombok, West Nusa Tenggara, carry the theme "Strengthening the Identity of a Superior Buddhist Generation Based on Buddhayana Values". This theme was chosen because the young generation of Buddhists is the hope for the future of Buddhism. Buddhayana Youth Buddhist Camp throughout NTB Province is an activity that aims to strengthen the identity of a superior Buddhist generation based on Buddhayana values. carried out through a series of activities, such as Dharma classes, group discussions, and meditation. Participants are given a deep understanding of Buddhist teachings and empowered to apply them in everyday life. The result is young people who are more connected to religious values and are able to use Buddhayana as a moral foundation in their actions. Buddhist Camp participants are also given the opportunity to develop themselves through various activities, such as mindfulness and art. These activities can help participants to better understand themselves and their potential. Buddhist Camp participants are encouraged to practice Buddhist teachings in their daily lives. ABSTRAKKegiatan Buddhis Camp pemuda buddhayana se-Provinsi NTB yang diselenggarakan pada tanggal 07–09 April 2023 di Vihara jaya Wijya Lombok Utara, Nusa Tenggara Barat, mengusung tema "Memperkuat Identitas Generasi Buddhis yang Unggul Berlandaskan Nilai-Nilai Buddhayana". Tema ini dipilih karena generasi muda Buddhis merupakan harapan masa depan agama Buddha. Buddhis Camp Pemuda Buddhayana se-Provinsi NTB merupakan sebuah kegiatan yang bertujuan untuk memperkuat identitas generasi Buddhis yang unggul dengan landasan pada nilai-nilai Buddhayana. dilakukan melalui serangkaian kegiatan, seperti kelas Dharma, diskusi kelompok, dan meditasi. Peserta diberikan pemahaman mendalam terhadap ajaran Buddha dan diberdayakan untuk mengaplikasikannya dalam kehidupan sehari-hari. Hasilnya adalah pemuda yang lebih terkoneksi dengan nilai-nilai agama dan mampu menjadikan Buddhayana sebagai landasan moral dalam tindakan mereka.Peserta Buddhis Camp juga diberikan kesempatan untuk mengembangkan diri melalui berbagai kegiatan, seperti mindfulness, dan seni. Kegiatan-kegiatan tersebut dapat membantu peserta untuk lebih memahami diri sendiri dan potensinya.Peserta Buddhis Camp didorong untuk mempraktikkan ajaran Buddha dalam kehidupan sehari-hari.
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Blackburn, Anne M. "Buddhist Connections in the Indian Ocean: Changes in Monastic Mobility, 1000-1500." Journal of the Economic and Social History of the Orient 58, no. 3 (July 6, 2015): 237–66. http://dx.doi.org/10.1163/15685209-12341374.
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Since the nineteenth century, Buddhists residing in the present-day nations of Myanmar, Thailand, and Sri Lanka have thought of themselves as participants in a shared southern Asian Buddhist world characterized by a long and continuous history of integration across the Bay of Bengal region, dating at least to the third centurybcereign of the Indic King Asoka. Recently, scholars of Buddhism and historians of the region have begun to develop a more historically variegated account of Buddhism in South and Southeast Asia, using epigraphic, art historical, and archaeological evidence, as well as new interpretations of Buddhist chronicle texts.1 This paper examines three historical episodes in the eleventh- to fifteenth-century history of Sri Lankan-Southeast Asian Buddhist connections attested by epigraphic and Buddhist chronicle accounts. These indicate changes in regional Buddhist monastic connectivity during the period 1000-1500, which were due to new patterns of mobility related to changing conditions of trade and to an altered political ecosystem in maritime southern Asia.
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Syrtypova, S. Kh D. "Toward a Methodology for the Study of Buddhist Fine Art: (using an example of Zanabazar’s works)." Orientalistica 6, no. 3-4 (November 19, 2023): 534–47. http://dx.doi.org/10.31696/2618-7043-2023-6-3-4-534-547.
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The article provides a comparative analysis of different approaches to the study of Buddhist iconography and objects of religious art: scientific academic and traditional Buddhist. Their main goals and objectives, understanding of the fine art style in art history and the Buddhist tradition are considered. The possibility and necessity of using diverse sources of research, or rather, the complex and multidisciplinary principle of working with cult images of Buddhas, bodhisattvas and deities for the most profound and adequate understanding of them, as well as exhibiting them in a museum or other exhibition space, is argued. The ideal model for the development of such a research methodology, in the author's opinion, is the work of the greatest Buddhist master Gombodorjiin Zanabazar (1635–1723), who combined the qualities of both an artist, a highly educated Buddhist adept, spiritual mentor, and a ruler of the state. The types of written and other verbal sources, as well as the types of objects or visual sources that should be used to reveal the theme of Buddhist artistic creativity are considered. It was also made an attempt to formulate the most urgent tasks and promising directions for researchers of Tibeto-Mongolian Buddhists fine arts.
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Chiu, Chao Chi. "‘Bodhisattva Bodies’: Early Twentieth Century Indian Influences on Modern Japanese Buddhist Art." Arts 13, no. 4 (June 30, 2024): 114. http://dx.doi.org/10.3390/arts13040114.
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The first decade of the twentieth century marked a turning point for Japanese Buddhism. With the introduction of Western academia, Buddhist scholars began to uncover the history of Buddhism, and through their efforts, they discovered India as the birthplace of Buddhism. As India began to grow in importance for Japanese Buddhist circles, one unexpected area to receive the most influence was Japanese Buddhist art, especially in the representation of human figures. Some artists began to insert Indian female figures into their art, not only to add a sense of exoticism but also to experiment with novel iconographies that might modernize Buddhist art. One example included the combination of Indian and Japanese female traits to create a culturally fluid figure that highlighted the cultural connection between Japan and India. Other artists were more attracted to “Indianizing” the Buddha in paintings to create more historically authentic art, drawing references from both Indian art and observations of local people. In this paper, I highlight how developments in Buddhist studies in Japan led to a re-establishment of Indo–Japanese relationships. Furthermore, I examine how the attraction towards India for Japanese artists motivated them to travel abroad and seek inspiration to modernize Buddhist art in Japan.
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Dubey, Shobharam. "Buddhist Art Center of Bihar." RESEARCH HUB International Multidisciplinary Research Journal 9, no. 2 (February 20, 2022): 14–19. http://dx.doi.org/10.53573/rhimrj.2022.v09i02.003.
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Mahatma Buddha took birth in Lumbini, Nepal and spread Buddhism in Uttar Pradesh and Bihar. The remains of Buddhist architecture in the form of stupas, chaityas and Bihar are spread over the states of Uttar Pradesh, Madhya Pradesh, Bihar, Maharashtra and Andhra Pradesh in the form of Buddhist art centers of India. The state of Bihar has been the abode of Buddha. Bodh Gaya situated here is famous for the Buddha's enlightenment. Among the famous Buddhist art centers of Vihara state, Laurianandangarh, Rajgir, Nalanda, Bodh Gaya and Vaishali are the main ones.
Abstract in Hindi Language: लौरियानन्दनगढ़, राजगीर, नालन्दा, बोधगया, वैशाली।
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Juwarso, Tata Ananta Nur, Dwi Sagitha Febrianti, Misdayanti, and Sulaiman. "Buddhist Economic: For Student Creativity Program in Entrepreneurship by Catera Zebuart Product." International Journal of Science and Society 4, no. 2 (July 4, 2022): 299–308. http://dx.doi.org/10.54783/ijsoc.v4i2.472.
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Several sources of primary Buddhist scriptures, secondary literature, and scientific articles were examined to find out what economic system was derived from the teachings of Buddhism described by Gautama Buddha. The principles of Buddhist economics are investigated from the personal and social ethics of the Buddhists that underlie the system. An economic system that adheres to Buddhist moral norms, and attitudes towards property and wealth that inspire in economic endeavors in particular entrepreneurial behavior. The method used is systematic content analysis. Entrepreneurship based on Buddhist values is also analyzed to be applied in the Student Creativity program in the field of Entrepreneurship. Generosity which is the principle of Buddhist economics in this study is also applied. Through an institution approved by the Directorate General of Buddhist Community Guidance together with the Directorate of Taxes, the Ministry of Finance, six formal institutions similar to the Amil Zakat Agency in Islamic Religious Institutions were obtained. Meanwhile, the selected product is based on the creative economy in the form of a conscious work of art called Catera Zebuart.
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Stiller, Maya. "Precious Items Piling up Like Mountains: Buddhist Art Production via Fundraising Campaigns in Late Koryŏ Korea (918–1392)." Religions 12, no. 10 (October 15, 2021): 885. http://dx.doi.org/10.3390/rel12100885.
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Considering visual culture alongside written source material, this article uncovers the socioeconomic aspect of Korean Buddhist monastic life, which has been a marginalized field of research. Arguing against the idea of an “other-worldly” Buddhism, the article specifically discusses the ways in which Buddhist monasteries conducted fundraising activities in late Koryŏ period (918–1392 CE) Korea. Via fundraising strategies, which targeted wealthy aristocrats as well as the commoner population, Buddhist monks managed the production and maintenance of Buddhist material culture, such as the construction of shrines, the casting of precious sculptures, and the carving of thousands of woodblocks used for the printing of sacred Buddhist scriptures. While the scholarship on Koryŏ Buddhism has traditionally focused on meditation, doctrine, state sponsored rituals, and temples’ relationships with the royal court, this study expands the field by showing that economic activities were salient features of Koryŏ Buddhism “on the ground.” By initiating and overseeing fundraising activities, Buddhist manager-monks not only gained merit, but also maintained the presence and physical appearance of Buddhist temples, which constitute the framework of Buddhist ritual and practice.
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Trenson, Steven. "Buddhism and Martial Arts in Premodern Japan: New Observations from a Religious Historical Perspective." Religions 13, no. 5 (May 13, 2022): 440. http://dx.doi.org/10.3390/rel13050440.
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This article investigates two issues regarding the Buddhism of premodern Japanese martial arts. The first issue concerns the historical channels through which Buddhist elements were adopted into martial lineages, and the second pertains to the general character of the Buddhism that can be found in the various martial art initiation documents (densho). As for the first issue, while previous scholarship underscored Shugendō (mountain asceticism) as an important factor in the earliest phases of the integration process of Buddhist elements in martial schools, this study focuses on textual evidence that points to what is referred to as “medieval Shinto”—a Shinto tradition that heavily relied on Esoteric Buddhist (Mikkyō) teachings—in scholarship. Regarding the second issue, although numerous studies have already shown the indebtedness of premodern martial schools to Buddhist teachings drawn mainly from the Esoteric Buddhist or Zen traditions, this article sheds more light on the nature of these teachings by drawing attention to the fact that they often emphasize the Buddhist thought of isshin or “One Mind”. The article illustrates how this thought was adopted in premodern martial art texts and in doing so clarifies the reasons why Buddhism was valued in those arts.
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Haitov, Eshmamat. "BUDDHIST ART MONUMENTS IN UZBEKISTAN." CURRENT RESEARCH JOURNAL OF HISTORY 02, no. 05 (May 20, 2021): 1–5. http://dx.doi.org/10.37547/history-crjh-02-05-01.
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Liu, Xiaodan, Huiwen Xia, Tao Ma, and Qi Dang. "The evolution and spread of the image of "Nagas Bathing Siddhartha" in Buddhism Art." Trans/Form/Ação 46, spe (2023): 263–84. http://dx.doi.org/10.1590/0101-3173.2023.v46esp.p263.
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Abstract: The image of the “Nagas Bathing Siddhartha”, an important theme in Buddhist art, was produced in India and has appeared successively in Xinjiang, Gansu, Qinghai, Shanxi, Shaanxi, Henan, Shandong, Jiangsu, Sichuan, Tibet and other places in China during the process of Buddhism spreading to the east. However, its forms and contents differ in different regions and different periods. Therefore, it is conducive to understand the sinicization process of Indian Buddhist art and can deepen the understanding of the specific contents of Buddhist art exchanges to study the differences. The innovative point of view of this paper is that the distribution of “Nagas Bathing Siddhartha” is “regional,” and the variation of its style reflects the route and regional characteristics of Buddhist transmission.
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Guan, Guifa. "Features of “Sculpture” and “Painting” in Buddhist Statue Art." Education Reform and Development 6, no. 6 (July 18, 2024): 255–60. http://dx.doi.org/10.26689/erd.v6i6.7631.
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The solemn radiance of the Buddha, coupled with delicate brushwork, vibrant colors and exquisite craftsmanship, captivates and dominates the art of painted Buddhist statues. This art form, characterized by a unique style of representation, integrates the elements of sculpture, painting, engraving and drawing, enhancing the charm and spirituality of Buddhist statue art. Artists leverage their imagination and masterful skills, incorporating the essence of Tibetan Buddhism to depict the spiritual beliefs of mythical worlds vividly.
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Ju, Wanying. "The Research on the Origin and Communication of Blue and Green Colors in Chinese Blue and Green Landscape Painting." Journal of Education, Humanities and Social Sciences 5 (November 23, 2022): 119–25. http://dx.doi.org/10.54097/ehss.v5i.2891.
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Blue and Green landscape painting is an important component of Chinese landscape painting. The purpose of this paper is to explore the origins of blue and green colors in blue and green landscape painting and search for the reasons for the establishment of the blue and green landscape painting's style. Today's many researchers identify the murals of the Dunhuang Mogao Caves as the original form of Chinese Blue and Green Landscape Painting, and the Mogao Caves' painting style was significantly influenced by Indian Buddhist art. This paper employs a research approach that compares the stylistic convergence of early Chinese and Western Buddhist artworks. By combining the study of the trade history of the Silk Road, which helped spread Buddhism, and analyzing the origins of blue and green pigments, this paper finds that the use of blue and green colors showed signs that they spread with Buddhist art. The conclusion is that the earliest blue and green color in Chinese Blue and Green Landscape Painting originated from the Buddhist art in the western part of China and spread with Buddhism to the east China.
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Lee, Yeon-Seo, and Yeon-A. Kim. "Application of Pictorial Elements in Body Art: Focusing on the Buddha expressed in Buddhist art in the Unified Silla Period." Korean Society of Beauty and Art 21, no. 3 (September 20, 2020): 311–24. http://dx.doi.org/10.18693/jksba.2020.21.3.311.
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In modern society, with its coexistence of diverse culture, it is a process of genuine cultural development to remember the beauty of the traditions in our cultural heritage and allow it to continue to evolve through art and cultural exchange and creative work. The truth and concept of religion are invisible in our daily lives. To expose it, help from art is needed. Buddhism, in which people realize truth on their own, samsara, and the redemption of all people are recognized as the highest values, has long been entwined with the history of the Republic of Korea. During the era of the Unified Silla Dynasty, Buddhism was beyond a mere religion and was an official state religion. Since it was directly connected with the country’s fate, Buddhist temple-related fine arts flourished. Therefore, this study attempted to reinterpret the images of Buddha based on a theoretical review of Buddhist concepts and characteristics of Buddhist art during the Unified Silla period and suggested new styles of both Korean and modern ambivalence by expressing pictorial element-applied design through body painting in a torso mannequin style. It is expected that these works would offer an opportunity to contemplate the meaning and value of Korean traditional patterns by expressing the Buddhist art of the Unified Silla Dynasty. It is also anticipated that they would be available as art and aesthetic cultural contents in a creative and diverse fashion.
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Zuo, Yun. "Study on the Composition of Inner Mongolia Wudangzhao Monastery Building Complex." Applied Mechanics and Materials 357-360 (August 2013): 141–44. http://dx.doi.org/10.4028/www.scientific.net/amm.357-360.141.
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Tibetan Buddhist monasteries embody almost all achievements of the Tibetan community in religious, scientific, cultural and artistic. The erection of Tibetan Buddhist monasteries are closely related to the history of Tibetan Buddhism in Inner Mongolia. As the Tibetan Buddhism had been spread to Inner Mongolia in different periods, Tibetan Buddhist monasteries presented different features in its architectural style. Wudangzhao Lamasery is the grandest integral monastery complex still remaining in Inner Mongolia.Its buildings have high value of art and characteristically Tibetan Buddhist Architectural style on monasterys arrangement and style. Different types of the building gathered together form a Tibetan monastery, buildings complex reflected the intact standard of Tibetan Architecture. They express the Tibetan traditional mountain worship idea, and Buddhist the Mandala Cosmology and Three Realms idea.
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Zheng, Yifan. "A Study of the History of the Development of Buddhist Iconography." Journal of Education, Humanities and Social Sciences 11 (April 20, 2023): 119–24. http://dx.doi.org/10.54097/ehss.v11i.7519.
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Nowadays Buddhism is one of the world's major religions, and its means of transmission and artistic approach are diverse. As one of these means of communication, Buddhist statuary has also been passed on to the present day as an excellent form of art. The art of statuary is very rich, with different periods of statuary having different characteristics, which have been handed down from one generation to the next. The art of Buddhist statuary also varies from region to region. They have their own history of development, but they are not independent, learning from each other and from other regions and times. There is no clear lineage of the specific development of Buddha's statues and the specific history of their development in different regions and at different times. The aim of this paper is to trace the history of the development of Buddhist iconography, to sort out its development from Hellenism to its arrival in India and its subsequent introduction to China, and to clarify the influence of Greek sculpture on Indian Buddhist iconography and subsequently on Chinese Buddhist iconography.
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Yan, Zhilong, and Aixin Zhang. "“Ritual and Magic” in Buddhist Visual Culture from the Bird Totem." Religions 13, no. 8 (August 8, 2022): 719. http://dx.doi.org/10.3390/rel13080719.
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Despite numerous research findings related to medieval Chinese Buddhism, the witchcraft role of bird totems in Buddhist history has not received sufficient attention. In order to fill this gap, this paper analyzes how Buddhist monks in medieval China developed a close relationship with bird-totem worship. This relationship has been documented in Buddhist scriptures, rituals, oral traditions, biographies, and mural art. Although bird-totem worship was practiced in many regions of medieval China, this paper specifically examines the visual culture of bird totems in Tibetan and Chinese Buddhism. Furthermore, some details of this culture were recorded in Buddhist texts and images. According to these works, various bird-totem patterns and symbols are believed to be effective ritual arts used by Tibetan and Chinese Buddhist monks to influence nature and the supernatural through ritual and magic.
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Fisher, Gareth. "From Temples to Teahouses." Review of Religion and Chinese Society 7, no. 1 (May 20, 2020): 34–61. http://dx.doi.org/10.1163/22143955-00701003.
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This article presents an overview of the nature of lay Buddhist revival in post-Mao China. After defining the category of lay practitioner, it outlines key events in the revival of lay Buddhism following the end of the Cultural Revolution. Following this, it describes three main aspects of the revival: the grassroots-organized formation of communities of lay Buddhists that gather at temples either to share and discuss the moral teachings of Buddhist-themed media or to engage in devotional activities; devotional and pedagogical activities organized for lay practitioners by monastic and lay leaders at temples and lay practitioners’ groves; and, more recently, the emergence of private spaces for specific practices such as meditation, the appreciation of Buddhist art and culture, and the discussion of teachings from specific Buddhist masters. The article concludes that while government-authorized temples continue to be active spaces for lay practitioners interested in Dharma instruction from monastics, regular devotional activities, and opportunities to earn merit and gain self-fulfillment through volunteerism, greater state restrictions on spontaneous lay-organized practices in temple space are increasingly leading lay practitioners to organize activities in private or semi-private spaces. The introduction of social media has facilitated the growth of Buddhist-related practices for laypersons in nontemple spaces.
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Fischer, Felice. "Japanese Buddhist Art." Philadelphia Museum of Art Bulletin 87, no. 369 (1991): 1. http://dx.doi.org/10.2307/3795444.
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Dunaeva, Ekaterina. "The History of One Personal Copy: Esper E. Ukhtomsky (1861–1821) — His life, His Buddhist Collection, and the Study of Buddhism in Russia." Oriental Courier, no. 4 (2022): 91. http://dx.doi.org/10.18254/s268684310023804-2.
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The article focuses on the contribution of Esper E. Ukhtomsky, an outstanding collector of Buddhist sculpture and painting in pre-revolutionary Russia, to the study of Buddhist art. In addition to the main episodes of the biography, little covered earlier in research, the author examines how Ukhtomsky, who had the largest private Buddhist collection in the Russian Empire, contributed to the study of Buddhist art and collaborated with Albert Grunwedel, to whom he provided part of his collection, resulting in the famous Grunwedel’s work “The Mythology of Buddhism in Tibet and Mongolia”. Ukhtomsky himself published pamphlets in which he contributed to the clarification and understanding of Buddhism and the East by the reading public. In 1890–1891 Ukhtomsky was one of the retinues that accompanied the future Emperor Nicholas II, his brother and the Greek Prince on a journey to the East. It was Ukhtomsky who had the honor to write a trip report — “Journey to the East of His Imperial Highness the Sovereign Heir Tsesarevich” in three volumes. The article shows how Ukhtomsky worked with Asian material on the example of the book by Archbishop Nilus “Buddhism, Considered in Relation to Its Followers Living in Siberia” (1858), where Ukhtomsky left numerous marginalia. In his marginal notes, the author translated Mongolian terms into Russian, quoted major authors of Buddhist studies, and left his own reflections on what Archbishop Nilus, who was engaged in missionary activity in Siberia, managed to learn and understand.
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Barrett, T. H. "Zen and the Art of Librarianship." Journal of Chan Buddhism 1, no. 1-2 (December 22, 2020): 3–16. http://dx.doi.org/10.1163/25897179-12340002.
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Abstract This paper explores widely held misconceptions about the publishing of East Asian religious books, bibliographies and canons connected to a tradition that appears to foreswear books altogether – Zen Buddhism in China and Japan. Zen and East Asian Buddhist librarianship are also considered here in terms of a rich history of book collecting, printing, and distributing in China and in Europe.
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Shustova, Alla M. "Yury N. Roerich on the Spread of Indian Visual Images along the Great Silk Road." Oriental Courier, no. 2 (2023): 271. http://dx.doi.org/10.18254/s268684310026759-2.
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The paper discusses the studies of Yury N. Roerich (1902–1960) in the field of Central Asian art. In his opinion, the Great Silk Road should be considered not only as a caravan road providing trade routes between the countries of the ancient and medieval world, but also as an important arterial system of cultural interchange. The Kushan Empire, founded by the Tochars, who adopted Buddhism as the dominant religion, played a special role in the development of the art of the Great Silk Road region. Buddhism began to spread along the arteries of the Great Silk Road, forming a belt of Buddhist culture of great extent, based on Indian art, rethought by the masters of local traditions. According to Yury N. Roerich, this process should be considered a unique historical and cultural phenomenon. In 1923–1928 Yury N. Roerich made a great journey as a member of his father’s Central Asian expedition. Part of the expedition ran along the ancient routes of the Great Silk Road. During the expedition, the scholar managed to explore dozens of Buddhist art masterpieces, described, and photographed some of them. Yury Roerich believed that Central Asia, the Western and Eastern Turkestan regions became a kind of melting pot, where the interconnected and synthesized Indian, Iranian, and Chinese artistic styles, influencing the Buddhist art of Tibet, as well as the Chinese art of the 13th–14th centuries of Yuan and Ming Dynasties.
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Wei, Lian. "Buddhist Architecture Exchanges between China and Pakistan." Pacific International Journal 6, no. 3 (September 28, 2023): 43–49. http://dx.doi.org/10.55014/pij.v6i3.397.
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This study explores the friendly exchanges in Buddhist architecture between China and Pakistan from a geographical perspective. It probes mainly into the exchanges occurring from the 1st to the 10th century AD between ancient China and ancient Pakistan (the region where Pakistan is presently located). With the channels for exchanges between China and South Asia opening up and the Silk Road being established, the large-scale eastward spread of Buddhism became possible, creating opportunities for Buddhism communication between people of the two nations. The design and construction of Chinese Buddhist temples, pagodas and grottoes exhibit features typical of Buddhist architecture in ancient Pakistan, particularly the Gandhara Buddhist sculpture art that has profound influence on Buddha statues in China. In over a thousand years Chinese Buddhist architecture absorbed elements from that of ancient Pakistan, yet created its unique Chinese style, showing a perfect integration of the two cultures. The Buddhist architecture exchanges between ancient China and ancient Pakistan have far-reaching significance in promoting cultural communication and strengthening the friendship between people of the two nations.
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Lee, Seo-hyun. "From the late Silla to the Goryeo Dynasty Stone Pagoda characteristic and Significance in Cheongyang region." Bukak History Academy 19 (January 31, 2024): 89–128. http://dx.doi.org/10.37288/bukak.2024.19.1.89.
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Buddhist stone art in the Cheongyang region remains in relatively diverse types, including stone pedestals, stone pagodas, stone Buddhas, and stone lanterns. It is presumed that the stone pedestal at Janggoksa Temple was created in the late Silla Dynasty, the earliest period, and most other stone art was created during the Goryeo Dynasty.
The art historical significance of Buddhist stone art in the Cheongyang region was examined in two major ways. First, the traditional style of Unified Silla is strongly reflected. The stone pedestal of Janggoksa Temple inherits the style of the square three-tiered Buddha statue pedestal of Silla, while showing new changes and inventions. In particular, it is significant in the history of Korean Buddhist art in that it is the only type of Buddhist pedestal that has a roof structure with pillars. The stone standing Buddha triad in Eupnae-ri, Cheongyang, also attracts attention as it strongly reflects the traditional style of the Unified Silla. The Chungcheongnam-do region is a place where temples were built by the royal family from the early days of the founding of the Goryeo Dynasty and stone art with a unique aesthetic of Goryeo, known as the Goryeo New Style, was created. This is significant in that it is almost the only one in the Chungcheongnam-do region, where Goryeo Silla Buddha statues were prevalent, that strongly follows the traditional style of Unified Silla.
Next, due to the geographical characteristic of Cheongyang being located in the center of Chungcheongnam-do, the influence relationship between the surrounding area and the stone pagoda style was identified. Lastly, it was confirmed that Chilgapsan Mountain is the center of Buddhist art in the Cheongyang region, as temples and Buddhist art, such as Janggoksa Temple, Dorimsaji Temple, and Jeonghyesa Temple, are concentrated in Chilgapsan Mountain.
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Lee, Seo-hyun. "From the late Silla to the Goryeo Dynasty Stone Pagoda characteristic and Significance in Cheongyang region." Bukak History Academy 19 (January 31, 2024): 89–128. http://dx.doi.org/10.37288/bukak.2024.19.3.89.
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Buddhist stone art in the Cheongyang region remains in relatively diverse types, including stone pedestals, stone pagodas, stone Buddhas, and stone lanterns. It is presumed that the stone pedestal at Janggoksa Temple was created in the late Silla Dynasty, the earliest period, and most other stone art was created during the Goryeo Dynasty.
The art historical significance of Buddhist stone art in the Cheongyang region was examined in two major ways. First, the traditional style of Unified Silla is strongly reflected. The stone pedestal of Janggoksa Temple inherits the style of the square three-tiered Buddha statue pedestal of Silla, while showing new changes and inventions. In particular, it is significant in the history of Korean Buddhist art in that it is the only type of Buddhist pedestal that has a roof structure with pillars. The stone standing Buddha triad in Eupnae-ri, Cheongyang, also attracts attention as it strongly reflects the traditional style of the Unified Silla. The Chungcheongnam-do region is a place where temples were built by the royal family from the early days of the founding of the Goryeo Dynasty and stone art with a unique aesthetic of Goryeo, known as the Goryeo New Style, was created. This is significant in that it is almost the only one in the Chungcheongnam-do region, where Goryeo Silla Buddha statues were prevalent, that strongly follows the traditional style of Unified Silla.
Next, due to the geographical characteristic of Cheongyang being located in the center of Chungcheongnam-do, the influence relationship between the surrounding area and the stone pagoda style was identified. Lastly, it was confirmed that Chilgapsan Mountain is the center of Buddhist art in the Cheongyang region, as temples and Buddhist art, such as Janggoksa Temple, Dorimsaji Temple, and Jeonghyesa Temple, are concentrated in Chilgapsan Mountain.
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Chen, Kehan, and Jiamu Xu. "Analyzing the Characteristics of Buddhist Art in Japans Asuka Period: A Case Study of Horyu-ji Temple." Communications in Humanities Research 20, no. 1 (December 7, 2023): 76–80. http://dx.doi.org/10.54254/2753-7064/20/20231294.
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In the 6th century AD, Buddhism was introduced to Japan from China through the kingdoms of Baekje, Silla, and Goguryeo. Concurrently, the distinctive artistic styles of the Northern and Southern Dynasties of China, which combined traditional Chinese elements with influences from the Western Regions, also made their way into Japan. This had a profound impact on the development of Buddhist art during the Asuka period, establishing itself as a dominant force in Japanese cultural aesthetics. The artistry of the Asuka period, with its classical charm and exquisite craftsmanship, continues to be admired today. This paper takes Horyu-ji Temple as a case study to explore the characteristics of Buddhist art in Japans Asuka period and the influence of Chinese culture on it. The research primarily focuses on three aspects: the architecture of Horyu-ji Temple, the sculptural representations of Buddha, and the paintings. As an emblematic representation of early Buddhist art in Japan, Horyu-ji Temple also stands as a significant testament to the influence of Chinese culture on Japanese art, contributing significantly to the cultural development of Japan.
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Liang, Qiao. "The Impact of Dunhuang Intangible Cultural Heritage Colored Sculptures on the Outcome of Multi-ethnic Cultural Integration in Buddhist Art." International Journal of Arts and Humanities Studies 2, no. 2 (September 6, 2022): 64–67. http://dx.doi.org/10.32996/ijahs.2022.2.2.9.
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Dunhuang is one of the most important historical transportation hubs on the silk road. A major transport artery connecting east Asia, south Asia, west Asia, and Europe. There is a diverse population that lives and trades here, establishing the foundation for future diversification. The Dunhuang art is influenced by a wide variety of cultures and religions, but this paper will focus on the influences of Buddhism. Buddhist art was created with the purpose of pilgrimage and visual representations of Buddha. An ancient, local technique known as the Dunhuang color sculpture has been passed down from generations for thousands of years. Due to its malleability, this technique is stronger, more durable, and weather-resistant. The objective of the study is to find the impact of the Dunhuang intangible cultural heritage colored sculpture on the multi-Ethnic cultural integration of Buddhist art from four perspectives: (1) integration of multi-Ethnic in Dunhuang; (2) Buddhist sculpture representation; (3) colored sculpture; and (4) problems faced by intangible cultural heritage.
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Lim, Young-ae. "Facilitating Buddhism through Portable Absolution." Numen 70, no. 2-3 (March 10, 2023): 286–321. http://dx.doi.org/10.1163/15685276-20231694.
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Abstract This article is a study on the miniature clay Buddha tablets and stupas collected by the Ōtani Expedition presently at the National Museum of Korea. Similar examples were found in the Dunhuang cave temples, Buddhist stupas of Xi Xia, and through English and American expeditions of the early twentieth century. A comparative study establishes the functions and characteristics unique to the Ōtani clay tablets and stupas. Such artifacts were once believed to absolve the transgressions of the dead or commissioner, while also allowing one to accumulate merits for an improved afterlife. Well-suited for Buddhist missionary work, these tablets and stupas were produced in all regions where Buddhism was prevalent. Though small and made from a modest material, the miniature clay tablets and stupas represent an important genre of Buddhist art that expresses the universal role of religious art.
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Chi Vu, Mai, and Roger Gill. "“Letting go of the raft” – The art of spiritual leadership in contemporary organizations from a Buddhist perspective using skilful means." Leadership 15, no. 3 (March 7, 2018): 360–80. http://dx.doi.org/10.1177/1742715018761931.
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Organizations are diverse workplaces where various beliefs, values and perceptions are shared to varying extents. How can spiritual leadership induce altruistic love and intrinsic motivation among diverse members within the organization and without being regarded as really yet another covert, sophisticated form of corporate exploitation of human vulnerability reflective of the “dark side” of organizations and leadership? This paper explores an approach to spiritual leadership from a Buddhist perspective focusing on the power of skilful means to tackle such concerns. In organizational pursuits such as appearance, reputation, fame, power, recognition and even leader–follower relationships are associated mostly with objectives and expectations, known in Buddhism as “attachment”. In Buddhism, however, any kind of attachment may be a source of suffering that eventually leads to negative consequences. In reviewing the dark side of spiritual leadership practices and how Buddhism is commoditized for organizational purposes, we reaffirm on the importance of the notion of non-attachment in Buddhism. We unpack the application of the Buddhist metaphor of “the raft”, non-attachment and other Buddhist stories of skilful means in spiritual leadership and their contribution to leadership studies.
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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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Zhang, Lekang. "An Overview of Interaction within Pre-modern East Asian Region Through Buddhist Impact." Communications in Humanities Research 27, no. 1 (January 3, 2024): 76–81. http://dx.doi.org/10.54254/2753-7064/27/20232129.
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Scholars have researched the impact of Buddhism on pre-modern and modern East Asia from different aspects, both within and between politics (states since the late 19th century): art, ideology, cultural practice, and food. Among existing academic literature on Buddhisms impact on the interaction between polities within East Asia, the expansion of certain material cultural elements and cultural concepts and foodways are among the major focuses. This paper employs the anthropological understanding of non-material and material components of culture. The working anthropological definition of religion is combined, to summarize and categorize the existing research on Buddhisms impact on pre-modern East Asian culture. Understanding culture in its material and non-material components, and its relationship with religion through time and space leads to this article to structure the relationship between Buddhism and pre-modern East Asian cultures into its expansion, its development, and its impact on different subcategories of a culture. The overview suggests an increase in future research on the multidirectional interaction of Buddhist pre-modern East Asian cultures and Buddhisms influence on greater foodway within different pre-modern East Asian societies.
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Zhang, Xinyue. "The Dunhuang Caves: Showcasing the Artistic Development and Social Interactions of Chinese Buddhism between the 4th and the 14th Centuries." Journal of Education, Humanities and Social Sciences 21 (November 15, 2023): 266–79. http://dx.doi.org/10.54097/ehss.v21i.14016.
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The Dunhuang Caves, situated in China's Gansu Province, are renowned globally for their significant collection of murals, sculptures, architecture, and ancient Buddhist manuscripts. These caves, established along the historic Silk Road, encapsulate a rich tapestry of cultural exchange and artistic evolution spanning from the 4th to the 14th centuries. Comprising sites like the Mogao Caves and the Yulin Caves, they not only stand as reservoirs of ancient Buddhist art but also highlight intersections between Buddhism and neighboring Central Asian and Chinese cultures. The evolution of the Dunhuang Caves' art is segmented into periods mirroring Chinese dynasties, showcasing diverse influences from various regions, marking the journey from purely religious symbols to a more secularized and inclusive representation. Concurrently, the Caves mirror the secularization trajectory of Buddhism in China. Beyond their artistic merit, the Dunhuang Caves played a pivotal role socially, reflecting the intertwined relationships between Buddhism, society, and the Chinese ruling elite. As Buddhism assimilated into Chinese life, its representation in the Dunhuang Caves evolved, ultimately serving both spiritual and political purposes. This study delves into the artistic progression and the multifaceted social implications of the Dunhuang Caves' existence.
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He, Wenqi. "Gandhara Art’s Influence on Buddhist Art in Xinjiang, China." BCP Social Sciences & Humanities 14 (December 17, 2021): 172–78. http://dx.doi.org/10.54691/bcpssh.v14i.189.
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The Gandhara region of India was the origin of Buddhist art, and, due to its unique geographical location, it was a place where European and Asian civilizations mingled. The original Gandhara Buddhist art style was largely influenced by the style of Classical Greek sculpture. With the gradual development, its sculpture art and Buddhist stories entered a prosperous period and began to spread eastward, exerting a profound impact on the development of Buddhist art in the early stage of western Regions and later in Xinjiang.
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Twist, Rebecca L. "Images of the Crowned Buddha along the Silk Road: Iconography and Ideology." Humanities 7, no. 4 (September 21, 2018): 92. http://dx.doi.org/10.3390/h7040092.
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The interpretation of early Buddha images with a crown has long been a source of debate. Many scholars have concluded that the iconography of the crown is intended to denote Śākyamuni as a cakravartin or universal Buddha. A few have suggested it represents a sambhogakāya Buddha in Mahāyāna Buddhism. This art historical and Buddhological study examines the visual record of early crowned Buddhas along the Silk Road, focusing on the iconographic signifiers of the crown, silk items, and ornaments, and interprets them within a broader framework of Buddhist theoretical principals and practice. Not only is this a visual analysis of iconography, it also considers contemporary Buddhist literary evidence that shows the development of the iconography and ideology of the crowned Buddha. As a result of this examination, I propose that the recurring iconographic evidence and the textual evidence underscore the intention to depict a form of sambhogakāya Buddha as an early esoteric meditational construct. Moreover, many Buddhas perform one of the two mudrās that are particular to the esoteric form of Vairocana Buddha. Therefore, the iconography also signifies the ideology of the archetypal Ādi Buddha as an esoteric conception.
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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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Kim, Jung-hee. "Śākyamuni’s Nirvāṇa in Buddhist Art." Art History Journal 43 (December 15, 2014): 133–71. http://dx.doi.org/10.24828/ahj.43.133.171.
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Desai, Devangana. "The Buddhist Art of Nāgārjunakonda." Indian Historical Review 26, no. 2 (July 1999): 191–93. http://dx.doi.org/10.1177/037698369902600213.
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Koh, TaeJin, and Alexander Pereverzev. "Nicholas Roerich’s Himalayas as the ‘Treasury of Spirit’." RESEARCH REVIEW International Journal of Multidisciplinary 7, no. 7 (July 15, 2022): 106–11. http://dx.doi.org/10.31305/rrijm.2022.v07.i07.014.
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Nicholas Roerich, as a historian and archeologist, explores the roots and origins of Russian culture, and that quest brings him to India. In 1900s in his art and writings he is increasingly drawn to Indian themes and subjects. The first Indian themes in Roerich’s art were, perhaps, the two illustrations to his own philosophical fairy tale narrating the story of a woman called Devassari Abuntu who professed Buddhism and lived in the company of birds and spoke their language. Meanwhile, Roerich’s interest in India deepens. He proposes to have an ancient Indian temple transported to St. Petersburg and becomes a member of the committee set up in 1909 to supervise the building of the first ever Buddhist temple in the same city, incidentally the first Buddhist temple to be ever built in Europe.
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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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Hudson, Bob. "Funerary Practices at Pyu Sites in Myanmar and the Appearance of Buddhist Artifacts from the Fifth to Sixth Century CE Period." Journal of Burma Studies 28, no. 1 (2024): 141–67. http://dx.doi.org/10.1353/jbs.2024.a923232.
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Abstract: An ongoing research question in Myanmar (Burma) is to what extent, and in what specific part of the first millennium CE, traces of Buddhism from India can be observed in the early urban “Pyu” culture. Burial urns feature significantly in the archaeological record, but they do not have any specifically Buddhist features. Some funerary shrines feature a brick plinth at one end. If these were bases for stūpas or Buddha images, then Indian influence could be attributed as early as the second–third century CE period. No evidence has yet been found of what these plinths carried. A later burial complex, dated by radiocarbon to the sixth–seventh century period, included Buddhist “votive tablets.” In another architectural form, the reliquary stūpa, we find a Buddhist practice directly comparable to Indian practices of the early-to-mid first millennium CE. On the evidence of paleography and art history, the Pyu Buddhist stūpas may have been operational in the fifth–sixth century CE period. The earliest radiocarbon date range for a building containing Buddhist material is also the fifth–sixth century.
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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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Zhang, Qiuying. "“Art world” of yunnan theravada buddhist murals from the perspective of art sociology: A case study based on murals in Jingzhen buddhist temple." MATEC Web of Conferences 395 (2024): 01074. http://dx.doi.org/10.1051/matecconf/202439501074.
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From the perspective of art sociology, this article adopts the research paradigm of “art world” and “cultural production” to carry out a case study on murals in Jingzhen Buddhist Temple in Xishuangbanna and explore the “production” and “autoproduction” process of Theravada Buddhist murals, thereby concluding that the “production” of Theravada Buddhist murals is not the achievement of individual painter, but proves to be co-generated by the “art world”, namely the cooperative network composed of members of the Buddhist Temple Affairs Management Committee, the village group, believers, and painter, under the regulations and influence of various realistic social factors; while due to the publicity and sanctity of Theravada Buddhist murals as well as the particularity of its audience, the relevant “autoproduction” has facilitated the continuous sound interaction between the “production” and “autoproduction” of Theravada Buddhist murals.
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Raina, Asif Rashid, and Anoop Singh. "Impact of Buddhist thoughts on Cultural Nationalism of India." Sprin Journal of Arts, Humanities and Social Sciences 2, no. 01 (February 2, 2023): 01–07. http://dx.doi.org/10.55559/sjahss.v2i01.73.
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The colonized nations saw a rise in nationalistic feelings during the height of colonialism in the middle of the 19th century, putting special stress on the concept of shared ancestry, culture, and language. It is important to note that this idea has strong roots in India, where there is a plethora of ancient literature that emphasizes on cultural nationalism, whether it is Vedic, Jain, or Buddhist. In most regions of the continent, Buddhism has had a major geographic and historical presence often for very long times. Additionally, it has had a significant impact on the creation of particular states as well as less formal interpretations and shaping of social and political processes, and this influence has persisted to the present day. It promoted the notion of tolerance and diversity and integrity. Asoka, Kanishka, and Harshavardhan became passionate nationalists who sought to reunite India under a unified state. Both the Mughals and the British did this afterward. Thus, it seems likely that Buddhism contributed to national cohesion. Buddhism has a significant impact on Indian society and culture in every way. The restrictions placed on the populace by the Latter Vedic religion society and literature was lifted. It advocated for social harmony and spoke out against the caste system. Buddhism has had an impact on a variety of art genres, including painting, sculpture, literature, and architecture. Buddhism promoted unrestricted trade between India and other nations. Buddhist monks began disseminating the Buddha's teachings to other countries in the third century B.C. and pilgrims and students from other Buddhist countries began travelling to India to further their education. When foreigners visited India, the rich culture of Buddhism engulfed them; they abandoned their own identities and creeds in favour of Buddhist names and the faith. These outsiders included the mythical Kushana ruler Kanishka and Greek emperors. Buddhism thus had a significant influence on the synthesis that led to the development of contemporary Indian civilization. This paper highlights Buddhism's history, including its rise and fall, as well as how Buddhist teachings have influenced cultural nationalism of India.
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Stewart, Mary. "The Buddhist Art of Nagarjunakonda. Elizabeth Rosen Stone." Buddhist Studies Review 15, no. 1 (June 16, 1998): 133–35. http://dx.doi.org/10.1558/bsrv.v15i1.14837.
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Oh, Seung Hee. "Seeing as Worldmaking: Ten Views of a Lingbi Rock and Yogācārin Epistemology in Late Ming China." Religions 13, no. 12 (December 2, 2022): 1182. http://dx.doi.org/10.3390/rel13121182.
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This paper examines Wu Bin’s (c. 1543–c. 1626) Ten Views of a Lingbi Rock (1610) from the perspective of Buddhist epistemological notions in seventeenth-century China. In studying a series of gazes focusing on a single object—a stone with a very complex surface—my discussion posits an act of excessive seeing as a process of making worlds. I take a theoretical cue from contemporaneous intellectual discourses, especially those that flourished with the revival of Yogācāra Buddhism in late Ming China. This paper will show how an art object comes into being in perceivable worlds interconnected by the individual’s sensory experiences. My study aims to inquire into the role of illusion as sensory experiences, phenomenological processes, and even notions of soteriological efficacy beyond formal artistic devices. To that end, this paper is the first attempt to situate Ten Views of a Lingbi Rock alongside Buddhist thoughts and artmaking.
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WANG, Shiru, and Ion SANDU. "THE INFLUENCE OF POLITICAL EVENTS AND IDEOLOGY ON THE FORMATION OF THE PICTURE CONCEPT OF DUNHUANG CAVES FRESCOS." International Journal of Conservation Science 14, no. 4 (December 15, 2023): 1443–62. http://dx.doi.org/10.36868/ijcs.2023.04.13.
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The article is devoted to an analysis of the figurative concepts of the Dunhuang cave wall paintings. It was determined that, despite the fact that the Dunhuang wall painting is an example of Buddhist art, it represents a syncretism of Buddhism and local beliefs—Taoism and Confucianism—which manifested itself in the depiction of characters from Buddhism and Taoism in one plot. Dunhuang cave murals are not uniform in style and execution techniques. Its genesis testifies that in the early stages it was a literal borrowing of the ancient Indian traditions of Buddhist mural painting; instead, there was a gradual layering of local painting techniques from the Central Plains of China. This led to the diversification of cave wall paintings of later periods and eventually led to the formation of a specific stylistic direction of "Chinese secular Buddhism," in which realistic painting plays an important role—the portrait genre of benefactors and the landscape genre of "mountains and waters."
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Kim, Sunkyung. "Research on a Buddha Mountain in Colonial-Period Korea: A Preliminary Discussion." Religions 12, no. 7 (July 19, 2021): 551. http://dx.doi.org/10.3390/rel12070551.
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Buddhist art became the focus of discussion when Japanese scholars began to construct Korean art history as an academic discipline. This paper presents a case study of how a particular Buddhist site, Mount Nam in Kyŏngju, was recognized, researched, and represented during the colonial period (1910–1945). By analyzing representative Japanese publications on the subject, I argue that there existed disconnection between the colonial government and the site-researchers. I re-evaluate the conventional narrative that the colonizers regarded Buddhist statues as “art” removed from their original religious setting. This paper reveals a more layered picture of the early years of historical discourse on the so-called Buddha Mountain and Buddhist sculptures of Korea.
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Carrier, David. "Trampling Images: Buddhist Art in a World Art History." artUS 2011???2012: The Collector's Edition 31, no. 1 (August 1, 2013): 74–77. http://dx.doi.org/10.1386/artus.31.1.74_3.
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He, Teng. "Blue Cliff Record, Art of Living and Its Reception in Germany." Journal of Chinese Philosophy 50, no. 2 (July 25, 2023): 155–67. http://dx.doi.org/10.1163/15406253-12340099.
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Abstract In the encounter between the Western and Eastern Cultures in the 20th century, the Chinese Buddhist classic Blue Cliff Record (Biyanlu 《碧巖錄》) was widely translated in Europe, especially in Germany. In the first part, this paper introduces the various German translations as well as their translators’ evaluations and discussions of the book and Chan Buddhism. In the second part, this paper argues that Blue Cliff Record represents a dynamic ontology by interpreting the Highest Meaning. In the third part, this paper will present the self-understanding and freedom addressed in Blue Cliff Record. The paper shows that Chan Buddhism is characterized by its non-duality between convention and holiness and by the self-realization in this world.
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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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Tiwari, Akanksha, and Alok Shrotriya. "Divine Expressions in Pala Art: Sculptures of Transcendence with special reference to Buddhist minor Deities." RESEARCH REVIEW International Journal of Multidisciplinary 8, no. 11 (November 14, 2023): 155–69. http://dx.doi.org/10.31305/rrijm.2023.v08.n11.024.
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The art and iconography of the sculptures from the Pala period (8th to 12th centuries CE) in India represent a significant phase in the evolution of Buddhist and Hindu art. The Pala dynasty, which ruled over parts of present-day India and Bangladesh, was a patron of both Buddhist and Brahmanical traditions, and their art reflects a fusion of influences. This paper attempts to explore the key features and themes of sculptures from the Pala period with special reference to Buddhist minor deities. Pala period sculptures are known for their graceful and fluid style, characterized by soft contours and sensuous curves. This style is often referred to as the "Pala-Sena" style. The sculptures exude a sense of serenity and elegance, whether depicting Buddhist or Hindu deities. Buddhist sculptures from this era frequently depict the Buddha in various postures and mudras (hand gestures). The Buddha is often shown in the Dharmachakra Pravartana mudra (teaching pose) or the Bhumisparsha mudra (earth-touching pose). Bodhisattvas, Avalokiteshvara, Tara, and Manjushri are common subjects in Pala Buddhist art. These figures are portrayed with distinctive attributes and symbols that represent their qualities and attributes. The sculptures often include intricate detailing of jewelry, garments, and hairstyle, reflecting the rich artistic sensibilities of the period.