Relevant bibliographies by topics / Buddhist sculpture

Academic literature on the topic 'Buddhist sculpture'

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Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Buddhist sculpture"

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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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Song, Unsok. "Rediscovering the Monk-Sculptor Ch’ŏnsin: The Missing Link between the Ŭngwŏn-In'gyun and Saengnan Schools of the Honam Area in the Late Chosŏn Period." Sungkyun Journal of East Asian Studies 22, no. 2 (November 1, 2022): 207–31. http://dx.doi.org/10.1215/15982661-10040897.

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Abstract Of the monk-sculptor groups active in the Honam area in the southwest part of the Korean Peninsula during the late Chosŏn period, the Saengnan School was the largest, both in terms of the number of artists in the group and of the works they left behind. Studies of the group have largely focused on the sculpting activities of the Buddhist monk Saengnan (fl. late seventeenth to the early eighteenth century; 1663–1709) and his followers, while little is known about the origins of the school due to a lack of records about his formative years as an assistant. The recent discovery of four Buddhist parwŏn prayer texts has revealed that Saengnan spent the early years of his career as a sculptor assisting the monk-sculptors In'gyun and Ch’ŏnsin, who were key members of the Ŭngwŏn-In'gyun School that played a central role in the production of Buddhist sculptures in the early to late seventeenth century in the region. This study shows that the Saengnan School, the most productive group of monk-sculptors from the late seventeenth to the early eighteenth century in the Honam region, was a successor to the Ŭngwŏn-In'gyun School, through a comparative examination of these highly informative prayers and relevant Buddhist sculptures. My examination also reveals that the two schools were linked by Ch’ŏnsin, who studied sculpture under In'gyun, and in turn, taught Saengnan.
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Levchenko, Viktor, and Kristina Zolotarova. "WHEN BUDDHIST SCULPTURE SMILES." Doxa, no. 1(39) (June 21, 2023): 110–23. http://dx.doi.org/10.18524/2410-2601.2023.1(39).306551.

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The representational tradition of Buddhist sacred sculpture is multi-layered and has its own specificity, reflecting the stylistic and cultural-historical contexts of the regions where it has spread. The adoption of new trends, development in alternative dimensions, and transformation into original cultural artifacts accompany the philosophical principles of Buddhism throughout its pilgrimage journey. The smile is a unique attribute and phenomenon of Buddhist imagery, a marker of change, and a transformative response to the challenges of time. In this article, we will examine vivid examples of such adaptations and changes, the specificity of Buddhist sacred sculpture, the spread of the smile in the representational tradition (under the influence of various factors), and the characteristic “signs of the times” that have been realized in the art and cultures of the regions where it has been universalized. The smile can be considered one of the main attributes of Buddhist imagery; it has numerous variations in execution and is imbued with symbolic meanings and hidden senses. Buddhist sacred sculpture carries not only the specificity of traditions and schools but also reflects the cultural-historical context. Therefore, followers and disciples of certain representational traditions implemented them considering local specifics and peculiarities. We find several characteristic examples of the use of the smile in sacred sculpture, which have an abnormal nature and stand out from the general dynamic system of Buddhist sacred sculpture, specifically in the cultures of East Asia and Cambodia.
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Xiao, Wei. "The Technique of Creating Buddhist Polychrome Sculpture." Scientific and analytical journal Burganov House. The space of culture 15, no. 3 (September 10, 2019): 55–74. http://dx.doi.org/10.36340/2071-6818-2019-15-3-55-74.

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This work focuses on the origin, development, evolution of the Chinese art of polychrome sculpture, as well as philosophical ideas, national specificities, cultural content, a religious concept, artistic specificity and aesthetic ideas manifested in this context. The study provides a picture of how the cultural specificities of China are expressed in art and how spirituality is reflected in works of art. An objective description and complete historical research of the mentioned historical sites increase the available information on them and are meant to strengthen measures intended for their protection. The first comprehensive and detailed analysis of the technology for creating Chinese traditional Buddhist polychrome sculpture is presented in the article.The subject-matter of the artworks, the characteristics of the material used to create them, and the sculpting methods are fully analyzed through the method of a thorough study of the current state of the preserved polychrome sculpture in the Shuanglin Monastery. Two thousand and fifty-four statues of polychrome sculpture, the main of which are Buddha (佛祖), Bodhisattva (菩萨), Heavenly Kings (天王) and Arhat (罗汉) are preserved in the monastery. They are divided into two large groups: circular form sculptures and bas-reliefs. Clay, wood, water, straw, and mineral pigments are the main materials used for the creation of Buddhist polychrome sculptures. Modeling and polychrome painting are two main technologies in the process of making sculptures. Modeling consisted of creating a frame, applying coarse clay and sculpting a large-scale figure, applying medium density clay, applying thin layers of clay and creating details, whitening, bas-relief painting with the chalk-glue mixture, gilding, painting, etc. From the point of view of form, the ancient Chinese Buddhist polychrome sculpture as a work of religious art had to correspond to Buddhist canons. Before starting the process of creating a statue, a craftsman had to make a sketch. During modeling, an artist was guided by the secrets of the craft passed down orally from a teacher to his student and summarized as a technical guide by his predecessors. Statue of Skanda. Dynasty Min. Shuanglin Buddhist polychrome sculpture as a form of fine art with an elaborated form and rich spiritual content perfectly combines technology and artistry.
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김연진. "Modern Buddhist Sculpture and Influx of Japanese Buddhist Sculpture." KOREAN JOURNAL OF ART HISTORY 303, no. 303 (September 2019): 171–203. http://dx.doi.org/10.31065/ahak.303.303.201909.006.

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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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He, Liqun. "On the development of Buddhist sculpture in Ye City and the “Ye City Style” reflected by the Bei Wuzhuang hoard." Chinese Archaeology 16, no. 1 (November 27, 2016): 189–200. http://dx.doi.org/10.1515/char-2016-0018.

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Abstract The Ye City was the important Buddhist cultural center of the Central Plains and North China since the 6th century CE. Since the 1950s, rather large amounts of Buddhist sculptures have been unearthed within the scope of the Ye City Site, of which the hoard at Bei Wuzhuang found in January 2012 was the most noticeable. Through the analyses to the materials, motifs, assemblages and sculpturing characteristics of some typical samples from this hoard, the Buddhist sculptures during the Northern Dynasties in the Ye City area could be divided into four phases, which are the mid through late Northern Wei Dynasty, the end of the Northern Wei through the early Eastern Wei Dynasties, the late Eastern Wei through the early Northern Qi Dynasties and the mid through late Northern Qi Dynasty. Moreover, referring to the given historic background, the derivation of the Buddhist thoughts and the cultural communication between China and the West at that time, this paper points out that the so-called dragon-tree-shaped back screen statues popular in the mid through late Northern Qi Dynasty was a brand-new sculpture type integrated the technical tradition and composition characteristics of the white marble sculpture in the Wuding Era of the Eastern Wei Dynasty and the Gupta sculpture style newly introduced in; the creation and diffusion of this sculpture type were tightly related to the Xianbeization and Western Barbarianization policies applied by the imperial court after the founding of the Northern Qi Dynasty and the reform of monastic restrictions managed by Fashang, the Buddhist comptroller-in-chief of the empire from Zhaoxuan Monastery.
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Talesara, Priyank, and Aniruddh Bahuguna. "Decoding of the Story Superimposed of Buddhist Sculpture unearth from Bharja and testifying its relation to this Silk-route area of Sirohi District, India." Technium Social Sciences Journal 7 (April 25, 2020): 302–11. http://dx.doi.org/10.47577/tssj.v7i1.410.

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Rohida police station recovered an old sculpture, accidentally discovered from the cemetery of Bharja/Bhaja village. It is a broken bronze Buddhist Idol and very rare sculpture. It has exquisite Antique beauty with rust in red and corrosion in green. Sculpture of Buddha seated in Padma Asana (lotus posture) and his hand in Dhyan Mudra (meditation posture). Buddha is wearing the robe; the robe is decorated with the scene of Buddhacharita story, superimposed on the visible crust. This Sirohi district has the history of Jainism and Hinduism only, till the date there is no evidence regarding Buddhism practices in Sirohi district of Rajasthan. Sirohi is famous from its silk route in the valley, ancient Chandrawati city and Mount Abu, where thousands of temples of Jainism and Shivanism were built. Objective: what were the technique and technology used to manufacture sculpture? Where this artefact came from? What are the main characteristics & features of this sculpture? What carving scene depicted in this sculpture? Research analysis: For analysis of this sculpture we carefully look sculpture and magnify scene to compare with the stories of Buddhacharita. Moreover, check out that this sculpture is indigenous work of ancestral craftsmen or not. Also compare superimposed stories of Buddha and his life. Scientific method: Buddha sculpture is hollow in nature but very heavy in weight; Craftsman used the lost wax method to manufacture it. In ancient time the science behind manufacturing sculpture is very time consuming, first sculptors need to imagine about the subject, draft and then mould through melting, condensing, chiselling, hammering and exquisite carving. One of the oldest methods of metal casting according to Archaeo-metallurgy is bee wax method; this technique is now termed as the lost wax method. Conclusion: In the end, we like to conclude that in the history of Sirohi exploration, first time unearths the Buddhist sculpture but we have certain doubts that it mustn’t belong to Sirohi district. This idol is required for further critical research like dating and detailed mould-casting technique used in the manufacturing of this sculpture.
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Pornpanomchai, Chomtip, Vachiravit Arpapong, Pornpetch Iamvisetchai, and Nattida Pramanus. "Thai Buddhist Sculpture Recognition System (TBuSRS)." International Journal of Engineering and Technology 3, no. 4 (2011): 342–46. http://dx.doi.org/10.7763/ijet.2011.v3.250.

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Saptono, Nanang, and Endang Widyastuti. "Identifikasi Temuan Arca di Karangnunggal, Tasikmalaya." PANALUNGTIK 4, no. 2 (December 17, 2021): 115–28. http://dx.doi.org/10.24164/pnk.v4i2.71.

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Sculptures are archaeological relic that are frequently found. Sculptures from the Hindu-Buddhist period often serves as a medium for worshipping. The characters depicted in the sculpture can be of gods and their pantheons, some are in the form of kings who are depicted as gods. In the area of Karangnunggal, Tasikmalaya, sculpture made of stone were found on a former plantation land that was used during the Dutch era. This article aims to provide an overview of the character that are depicted in the sculpture, the origin style of the creation, and when the sculpture was created. The method used in this research is descriptive research with a comparative approach. Based on its attributes, the Karangnunggal sculpture considered as a sculpture of embodiment. The figure that depicted was Dewi Parwati in Majapahit style. Based on the context of the findings, this sculpture indicates as an art item created at present time.
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Dissertations / Theses on the topic "Buddhist sculpture"

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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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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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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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Le, Thua Tien Art College of Fine Arts UNSW. "Journey to inner peace installation and sculpture from a buddhist perspective." Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/41874.

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My Master of Fine Arts research project focuses on installation and sculpture that embodies the themes of Buddhism and War. My artwork examines how the two themes interact and influence each other. Making art, for me, is an intensely personal process of rediscovering myself. The project is an attempt to create a visual conversation between my personal experiences, memories and imagination. In particular, I explore the collective memory of the people of Hue in relation to the immediate past, and the longer historical heritage of the city and the region. Chapter One provides a background to my personal experiences of growing up in Hue, Vietnam, during a time of war. This is a relevant starting point as these experiences have shaped my life and my art practice. This chapter begins with my childhood and charts my journey into art education. Visual art is the form and methodology by which I can best express my thoughts, dreams, and reflections. Through sculpture I can share my own vision and thoughts with people from different cultural backgrounds, ideally reaching beyond existing socio-cultural boundaries. It is a personal journey that has led me toward the path of re-discovering my inner world and awakening a forward-looking perspective. Chapter Two explores the influence Buddhist philosophy has on my art practice. This chapter also discusses the work of four contemporary artists who are primarily concerned with themes of Buddhism and war. Through this research I explore how the philosophy of Buddhism gave me a new perspective on how an artist can live completely in the present, while building a bridge between the past and the future through creative practice. Buddhism is a process of everyday transformation; in practice it is an attempt to forge new beginnings in every facet of daily life. Chapter Three discusses my earlier sculpture and installation artworks. I then examine how this led me to collaborate with other international contemporary artists who share a common aesthetic or theme. Chapter Four examines my current art practice and discuss how I see it shaping my future art practice.
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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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Lok, Wai-ying, and 駱慧瑛. "The significance of Dunhuang iconography from the perspective of Buddhist philosophy: a study mainly based onCave 45." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48199321.

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This study explores the significance of Dunhuang 敦煌 iconography from the perspective of Buddhist philosophy. The time span of the Dunhuang iconography of the Grottoes runs from the 4th to the 14th centuries. This wide coverage makes it extremely valuable for revealing the developments in art, history, culture, and religious activities in China, and neighbouring regions along the Silk Road. Most scholars have approached the Dunhuang Grottoes from the perspectives of art, history, or archaeology. However, studying the Dunhuang Grottoes from the perspective of Buddhist philosophy has remained under-researched, and therefore, less exhaustively dealt with. It is in Dunhuang Mogao 莫高 Cave 45 that one can see the most well preserved Buddha statue group, and the only Guanyin S?tra 觀音經, i. e. the Chapter of the Universal Gateway of Avalokite?vara Bodhisattva 普門品 from the Saddharmapu??ar?ka S?tra 妙法蓮華經, painted on one entire wall. This dual association has rendered Cave 45 the most ideal source for this research. In this research, Buddhist iconography will be studied in the light of Buddhist philosophy. The study also takes into account triangulation of data collected through various sources, namely: (1) Field trips in Dunhuang and related areas for primary data collection; (2) Image analyses of data collected from primary and secondary sources; (3) Verification of data in the light of both ancient and modern Buddhist literature. The research will be focused on identifying Buddhist philosophy from the mural paintings of the Guanyin S?tra and on the conceptualized understanding of the material as presented in the paintings. The causes of suffering will be identified after examining the thirty-three manifestations / appearances of Avalokite?vara as depicted here. The scenes of various desires as identified and conceptualized in the mural painting of the Cave 45 will also be studied. The Buddha statue in the centre of the statue group portrays cessation of suffering. The statues of bodhisattvas and disciples along both sides, with different facial expressions and body gestures, portray the different levels of cessation of suffering, all leading to ultimate awakening and full emancipation. In this connection, the missing pair of statues in the statue group will also be explored and identified. It is true that Dunhuang iconography, as exemplified through Cave 45, can be approached from many perspectives. However, the primary objective of this study is to show that the Dunhuang iconography is designed as an artistic portrayal of the fundamental teachings of Buddhism.
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Buddhist Studies
Doctoral
Doctor of Philosophy
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Leoshko, Janice. "The iconography of Buddhist sculptures of the P?la and Sena periods from Bodhgay? /." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487327695623672.

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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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Boehm, Christian Matthias. "The concept of 'danzō' : 'sandalwood images' in Japanese Buddhist sculpture of the 8th to 14th centuries." Thesis, SOAS, University of London, 2005. http://eprints.soas.ac.uk/28795/.

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This thesis examines Buddhist images known as danzo (sandalwood sculptures) in Japan from the 8th to 14th centuries in terms of the types of material used to make them, their distinctive form (as determined by iconography and style), and the religious functions for which they were used. All three of these fundamental defining elements are considered essential for a comprehensive understanding of danzo as religious icons, but for the clarification of crucial issues the first two chapters examine each of these elements separately. Chapters One and Two consider issues concerning definitions of materials, form according to different iconographic types and period styles, the expression of shogon (sublime adornment) and religious functions. Chapter Three provides a classification of the various types of dangan (portable sandalwood shrines). Chapters Four to Six examine the various iconographic types classified according to Nyorai, Kannon, and other Bosatsu and tutelary deities. This dissertation proposes a new definition of the form of danzo based on the distinction between the type-style and period-style, in which the expression of the aesthetic-religious concept of shogon is argued to be of central significance and danzo are considered as objects of shogon par excellence. Furthermore, textual evidence is presented to suggest that the two most common religious functions of danzo were as icons in ceremonies and for personal devotion for high-ranking monks, aristocrats, and members of the imperial family, which reflects the special sanctity ascribed to these images. The aim of this dissertation is to arrive at a more inclusive understanding of danzo as religious icons with distinctive material, formal and functional characteristics that define them as a unique group of religious icons within Japanese Buddhist sculpture.
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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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Books on the topic "Buddhist sculpture"

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

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

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India. Ministry of Information and Broadcasting., ed. Buddhist sculptures and monuments. New Delhi: Publication Division, Ministry of Information and Broadcasting, Govt. of India, 1994.

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A, Aiyappan. Guide to the Buddhist antiquities. Madras: Director of Museums, 1992.

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Zuihō, Menzan. Dōjō garan shodō anzōki / Menzan Zuihō jutsu. Dōjō garan zakki /Keigan Eboku shū. Ōsaka-shi: Seizansha, 1992.

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Gotō, Munetoshi. Senbutsu no kita michi: Hakuhōki Bukkyō juyō no yōsō. Kyōto-shi: Shibunkaku Shuppan, 2008.

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Gotō, Munetoshi. Senbutsu no kita michi: Hakuhōki Bukkyō juyō no yōsō. Kyōto-shi: Shibunkaku Shuppan, 2008.

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Liao, Dongfan. Tibetan sculptures. Beijing: China Intercontinental Press, 2003.

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Liao, Dongfan. Tibetan sculptures. Beijing: China Intercontinental Press, 2003.

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Sekhar, Sashi. The wheel and its tracks: A history of Buddhism in early Andhra. [Rajahmundry, Andhra Pradesh]: Mokkapati Subbarayudu, 2006.

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Book chapters on the topic "Buddhist sculpture"

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Peleggi, Maurizio. "CHAPTER FOUR. THE PLOT OF THAI ART HISTORY: BUDDHIST SCULPTURE AND THE MYTH OF NATIONAL ORIGINS." In A Sarong for Clio, edited by Maurizio Peleggi, 79–94. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501725937-006.

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Settar, S. "The Earliest Scribe-Sculptors in Lower Deccan." In Early Buddhist Artisans and Their Architectural Vocabulary, 19–40. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003427810-2.

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Prasad, Birendra Nath. "The Socio-Religious Dimensions of Dedicatory Inscriptions on Sculptures Donated to a Buddhist Establishment in Early Medieval Magadha: Kurkihar, c. 800 CE-1200 CE*." In Rethinking Bihar and Bengal, 41–84. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003221227-2.

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Prasad, Birendra Nath. "A Folk Tradition Integrated into Mahāyāna Buddhism: Some Observations on the Votive Inscriptions on the Sculptures of Puṇḍeśvarī/Pūrṇeśvarī/Puṇyeśvarī Discovered in the Kiul-Lakhisarai Area, Bihar." In Rethinking Bihar and Bengal, 85–93. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003221227-3.

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Holt, John Clifford. "Buddhist Sculpture at Polonnaruva." In The Sri Lanka Reader, 96–97. Duke University Press, 2011. http://dx.doi.org/10.1215/9780822394051-017.

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"Dating Gandhāran Sculpture." In The Buddhist Architecture of Gandhāra, 268–87. BRILL, 2004. http://dx.doi.org/10.1163/9789047412571_013.

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Vaneian, Elizaveta S. "The “Spectrum of Corporeality” in Japanese Buddhist Sculpture." In Artificial Body in the World Intellectual and Artistic Culture, 31–57. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0719-9-31-57.

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This paper examines, based on concrete examples, ways in which the artificial bodies of Japanese Buddhist sculptures have been created and explores the relevant background ideas and assumptions. Particular “bodies” of Japanese sculpture can be associated, to a lesser or greater extent, with the understanding of the human body; however, in certain aspects they constitute their own reality. These variations create what I have called “the spectrum of corporeality” in Japanese Buddhist sculpture. Specifically, I review ways in which statues have been empowered as sacred objects and approximated to real beings that have their own bodies. In addition, I discuss the cult of monk mummies (whole-body relics) and the religious processions in which people “play” bodhisattvas. At first sight, the last two phenomena seem to be unrelated to sculpture, but I have tried to show a direct connection between them. Having united and combined various ideas and techniques in my discussion on “the spectrum of corporeality”, I use concrete examples from the history of Japanese Buddhist sculpture. Being an overview of practices and phenomena that have been well researched separately, this paper contributes to the existing historiography on the ontology of Buddhist imagery.
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Amstutz, Andrew. "From colonial Greece to postcolonial Rome? Re-orienting ancient Pakistan in museum guides in the 1950s and 1960s." In The Rediscovery and Reception of Gandhāran Art, 136–51. Archaeopress Archaeology, 2022. http://dx.doi.org/10.32028/9781803272337-7.

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In 1956, the National Museum of Pakistan, a recently established institution in Karachi, launched a new exhibit on Buddhist sculpture from Gandhāra to mark ‘the 2500th anniversary of the birth of the Buddha’ (Gandhara Sculpture in the National Museum of Pakistan 1956: 3). To celebrate this new exhibit, Pakistan’s Department of Archaeology published Gandhara Sculpture in the National Museum of Pakistan to go along with the new exhibit. The anonymous exhibit organizers flagged two important elements of this ancient Buddhist sculpture for the newly created Muslim-majority nation-state of Pakistan. First, the exhibit organizers noted that in the first century BC, ‘Buddhist sages made Gandhāra a sacred region’ through the production of texts that connected ‘local sites with previous incarnations of the Buddha.’ Second, they emphasized the alleged Roman influences on ancient Gandhāra. In their own words, ‘Mediterranean influence, first from Greece by way of Iran, and more directly and for a longer period from the Roman Empire, gave Gandhāra sculpture the character which distinguishes it from all other Buddhist art’ (Gandhara Sculpture in the National Museum of Pakistan 1956: 3). In turn, the exhibit organizers celebrated this ‘fusion of Buddhist forms with Mediterranean humanistic style’ as ‘forming a part of Pakistan’s own cultural heritage’ (Gandhara Sculpture in the National Museum of Pakistan 1956: 4).
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"Architecture and Sculpture from Phase I." In The Buddhist Architecture of Gandhāra, 39–60. BRILL, 2004. http://dx.doi.org/10.1163/9789047412571_004.

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"Buddhist Architecture and Sculpture of Gandhāra: Conclusions." In The Buddhist Architecture of Gandhāra, 234–54. BRILL, 2004. http://dx.doi.org/10.1163/9789047412571_011.

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Conference papers on the topic "Buddhist sculpture"

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Hendradi, Rimuljo, Ikhsan Rosyid Mujahidul Anwari, and Kinara Al Ghiffari. "Augmented reality application development on universitas airlangga Museum’s sculpture as Hindu-Buddhist history educational media." In 4TH INTERNATIONAL SCIENTIFIC CONFERENCE OF ALKAFEEL UNIVERSITY (ISCKU 2022). AIP Publishing, 2023. http://dx.doi.org/10.1063/5.0181221.

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Shao, Changzong. "Discussion on the Humanities and Artistry of Buddhist Sculptures in Wei, Jin, Southern and Northern Dynasties." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.008.

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Koc, Adem. "A Symbolic Taste of the City: Eskișehir Met Halva from Legend to Game." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.29.

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Th ere are some symbols (images) of cities in which they come to the fore. Th ese symbols can be diverse such as city silhouettes, temples, holy places, museums, festivals, natural areas, food, drinks, and desserts. Urban symbols can be an important soft power and tourism intermediary for the promotion of both the city and the country. Many examples such as Japan’s kimono, Kyoto garden, and sushi; France’s Paris Eiff el Tower; Moldova’s wine cellars; Moscow’s Kremlin Palace in Russia; Istanbul’s Topkapi Palace in Türkiye, beaches, doner kebab and baklava; Tibet’s Buddhist temples can be cited. As can be understood from these examples, a city or a small settlement can sometimes come to the fore even more than the country itself due to its symbol. Countries that benefi t from this can provide a good promotion in terms of tourism. While there are professional works in creating an image of the city, sometimes bad examples can be seen. However, creating the image of the city, strange structures or sculptures can sometimes be used for the promotion of the city. In fact, it is an interesting method which causes a very bad appearance. Even this situation sometimes causes a funny and disgusting image. For example, ill-hewn statues of fruit-vegetable, food, animals, persons or heroes, etc. It is unnecessary but it also causes bad publicity. Instead, applied kitchens, food and beverage presentations, and museums are more remarkable. In this paper, the city image “met halva”, which has come to the fore in the fi eld of gastronomy, with the cultural animations made recently in Sivrihisar district of Eskișehir province of Türkiye will be introduced.
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