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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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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Demenova, Victoria V. "Sino-Tibetan Style of Buddhist Sculpture: Articulation of the Attribution Problem." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 2 (2022): 272–86. http://dx.doi.org/10.15826/izv2.2022.24.2.039.
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This article is devoted to the concept of “style” and the possibility of its application in the attribution of works of Buddhist metal sculpture. This aspect, which, as a rule, is peripheral for classical Oriental studies, Buddhology, and history, where it is interpreted quite freely, is one of the key ones for art history and museum attribution activities. The author notes the terminological and factual diversity of the designation of the “Sino-Tibetan style” in the circle of researchers of the art of Buddhism. The author poses the question of what exactly the concept of “Sino-Tibetan style” means and whether it is an indication of the body of technical and plastic features of sculptures, or just a designation of the geography of the origin of Buddhist sculptures of the eighteenth and nineteenth centuries made in the western provinces of China. The author refers to three sculptures which are the most controversial ones from the point of view of attribution (Maitreya Buddha from the private collection of A. V. Glazyrin (Ekaterinburg), Shakyamuni Buddha, and Begtse from the collection of the Sverdlovsk Regional Museum of Local Lore), which have several similar stylistic features, and which could presumably be attributed to the “Sino-Tibetan style” of the eighteenth century. Also, the article presents the results of the study of the metal composition of these sculptures using an X-ray fluorescence analyser (spectrometer). Based on the data obtained on the content of substances in the alloy and considering the general artistic and stylistic features of metal images, the author makes a conclusion as to when the attribution designation “Tibeto-Chinese style” is the most accurate one and when it can be applied to Buddhist gilded sculptures created on the territory of China (Manchu Qin dynasty) between the eighteenth and nineteenth centuries.
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Yan, Lifang. "Study on the Thin Flesh Sculptures of Northern Zhou Dynasty in Maijishan Grottoes." Highlights in Art and Design 4, no. 2 (October 27, 2023): 71–75. http://dx.doi.org/10.54097/hiaad.v4i2.13204.
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The thin flesh sculpture of the Flying Sky mural in the Seven Buddha Pavilion of the fourth cave of Maijishan was created in the Northern Zhou Dynasty, which is the product of the fusion of Buddhist art and traditional Chinese culture. Among them, the mural uses the method of combining painting and sculpture, which is rare and novel, which not only fully reflects the intelligence and extraordinary creativity of ancient artists in China, but also has high artistic value for Buddhist sculpture art in China. Taking "thin meat sculpture" as the research object, this paper analyzes and elaborates on the historical development of Northern Zhou statues, the overview of thin meat sculpture murals, their characteristics and artistic achievements, explores the relationship between the artistic techniques of painting and sculpture and Chinese sculpture and murals, and studies the significance of thin meat sculpture in the development of Chinese Buddhist sculpture and mural art.
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Zhao, Jinchao. "Connecting the Sacred: Network Analysis of Buddhist Images on Early Medieval Chinese Pagodas from Nannieshui, Shanxi." Religions 14, no. 5 (May 6, 2023): 625. http://dx.doi.org/10.3390/rel14050625.
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The production of stone sculptures in the form of statues, steles, and pagodas was arguably one of the most prominent forms of Buddhist devotion in early medieval China. The abundant Buddhist imagery and devotional inscriptions adorning their surfaces provide rich information on their creation, commission, consecration, and worship, which is essential for comprehending the local community’s religious landscape. This paper employs a network analysis approach to visualize and analyze the spatial arrangement of Buddhist images on the surfaces of pagodas from Nannieshui 南涅水, Shanxi 山西 Province. Network analysis reveals that Nannieshui pagodas were commissioned and worshipped differently from other kinds of stone sculpture, as shown by its emphasis on the spatial and sequential order of Buddhist images depicted on the exterior of these pagodas.
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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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Kowal, Katarzyna. "The Borobudur temple: the Buddhist architecture in Indonesia." Budownictwo i Architektura 18, no. 2 (November 18, 2019): 005–19. http://dx.doi.org/10.35784/bud-arch.550.
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The article presents the current state of knowledge about the Borobudur temple, a valuable representative of Buddhist architecture, located in Java, Indonesia. The author presents the genesis of the temple, the facts concerning its rediscovery after centuries of oblivion, and Buddhist cosmology embodied in the form of a three-dimensional mandala on which the architectural form of Borobudur is based. The author studies Buddhist symbolism of the architectural form, reliefs and sculptures created on the basis of regional patterns and local Javanese culture of everyday life. This temple is one of the most perfect examples of translation of Buddhist cosmology and symbolism into an architectural form. At the same time, it constitutes an intercultural and timeless masterpiece of architecture and sculpture which requires particular protection, also due to the influence it exerts on the life of local Buddhist religious minorities.
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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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Бардалеева, С. Б. "Collection of the Buddhist sculptures of Mongolia of the National Museum of the Republic of Buryatia." Iskusstvo Evrazii [The Art of Eurasia], no. 3(22) (September 30, 2021): 68–77. http://dx.doi.org/10.46748/arteuras.2021.03.006.
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В статье впервые рассматривается собранная Национальным музеем Республики Бурятия коллекция буддийской скульптуры Монголии, связанной с именем Г. Дзанабадзара (1635–1723), основоположника монгольской школы в буддийском искусстве. В ходе изучения коллекции использовалась визуальная и сравнительная методика, а также знакомство с авторскими работами Мастера в музеях Монголии. В результате были выявлены три группы буддийских скульптур с характерными особенностями этой школы: цельное толстостенное литье, блестящая позолота, комбинированное золочение, особая техника освящения скульптур. Ярким украшением коллекции является авторская работа самого Дзанабадзара — скульптура Будды долголетия Амитаюса. Кроме того, около тридцати скульптур XVIII–XIX вв. представляют его школу. Третья группа скульптур состоит из поздних работ монгольских мастеров в виде реплик и подражаний. О коллекции монгольской скульптуры музея упоминалось в сообщении автора статьи на научной конференции в Монголии, посвященной 370-летию Дзанабадзара. Целью данной статьи является возможность ознакомить читателей с «эталонными» работами Великого Дзанабадзара и его школы, создавших базу для творчества следующих поколений художников. The collection of the Buddhist sculpture of Mongolia, which is related to the founder of the Mongolian school in the Buddhist art G. Zanabazar (1635–1723), is observed for the first time at this article. The process of research of the collection involved visual and comparative methods as well as conversance with the master’s works in museums of Mongolia. As a result, three groups of the Buddhist sculptures with special features of the school were fetched out: one-piece and heavy-walled casting, lucent gilding, special technic of sculpture consecrating. The collection cherry on top is Zanabazar’s own work — a sculpture of Buddha of longevity Amitayus. Furthermore, about thirty sculptures of 18th – 19th centuries represent his school. The third group of the sculptures consists of late works of Mongolian masters by way of replica and imitating. This collection of the Mongolian sculptures of the museum was mentioned by the article author at scientific conference in Mongolia dedicated to the 350th anniversary of Zanabazar’s birth. The article aim is to introduce to the readers the “reference” works of the great Zanabazar and his school, which prepared a basis for creation for the next generation of artists.
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Шишин, М. Ю., and Д. Е. Онуфриенко. "The oeuvre of Sanzhi-Tsybik Tsybikov: experience in iconometric research." Iskusstvo Evrazii [The Art of Eurasia], no. 3(30) (September 30, 2023): 246–63. http://dx.doi.org/10.46748/arteuras.2023.03.017.
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Статья посвящена наследию бурятского художника-скульптора, архитектора, религиозного мыслителя Санжи-Цыбик Цыбикова (1877–1934). Рассматриваются основные темы, символы, художественные приемы и техники, используемые мастером в его произведениях, предоставлен анализ некоторых его наиболее значимых работ. Применяется междисциплинарный методологический подход, объединяющий иконометрию, иконологию, формально-стилистический и семантический методы. Показано, что иконометрия, являясь важнейшим композиционно-символическим методом в буддийской скульптуре, открывает возможности нового анализа и интерпретации произведений искусства. Проведен анализ иконометрических построений скульптур С.-Ц. Цыбикова, и в результате выявлена связь мировоззренческой (буддийской) основы его творчества с используемыми художественными приемами. The article is devoted to the oeuvre of the Buryat sculptor, architect, religious thinker Sanzhi-Tsybik Tsybikov (1877–1934). The author examines the main themes, symbols, and artistic techniques used by the artist in his works and analyses some of his most significant sculptures. An interdisciplinary methodological approach combining iconometry, iconology, formal-stylistic and semantic methods formed the basis of the research. Iconometry, being the most important compositional and symbolic method in Buddhist sculpture, opens up opportunities for new analysis and interpretation of works of art. The analysis of the iconometric constructions of S. Tsybikov's sculptures revealed the connection of the ideological (Buddhist) basis of his work with the artistic techniques used.
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SOEJIMA, Hiromichi. "Recent Reserch on Buddhist sculpture." Journal of Research Society of Buddhism and Cultural Heritage, no. 16 (2008): 19–31. http://dx.doi.org/10.5845/bukkyobunka.2008.19.
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Dauber, Kenneth. "Object, genre, and Buddhist sculpture." Theory and Society 21, no. 4 (August 1992): 561–92. http://dx.doi.org/10.1007/bf00993491.
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Husarski, Roman. "Moral Entertainment – The Buddhist Hell Parks of Thailand." Studia Religiologica 54, no. 3 (December 1, 2021): 195–216. http://dx.doi.org/10.4467/20844077sr.21.013.16550.
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Visiting Hell parks is a popular pastime in contemporary Thailand. Situated near Buddhist temples, these gruesome sculpture gardens depict the Buddhist vision of Hell. These grotesque and violent sculptures are usually seen as an oddity and a form of low art. Perhaps for this reason, they are rarely studied by scholars. This article focuses on the parks as modern entertainment. Usually found in rural areas, these spots try to answer the challenges of the commercialisation and globalisation of Thai society. A detailed analysis of four Hell parks, Wang Saen Suk, Wat Pa Lak Roi, Wat Pa Non Sawan and Wat Pa Thewapithak, shows that these religious amusement parks serve not only as means of entertainment but are also places of Buddhist morality.
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Huang, Bing. "The Posture of Lalitāsana: Buddhist Posing Hierarchy in a Tang-Dynasty Chinese Bronze Sculpture." Religions 13, no. 8 (August 13, 2022): 740. http://dx.doi.org/10.3390/rel13080740.
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The rubric of the presence of Buddhist sculpture in the absence of an actual deity represents an admirable aspect of Buddhist art, especially sculpture, where the best works have drawn on this paradox in an astounding fashion. An important element in the realization of this religious archetype is the Buddhist statues’ sublime poses. This article demonstrates the Buddhist posture hierarchy, based on a case study of a Tang-Dynasty Chinese Buddhist Bronze collected by the Pulitzer Arts Foundation, the posture of which is identified as lalitāsana: one leg pendant and the other bent horizontally. This article shows how this pose engendered various other compositional situations and postures popular in East Asia icon design and, moreover, that this sculpture might form part of an assemblage, where the pose indicates the central Buddha figure, to which all of the other figures are formally and doctrinally posed following a hierarchy. This article argues that Buddhist figures of different religious ranks are characterized by their pose and degree of movement. This research proves that the myriad forms of Buddhist postures and hierarchy have been devised to illustrate mythologies and philosophical, doctrinal, or social concepts, and their representations, in turn, have engendered other myths and beliefs.
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Kuzhel, Yu L., and T. I. Breslavets. "Semantics of Attributes of Japanese Buddhist Sculpture." Vestnik NSU. Series: History and Philology 21, no. 10 (December 1, 2022): 89–101. http://dx.doi.org/10.25205/1818-7919-2022-21-10-89-101.
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The article is devoted to the description and analysis of some iconographic elements inherent in Buddhist cult sculpture, which made communication between a person and a deity possible. The set being analyzed in this article, which is distinguished by its diversity, is limited to attributes that the deities hold in their hands, as well as crowns crowning the heads of deities, since they occupy a particularly important place in the structure of Buddhist iconography. The various identification marks endowed with Buddhist deities, in general, remain unchanged. As symbols, since images of deities are perceived by the adherents of the faith, they contribute to the birth of the corresponding associations. Embodied in Buddhist sculpture with their characteristic semantics, the attributes help to understand the essence of Buddha's teaching. Some objects are an information sign exclusively for a certain deity, others may belong to the subject environment of different deities. In the visual arts of Japan, the attributes of Buddhist sculpture have become a conventional image, contributing to the message of the versatility of Buddhist teaching, revealing its spiritual essence. Religious and aesthetic merged into one in the works of outstanding masters, who paid special attention to iconographic details, giving them artistic expressiveness. Buddhist sculpture uses symbols with well-established traditional meanings – religious values that have become common culture. The semantic structure of the symbol appeals to the experience and knowledge of a parishioner in a temple or a visitor in a museum, deepening and expanding his spiritual and mental space. This is facilitated by the canonized system of pictorial language that has developed over the centuries.
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Lim, Young-ae. "Four Heavenly Kings at Hwaŏmsa, Gurye: Pyŏgam Kaksŏng and Sculptor Monk In’gyun." Korean Journal of Art History 319 (September 30, 2023): 173–200. http://dx.doi.org/10.31065/kjah.319.202309.006.
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This study focuses on the sculptures of the Four Heavenly Kings at Hwaŏmsa. It had been unknown when or by whom they were made, but fortunately, I was able to propose that they were made in 1635-36 under the supervision of the sculptor monk In'gyun, based on their similarities in iconography and style to the Four Heavenly Kings at Songgwangsa, made in 1628. In'gyun participated in the erection of Buddhist sculptures at Songgwangsa, Hwaŏmsa, and Hŭngguksa. In particular, the Four Heavenly Kings at Songgwangsa were made in collaboration with Ŭngwŏn, and it is likely that with this experience, In'gyun was able to lead the project of the Four Heavenly Kings at Hwaŏmsa.</br>As for the sculpture itself, I have always been curious about the rat in the hand of the King of the West, a motif that appears only in three early-17th-century temples in Jeollanamdo. A symbol of national security and wealth, the rat motif originated in Khotan, Central Asia, passed through Tibet and into Ming China where it was made into a woodcut in 1431. It is likely that Shin Iksŏng, a son-in-law of King Sŏnjo introduced this woodcut print to Chosŏn along with other Buddhist books and prints from Ming. When Pyŏgam Kaksŏng rebuilt Songgwangsa and Hwaŏmsa, he probably consulted Ming prints and put the rat, a symbol of national security and wealth, in the hand of the King of the West. In conclusion, by this study, I have aimed to demonstrate how Buddhist iconographies were not only based on Buddhist scriptures but also created through legends and myths of each region and developed to become a new iconography.
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Liu, Sicong, and Xiaoqi Yang. "The Architectural Style of Ancient Buddhist Temples between China and Thailand: The Baima Temple in Luoyang, China, and the Temple of the Emerald Buddha in Krung Thep Maha Nakhon, Thailand." Communications in Humanities Research 4, no. 1 (May 17, 2023): 459–64. http://dx.doi.org/10.54254/2753-7064/4/20220687.
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Baima Temple is the earliest one which was established after the time of the first introduction of Buddhism. It transforms and integrates Tianzhu Buddhist thought into Chinese traditional characteristics. It is known as ' the first ancient temple in China '. As one of Thailand's three national treasures, the Temple of the Emerald Buddha shows the unique artistic characteristics of Thailand's ancient architecture and is known as the artistic treasure of Thailand's Buddhist architecture, sculpture, and painting. Starting from the influencing factors of the two temples, this paper takes color as the main research object to study the differences between the architectural styles of the two temples and the cultural differences behind them.
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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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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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Bautze-Picron, Claudine. "Some Observations on Vārāhī in Bihar and Bengal." Cracow Indological Studies 24, no. 2 (December 19, 2022): 117–48. http://dx.doi.org/10.12797/cis.24.2022.02.05.
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The sheer intensity of the encounter between the Buddhist and Hindu pantheons in ‘Eastern India’ (comprising the Indian states of Bihar, Jharkhand, West Bengal and present Bangladesh) from the 7th to the 12th century, was unmatched in any other region.1 It left, above all, a visual and textual trail in the Buddhist iconography, as attested by the presence of two Mātṛkas (Mothers) among the members of Māra’s army attacking the Buddha on the night of his Awakening, Brahmanical deities being incorporated into the Buddhist world: Vārāhī appears in the Jagdishpur sculpture, and Cāmuṇḍā in a large fragment from a sculpture which must have been as large as the Jagdishpur image and used to stand in Lakhisarai, more fragments of it being preserved in the Indian Museum (Fig. 1).2 Further, the key component of Vārāhī iconography,3 the hog head, became an integral part of the images of Buddhist deities like Mārīcī and Vajravārāhī. The cultural background within which the images of the goddess were incorporated helps to understand this twofold phenomenon, the representation of her being transferred to a Buddhist context and some of her specific features being embedded in the iconography of Buddhist deities.
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Kuzhel, Yurii L., and Tatiana I. Breslavets. "Unusual Sculptures of Buddhist Deities in Japan in the Halo of Legends and Historical Facts." Vestnik NSU. Series: History, Philology 20, no. 10 (December 20, 2021): 72–81. http://dx.doi.org/10.25205/1818-7919-2021-20-10-72-81.
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Diverse, unusual images of Buddhist deities are ubiquitous in Japan. In a number of ways, they differ from traditional temple images, demonstrating a deviation from the canon, which dictates certain, centuries-old norms and rules regarding postures, position of feet, fingers, gestures, symbols. Simplification of expressive means, a stylized image become the predominant features in the image of extraordinary images. The appearance of unusual Buddhist sculptures in the plastic field of the country is often associated with the existence of legends, traditions, and also facts that took place throughout the history of Japan among the population. The iconography of unusual Buddhas is very diverse and encompasses both the Buddhas themselves and the bodhisattvas, Kings of Light, Heavenly Kings, and so on. Six-armed Jizō, Rope-tied Jizō, Yata Jizō, Child-giving Jizō are added to the familiar images of the Bodhisattva Jizō. Amida Buddha, who is habitually portrayed as sitting frontally, appears in a new form – standing and in profile or with his head bowed. A very colourful group is represented by deities sitting on zoomorphic thrones – lions, elephants, riding birds – knocked out of the canonical image. The traditional images of the Eleven-headed, Thousand-armed Bodhisattva Kannon always seemed unusual, although they became familiar. However, placing the bodhisattva on a mount bird – a four-legged, eight-headed raven gives reason to consider this sculpture unusual. In unusual sculptures, there is a deviation from the norm, an abstraction from the traditional image. Aesthetic ideals are not realized through a complex of canons, rather through a new figurative language, not yet fixed by tradition.
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Young-ae, Lim. "Mountaintop Stone Giants." Buddhist Studies Review 40, no. 2 (March 9, 2024): 127–57. http://dx.doi.org/10.1558/bsrv.28560.
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The royal capital of Silla, presently known as Kyongju, is bordered in all directions by mountains that are the sites of giant rock-carved Buddhas. Occupying the summits of the surrounding mountains known as the “Five Sacred Mountains of the Silla Royal Capital” (wanggyong oak), the rock-carved Buddhas provided the Silla people with an accessible and convenient means of worship outside of the Buddhist temple. More importantly, the construction of Sokkuram Grotto on Mt. T’oham during the mid-eighth century was a reflection of the Silla belief that the mountain was Mt. Sumeru. The Sokkuram Buddha sculpture represented the Buddha’s residence at the summit of Mt. Sumeru, and was simultaneously the antecedent to the consecration of the Silla royal capital. Soon after, large-scale Buddha images were carved on the rock faces of neighboring mountaintops as a continuation and replication of this process, eventually resulting in a new macrocosm of Buddhism centered around the Silla royal capital.
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Dulal, Lok N. "Bronze Sculpture of Mara Vijaya of National Museum, Nepal: A Study of Iconographic Perspective." Molung Educational Frontier 14 (July 22, 2024): 179–204. http://dx.doi.org/10.3126/mef.v14i01.67902.
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In Buddhism the images display the story and event of temptation of Mara to disturb and misguide devotion during the process of enlightenment of Siddhartha Gautam. The art which reflects this is called the icon of Mara Vijaya. The legend regarding the story of temptation of evil Mara over the good Sidhhartha Gautam can be found in several Buddhist texts. Due to the iconographic features and themes of the Buddha Jataka stories of temptation of Mara, the bronze sculpture of national museum is considered as an important specimen. The figures of Lord Buddha, demon Mara, his daughters, army troops, Ganesh and other animal’s figures have been sculptured in very attractive ways in this bronze relief. This paper explores the major iconographic features and to examine its importance as the bronze art heritage of Nepal. It employs qualitative approach and primary data and secondary information have been used. Required secondary information has been generated from journals, books and electronic versions of different sources while primary data have been collected by doing field study in national museum with in-depth observation of such relief.
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Brown, Robert L., Robert Knox, and Elizabeth Rosen Stone. "Amaravati: Buddhist Sculpture from the Great Stūpa." Journal of the American Oriental Society 118, no. 2 (April 1998): 303. http://dx.doi.org/10.2307/605922.
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Nagasawa, Ichiro, W. T. Chase, Tsukasa Shida, Naoki Fujita, and Masako Koyano. "CONSERVATION OF A JAPANESE POLYCHROME BUDDHIST SCULPTURE." Studies in Conservation 45, sup2 (October 2000): 23. http://dx.doi.org/10.1179/sic.2000.45.s2.023.
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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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Folan, Lucie. "Wisdom of the Goddess: Uncovering the Provenance of a Twelfth-Century Indian Sculpture at the National Gallery of Australia." Collections: A Journal for Museum and Archives Professionals 15, no. 1 (March 2019): 5–41. http://dx.doi.org/10.1177/1550190619832383.
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The history of Prajnaparamita, Goddess of Wisdom, a twelfth-century Indian Buddhist sculpture in the National Gallery of Australia collection, has been researched and evaluated through a dedicated Asian Art Provenance Project. This article describes how the sculpture was traced from twelfth-century Odisha, India, to museums in Depression-era Brooklyn and Philadelphia, through dealers and private collectors Earl and Irene Morse, to Canberra, Australia, where it has been since 1990. Frieda Hauswirth Das (1886–1974), previously obscured from art-collecting records, is revealed as the private collector who purchased the sculpture in India in around 1930. Incidental discoveries are then documented, extending the published provenance of objects in museum collections in the United States and Europe. Finally, consideration is given to the sculpture’s changing legal and ethical position, and the collecting rationales of its various collectors. The case study illustrates the contributions provenance research can make to archeological, art-historical, and collections knowledge, and elucidates aspects of the heterodox twentieth-century Asian art trade, as well as concomitant shifts in collecting ethics.
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Song, Yan, Linlin Zhou, Yunpeng Wang, Fangzhi Liu, Juwen Guo, Ruixia Wang, and Austin Nevin. "Technical Study of the Paint Layers from Buddhist Sculptures Unearthed from the Longxing Temple Site in Qingzhou, China." Heritage 4, no. 4 (September 22, 2021): 2599–622. http://dx.doi.org/10.3390/heritage4040147.
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In 1996, more than four hundred Buddhist statues were excavated from the Hoard of Longxing Temple site in Qingzhou, Shandong Province, China. They are of great significance in the study of Buddhism history during the Northern and Southern Dynasties of China, and have attracted widespread attention since they were unearthed. In this paper, the paint layers from 14 of the Buddhist statues unearthed from the Longxing Temple site were analyzed using portable 3D microscopy, Raman spectroscopy and X-ray fluorescence spectroscopy was used to determine the materials used in their production. Several microscopic samples were analyzed in the laboratory using scanning electron microscopy/energy dispersive spectrometer, X-ray diffraction and micro-Raman spectroscopy. The combined results from the field and laboratory analyses materials used in painting layers of these statues were identified, and the technique for the production of the sculptures was studied. After the stone sculpture of Buddha was finished, a priming layer of lead white was applied over the stone body as a ground, over which pigments were applied. These include mineral pigments (cinnabar, malachite, lapis lazuli and cerussite), Chinese ink (carbon black) and gold leaf. Cinnabar was used for the outer garments, the halos and ornaments of Buddha and Bodhisattva statues; malachite, was found primarily on the Monk’s clothing; the blue pigment, lapis lazuli, was mainly used for the Buddha’s bun, halo and outer garment edges; carbon black ink was employed for drafting and sketching clothing and decorative patterns.
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김혜숙. "A Study of Buddhist Sculpture and Culture Education." Journal of Art Education 23, no. ll (August 2008): 97–120. http://dx.doi.org/10.35657/jae.2008.23..004.
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Manabe, Shunshō. "Buddhist Sculpture and the Power of Esoteric Language." Journal of Indian and Buddhist Studies (Indogaku Bukkyogaku Kenkyu) 68, no. 1 (December 20, 2019): 83–91. http://dx.doi.org/10.4259/ibk.68.1_83.
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Aldrovandi, Cibele, and Elaine Hirata. "Buddhism, Pax Kushana and Greco-Roman motifs: pattern and purpose in Gandharan iconography." Antiquity 79, no. 304 (June 2005): 306–15. http://dx.doi.org/10.1017/s0003598x00114103.
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The authors show how the Gandharan art of early first millennium Afghanistan used Greek and Roman motifs to give an international context to Buddhist sculpture and reduce tension at home and with the neighbours.
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So, Hyun-Sook. "On white marble half-lotus meditation statues carved in Wuding Era of the Eastern Wei Dynasty." Chinese Archaeology 19, no. 1 (November 26, 2019): 182–94. http://dx.doi.org/10.1515/char-2019-0014.
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Abstract In 2012, large amounts of white marble Buddhist statues of the Eastern Wei and Northern Qi Dynasties were unearthed from the Buddhist sculpture hoard at Bei Wuzhuang in Ye City Site. This paper makes a comparative study on a bodhisattva statue in meditation seated in half-lotus posture (resting right ankle on the knee of pendent left leg and holding right hand upward) among them and another sculpture of the same type and made in the same period unearthed at the Xiude Monastery site in Dingzhou; from the double-tree, stupa and coiling dragon designs shown by them, this paper explores the commonalities and differences of the Buddhist arts in these two areas. Moreover, this paper reveals that this motif emerged earlier in the Ye City area than in the Dingzhou area, and diffused to the latter after it became popular in the Ye City area. By these conclusions, this paper infers that the white marble meditating statue seated in half-lotus position with the date of the second year of Wuding Era (544 CE) in the collection of the Metropolitan Museum of Art in New York, USA was produced in Ye City area.
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Bajpaii, Dr Shivakant, Dr Mahendra Pal,, Ritesh Singh, Kamal Kant Verma, and Shivam Dubey. "TARA SCULPTURES FROM GOPALPUR AND JABALPUR: RECENT DISCOVERIES AND COMPARATIVE ANALYSIS." VESTIGIA INDICA: BSSS Journal of History & Archaeology 01, no. 01 (June 30, 2023): 8–17. http://dx.doi.org/10.51767/jha0102.
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Gopalpur village is situated around 8 kilometers west to Jabalpur city on the bank of River Narmada (Lat. 23.115763°, Long. 79.824082°). This place contains a huge number of temple remains scattered in a radius of around 500 meters. The majority of the temple sites are related to Kalachuri’s of Tripuri. Gopalpur village has a number of Gond period structures in which most number of these structures are made over the earlier temples, Lakshminarayan Temple, Panchmatha, Pashupatinath temple etc. are the ideal examples of it. From Gopalpur, Tewar, Kudhan, Bheraghat a number of Buddhist sculptures have already found which are kept in Rani Durgawati State museum Jabalpur. In these sculptures notable sculptures are of Buddha, Tara, and of Yakshi’s. In recent excavation of Tewar as per the media reports three sculptures of Tara is revealed which are not published yet. An important Tara Sculpture is also kept in the Gauri shanker temple of Chausath Yogini Bheraghat1 (Plate.1). This paper will deal with the newly found Tara sculptures from Lakshminarayana temple of Gopalpur.
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Zolotarova, Kristina. "BAYESIAN STATISTICS IN HUMANITIES IN THE XXI CENTURY." Doxa, no. 2(40) (December 21, 2023): 33–37. http://dx.doi.org/10.18524/2410-2601.2023.2(40).307198.
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This article examines the interaction of exact sciences with contemporary humanities by using Bayesian statistics to address complex and extensive tasks faced by philosophers, cultural studies scholars, cultural anthropologists, and archaeologists. The boundaries and directions of this interaction in a historical context are outlined, current research trends are discussed, and the relevance and prospects of Bayesian statistics in the study of Buddhist sacred sculpture are highlighted. By reviewing the use of exact science tools in the humanities of the 21st century (philosophy, cultural studies, cultural anthropology, archaeology, and art history), we can draw several conclusions: exact sciences can elevate the level of humanities, accelerate and expand the scope of research (without losing details and quality); using Bayesian statistics, it becomes clear that in the future, without mathematical (i.e., exact) justifications, any research may be considered provisional (i.e., existing exclusively within the subjective paradigm of the author or authors); archaeology, cultural studies, cultural anthropology, philosophy, and art history not only gain improved and optimized tools but also secure their right to exist in the future (either these prospects become clear now, or in future science, there will be no place for humanities at the forefront). The use of Bayesian statistics in Buddhist sacred sculpture allows for the processing of large data sets to obtain more accurate and correct results in attribution, taxonomy, and systematics. Moreover, such research can help answer complex questions about the genesis, dissemination paths, and transformation of Buddhist sacred sculpture in regions (most studies are hypothetical and have not yet been confirmed by any archaeological excavations or direct evidence).
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Чандра, Л. "Jalavahana." Iskusstvo Evrazii [The Art of Eurasia], no. 2(33) (June 28, 2024): 232–34. http://dx.doi.org/10.46748/arteuras.2024.02.016.
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Статья посвящена иконографии и символике Джалаваханы, персонажа «Суварнапрабхаса-сутры», буддийского священного текста махаяны. В статье приводится изображение из трактата «100 Джатак» Кармапы Рангджунг Дордже (Пантеон Астасахашрика), а также сведения из китайского издания Трипитаки, собрания канонических буддийских книг, и трудов по поздней буддийской скульптуре в Китае. Перевод статьи Локеша Чандры из «Словаря буддийской иконографии» выполнен С.М. Белокуровой. The article is devoted to the iconography and symbolism of Jalavahana, a character in the Suvarnaprabhasa Sutra, a Mahayana Buddhist sacred text. The article includes an image from Karmapa Rangjung Dorje's treatise 100 Jatakas (Astasahashrika Pantheon), as well as information from the Chinese edition of the Tripitaka, a collection of canonical Buddhist books, and works on late Buddhist sculpture in China. The article by Lokesh Chandra from the Dictionary of Buddhist Iconography has been translated by S.M. Belokurova.
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Kholis, Nurman. "Vihara Avalokitesvara Serang: Arsitektur dan Peranannya dalam Relasi Buddhis-Tionghoa dengan Muslim di Banten." Jurnal Lektur Keagamaan 14, no. 2 (December 31, 2016): 327. http://dx.doi.org/10.31291/jlk.v14i2.504.
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The Vihara Avalokitesvara (a Buddhist place of worship) is located in Pama¬rican, Customs, Serang. This vihara is the oldest vihara in Banten and was built in the 16th century. Nuances of Chinese and Buddhist architecture may be seen in the dragon decoration among other things and in the menyeruapi burning paper of the pagoda and in the painting and sculpture of Kwan lm Pouw Sat, and the sculpture of Wie Tho Pou Sat. There is a large statue of the Buddha and a picture of the lotus flower. And yet there are Islamic nuances also. There is a relief depicting the wedding of Princess Ong Tin with Syarif Hidayatullah. This vihara is visited by many Muslims as well as by Buddhists.
Keywords: Vihara, Buddha, Chinese, Islam, Banten
Vihara Avalokitesvara berlokasi di Pamarican, Pabean, Serang. Vihara ini merupakan vihara yang tertua di Banten dan diperkirakan dibangun sekitar abad ke-16. Untuk mengungkapkan unsur-unsur etnis dan agama pada arsitektur vihara ini dianalisis secara semiotik. Berdasarkan analisis ini maka diketahui unsur-unsur bernuansa Tionghoa yaitu antara lain hiasan naga, tempat pembakaran kertas yang menyeruapi pagoda, lukisan dan patung Dewi Kwan Im, patung Kwan lm Pouw Sat, dan patung Wie Tho Pou Sat. Adapun unsur-unsur agama Buddha dalam vihara ini antara lain patung besar Buddha Gautama dan gambar bunga teratai. Selain itu juga terdapat unsur bernuansa Islam yaitu pada relief yang menggam¬barkan pernikahan Putri Ong Tin dengan Syarif Hidayatullah. Karena itu, vihara ini juga dikunjungi oleh banyak umat Islam.
Kata Kunci: vihara, Buddha, Tionghoa, Islam, Banten
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Jeong, Eunwoo. "Buddhist Sculpture and Sculptor Monk’s Activity of Mihwangsa Temple in the Late Joseon Dynasty." Dongak Art History 25 (June 30, 2019): 7–30. http://dx.doi.org/10.17300/dah.2019.25.1.
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Shim, Joo-wan. "A Study on the Style of Buddhist Sculpture by 18th Century Monk Sculptor Hacheon." Art History Journal 62 (June 15, 2024): 165–88. http://dx.doi.org/10.24828/ahj.62.165.188.
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Barrett, T. H. "Religious Meaning of Buddhist Sculpture in its Cultural Setting." Buddhist Studies Review 22, no. 1 (May 20, 2005): 45–69. http://dx.doi.org/10.1558/bsrv.v22i1.14061.
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Morse, Samuel C. "Japanese Sculpture in Transition: An Eighth-Century Example from the Todai-ji Buddhist Sculpture Workshop." Art Institute of Chicago Museum Studies 13, no. 1 (1987): 52. http://dx.doi.org/10.2307/4115925.
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Syrtypova, S. K. "Buddha Akshobhya in Mongolia." Orientalistica 2, no. 4 (January 16, 2020): 817–37. http://dx.doi.org/10.31696/2618-7043-2019-2-4-817-837.
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This is another article in the series of researches published by the present author, which deal with the iconography and the meaning of Buddhist deities of Vajrayana in particular in Mongolian Buddhism. Buddha Akshobhya is a one of the Tathagata Buddhas, the forefathers of Five Buddha families or Five Dhyani Buddhas. The article deals with the development stages of the Akshobhya cult, some specific features of its practice among Mongolian Buddhists and the visual representations by the famous master Ondor Gegen Zanabazar (1635–1723). The author publishes here images of various sculptures of Akshobhya from the collections of temples, museums, as well as private collections in Mongolia.