Dissertations / Theses on the topic 'Buddhist Sculptures'
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1
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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Leoshko, Janice. "The Iconography of Buddhist Sculptures of the Pala and Sena Periods from Bodhgaya Volume I." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392309418.
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Pons, Jessie. "Inventaire et étude systématiques des sites et des sculptures bouddhiques du Gandhāra : ateliers, centres de production." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040086.
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Les statues et les reliefs narratifs bouddhiques du Gandhāra présentent des points communs qui justifient la désignation d’un « art du Gandhāra » : le matériau, le sujet et la nature composite. Malgré cette évidente homogénéité, il existe d’importantes variations iconographiques et stylistiques. Cette thèse de doctorat tend à mettre en évidence ces variations afin de produire la première identification et caractérisation des langages stylistiques de l’art du Gandhāra. Les réflexions liminaires sur les contextes géographique, historique et religieux dans lesquels l’art du Gandhāra s’est développé sont suivies de prolégomènes sur les cadres historiographiques et théoriques de la recherche. Ils soulignent l’utilité d’une méthodologie et d’une terminologie appropriées ainsi que la nécessité d’un corpus des sculptures correctement documentées sur lequel une étude stylistique peut se fonder. L’inventaire des sculptures a permis d’identifier et de rassembler dans une base de données électronique environ 5000 oeuvres dont la provenance est attestée. La dernière partie se concentre sur l’identification des écoles, des foyers artistiques, des centres de production et des ateliers gandhāriens ainsi que sur leur caractérisation iconographique et formelle. La présentation suit une progression géographique qui permet de montrer la corrélation entre les niveaux stylistiques et la géographie gandhārienne et de déceler des réseaux d’interaction. Cette thèse propose en conclusion une reconstruction provisoire des routes anciennes de la région, un réexamen des chronologies fondées sur l’étude des styles et une réflexion sur la normalisation géographique des iconographies bouddhiquesBuddhist statues and narrative relieves from Gandhāra share common characteristics thus justifying the designation of “Gandhāran art”. The homogeneity of Gandhāran art is certainly manifest in its material, its subject and its composite nature, yet it is possible to distinguish important iconographic and stylistic variations. This doctoral thesis aims to highlight these variations in order to provide the first identification and characterisation of the various stylistic languages of Gandhāran Buddhist art. The introductory reflections on the geographical, historical and religious contexts within which Gandhāran Buddhist art developed, are followed by prolegomena of the historiographical and theoretical frameworks of the research. These emphasise the need for an appropriate methodology and terminology and the necessity for a corpus of correctly documented pieces on which a stylistic study can be founded. The preliminary inventory of Gandhāran sculptures has identified approximately 5000 pieces of known provenance gathered in an electronic database. The last part focuses on the identification of Gandhāran schools, artistic zones, production centres and workshops and on their characterisation in terms of iconography and form. The review is geographically organised, thus revealing the existing correlation between the stylistic levels and Gandhāran geography and allowing the recognition of various interaction networks. The thesis concludes with an attempt to identify ancient routes, a reassessment of old stylistically based chronologies and a reflection on the geographical normalisation of Buddhist iconographies
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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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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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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.
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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.
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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.
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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.published_or_final_version
Buddhist Studies
Doctoral
Doctor of Philosophy
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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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Allard-Latour, Sophie. "La sculpture bouddhique en bronze en Chine des origines au Ve siècle, analyses et datations." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040250.
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L’arrivée en terre chinoise du bouddhisme et de ses images eut pour conséquence d’influencer de manière déterminante et durable la pensée et les expressions artistiques chinoises. Cette thèse se propose d’étudier la sculpture bouddhique en bronze en Chine des origines au Ve siècle, sa constitution et son processus d’élaboration dans le contexte social et culturel chinois des Ier et IIe siècles à partir des données archéologiques récentes et son évolution vers des formes iconographiques normatives, du IIIe au Ve siècle. Les images les plus anciennes découvertes à ce jour dans le Sichuan et la région du Yangzi apparaissent dans un cadre funéraire et s’inscrivirent dans un terreau de croyances locales ancestrales avec lesquelles elles formèrent un véritable syncrétisme pendant près d’un siècle. Leur fonction était semble-t-il protectrice, talismanique, apotropaïque et propitiatoire. Leur véritable fonction cultuelle vit le jour vers la fin du IIIe siècle avec l’émergence d’images individuelles du Buddha en bronze doré, conformes aux prescriptions iconographiques édictées par les textes. A partir des découvertes archéologiques réalisées ces trente dernières années, encore vierges de toute analyse, nous avons établi une classification et une chronologie de datation pour une centaine de sculptures bouddhiques en bronze datant du IIIe au Ve siècle et réalisé une étude stylistique et iconographique détaillée de celles-ci et de leurs sources d’influences. Une traduction en langue occidentale et une analyse inédites des inscriptions votives gravées sur ces images viennent pour la première fois éclairer les pratiques, les cultes et les courants doctrinaux à ces époquesThe arrival in China of Buddhism and its images had a determining and long-lasting influence on Chinese thought and artistic expression. This thesis proposes a study of bronze Buddhist sculpture in China from its origins to the 5th century, its development and process of elaboration in the Chinese social and cultural context of the 1st and 2nd centuries as evidenced by recent archeological data, and its evolution towards normative iconography from the 3rd to the 5th century. The oldest sculptures to date discovered in the Sichuan and Yangzi regions were found in tombs, and were an integral part of ancestral local beliefs with which they formed a veritable syncretism for almost a century. It seems that their function was a protective, talismanic, apotropaic, and propitiatory one. Their real religious function emerged around the end of the 3rd century with the appearance of individual gilt bronze sculptures of the Buddha that conformed to iconography as prescribed by the texts. On the basis of the archeological finds of the last 30 years, which have yet to be analyzed, this thesis establishes a classification and a chronological scale for a hundred bronze Buddhist sculptures dating from the 3rd to the 5th centuries, and proposes a stylistic and iconographic study of these sculptures and of their influencing sources. A translation in a Western language and an unprecedented analysis of the votive inscriptions engraved on the sculptures offer, for the first time, a glimpse into the practices, cults, and doctrines of those times
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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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Bae, Jeon Ah. "Reincarnating the micro universe /." Online version of thesis, 2008. http://hdl.handle.net/1850/7792.
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Kim, Bo-Young. "Indefinite boundaries reconsidering the relationship between Borobudur and Loro Jonggrong in Central Java /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467888511&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Chamas, Fernando Carlos. "A escultura budista japonesa até o período Fujiwara (552 -1185): a arte da iluminação." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8157/tde-09112007-150941/.
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O budismo, como o xintoísmo, é um dos alicerces religiosos da sociedade japonesa. Sua grande propagação no Japão dependeu muito da importação e enorme produção de imagens budistas que não se restringem apenas a representações do buda histórico. Por aproximadamente treze séculos, o estilo das estátuas búdicas passou por transformações que buscavam um estilo próprio japonês, atingindo o seu auge no período Heian (794~1185). Este trabalho é uma apresentação dessas transformações estilísticas e segue uma metodologia que visa a cercar o objeto \"escultura budista japonesa\" em todos os seus ângulos, a saber, abrangendo templos, técnicas e materiais, sua relação com a história do Japão, as doutrinas budista e xintoísta e a categoria das imagens.Buddhism is one of the religious pillars of Japanese society together with Shintoism. The large Buddhist propagation on Japan depended very much on the importation and the big production of Buddhist statues which were not only representations of the historic Buddha. For about thirteen centuries, the statues style suffered changes that searched for a proper Japanese style and attained its peak on Heian period. This work is a presentation of those stylistics changes and follows a methodology that intends to approach the object \"Japanese Buddhist sculpture\" from all angles, which is to say, it comprehends temples, techniques and raw materials, its relation with Japanese history, Buddhist and Shintoist preachings and image categories.
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Astier, Alexandre. "Recherches sur l’iconographie de Kubera." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040064.
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Cette thèse a pour objet l’étude des images du dieu Kubera (nommé aussi Vaiśravaṇa ou Jambhala) dans le monde indien, de leur apparition (vers 150 avant notre ère) jusqu’au XIIe siècle. Dans l’hindouisme, Kubera a comme fonctions principales d’être le maître des yakṣa, le dieu de la richesse et le gardien (lokapāla) du nord. Kubera a été également intégré parmi les divinités mineures du bouddhisme et du jaïnisme. Cette thèse s’attache à présenter les caractéristiques de la personnalité de Kubera dans la littérature, puis à étudier chronologiquement l’évolution de son iconographie. Cette thèse cherche à démontrer que la personnalité de Kubera est plus riche et plus complexe que ce qui est généralement admis et que ses images sont en fait plus variées que ce que l’on pourrait penser. En plus de ses fonctions classiques, Kubera est ainsi fortement associé en milieu hindou à la fonction royale. Il est aussi fréquemment représenté avec Gaṇeśa et la déesse Lakṣmī. Ses « trésors » (nidhi) personnifiés (la Conque et le Lotus) ornent de nombreux sanctuaires. Son image est particulièrement complexe dans l’art du Gandhāra (entre le milieu du Ier siècle et le IIIe siècle de notre ère) où son iconographie résulte d’une fusion de ses fonctions traditionnelles avec la personne de Pāñcika, son général en chef et l’époux de Hāritī, ainsi qu’avec le dieu Pharro d’origine iranienne et avec l’Hermès/Mercure gréco-romain. Kubera peut également dans l’art bouddhique apparaître comme un gardien du Buddha et de son enseignement, tandis que dans le jaïnisme, il est à l’origine de l’image de la plupart des gardiens chargés de la protection personnelle des vingt-quatre JinaThis thesis is a study of the images of god Kubera (also called Vaiśravaṇa or Jambhala) in South Asia, from their origin (c. 150 B.C.) to the 12th century. In Hinduism, Kubera is mainly the Lord of the yakṣa, the Lord of Riches and the guardian (lokapāla) of the north. Kubera has also been included with the minor divinities of Buddhism and Jainism. The aim of this work is to present the features of Kubera’s character that can be found in literature and to study the chronological evolution of his iconography. This thesis seeks to prove that Kubera’s personality is more complex and richer than generally admitted, and that his images are more varied than one might think. In addition to his traditional roles, Kubera in Hinduism is strongly linked to sovereignty. He is often represented in association with Gaṇeśa and goddess Lakṣmī. His personified “treasures” (nidhi), the Conch-Shell and the Lotus, decorate numerous temples. Kubera’s image is particularly complex in Gandharan art (1st to 3rd centuries A.D.) where his iconography is the result of the fusion of his traditional functions with Pāñcika (Kubera’s general in chief and Hāritī’s husband), Iranian god Pharro and Greco-Roman god Hermes/Mercury. In Buddhist art, Kubera can be a protector of the Buddha and His Law, whereas in Jainism, he has given rise to most images of the guardians in charge of protecting the twenty-four Jinas
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Tun, Puthpiseth. "Bouddhisme Theravāda et production artistique en pays khmer : étude d’un corpus d’images en ronde-bosse du Buddha (XIIIe-XVIe siècles)." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040223.
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Les statues en ronde-bosse du Buddha khmer, exécutées entre le XIIIe et le XVIe siècle, expriment des pratiques religieuses bien spécifiques, sont marquées du sceau de la tradition angkorienne et révèlent la sensibilité des échanges artistiques avec les pays voisins. Elles sont ainsi le reflet des diverses élaborations et des différents rôles qu’elles ont joué. Un corpus raisonné de deux cent trente-huit statues du Buddha travaillées dans la pierre, le bois et le bronze, issues de plusieurs collections muséales, de collections privées ou de découvertes restées in situ, aide à retracer l’évolution de la production artistique dans le royaume khmer durant cette période. Les principaux résultats de ce travail apportent de nouvelles explications autour de l’idée d’une prise et occupation d’Angkor par Ayutthaya et d’un déplacement du centre politique de la région d’Angkor vers la région des Quatre BrasImages of Khmer Buddha executed between the 13th and c. 16th CE demonstrate specific religious practice, continuity of the Angkorian tradition, and artistic exchange with bordering countries. Together, they also reveal transformations in the form, definition and role of Buddhist sculpture in Cambodia. An annotated corpus of 238 Buddha images in stone, wood, and bronze from several museum and private collections, and in situ, assist in the reconstruction of changes to artistic production in the Khmer kingdom during this period. The principal results of this work provide new interpretations about the Ayutthyan invasion and occupation at Angkor, and resettlement of the Angkorian political centre in the Quatre Bras region
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Hein, Jean-Claude. "Le portrait japonais du VIIIe au XVIe siècle. Études des représentations artistiques et des sources historiques." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040276.
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Comment définir ces peintures ou rondes-bosses que sont les portraits japonais figurant des moines ? Par leur forme spécifique qui, issue d’un prototype continental qui n’a pas été remis en question, est demeurée stable à l’exception de brèves périodes. Cette constance s’explique par l’importance accordée à la Chine, l’usage de modèles iconographiques (zuzō) et le recours à une réplique qui n’est jamais dénigrée. Le portrait est de plus une image au bénéfice des sectes qui la produisent. En fournissant une représentation qui ne se dégrade pas, il est aussi la preuve d’un état de sainteté, voire de bouddhéité. Quant à la fonction de certificat des portraits Zen (chinzō), elle semble rare. Portrait de groupe, rouleaux illustrés (emaki) et littérature ont également décrit des personnages à leur façon, autorisant des comparaisons. Le portrait aurait pu inventer sa propre représentation ; il a préféré emprunter aux images sacrées : figurations de vénérés, maṇḍala et illustrations de jātakaHow can one define these paintings and sculptures in the round that make up Japanese portraits of monks? Through their specific form that derives from a continental prototype which has never been reappraised and which remained stable except for short periods of time. Such a consistency results from a strong influence of China, and from the use of iconographic models (zuzō). Furthermore, copying a work of art has never been undervalued. Portraits are also images which benefit the sect that produces them. By providing an image or representation that never decays, they bear testimony to a monk's holiness, even buddhahood. Lastly, the Zen portraits (chinzō) are often seen as a kind of certification; however, this function seems quite rare. Group portraits, scrolls (emaki) and literature also describe people in their own way, allowing comparison with portraits. Portraiture could have followed its own path; it has preferred to borrow from holy images: deities, maṇḍala and jātaka illustrations
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Hoffman, Jeffrey. "A Crack in Everything." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5305.
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Contained herein is a close examination of self-awareness and self-portraiture as it applies to the works of artist Jeffrey Hoffman. Water, frozen into various forms and combined with natural elements of wood, slowly melt over an indeterminable amount of time, each droplet documented as the process transforms the elements. Through this process, we see change. We see time. We see truth. This documentation of change and time through natural elements is where the artwork comes full circle. Working with new media to explore man's interconnectivity to life, energy, and the cosmos, he produces time based installations, photographs, videos, and sculptures that serve as both existential metaphors and Tantric symbols. With the use of digital cameras and video, a record is created by which the disintegration which occurs from the unseen forces of gravity, heat and time upon sculptures made from natural elements and ice is examined. In its sculptural form, his work can be categorized as Installation art and Performance art due to its evolving nature. Each piece is intended to either change over time or to have that change halted by another temporal force like that of flowing electricity. The possibility of allowing varying levels of self-awareness to emerge through self portraiture is also examined. The existential, as well as the metaphysical, can be present in a physical form when the form is imbued with evidence of an evolutionary process. In many ways, the work serves as a self portrait. It is a means for Hoffman to examine his own existentialism as a student of the modern western world and life.ID: 031001330; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Title from PDF title page (viewed April 8, 2013).; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 31).
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and the Computer
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Neishi, Miwa. "The Formless Self." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461685555.
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Benson, Martin L. "Beginner's Mind." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2365.
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My art distills my relationship to spirituality, digital culture, and the practices and side-effects therein, into a simplified visual language. The work manifests in the form of paintings, drawings, and light sculptures. Meditation and mindfulness training are a large part of my influence and interests. I often wonder how mindfulness practice can be mirrored in my artwork, not only in my process for creating the work, but also with what the resulting imagery does for the viewer. My intention is to provide an art form that invites one to look and experience one’s own capacity to observe, without the need for immediate intellectualization. I wish to offer people an opportunity to focus their attention on the phenomenological sensations that emanate from the art, to take a step back from the conceptual part of the mind, and step into a part that’s more fundamental to our moment to moment reality.
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Revire, Nicolas. "The Enthroned Buddha in Majesty : an Iconological Study." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA157/document.
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Cette thèse étudie en détail un type particulier de représentation du Bouddha où il est représenté assis sur un trône prééminent, le bhadrapīṭha ou bhadrāsana, dans une posture majestueuse avec les deux jambes pendantes, c’est-à-dire assis en bhadrāsana ou dans l’attitude « de bon augure ». Cette iconographie, étroitement associée à l’imagerie du trône, se retrouve largement représentée dans l’art de l’Asie du Sud, de l’Est et du Sud-Est, et est, en règle générale, intimement liée aux modèles de la royauté, de la fertilité, et même du divin. Plusieurs implications notables ressortent de cet examen iconologique concernant les origines, la diffusion, et le développement de l’art bouddhique dans ces contrées, particulièrement au cours du premier millénaire de notre èreThis dissertation provides a detailed study of a particular representation of the Buddha, in which he sits on a prominent throne, i.e. a bhadrapīṭha or bhadrāsana, in a majestic posture with two legs pendant, that is, in bhadrāsana or the “auspicious pose.” This pendant-legged imagery, generally associated with the throne, has been found widely depicted in South, East, and Southeast Asian art and is, as a rule, mostly associated with kingship, fertility, and even divinity. The results of this iconological examination have wide implications for understanding the origins, spread, and development of Buddhist art in those lands, particularly during the first millennium CE
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Hsin-chiWang and 王心琪. "A Study on Yuyu Yang’s Buddhist sculptures." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/91173062696381210175.
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碩士國立成功大學
藝術研究所
98
This paper will focus on the Taiwanese artist Yuyu Yang’ sculptures. Through out his forty years career, Buddhist sculptures were his major works. Hence I will focus mainly on his Buddhist images. Stylistic speaking his works were prolific and innovative. During his studies, he visited the Yungang Buddhist Cave and was stunned by the massive Buddhist images. This experience became a turning point in his artistic career and led him in the production of Buddhist images. Yuyu Yang’s works can be divided into three forms : the Prajna or Emptiness abstract form, the devotional images form and the Zen lifescape form. In Taiwanese Buddhist art history, Yuyu Yang’s works played an important role in connecting the past tradition and inspired future artist in that his works began with the inspiration of Northern Wei period and later through his Buddhist belief he incorporated the Buddhist thought and ideals and thus led through his innovation in his artistic creations.
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Ya-Chu, Fan, and 范雅竹. "The Study on Buddhist Sculptures of the Northern Chi Dynasty in Luoyang." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/65959944003632373437.
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Yun-Sheng, Lin, and 林雲生. "Discussin about the Artistic Creation of Buddhist Sculptures from Yun-Sheng Lin." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/98796871104763743578.
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碩士大葉大學
設計暨藝術學院碩士在職專班
101
The researcher,who grew up in a family with the atmosphere full of Buddhism,gradusted from a college of Buddhism and did a few researches about The Tipitaka and dvadasanga Buddha Vacana. The researcher has some contacts with Buddhist statue colored drawing. Presently,the researcher has great interest of the Buddhist sculptures which is from the painyed sculptures and the artistic creation of stones reliefs in all the past dynasties till the Buddhist sculptures of Han Dynasty in modern times. As a result of the artistic creation of Buddhist sculptures which has deficiencies in the addition of innovative materials,the researcher plans to integrate the creation of innovative materials of Buddhist sculptures with the development of Buddhist sculptures. Therefore, this crratoin can be divided into two parts.(1)The spiritual investigation of the Buddhist sculptor.(2)The application of the materials which are used in the creating process of the creation of Buddhist sculptures.It promotes the renewal in the materials of the creation of Buddhost sculpture,and contributes to the propagation of Buddhism.
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Wang, Xin-man, and 王馨蔓. "The Study of the Images of Buddhist Sculptures in Tezuka Osamu’s Manga." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/69157452579912839579.
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碩士國立中央大學
藝術學研究所
102
In 2011, Tokyo National Museum held an exhibition entitled “BUDDHA—The Story in Manga and Art,” in which the original drawings of the manga Buddha by Tezuka Osamu (1928-1989) were juxtaposed with some Buddhist sculptures. It inspired me to think about the possibility of comparing manga with Buddhist sculptures and other art works. In fact, in addition to this work, Tezuka also depicted many images of Buddhist sculptures during his four-decade career. These images spanned different creative periods, appeared in different subjects, and were presented in diverse styles. It indicates that the images of Buddhist sculptures in Tezuka’s works are so significant that they are worth more discussion. This thesis collects as many as possible the images of Buddhist sculptures in Tezuka’s manga and discusses the following issues: the changing in style, the sources of these images, and the characteristics of Tezuka’s Buddhist sculptural images. The style of Tezuka’s Buddhist sculptural images changes in different periods. It is simple and flat at first, and becomes elaborate and realistic. Then, in the third stage, it is simple and clear. During the period from the late 1960s to the early 1970s, Tezuka’s works are most realistic, exquisite and dramatic, and the Buddhist images were depicted as paintings rather than ordinary manga. The style of this period is very special in Tezuka’s whole creative career. From the late 1960s, Tezuka began to include famous Buddhist sculptures into his manga. By comparing a lot of plates from Japanese text books and art historical books, I found that Tezuka often picked Buddhist sculptures that are assigned as National Treasures or Important Cultural Properties. These images are most famous and likely to be familiar to the Japanese public. It is possible that the readers could recognize the images quickly and feel close to them. By this way, Tezuka arouse reader’s reading interest and curiosity. The stylistic features of Tezuka’s Buddhist sculptural images from the late 1960s to the early 1970s are most attractive. We find the stylistic source from “gekiga” trend which rose in the late 1950s. Tezuka’s Buddhist sculptural images had a lot in common with those of Mizuki Shigeru (1922- ). When the mainstream of the manga circles was leaded by new trends, Tezuka adopted the popular styles actively and responded with competitive consciousness rather than falling behind too long. In this period, Tezuka published in the media that did not take commercial value for the first concern, and he could create in higher experimental and artistic form. This showed that Tezuka was eager to raise manga to artistic level. This thesis points out four characteristics of Tezuka’s Buddhist sculptural images: first, Tezuka often used cinematic devices in terms of changing viewpoints and zooming. Second, he frequently chose famous Buddhist Sculptures assigned as National Treasures or Important Cultural Properties of Japan. Third, he integrated intellectual contents into manga, but the pictorial images were still the main focus. Fourth, he often conveyed ideas of strong critical and enlightening senses and this indicates that he values the educational function of manga. This thesis considers that even though Tezuka learned from gekiga, he chose what he wanted rather than fully accepting the style in vogue. He integrated desirable parts into his works, and presented as what with Tezuka’s own features.
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Chou, Ching-Pei, and 周景培. "A Study of Ming Dynasty Buddhist Bronze Sculptures Made at the Yongle Court (1402-1424)." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/02590549346883391191.
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碩士國立臺灣大學
藝術史研究所
104
The Tibetan Buddhist art made at the imperial court in the Yongle period (1402-1424) is a unique chapter of Ming dynasty. Especially the numerous gilded Buddhist bronze sculptures are the representative works of Tibetan Buddhist art of Ming court. These Buddhist bronze sculptures are often known as ‘the Yongle bronzes,’ due to six characters inscription on the pedestals which indicate the sculptures were made in the Yongle period. In this thesis, the influences of Tibetan Buddhist art on the Yongle bronzes, due to the communicating between the Ming court and Tibet, are discussed in three parts from historical documents, the style analysis to the iconographic study. According to historical documents, the Yongle emperor continued the policy of bestowing honorary titles to the Tibetan Buddhist monks from his father Hongwu emperor. In addition, he invited the three important Tibetan monks, De-bzhin-gshegs-pa, Kun-dga’bkra-shis, and Sakya Ye-shes, to visit China and give them the greatest title ‘the kings of dharma.’ The Yongle emperor not only presented them lots of treasures, but also accepted the abhiseka from these Tibetan lamas. The accepting of the abhiseka and the preface of the Tibetan tantra scriptures written by the Yongle emperor show the enthusiasm and faith for the Tibetan Buddhism. Under the circumstance, the Ming court started producing Tibetan Buddhist artworks, including the Yongle bronzes. By observing the style, we may discover the Yongle bronzes are greatly different from the Tibetan Buddhist sculptures in Yuan dynasty. From the facial expression, the structure of body and to design of adornment, the Yongle bronzes show stronger connection to the style of central Tibet in twelfth to fourteenth century. Otherwise, the Buddhist texts and illustrations in the book “諸佛菩薩妙相名號經咒” which was transmitted by De-bzhin-gshegs-pa is a great example to demonstrate the influence of the kings of dharma from the central Tibet. Plenty of Yongle bronzes are highly similar to the deity image in this book. It shows that the kings of dharma played important roles in the making of the Yongle bronzes. Not to mention the historical records also prove that the kings of dharma from the central Tibet have tributed Buddhist sculptures to the Ming court several times. In summary, the existence of the Tibetan Buddhist art at the Yongle court was entailed by constant cultural exchanges between the Ming and central Tibet, such as those religious leaders'' visit to the Ming court made a great influence on the Yongle bronzes. The significance of Yongle bronzes are not only representing the most sophisticated artworks in this genre but also embodying the cultural products developed by these two distant areas.
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Lee, Pei-Chieh, and 李沛倢. "A Study of the Buddhist, Taoist Sculptures and Religion around Guanzhong in the North Wei of China." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/91715531537312212573.
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碩士國立臺灣大學
藝術史研究所
101
The Guanzhong(關中) plain in Shaanxi(陜西) province is one of the oldest and most significant political, cultural, and religious centers. By the late 4th century and early 5th century, Chang’an(長安) was an important center in the dissemination of Buddhism and foreign-style Buddhist images. However, from 416 to 533, was one of eclipse for Chang’an, for it was neither a political capital nor a religious center. The Buddhist persecution in 444 was a major setback to Chang’an, but Taoism was flourished under the strong support of the North Wei courts. Nevertheless, the solid foundation established by the past period, for the Buddhism was deeply popular in Gunazhong, so Chang’an Buddhism could revived fast. The large numbers of Buddhist sculptures in the North Wei is evidence of Chang’an Buddhism flourishing. Under the influence of Buddhist art, Taoist sculptures appeared in the late 5th century, centralized around the middle part of Guanzhong where the Way of the New Celestial Masters(新天師道) prevailed. According to Guanzhong sculpture’s style analysis, its development is presented in three periods. The first period (ca. 426-470) still retained the strong Indian and Central Asian elements, but also saw Han elements; meanwhile, Chang’an Buddhist art continued to influence Yungang(雲岡). During the second period (ca. 471-500), the Guanzhong style was gradually mature, the curvilinear pattern as the most typical style. While Guanzhong lost its influence, on the contrary influenced by Yungang and Longmen(龍門). During the third period (ca. 501-534), the numbers of sculptures increased precipitously. In these images, human forms, Bodhisattva dress, curvilinear pattern and four-side stele all display a unique regional style. The Taoist images also developed own style to distinguish from Buddhist images, the Taoist deity wears a tall hat and Chinese robe with long sleeves, takes a fan and grows a beard. By the third decade of 6th century, the Guanzhong style was fully mature. In terms of subject, early Guanzhong images show a close connection to those of India, Buddhabiographies, Jataka tales and cross-foot Maitreya for example. Meanwhile, the subject like Duobao(多寶) Buddha, Vimalakīrti, fifty-three Buddha and thirty-five Buddha those were created by Chinese. The Taoist image mostly is Laojun(老君), Tianzun(天尊) and Taishundaojun(太上道君) appeared later was influence by the Southern Linbao(靈寶派) Taoism.In addition, the Buddhist-Taoist steles reflect the characteristics of the Guanzhong the plebeian beliefs, their sponsors both were Buddhist and Taoist, they clearly realized their own religious attributes. The goal of the two group actually reveals no differentiation, for they reach the same end only using different methods.
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Chang, Chih-Wei, and 張秩瑋. "A Study of Style & Iconography of Small Bronze Buddhist Sculptures in the Northern Wei Dynasty of China." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/18241277322652417000.
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碩士國立臺灣大學
藝術史研究所
99
During the Northern Wei dynasty (A.D. 386-534), Chinese bronze Buddhist sculpture is extremely prevalent. Both city people and country people may preserve or pay obeisance in the bronze Buddhist sculptures at their home. Its distribution and production are affected by the political situations, economic conditions, and social organizations. As a background for the following study it is necessary to remember some events, especially of the unification of northern China in 439, deporting craftsmen from Hebei(河北) to Datong(大同), Emperor Tai-Wu’s (太武帝, 424-452) destroying Buddhism, Emperor Wen-Cheng’s (文成帝, 440–465) restoring Buddhism, and moving the capital from Datong to Luoyang (洛陽). These events occur in the aftermath of the tremendous religious developments that take place in Chinese Buddhism art during the fifth century. The main research object of my thesis is the “small” bronze Buddhist sculpture in the Northern Wei Dynasty. The task of establishing the most complete understanding of its art during this period necessarily depends upon a comprehensive approach that utilizes historical conditions, stylistic analysis, spatial analysis, iconography analysis, and inscription research. Most of its sponsors are just a single common person, and a few other sponsors are the close relatives, monks, and nuns. It is mostly smaller than 30 centimeters high. Therefore, it is different from the bronze sculptures that set in some temples or other public place, and it might be for personal use. It is the pourpose of my thesis to demonstrate what a high popularity for small Buddhist sculptures among personal sponsors are. According to bronze sculpture’s style analysis, its development is presented in four periods: Stage I, ca. A.D. 386- ca. 476; Stage II, ca. 477- ca. 491; Stage III, ca. 492- ca. 512; and Stage IV, ca. 513- ca. 534. The period from around 452 until 476, there are some sculptures which appear to have developed stylistically beyond the previous modes. Stage II is probably the first fully developed period. Stage III is transitional period in the formation of the traditional Han-style bronze sculpture. The next major achievement in manufacturing technology and innovative depiction after Stage II is Stage IV. The sculptures during Stage IV is fully cross the boundary and can be set squarely within traditional Han-style lineage. In regard to its spatial analysis, the sculptures from Hebei province (河北省) reflect elaborate and sophisticated taste. Its Stage II and Stage IV both deserve to be recognized as major representative. Otherwise, the sculptures from Shantung province (山東省) during the Taihe period (太和, 477-499) become alive in its development, and owing to Shantung’s distinctive regional position, there are some sculptures which appear the innovative characteristics. During the Stage IV, some sculptures from Shantung have developed into a genuinely mature regional style. Shantung’s Stage IV can rightly be called the major typical period. Exclusive of Hebei and Shantung, bronze sculptures during this period are seldom left in northern China. Even so, we still can collect and identify a few bronze sculptures from Xingshi (陝西), Gansu (甘肅), and Ningxia (寧夏) and the sculptures represent the vivially regional characteristics. Furthermore, in regard to iconography analysis, according to my statistics, the two most popular figures are Avalokiteśvara (觀世音) and Prabhūtaratna (多寶佛). Maitreya (彌勒) is a kind of the influential Buddhism figure. However, few bronze sculptures are inscribed with Śākyamuni (釋迦牟尼) and Amitāyus (無量壽佛). A study of these sculptures reveals the complex variations within the iconography and iconology of small bronze sculptures themselves. The principles of Buddhist iconography for bronze sculptures are not extremely rigid. The brief inscriptions on the bronze sculptures seldom contain profound Buddhist doctione and deep truth. Besides, because of its complicated manufacturing process and technology, the production of bronze sculptures may depend on skilled craftmen to employ a number of distinct casting processes. Therefore, if people prefer to a bronze sculpture, the handmake store will trade at them. The bronze sculptures getting more and more popular during the Northern Wei dynasty, it seems that these riligious stuff increasingly becomes marketed commodities. The bronze sculptures themselves become commodities to be sold and bought and we can be considered this subject to commodification in context. Otherwise, because some bronze sculptures during this period are sold after an indefinitely long period of time, we can not be completely convinced that the time on its inscription can be seem as the time that bronze sculptures have been manufactured.
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"孔望山佛敎造像年代考察." 1986. http://library.cuhk.edu.hk/record=b5887631.
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許雪輝.稿本 ; 複本據稿本影印.
Thesis (M.A.)--香港中文大學硏究院藝術學部.
Gao ben ; fu ben ju gao ben ying yin.
Includes bibliographical references (leaves 224-259).
Xu Xuehui.
Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan yi shu xue bu.
導言
Chapter 第一章 --- 孔望山佛教造像題材之發現
Chapter 甲 --- 孔望山之地理位置 --- p.6
Chapter 乙 --- 歷代對孔望山造像題材及年代之認識
Chapter （一） --- 文献記載 --- p.11
Chapter （二） --- 近人考察 --- p.13
Chapter 丙 --- 孔望山造像內容之概述 --- p.18
Chapter 第二章 --- 孔望山造像年代問題述評
Chapter 甲 --- 東漢說 --- p.36
Chapter （一） --- 小結 --- p.44
Chapter 乙 --- 非東漢說
Chapter （一） --- 曹魏以後元魏以前說 --- p.53
Chapter （二） --- 三國或西晉時代以後說 --- p.57
Chapter （三） --- 六朝說 --- p.59
Chapter （四） --- 唐代前後說 --- p.60
Chapter （五） --- 小結 --- p.65
Chapter 第三章 --- 從文献資料考察孔望山佛教造像的年代
Chapter 甲 --- 從佛教起源及漢代譯經方面考察
Chapter （一） --- 佛像之起源 --- p.74
Chapter （1） --- 小結 --- p.89
Chapter （二） --- 漢代佛教譯經 --- p.92
Chapter （1） --- 小結 --- p.100
Chapter 乙 --- 從漢代海上交通及漢代佛法流佈之地理分佈方面考察
Chapter （一） --- 漢代海上交通
Chapter （1） --- 漢代海路已開 --- p.106
Chapter （2） --- 漢代中印之海路交往 --- p.114
Chapter （3） --- 《漢書、地理志》所載之航程 --- p.119
Chapter （二） --- 漢代佛法流佈之地理分佈 --- p.122
Chapter （1） --- 小結 --- p.136
Chapter 第四章 --- 孔望山佛教造像及藝術特色之分析比較
Chapter 甲 --- 孔望山佛教造像之圖像及藝術特色 --- p.139
Chapter 乙 --- 孔望山佛教造像與中國早期佛教造像之圖像及藝術特色比較
Chapter （一） --- 東漢佛教造像之圖像及藝術特色 --- p.147
Chapter （二） --- 魏吳晉間出土佛像的圖像及藝術特色 --- p.152
Chapter （三） --- 孔望山佛教造像與中國早期佛教造像之圖像及藝術特色比較
Chapter （1） --- 圖像方面 --- p.163
Chapter （2） --- 藝術特色方面 --- p.165
Chapter 第五章 --- 總結 --- p.171
注釋 --- p.178
書目 --- p.224
圖錄
32
Yiengpruksawan, Melanie Hall. "The Buddhist sculpture of Chūsonji the meaning of style at the Hiraizumi temples of the Ōshū Fujiwaras /." 1988. http://catalog.hathitrust.org/api/volumes/oclc/22423815.html.
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Gridley, Marilyn Leidig. "Chinese Buddhist sculpture under the Liao free standing works in situ and selected examples from public collections /." 1985. http://catalog.hathitrust.org/api/volumes/oclc/18969358.html.
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Hock, Nancy. "Buddhist ideology and the sculpture of Ratnagiri seventh through thirteenth centuries /." 1987. http://catalog.hathitrust.org/api/volumes/oclc/23638134.html.
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Galloway, Charlotte Kendrick. "Burmese Buddhist Imagery of the Early Bagan Period (1044-1113)." Phd thesis, 2006. http://hdl.handle.net/1885/47078.
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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. Recently, 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. ¶ ...
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Ning, Qiang. "Art, religion and politics Dunhuang Cave 220 /." 1997. http://catalog.hathitrust.org/api/volumes/oclc/38535268.html.
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Abe, Stanley Kenji. "Mogao Cave 254 a case study in early Chinese Buddhist art /." 1989. http://catalog.hathitrust.org/api/volumes/oclc/23748969.html.
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Chen, Kuan-Hsun, and 陳冠勳. "A Study of Metal Technology of Bronze Buddhist Sculpture in Tibetan Government in Exile." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/u3wqpv.
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博士中原大學
設計學博士學位學程
104
Tibetan Buddhist sculptural arts began developing alongside Tibetan Buddhism starting in the early seventh century. This art was influenced by Buddhist culture in such peripheral areas as India, Nepal, and China, and constantly absorbing indigenous Tibetan beliefs and popular aesthetic concepts, which caused it to evolve into a unique form of Buddhist craftsmanship. Many kinds of Tibetan Buddhist statues were made, and were often very complex and elaborate in form. As a result, both Tibetan Buddhist painting and sculpture became spectacular art forms. While early Tibetan Buddhist images tended to be carved from stone or made from clay, the production of copper-gold alloy statues gradually entered Tibet from other areas. The making of copper-gold alloy Buddha statues gradually developed in Tibet through the 12th and 13th centuries, which was the Later Propagation Period of Tibetan Buddhism, and copper-gold alloy Buddha statues eventually occupied an important status in Tibetan temple culture. These statues combined exquisite metalworking skill with a unique aesthetic outlook, and this art became one of Tibet''s most representative traditional crafts and a key element of the Tibetan cultural heritage. While the ten-year Cultural Revolution caused the making of Buddhist statues within Tibet to be interrupted, the Tibetan government in exile, after fleeing to India in 1959, established the Norbulingka Institute, which included thangka, wood carving, metal forging, hammering, and casting, and embroidery workshops. The craftsmen who had followed the Dalai Lama into exile, and thus avoided persecution during the Cultural Revolution, maintained the transmission of traditional Tibetan crafts outside of Tibet, and trained new generations of Tibetans in traditional skills that had once faced extinction. The production of fine copper-gold alloy Buddha statues depends on the proficiency of the craftsmen with the characteristics of copper metal and forging and casting techniques, and is also inseparably connected with painstaking attention to the Buddha statues'' dimensions, proportions, and expression. Research on the making of copper-gold alloy Buddha statues must present the essential nature of this craft from a technical perspective, and also analyze its evolution and influences in light of their cultural and historical background. At present, most studies of Tibetan Buddhist copper-gold alloy Buddha statues have been limited to research on the literature, or consisted of technical inferences and stylistic analysis concerning this art in India and Nepal, etc. Unfortunately, has been a lack of research specifically addressing production techniques used is this richly-expressive form of craftsmanship. Taking folklore theory as its foundation, this study uses historical research methods to investigate the development and evolution of Tibetan Buddhist statue craftsmanship, Buddhist statue production under the Tibetan government in exile, and the skills transmission system among craftsmen making copper-gold alloy Buddha statues. At the same time, this study also discusses developmental changes in statue dimensions and proportions. A field investigation is further employed to observe the production of copper-gold alloy Buddha statues in a workshop run by the government in exile, including the taking of on-site photographs and records of tools, materials, techniques, and procedures. Apart from making a detailed record on actual operations and performing analysis, the study also discusses the scope of sales and the transmission of skills. Interviews with senior craftsmen and their apprentices provide an in-depth understanding of how the skills used in the production of copper-gold alloy Buddha statues are passed on. The information gained in this way can fill gaps in the literature and confirm the results of field surveys and other research, and can shed light on the historical background of senior craftsmen and their lines of transmission. Apart from performing a thorough overview of this traditional Tibetan craft, this study can also make a significant contribution to the protection of intangible cultural assets. It was found that in the process of passing on traditional craftsmanship in the copper-gold alloy Buddha statue workshop at the Norbulingka Institute, apart from transmitting crafts techniques, the transmission of the spirit of craftsmanship has been a key factor. The masters and their apprentices work together like fathers and sons, and the spirit of craftsmanship is transmitted imperceptibly and intangibly. This spirit of craftsmanship is something that modern education cannot effectively impart, and the sense of responsibility for the transmission of culture that accompanies the spirit of craftsmanship is the key to the continued propagation of traditional crafts. This line of reasoning can provide us with insights concerning the transmission of traditional crafts.
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Chuang, Cheng-Hui, and 莊正暉. "The Icongraphy of the Birth of the Buddha in Individual Buddhist Sculpture in the Northern Dynasties." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/94528965163708495097.
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Weisner, Christina Lorena. "Form and function." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-1494.
Full textAbstract:
This is a report concerning the body of artwork I have formulated in the last two of my three years spent as a graduate student in the M.F.A. program at the University of Texas at Austin. It provides a chronological description of key works and the influences drawn upon within this time frame. Broken into eight substantive sections, the report reflects an in-depth study on “object-hood.”text
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Chien, Li-kuei, and 簡鸝媯. "An Inquiry Into the Style of Qingzhou Buddhist Sculpture of the Northern Qi Period（550-577 AD.）." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/m3xna5.
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碩士臺南藝術學院
藝術史與藝術評論研究所
89
During the latest two decades, there were continually discovery of various kinds of Buddhist stone statues and steles of the sixth century around Qingzhou, the middle region of Shangdon Province. The discovered objects indicate a very unique style that harmoniously unifies the strength and elegance. Initially, this paper exams the geographical boundary of Qingzhou region in the middle sixth century according to the official history records, “Wei shu” and “Suei shu”, and the inscriptions on the excavated steles. Based on the former research, the author has focused on the materials excavated from Qingzhou and the sites nearby including Boxing, Guangrao, Chuangyi, Linchu, Linqu, Gaoqing, Changchio, Wudi, Hueimin, Yangxin, Zhuzheng. Through the comparison of the statues and steles from different sites, the distinctions of the forms, techniques and decorations could be revealed, so that the conclusion for the characteristics of Qingzhou statues can be made. Furthermore, the paper detailed analyzes the statues and then classifies them into several types. In order to thoroughly analyze the causes of the unique style of Qingzhou statues, the author further probes the social structure of the sixth century, which derives into two aspects as following: Primarily, the strong and full figure had become a new and general principle of Northern Qi statues, which completely replaced the original skinny and fragile style of Eastern Wei. Further, the paper has cited a rather large amount of records in the official history, and indicates the ideology of Northern Qi rejecting and excluding the Han culture. Additionally, in order to oppose and eliminate the Han culture, the aristocracy enthusiastically imported the fashion from the West Region instead and it had entirely changed the workmanship in the early sixth century. Secondarily, the complicated and luxurious decorative way of Qingzhou is rarely seen in other regions in Northern Qi. It might be caused by its specific historical background. According to the official history records, Qingzhou was long dominated by the higher Han families that showed deep influence on Han culture. Besides, geographical region of Qingzhou was a shaped plain of long in north and south and narrow in east and west, and the ocean is just nearby which brought Qingzhou the convenience and benefits of marine transit making it no difficulties to contact the outside world. Under the influences of the two aspects mentioned above, the unique style that is strong and full but delicate and exquisite as well finally appeared in the sixth century and impressed the people in this post-modern time.
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Langberg, Hillary Anne. "Visualizing the power of wisdom : Mañjuvajra Mandala, an eleventh century Pāla period sculpture from Bengal." 2013. http://hdl.handle.net/2152/22427.
Full textAbstract:
Among the extant examples of carved-stone deity mūrtis from Pāla-period Bengal, few express their subject matter in such dynamic and aesthetically refined visual terms as a sculpture now in the collection of the Metropolitan Museum of Art in New York. Entitled Mañjuvajra Mandala, the stele depicts a three-faced six-armed form of the bodhisattva of wisdom, Mañjuśrī. It dates from the latest phase of Vajrayāna Buddhism in India and likely reflects sādhana practices that entail mandala visualization rituals and union with a female consort. Although a superbly carved piece and an unusual form, it has not yet been fully studied. Surviving relevant texts locate Mañjuvajra primarily within a mandala diagram as the focus of sādhana visualization rituals. The purpose of this thesis is to explore aspects of the sculpture's execution that add to its meaning and, in turn, provide an enriched understanding of Vajrayāna practice. The innovative composition and metonymic forms of this Mañjuvajra sculpture demonstrate the congruency of religious content and artistic depiction in a powerful and multivalent manner.text
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Lee, Michaela. "Ikonografie buddhistického sochařství v Koreji." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-308735.
Full textAbstract:
in English: The aim of this thesis is to present the Korean Buddhist sculpture throughout the Korean history. The thesis presents Buddhist iconography at the beginning, focusing on the Korean art especially. Afterwards the main and most important Buddhist sculpture masterpieces are introduced. The sculptures represent certain period of Korean history. The work contains Korean Buddhist sculptures from the times of introducing Buddhism in Korea, i.e. Three Kingdoms period, and then presents the Buddhist sculpture from this time on, in Unified Silla, Koryŏ Kingdom and Chosŏn Kingdom. Key words: Buddhism, sculpture, iconography, Korea
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Owen, Lisa Nadine. "Beyond buddhist and brahmanical activity: the place of the Jain Rock-Cut Excavations at Ellora." Thesis, 2006. http://hdl.handle.net/2152/2592.
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Fanelli, Kathryn. "The Passing Show." 2021. https://scholarworks.umass.edu/masters_theses_2/1011.
Full textAbstract:
The Passing Show, examines the interface between contemplative practices and the destabilizing effect of the carnivalesque. A repurposed early 20th century merry-go- round is reconfigured as a conceptual vehicle for renewing our attention to removing hindrances. The site-specific installation, titled Vimoksha, is viewed through the lens of the radical imaginary, investigating notions of karmic inheritance through a heuristic approach to material processes, personal history, kinetics and sound.