Relevant bibliographies by topics / Buddhist temple mural painting

Academic literature on the topic 'Buddhist temple mural painting'

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Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Buddhist temple mural painting"

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Lee, Na Ra, Yeong Gyeong Yu, and Hwa Soo Lee. "Study on the Characteristics of Materials and Manufacturing Techniques for the Mural Paintings in Daeunjeon at Ssanggyesa Temple, Jindo." Journal of Conservation Science 37, no. 6 (December 31, 2021): 701–11. http://dx.doi.org/10.12654/jcs.2021.37.6.09.

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This study identifies the structure and material characteristics of the mural paintings in Daeungjeon at Ssanggyesa temple in Jindo by conducting scientific research and analysis including microscope examination, SEM-EDS, XRD, particle size analysis, and others. According to the analyses, the murals were considered to be of a typical soil mural style for Korean Buddhist murals, given that the walls were made of sand and soil and the murals had layers consisting of wall layers and a finishing layer. However, some finishing layer used calcite, while some ground layer used zinc white beneath the thick paint. In addition, there were similar features to those found on the surfaces of oil paintings such as cracks along with the paint layer, high gloss on surfaces, and thick brush strokes in many areas. It was found that the walls on which the murals were painted were made of soil but that the paint layer was created based on the oil painting technique using drying oil. It determined that the murals were painted in a unique painting style that is rarely found in other typical Buddhist murals in Korea.
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Yu, Yeong Gyeong, Bong Goo Jee, Ran Young Oh, and Hwa Soo Lee. "Manufacturing Technique of the Avalokitesvara Bodhisattva Mural Painting in Geungnakjeon Hall, Daewonsa Temple, Boseong." Journal of Conservation Science 38, no. 4 (August 31, 2022): 334–46. http://dx.doi.org/10.12654/jcs.2022.38.4.08.

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The manufacturing technique was studied through the structure and material characteristics of the walls and the painting layers of the Avalokitesvara Bodhisattva mural of Geungnakjeon Hall, Daewonsa Temple. The mural is painted and connected to the earthen wall and the Junggit, and the wall is composed of wooden laths as a frame, the first and middle layers, the finishing layer, and the painting layer. The first layer, middle layer, and finishing layer constituting the wall were made by mixing weathered soil and sand. It was confirmed that the first layer had a high content of loess below silt, and the finishing layer had a high content of fine-sand and very fine sand. For the painting layer, a ground layer was prepared using soil-based mineral pigments, and lead white, white clay, atacamite, minium, and cinnabar (or vermilion) pigments were used on top of it. The Avalokitesvara Bodhisattva mural was confirmed to belong to a category similar to the soil-made buddhist mural paintings of Joseon Dynasty. However, it shows characteristics such as a high content of fine sand in the finishing layer and overlapping over other colors. Such material and structural characteristics can constitute important information for future mural conservation status diagnoses and conservation treatment plans.
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Pichaichanarong, Tawipas. "Practice-Based Research in Digital Arts: A Case Study of Wat Phumin, Nan Province, Thailand." International Journal of Creative and Arts Studies 6, no. 2 (July 24, 2020): 157–72. http://dx.doi.org/10.24821/ijcas.v6i2.4159.

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ABSTRACTThai mural paintings have played a significant role in Thai society since The Sukhothai Kingdom period (1238-1438 AD) until the present. Wattana Boonjub (2009) points out that Mural painting was used for teaching the Thai people in the past. Throughout history, temples have become a crucial part of Thai' lives; for example, Wat Phumin in Nan Province. Wat Phumin has exceptional architecture, beautiful visual presentations of Buddhist storytelling on the walls which depict scenes from the Buddhist Jataka tales, and scenes of everyday life in Nan. These unique characteristics have attracted many visitors to this temple over the years. Also, when those interested visit Wat Phumin, they experience this temple as a Museum. Loïc Tallon et al. (2008) suggests that the museum experience provides an appropriate situation for learning history in an unconventional setting. As a result, previous research titled “Visual Research Practices on Thai Lanna Mural Painting: A Case Study of Wat Phumin, Nan Province” was presented at The 4th International Conference for Asia Pacific Arts Studies (ICAPAS 2016). The results indicated that the information concerning the Lanna mural paintings inside the temples was overwhelming. However, no directions are facilitating Thai and foreign visitors in viewing and understanding at the first episode of storytelling on Lanna mural paintings inside Wat Phumin. Therefore, this research is the result of finding a solution to facilitating visitors in viewing Buddhist Jataka tales through digital arts and digital technology (such as responsive web design, QR codes, etc.) with practice-based design research. ABSTRAK Lukisan mural Thailand telah memainkan peran penting dalam masyarakat Thailand sejak periode Kerajaan Sukhothai (1238-1438 M) hingga saat ini. Wattana Boonjub (2009) menunjukkan bahwa lukisan Mural digunakan untuk mengajar orang-orang Thailand di masa lalu. Sepanjang sejarah, kuil telah menjadi bagian penting dari kehidupan Thailand; misalnya, Wat Phumin di Provinsi Nan. Wat Phumin memiliki arsitektur yang luar biasa, presentasi visual yang indah dari cerita Buddha di dinding yang menggambarkan adegan dari kisah Buddha Jataka, dan adegan kehidupan sehari-hari di Nan. Karakteristik unik ini telah menarik banyak pengunjung ke kuil ini selama bertahun-tahun. Juga, ketika mereka yang tertarik mengunjungi Wat Phumin, mereka merasakan candi ini sebagai Museum. Loïc Tallon et al. (2008) menunjukkan bahwa pengalaman museum memberikan situasi yang tepat untuk belajar sejarah dalam lingkungan yang tidak konvensional. Sebagai hasilnya, penelitian sebelumnya yang berjudul “Praktik Penelitian Visual pada Lukisan Mural Lanna Thailand: Studi Kasus Wat Phumin, Provinsi Nan” dipresentasikan pada Konferensi Internasional ke-4 untuk Studi Seni Asia Pasifik (ICAPAS 2016). Hasilnya menunjukkan bahwa informasi mengenai lukisan mural Lanna di dalam kuil sangat banyak. Namun, tidak ada arahan yang memfasilitasi pengunjung Thailand dan wisatawan asing dalam melihat dan memahami episode pertama pada cerita tentang lukisan mural Lanna di dalam Wat Phumin. Oleh karena itu, penelitian ini adalah hasil dari menemukan solusi untuk memfasilitasi pengunjung dalam melihat cerita Buddha Jataka melalui seni digital dan teknologi digital (seperti desain web responsif, kode QR, dll.) dengan penelitian desain berbasis praktik.
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Park, Eunkyung. "A Study on Mural Painting of Grandeur Buddhist Hall in Sinheung Temple." Art History Forum 41 (December 31, 2015): 113–39. http://dx.doi.org/10.14380/ahf.2015.41.113.

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Lee, Hwa Soo, Tae Ho Eom, Bong Goo Jee, Sun Jo Yi, Yeong Gyeong Yu, and Kyeong Soon Han. "Conservation Status Diagnosis of Mural Painting in Geungnakjeon Hall of Daewonsa Temple, Boseong: Avalokitesvara Bodhisattva Mural and Buddhist Monk Bodhidharma Mural." Journal of Conservation Science 38, no. 4 (August 31, 2022): 314–26. http://dx.doi.org/10.12654/jcs.2022.38.4.06.

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Investigation of conservation status, optical survey, infrared thermography, and ultrasonic examination were performed on Avalokitesvara Bodhisattva mural and Buddhist Monk Bodhidharma mural to determine the conservation status and physical properties. As a result of investigation of conservation status, the types of damage are largely divided into the wall and finishing layer damage, painting layer degradation, damage due to restoration materials, stains and contamination, and biological damage. As a result of the optical survey, drawing, stains, and repainted site were confirmed. Result of the infrared thermography, the delamination of the finishing layer was confirmed, and some locations and shapes of the wooden lath inside the wall were identified. The result of the 3D scanning, the deviation, and the separation of the wall was confirmed. As a result of ultrasonic examination, it was confirmed that the physical properties of the mural were identified and the ultrasonic speed was relatively low due to physical damage such as delamination and exfoliation of the finishing layer and cracking. Ultrasonic speed values were also high in some wall cracks or delamination, and it was confirmed by the infrared thermography results that the wooden lath inside the wall was located in those parts. It was possible to understand that the wooden lath inside the walls affects the ultrasonic speed during the ultrasonic examination. Therefore, management through periodic inspection of the relevant elements is necessary, and a countermeasure for damage that may occur in the future should be prepared along with intensive monitoring of the major damage identified in this diagnosis result.
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Pichaichanarong, Tawipas, Veerawat Sirivesmas, and Rueanglada Punyalikhit. "APPENDING ROLES OF THAI LANNA TEMPLES FOR SUSTAINABLE COMMUNITIES: A CASE STUDY OF WAT PHUMIN, NAN PROVINCE." International Journal of Heritage, Art and Multimedia 3, no. 8 (March 10, 2020): 01–11. http://dx.doi.org/10.35631/ijham.38001.

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Temples have been important in Thai society for over 700 years. When the Sukhothai Kingdom (1238 -1438 AD) was the capital city of Thailand. The great King Ramkamhang had been accepted Theravada Buddhism to be the strongest religion in the land. Later Lanna kingdom (1296 - 1558 AD) was founded in the mid-13th century by King Mangrai. Indeed, King Ramkamhang was friends with King Mangrai, and King Ngam Muang of Phayao Kingdom (1094–1338 AD), it is possible Theravada Buddhism had been introduced to the kingdoms during the reigns of these three Kings. Indeed, the Lanna Kingdom has accepted Theravada Buddhism to be their religion. Until 1894, Lanna Kingdom combined with Siam Kingdom which is the Rattanakosin period (1782 AD - present). Throughout history, temples have become an essential part of Lanna and Thais’ lives. At present, some Thai Lanna temples are not only functions for performing religious rites, but also, they become central for Lanna and Thai communities. Temple (“Wat” in Thai) is a sacred architecture. Moreover, there are ideas to decorate inside temples with arts. Wattana Boonjub (2009) points out that Mural painting is used to teach (Lanna and) Thai people in the past. For example, Wat Phumin, Nan province. With beautiful Lanna architecture and exquisite Lanna mural paintings, these are intangible heritages. These unique characteristics have invited lots of people to visit this temple for years. Therefore, Wat Phumin became a tourist attraction that creates revenue for its community. Johan Galtung (1980) gave the definition for “Self-Reliance”, is the strategy for development to be financial independence. With collaboration from the community, it becomes a sustainable community. For Methodology, quantitative and qualitative methods were used by collecting the data from tourists who have been visited Wat Phumin, Nan province. The data then were analyzed using mean, descriptive statistics, and qualitative data. This study concludes that Wat Phumin, Nan province has created a sustainable community for its community.
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Lee, Haw-Soo, Kyeong-Soon Han, and Sang-Jin Lee. "A Study on Painting Layer Fixative Processing of Mural Paintings of Buddhist Temples in Korea." Journal of the Korean Conservation Science for Cultural Properties 29, no. 1 (March 20, 2013): 81–92. http://dx.doi.org/10.12654/jcs.2013.29.1.08.

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Qinglin, Guo, Hiromi Takabayashi, Toshio Nakamura, Chen Gangquan, Ken Okada, Su Bomin, Fan Yuquan, and Hiroshi Nishimoto. "Radiocarbon Chronology for Early Caves of the Mogao Grottoes at Dunhuang, China." Radiocarbon 52, no. 2 (2010): 500–510. http://dx.doi.org/10.1017/s0033822200045537.

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The Mogao Grottoes site at Dunhuang is one of the largest stone cave temples in China. The site features 735 caves with Buddhist mural paintings. To investigate the chronology of early caves of the Mogao Grottoes, radiocarbon dates were measured by accelerator mass spectrometry (AMS) on plant remains collected from 4 caves: 268, 272, 275, and 285. Caves 268, 272, and 275 are regarded (by archaeological analysis) to be the earliest existing caves in the Mogao Grottoes. The fourth cave, 285, features inscriptions on the north wall mentioning the oldest dates of the Chinese Mogao era. Plant materials, taken from the plaster layer of mural paintings and core materials from statues, were collected as samples (n = 11) for AMS 14C dating at Nagoya University. Two samples from cave 275 gave calibrated 14C ages of cal AD 380–430 (1 σ). The other samples resulted in a time interval of cal AD 400–550. The calibrated 14C ages obtained for the samples taken from painted murals and the statues in cave 285 are consistent with the date given by the inscription remaining on the cave's north wall.
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Richardson, Sarah. "When Walls Could Talk." Archives of Asian Art 71, no. 2 (October 1, 2021): 243–68. http://dx.doi.org/10.1215/00666637-9302528.

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Abstract How can visual texts, closed books, and painted images work together in Buddhist temples to reinforce one another and act upon viewers? The fourteenth-century murals at the Tibetan temple of Shalu integrate pictures with long passages of Tibetan texts and select inscriptions that explain the powers of seeing paintings. The murals combine and mix media—books, paintings, cloth—into expressive wholes that ultimately argue that walls are in fact much more than walls. The paintings find ways to make the temple's book collections more accessible. Here we find a public art effort that weaves together a compelling argument for why religious texts and religious art both “work” for and on their audiences. Shalu was a grandly expanded temple showing off its resources and its connections in a broader cosmopolitan sphere of production and exchange. Its walls were designed to weave media together, finding ways to celebrate and explain larger and newer corporate productions (book projects, larger monasteries). An intentional play of materiality (clay, cloth, book) emphasized by the inscriptions and performed in the pictorial compositions assists in the imaginative act of directly seeing deities, while also playing with the awareness that acts of imagination entail the play of just-like/seeing-as. Since neither clay nor cloth nor word on their own are adequate vessels for representing an enlightened being, here they collaborate with each other and with viewers in the imaginative act, promising that the deity, like the teachings, can be directly experienced.
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Elikhina, Yuliia I. "The Dunhuang and Yulin cave museum complexes." Issues of Museology 12, no. 2 (2021): 296–309. http://dx.doi.org/10.21638/spbu27.2021.212.

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The article examines the caves of Dunhuang and Yulin — world famous Buddhist complexes. The tradition of cave temples with wall paintings and sculpture came from India. The Dunhuang and Yulin caves were decorated in this manner. The highest peak in the development of Dunhuang art falls on the period of the Tang Dynasty (618-907), it was at this time that numerous murals appeared depicting the Pure Land of Buddha Amitabha, the Lord of the West, where the souls of the righteous dwell, the Pure Land of Buddha of healing Bhaishajyaguru and other subjects. The main source for the creation of works of art in Dunhuang was Chinese Buddhism, which was formed under the influence of local cults and beliefs and was reflected in the sutras. A certain influence on the painting of Dunhuang was exerted by the art of the cave complexes of the Great Silk Road, and later by the artistic and iconographic traditions of the Tanguts and Mongols. The findings from Dunhuang in the collection of the State Hermitage Museum includes three hundred items. In 1914–1915, the Second Russian Turkestan Expedition under the leadership of academician S. F. Oldenburg worked there and brought these artifacts back. In addition, the expedition acquired a large number of manuscripts in Sanskrit, Chinese, Uyghur, Sogdian, Tibetan and Tangut. Currently, these priceless monuments are kept at the Institute of Oriental Manuscripts in St. Petersburg. The Dunhuang and Yulin cave complexes are a monument of world culture in terms of their size, quantity and quality of paintings, as well as in the variety of subjects, which constitute an encyclopedia of Buddhism in pictorial and sculptural images.
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Dissertations / Theses on the topic "Buddhist temple mural painting"

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Suwannakudt, Phaptawan. "The Elephant and the Journey: A Mural in Progress." Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/1101.

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The Elephant and the Journey is about what and how people see in the land and how this is expressed through art forms. The dissertation consists of three main parts. The first in the introduction explains the use of the narrative figuration form in Thai temple mural painting in my practice, and how I used it to apply to the contemporary context in Australia. The second concerns three main groups of work including Australian landscape paintings in the nineteenth century, aboriginal art works and Thai mural painting, which apply to the topic of landscape. The second part in Chapters I and II, examine how significant the perspective view in the landscape was for artists during the colonial period in Australia. At the same time I consult the practice in Aboriginal art which also concerns land, and how people communicate through the subject and how both practices apply to Thai art, with which I am dealing. Chapter III looks at works of individual artists in contemporary Australia including Tim Johnson, Judy Watson, Kathleen Petyarre Emily Kngwerreye, and then finishes with my studio work during 2004-2005. The third part, the conclusion refers to the notions of cultural geography as suggested by Mike Crang, Edward Relph and Christopher Tilley, which analyse how people relate to a location through their own experience. I describe how I used a Thai narrative verse written by my father to communicate my work to the Australian society in which I now live.
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Suwannakudt, Phaptawan. "The Elephant and the Journey: A Mural in Progress." University of Sydney, 2005. http://hdl.handle.net/2123/1101.

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Master of Visual Arts
The Elephant and the Journey is about what and how people see in the land and how this is expressed through art forms. The dissertation consists of three main parts. The first in the introduction explains the use of the narrative figuration form in Thai temple mural painting in my practice, and how I used it to apply to the contemporary context in Australia. The second concerns three main groups of work including Australian landscape paintings in the nineteenth century, aboriginal art works and Thai mural painting, which apply to the topic of landscape. The second part in Chapters I and II, examine how significant the perspective view in the landscape was for artists during the colonial period in Australia. At the same time I consult the practice in Aboriginal art which also concerns land, and how people communicate through the subject and how both practices apply to Thai art, with which I am dealing. Chapter III looks at works of individual artists in contemporary Australia including Tim Johnson, Judy Watson, Kathleen Petyarre Emily Kngwerreye, and then finishes with my studio work during 2004-2005. The third part, the conclusion refers to the notions of cultural geography as suggested by Mike Crang, Edward Relph and Christopher Tilley, which analyse how people relate to a location through their own experience. I describe how I used a Thai narrative verse written by my father to communicate my work to the Australian society in which I now live.
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Green, Alexandra Raissa. "Buddhist narrative in Burmese murals." Thesis, SOAS, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367563.

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Bayle, Beatrice. "Conserving mural paintings in Thailand and Sri Lanka : conservation policies and restoration practice in social and historical context /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7144.

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Wu, Ming-Kuo. "The Jataka tales of the Mogao Caves, China in anthropological perspective." Online access for everyone, 2008. http://www.dissertations.wsu.edu/Dissertations/Spring2008/m_wu_041808.pdf.

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Lin, Fan 1972. "Visual images of Vimalakīrti in the Mogao caves (581-1036)." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98553.

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This thesis examines the visual images of Vimalakirti, an ancient Indian lay Buddhist, painted on the walls of the Buddhist cave complex at Dunhuang, Gansu province, between 581 and 1036. The sixty-nine Vimalakirti, paintings preserved at Dunhuang are a valuable source for the exploration of historical, religious, and artistic dimensions of wall paintings and sutras. These visual images, together with other textual sources such as sutras, commentaries, and inscriptions, suggest a variety of interesting questions: Why was this theme repeatedly represented? Do the images all have the same prototype? Is there a spiritual function contained in the layout of the caves and composition of the wall paintings? Did the meaning of these images change according to historical context? Did the patrons have a political scheme in mind when commissioning these devotional artworks? While it is difficult to provide definitive answers to all these questions, this thesis will attempt to clarify them and offer preliminary answers on the basis of available visual and textual sources.
The introduction of this thesis includes an overview of basic concepts related to wall paintings, a short history of the transmission of the Vimalakirti,-nirdesa Sutra, and a review of past scholarship on Vimalakirti, paintings and related subjects. The body of the thesis is divided into three main chapters. The first chapter describes the important visual representations of Vimalakirti, before the Sui dynasty. The second chapter of the thesis will provide an introduction to representations of Vimalakirti, at Dunhuang from the late sixth to the early eleventh centuries. The third chapter examines the social functions and symbolic meanings of the Vimalakirti, paintings at Dunhuang.
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McIntire, Jennifer Noering. "Visions of paradise Sui and Tang Buddhist pure land representations at Dunhuang /." 2000. http://catalog.hathitrust.org/api/volumes/oclc/46938113.html.

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"敦煌《彌勒經變畫》的硏究." 1985. http://library.cuhk.edu.hk/record=b5887622.

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王静芬.
Thesis (M.A.)--香港中文大學硏究院藝術學部.
Reprint (c. 2-3).
Includes bibliographical references (leaves 376-411).
Wang Jingfen.
Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan yi shu xue bu.
前言 --- p.i
圖版目錄 --- p.v
Chapter 第一部份： --- 彌勒信仰及《彌勒經變》通論 --- p.1
Chapter 第一章 --- 彌勒信仰 --- p.2
Chapter 一 --- 彌勒信仰的內容
Chapter 二 --- 中國彌勒信仰的特質
Chapter 第二章 --- 《彌勒變》的源流 --- p.53
Chapter 第三章 --- 有關《彌勒變》的文獻資料 --- p.99
Chapter 一 --- 《彌勒變》的成立年代
Chapter 二 --- 《彌勒變》的文獻記載
Chapter 第二部份： --- 敦煌的《彌勒經變畫》 --- p.132
Chapter 第四章 --- 隋代的《彌勒變》 --- p.136
Chapter 第五章 --- 唐前期的《彌勒變》 --- p.174
Chapter 第六章 --- 唐後期及曹氏畫院時期的《彌勒變》 --- p.251
Chapter 第七章 --- 莫高窟壁畫以外的敦煌《彌勒變》資料 --- p.325
結論 --- p.367
書目 --- p.377
附表一；各期《彌勒變》的統計 --- p.413
附表二：存《彌勒變》的紀年窟 --- p.414
附表三：已發表 《彌勒變》的揭載圖版 --- p.416
附表四：存《彌勒變》各窟主要壁畫題材 --- p.419
附表五：各種經變統計對照表 --- p.434
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Books on the topic "Buddhist temple mural painting"

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Su-yong, Kim, Pyŏn Yong-mun, and Chʻae Tal-sŏng, eds. Yangchʻŏnsa =: Ryangchon temple. [Pʻyŏngyang]: Chosŏn Munhwa Pojonsa, 2002.

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Making merit, making art: A Thai temple in Wimbledon. Honolulu: University of Hawaii Press, 2003.

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Jaroslav, Poncar, Linrothe Robert N. 1951-, and Dasser Karl, eds. Alchi: Ladakh's hidden Buddhist sanctuary : the Sumtsek. Boston: Shambhala, 1996.

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Goepper, Roger. Alchi: Ladakh's hidden Buddhist sanctuary : the Sumtsek. London: Serinda Publications, 1996.

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Ke, Mārār Ke, ed. Wall paintings in North Kerala, India: 1000 years of temple art = Wandmalerei in Nordkerala, Indien : 1000 Jahre Tempelkunst. Stuttgart: Arnoldsche, 2004.

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Ūʺ, Mraṅʻʹ ʼOṅʻ, ed. Burmese Buddhist murals. Bangkok, Thailand: White Lotus, 2007.

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Thomas, Laird, ed. The Dalai Lama's secret temple: Tantric wall paintings from Tibet. New York: Thames & Hudson, 2000.

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Wyatt, David K. Reading Thai murals. Chiang Mai, Thailand: Silkworm Books, 2004.

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Reading Thai murals. Chiang Mai, Thailand: Silkworm Books, 2004.

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Steinkellner, Ernst. Sudhana's miraculous journey in the temple of the Ta pho: The inscriptional text of the Tibetan Gandavyuhasutra. Roma: Istituto Italiano per il Medio ed Estremo Oriente, 1995.

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Book chapters on the topic "Buddhist temple mural painting"

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Lee, Hwa Soo, You Na Song, Gyu Seong Han, and Kyeong Soon Han. "Analysis and Diagnosis of the Buddhist Wall Paintings in the Josadang Shrine, Buseoksa Temple, Korea." In Conservation and Painting Techniques of Wall Paintings on the Ancient Silk Road, 265–86. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4161-6_15.

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Green, Alexandra. "Presence and Memory." In Buddhist Visual Cultures, Rhetoric, and Narrative in Late Burmese Wall Paintings, 60–107. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390885.003.0003.

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Chapter Two examines the depicted events and scenes as expressions of religious commemoration and as promoting particular social, political, and religious hierarchies. The relationships between the main, usually sculpted, Buddha image and the painted walls created a narrative structure that encompassed the temple interior as a whole and made the Buddha present within the space and in the contemporary moment. The mural sites created a place to remember and honor the Buddha, with the sculpted and painted biographical narratives making him available to contemporary Burmese. The wall paintings illustrated what was culturally praiseworthy to the Burmese, reinforced the relevance of these things socially, and inspired people to participate in the dominant cultural discourse. In the process of doing so, the commemorative imagery demonstrated the field of merit surrounding Gotama Buddha. It memorialized his great achievement and the awakenings of the Buddhas before him, presenting them to the current audience and preserving them for future ones. However, it is the structure of the paintings within the temple layout - the disposition of the images and the selection of stories - that integrated the representations of the Buddhas into a complete unit.
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Green, Alexandra. "A Formula to Honor the Buddha." In Buddhist Visual Cultures, Rhetoric, and Narrative in Late Burmese Wall Paintings, 25–59. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390885.003.0002.

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This chapter establishes the standardization of the wall paintings in terms of painting style, subject matter, and detail, and determine the major social, political, and religious ideas that contributed to the production of the wall paintings and provided a rationale for the standardized format. The murals evince exceptional consistency in choice of subject matter, representation of imagery, and arrangement within an architectural space across the central zone from the late seventeenth to early nineteenth centuries. Each temple contains variations in style, modes of representation, and design, yet all sites draw upon an established group of structures and material so that the differences reveal continuities in subject matter and organization diachronically and synchronically. Although the subject matter of the wall paintings appears to comprise an extensive body of material, the focus upon a specific repertoire for more than a century and the fact that it falls within narrow thematic parameters – the centrality of Gotama, how to worship him, and the power that emanates from spiritual awakening – demonstrates the religious and social constraints placed upon it.
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Green, Alexandra. "Word and Image." In Buddhist Visual Cultures, Rhetoric, and Narrative in Late Burmese Wall Paintings, 161–89. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390885.003.0005.

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As Chapter Four demonstrates, the murals were part of the efflorescence of Nyaungyan and Konbaung dynasty literary activity, visual counterparts to vernacular, Pāli, and dramatic productions. The narratives in the Burmese wall paintings were new tellings of old stories, drawing on Pāli texts and oral traditions, that were shaped to serve the purposes of the temples that housed the murals, reflecting the established repertoire, the desires and goals of donors, and the roles of the artists and monk producers. This chapter explores the various ways in which Burmese wall paintings connected with and related to “words,” both of the written and spoken variety. Textually and visually, Burmese wall paintings incorporated literary concepts in three main ways. First, the prose captions of the murals functioned as glosses to the visual narrative. Secondly, the popularization of drama and narration in Burmese society connected with a focus on an extended narrative format in the murals. Thirdly, the embellishments of descriptive prose and poetry paralleled the illustration of elaborate settings in the murals. The wall paintings formed a nexus of oral, visual, and textual traditions, linking them together through biographical memorialization.
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Green, Alexandra. "Conclusion." In Buddhist Visual Cultures, Rhetoric, and Narrative in Late Burmese Wall Paintings, 190–200. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390885.003.0006.

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Burmese wall painting sites from the late seventeenth, eighteenth, and early nineteenth centuries housed a specific body of material that was sufficiently relevant to Burmese Buddhist concepts, beliefs, and practices that it was maintained in a standardized format over the course of a “long” century. In these temples, biography, textile patterns, cosmology, and protective and ritual imagery located the murals within contemporary culture where repetition provided religious, social, and political authentication for the Burmese Buddhist community. This type of display created an appropriate space in which to house and honor a Buddha image or images, memorialized the Buddha, and codified a visual liturgy,...
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Green, Alexandra. "Art as Action." In Buddhist Visual Cultures, Rhetoric, and Narrative in Late Burmese Wall Paintings, 108–60. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390885.003.0004.

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Chapter Three addresses how the structure of the murals created a performative ritual space. The murals presented paths of action for the viewer, ranging from scenes of homage to the installation of protective devices within the temple. The murals also represented and encoded models to encourage viewers to participate in particular religious activities, and specifically demonstrated the potential future benefits of giving to sustain the sāsana. Yet, they moved beyond representing religious ideas by commemorating the Buddha and exhorting specific forms of ritual action. The wall paintings and the buildings in which they were housed addressed the devotee’s body, not just his or her mind. Entering and being enclosed within the Buddha’s life stories and hence his community, as well as being surrounded by luxury goods and potential benefits, protective diagrams and chants, and normative religious activities was part of the process of devotion and reification of the concepts expressed by the structure as a whole. The envelopment was a performative action, ritually invoking and honoring the Buddha and pulling practitioners into these multiple potential experiences.
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Peleggi, Maurizio. "The Place of the Other in Temple Art." In Monastery, Monument, Museum. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824866068.003.0004.

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Chapter 3 examines the “Othering” of Europeans (farang) and Indian/Middle Easterners (khaek) in temple murals and illuminated manuscripts as a reflection of two divergent sources of knowledge: the premodern geography rooted in Indo-Buddhist cosmogony, and the commercial and diplomatic exchanges of the early modern age. The chapter examines several specific depictions of foreigners in pictorial illustrations of the Buddhist cosmology of the Three World and in mural cycles of the Buddha’s legendary previous lives (jatakas).
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Birrell, Anne. "Chinese and Japanese Studies." In A Century of British Medieval Studies. British Academy, 2007. http://dx.doi.org/10.5871/bacad/9780197263952.003.0013.

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This chapter examines British work on Chinese and Japanese studies. It explains that for a significant part of the twentieth century British sinologists have been trendsetters worldwide in the field of medieval studies. Most of the British research focused on Tun-huang studies, the Taoist canon, Buddhist temple art, Chinese landscape painting, Sung porcelain and Chinese poetry. This chapter also stresses the need to examine the concepts of gender and egalitarianism with the framework of current trends in medieval sinology.
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Ura, Karma. "Visual Arts and Visualization." In Bhutan, 37—C3.P205. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192868572.003.0003.

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Abstract A literature survey of spiritual masters and their early temple-residences and extinct gyal khars indicate the impermanence of wall paintings they housed. Yet the techniques of preparing base-coat plaster and palletes of mineral and organic colours for frescoes lasted long. Some plant-based colours are common to both painting and fabric or yarn dyeing. Experiences of pigment preparation were distilled into a theory of colours in the 17th century Tibet and this is recalled in the light of Bhutanese practices. The earliest fresco in the country is that of Paro Taktshang rock face with its style exceedingly alike the 11th century Drathang monastery in south-western Tibet. Evolution of artistic styles is traced from ancient mural paintings of Tamshing temple and Khoma temple to an ‘unsurpassed subtlety’ in Tango Gyalsey Zimchung and Tongsa Lama Lhakhang. With the exception of Drukpa Kunley’s rebelliously haunting poetry, erotic art could not emerge in the monastic environment, but flourished in terms of phallic images on rural houses, though this too is threatened in modern Bhutan. Erotic performances by clowns in mask dance festivals and dances performed naked are linked to rites of fecudinity and fertility. The final part delineates my hypothesis that Vajrayana iconography have been influenced by its primary purpose: to instruct and support meditative visualization.
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Conference papers on the topic "Buddhist temple mural painting"

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Ferrari, Edoardo Paolo. "Of Earth, Stone and Wood: The Restoration and Conservation of a Buddhist Temple in Ladakh, Indian Himalayas." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.14377.

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The Dukhang Yokma is a small Buddhist temple part of the Ensa monastery in the Nubra river valley in Ladakh. The Dukhang was severely damaged by water infiltration soon after its construction at the be- ginning of the 20th century. Water seepage through its stone and mud mortar plinth caused a gradual bulging of the foundations which was followed by a steady shift of the whole structure. In the course of several decades this shift became irreversible and gradually damaged most of the masonry structure. The building had been neglected for several years before an active interest in its preservation emerged. Dur- ing this time, several parts of the buildings were dismantled and the temple’s inner chamber on two sto- reys tilted almost to the point of collapse. The conservation, consolidation and restoration of the temple has been undertaken by Achi Association India from 2018. This article analyses the restoration project and its many challenges, including wall painting stabilization. It explains in detail the issues faced by Achi team members and the way these problems were resolved through making use of local resources in this remote hermitage. One of the most complicated issues was to bring the inner temple’s structural elements back to their original straight position, avoiding any collapse and damage of the wall paintings. The complexity of the task was due to the very fragile mixed structure on two storeys made of wood, mud bricks and stone.
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