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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Jain, Dr Sushma. "MURAL PAINTING OF GIRIRAJ TEMPLE GWALIOR." ShodhKosh: Journal of Visual and Performing Arts 1, no. 1 (June 25, 2020): 8–14. http://dx.doi.org/10.29121/shodhkosh.v1.i1.2020.4.
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English: The Tomarvanshi tradition of promoting music, literature and art emerged as an influential center of Gwalior art, creating a style that was different from the Gujarati tradition but influenced by both Rajput and Akbarian Mughal art. It was natural that Gwalior had become a stronghold of artists at that time. [1].
Hindi: संगीत, साहित्य और कला को प्रोत्साहन देने की तोमरवंषी परम्परा के कारण ही ग्वालियर कला के प्रभावषाली केन्द्र के रूप में उभरा इस केन्द्र से एक ऐसी शैली का निर्माण हुआ जो गुजराती परम्परा से भिन्न किन्तु राजपूत और अकबरकालीन मुगलकला दोनों से प्रभावित थी । स्वाभाविक था कि ग्वालियर उस समय कलाकारों का गढ़ बन गया था । [1]
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Kim, A.-Reum. "The Buddhist Temple and Buddhist Painting of Bogwangsa Temple in Paju in 1898." RESEARCH INSTITUTE FOR THE MAHAN-BAEKJE CULTURE 39 (June 30, 2022): 302–31. http://dx.doi.org/10.34265/mbmh.2022.39.302.
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Bogwangsa temple (普光寺) located at the foot of Goryeongsan mountain, Paju city, Gyeonggi province is well-known as the temple dedicated to Soryeongwon(昭寧園), the tomb of Sukbin Ms Choi (淑嬪崔氏, 1670-1718), mother of King Yeongjo(英祖, r. 1724-1776) in late Joseon Dynasty. At the same time, the temple had long been closely related with the royal family of Joseon Dynasty, serving as the temple for royal family members.
The year 1898 was one of the important occasions when constructions and repairs of the structures of the temple had been made throughout the history. In 1896, Inpa Yeonghyeon(仁坡 英玄) advised Court Lady Cheon to reconstruct Chwijeon(鷲殿), a building in the temple, leading the court to decide to do that. In 1897, construction began, and, in spring 1898, Empress Eom and Court Lady Hong donated funds to paint the new building of Chwijeon. In addition, distinguished painters in Seoul city and Gyeonggi province were asked to draw Buddhist paintings, and they produced six pieces of Buddhist painting: Samjangbosaldo, Hyeonwangdo, Chilseongdo, Dokseongdo, and Gamrodo in addition to Shakyamuni Preaching at the Vulture Peak. The director of painting works was Inpa Yeonghyeon as in the case of the construction works of Daeungjeon Hall. The Buddhist monk-painters who drew the Buddhist paintings were over 20 painter monks in the Seoul and Gyeonggi region from the late 19th century to the early 20th century including Gyeongseon Eungseok (慶船應釋), Yewun Sanggyu (禮芸尙奎) and Geumhwa Gihyeong (錦華機炯). They had began to know each other before participating in producing Buddhist paintings in Bogwangsa, and, continued to cooperate in producing Buddhist paintings ever since.
The Buddhist Services and Buddhist paintings of Paju Bogwangsa in 1898 are important sources to allow us to recognize the power of Bogwangsa temple and how the court supported the works. The Buddhist paintings are precious sources from which we can figure out the characteristics of Buddhist paintings in the Seoul and Gyeonggi region from the late 19th century to the early 20th century, and painting styles of those artists. In addition, those paintings are precious sources from which we can comprehensively examine the times when they were drawn, the places they were devoted, the backgrounds of drawing them, artists who created them, other people who were involved in drawing those paintings with various services, and exchanges among painter monks, etc.
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Hawaldar, Asmita. "Manmath Pooja." Integrated Journal for Research in Arts and Humanities 3, no. 1 (February 3, 2023): 101–5. http://dx.doi.org/10.55544/ijrah.3.1.17.
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Lepakshi is a small town1 situated in Hindupur taluka of Anantpur district, Andhra Pradesh. Veerbhadra temple located in Lepakshi is famous for monumental temple architecture of Vijaynagar Empire period. The extensive mural paintings executed on the walls and temple ceilings are world famous. One of the painting ‘Girija Kalyanam’ depicts story of marriage of Shiv and Parvati. It is a narrative panel. It starts with the painting famously known as ‘Parvati’s toilet’. In this paper, I have tried to prove that it is not ‘Parvati’s toilet’ but ‘Manmath Pooja’.
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Park, Eun-Kyung. "Mural Paintings of the Korean Buddhist Temples - Decorating elements and expressional realms from different time periods." Journal of Buddhist Art 28 (October 30, 2019): 371–97. http://dx.doi.org/10.36620/bms.2019.28.15.
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Lee, Hwa Soo, Yeong Gyeong Yu, and Kyeong-Soon Han. "Material and Manufacturing Properties of Bracket Mural Paintings of Daeungjeon Hall in Gaeamsa Temple, Buan." Journal of Conservation Science 38, no. 1 (February 28, 2022): 45–54. http://dx.doi.org/10.12654/jcs.2022.38.1.04.
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This study examined the production technique of bracket murals in Daeungjeon Hall, Gaeamsa Temple by conducting a analysis of their wall structure, material characteristics, and painting layers. Wall was a single-branch structure with support layer, middle layer, finishing layer, and painting layer. The support layer, middle layer and finishing layer, were produced by mixing sand (quartz, feldspars etc.), and loess. The ratio of above medium sand to below fine sand was approximately 0.7 : 9.3 in the support layer, 4 : 6 in the middle layer and 6 : 4 in the finishing layer, which had a more percentage of above medium sand than the support layer. The analysis of the painting layer showed that natural soil pigment was used to establish a relatively ground layer of up to 50 μm, and pigments such as Lead sulfate, atacamite and mercury sulfide were painted on top of the layer. This study’s results confirmed that the bracket mural paintings in Gaeamsa Temple are within the category of the production style of murals during the Joseon period. However, the points that the middle layer was formed several times, the significant difference in particle size distribution between the wall, and the absence of chopped straw in the support layer are a feature of bracket mural paintings in Gaeamsa Temple. These properties of murals as material and structure may be viewed for correlation with the degree of damage to wall structure of mural painting and would serve as an important reference to diagnosis the conservation conditions of murals or prepare conservation treatments.
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Nurova, Gerlya V. "К истории cоздания росписей центрального буддийского храма Калмыкии (2016–2019 гг.)." Desertum Magnum: studia historica Великая степь: исторические исследования, no. 2 (December 30, 2020): 179–91. http://dx.doi.org/10.22162/2712-8431-2020-10-2-179-191.
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The article discusses the history of the creation thangka paintings in the Central Buddhist Temple (khurul) of the Republic of Kalmykia which was opened in 2005. The article attempts at giving analysis of the formation of sacral art environment of the Elista Buddhist Temple in the context of the development of Tibetan-Kalmyk Buddhist relationships. The article describes the stages, peculiarities and complexity of the painting process that was done by the Tibetan artists who came from India and are masters of the traditional thangka painting. The author gives the documental facts about the work organization and process that lasted almost three years. The article gives information about thangka painters, well-known nowadays: their biographies, characteristics and the information about their further life. By creation the paintings of the Central Khurul, these painters contributed to the development of the spiritual culture in Kalmykia.
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Lee, Hwa Soo. "Conservation and Structure on Mural Painting of the Early Indian Cave Temple." Art History Journal 49 (December 15, 2017): 251–70. http://dx.doi.org/10.24828/ahj.49.251.270.
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YOON, YEO CHANG. "A Study on Dome-shaped Mural painting of the Buddhist Caves in Kucha." RESEARCH INSTITUTE FOR THE MAHAN-BAEKJE CULTURE 39 (June 30, 2022): 100–121. http://dx.doi.org/10.34265/mbmh.2022.39.100.
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Kim, Dae-won. "A Study of the Background in 〈Lady Seol’s Kwonsonmun(薛氏夫人勸善文)〉." Korean Society of Calligraphy 41 (September 30, 2022): 5–28. http://dx.doi.org/10.19077/tsoc.2022.41.01.
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"The Precept for Human Rights of the Seol Clan" by Sun Chang-seol (1429-1508), a government official, is the oldest promotion of virtue text of Joseon left by an individual, and is very meaningful. Soon Chang-seol, a government official, was the first female writer, painter, and calligrapher in Joseon dinasity, 75 years before Sin Saimdang was born. This promotion of virtue text is a valuable artifact of Mrs. Seol's achievements in calligraphy and painting, as well as a measurement and standard of Buddhist culture at that time.
Since Joseon was a country where Confucianism was established, officials in the Joseon Dynasty, which was centered on the “godfather of Shinheungsa” criticized Buddhism beyond the criticism of Buddhism by Buddhist Buddhism. However, from “King Taejo”, most of the royal family, including the king were in a position to prevent the abolition of the Buddhist community which caused social problems rather than the policy of deterrence.
In particular, during the reign of King Seongjong from King Sejong, where the government, Soon Chang-seol lived, it was friendly to Buddhism, including publishing copies of Buddhist texts such as "Seokbosangjeol" and "Wolincheon Gangjigok." In particular, King Sejo claimed to be a Buddhist disciple and built the “Odaesan Sangwonsa Temple Jungchangwon Gate”, and circulated it to the central government and local officials to raise funds for the reconstruction of the “Sangwonsa Temple”.
With this extensive circulation to the "Odaesan Sangwonsa Temple" became a sample of promotion of virtue text which was later produced. And 17 years after this, the "Seol Clan's Human Rights Proposition" is based on the style of “Jo Maengbu” which was popular at the time, and the style of the border line, line, and seal which according to the status of the upper and lower ranks. However, the "Seolsibu Human Rights Proposition" has its own special features, which provide a preview of the temple with its unique narrative style and incredible writing and the first “Cheongnoksan Painting” of the Joseon Dynasty.
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Suphaphimol, Nattaphon, Nakarin Suwannarach, Witoon Purahong, Churdsak Jaikang, Kamonpan Pengpat, Natthawat Semakul, Saranphong Yimklan, et al. "Identification of Microorganisms Dwelling on the 19th Century Lanna Mural Paintings from Northern Thailand Using Culture-Dependent and -Independent Approaches." Biology 11, no. 2 (January 31, 2022): 228. http://dx.doi.org/10.3390/biology11020228.
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Lanna painting is a unique type of painting in many temples in the Northern Thai region. Similar to most mural paintings, they usually decay over time partly due to the activity of microbes. This study aimed to investigate the microorganisms from two Lanna masterpiece paintings in two temples that differ in the numbers of visitors using both culture-dependent and -independent approaches. The microorganisms isolated from the murals were also tested for the biodeterioration activities including discoloration, acid production and calcium precipitation. Most microorganisms extracted from the paintings were able to discolor the paints, but only fungi were able to discolor, produce acids and precipitate calcium. The microorganism communities, diversity and functional prediction were also investigated using the culture-independent method. The diversity of microorganisms and functional prediction were different between the two temples. Gammaproteobacteria was the predominant group of bacteria in both temples. However, the fungal communities were different between the two temples as Aspergillus was the most abundant genus in the site with higher number of visitors [Buak Krok Luang temple (BK)]. Conversely, mural paintings at Tha Kham temple (TK) were dominated by the Neodevriesia genera. We noticed that a high number of visitors (Buak Krok Luang) was correlated with microbial contamination from humans while the microbial community at Tha Kham temple had a higher proportion of saprotrophs. These results could be applied to formulate a strategy to mitigate the amount of tourists as well as manage microorganism to slow down the biodeterioration process.
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Zhang, Fan. "Chinese-Buddhist Encounter." Asian Studies 7, no. 2 (June 28, 2019): 87–111. http://dx.doi.org/10.4312/as.2019.7.2.87-111.
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The standard pictorial formula of Fuxi and Nüwa, a pair of indigenous Chinese deities, started to absorb new motifs from Buddhist art during the early medieval period when Buddhism became more prominent in China. In this paper, I focus on the juxtaposition of Fuxi-Nüwa and cintamani, a magic Buddhist jewel, depicted on the ceiling of the corridor in the tomb of Lady Poduoluo, Pingcheng, Shanxi (435 CE). Through a detailed visual analysis, I explain the multiple meanings embedded in the combination of the Chinese mythological figures with the Buddhist symbol in the funerary space, thus challenging the previous studies that understand cintamani only as a substitute for the sun and moon. This paper furthers the discussion on the hybrid image by investigating the mural painting on the ceiling of Mogao Cave 285 in Dunhuang. Despite their different spatial and temporal contexts, both the tomb of Lady Poduoluo and Mogao Cave 285 present a similar pictorial formula, featuring the hybridization of cintamani and the Fuxi-Nuwa pair. This phenomenon invites us to explore the transmission of such motifs. I, therefore, situate the production of the syncretic scheme of Fuxi-Nüwa with cintamani within a broader historical context and examine the artistic exchange between Pingcheng and Dunhuang by tracing the movements of images, artisans, and patrons in early medieval China.
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Mazzeo, R., P. Baraldi, R. Lujàn, and C. Fagnano. "Characterization of mural painting pigments from the Thubchen Lakhang temple in Lo Manthang, Nepal." Journal of Raman Spectroscopy 35, no. 89 (July 6, 2004): 678–85. http://dx.doi.org/10.1002/jrs.1203.
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Li, Tian Tian. "Exploration on the Origin of Architectures Murals — Analysis on Geographical Features of Song, Liao and Jin Dynasty in Shanxi." Advanced Materials Research 838-841 (November 2013): 2870–74. http://dx.doi.org/10.4028/www.scientific.net/amr.838-841.2870.
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Abundant historic buildings still exist in Shanxi, of which architectures built in Song, Liao and Jin Dynasty are in the majority, especially the number and area of murals in this period ranking first in the nationwide, which embody the essence of Chinese traditional culture with great artistic value. The constant abundance and development of culture and art in ancient China are represented on murals of this period, and valuable materials have been provided for our understanding towards the painting technique of ancient murals in Shanxi, which is beneficial for our study on the historical origin of traditional architecture and mural art meanwhile. This paper focuses on the discussion and analysis comprehensively of 6 existing murals including murals of Shousheng Temple of Ruicehng, Shanxi, murals of the Great Hall of Mahavira in Kaihua Temple, Gaoping, murals of Sheli Tower in Jueshan Temple of Lingqiu, murals of Sakyamuni Pagoda in Fogong Temple of Ying County, murals of Amitabha Hall in Chongfu Temple of ShuoZhou and murals of Wenshu Hall in Yanshan Temple of Fanshi.
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Shin, Kwanghee. "Production and Enshrinement of Buddhist Guardians Painting of Guksaam Hermitage of Ssanggyesa Temple." JOURNAL OF KOREAN CULTRUAL HISTORY 55 (June 30, 2021): 133–54. http://dx.doi.org/10.29334/mhsh.2021.06.55.133.
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Andrei, Talia J. "The Elderly Nun, the Rain-Treasure Child, and the Wish-Fulfilling Jewel: Visualizing Buddhist Networks at the Grand Shrine of Ise." Religions 13, no. 7 (June 23, 2022): 585. http://dx.doi.org/10.3390/rel13070585.
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The nunnery Keikōin was a powerful Buddhist institution, famous in late-medieval Japanese history for its vigorous and successful fundraising campaigns on behalf of the Grand Shrine of Ise. Much is known about the nuns’ fundraising activities, but very little is known about their religious practice. A recently discovered painting, I believe, sheds some light on this long-standing question. It depicts an elderly nun invoking the deity Uhō Dōji in the form enshrined at Kongōshōji, a temple situated at the top of Asama Mountain, to the east of Ise’s Inner Shrine. Based on several of the iconographic elements, I argue the nun portrayed in the painting is from Keikōin and that she is shown engaging in esoteric Buddhist practices related to those carried out at Kongōshōji. Comparative analysis with other paintings and the historical record has, moreover, led me to propose that the Keikōin nuns performed these esoteric practices at Ise’s Kora no tachi, the hall where young shrine maidens prepared the daily food offerings for Ise’s deities.
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Chou, Wen-shing. "Reimagining the Buddhist Universe: Pilgrimage and Cosmography in the Court of the Thirteenth Dalai Lama (1876–1933)." Journal of Asian Studies 73, no. 2 (April 15, 2014): 419–45. http://dx.doi.org/10.1017/s0021911813002441.
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During his exiles from Lhasa in the 1910s, the Thirteenth Dalai Lama visited the holy places of Wutai Shan in China and Bodh Gaya in India. After his return, he commissioned paintings of these two places in cosmological mural programs of his palaces. While conforming to earlier iconographic traditions, these paintings employed empirical modes of representation unprecedented in Tibetan Buddhist paintings, revealing a close connection to the Dalai Lama's prior travels. This essay traces how these “modernized” renditions were incorporated into an existing pictorial template, and examines the deft rearticulation of a Buddhist cosmology in light of the Dalai Lama's own encounter with the shifting geopolitical terrains of the early twentieth century. I show that painting served as a powerful medium through which the Dalai Lama asserted his spiritual sovereignty and temporal authority over modernity's work of boundary making. The study elucidates a sphere of agency and creativity in the court of the Thirteenth Dalai Lama that has evaded historical inquiries to date.
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주수완. "A Restorative Approach to Buddhist Ritual of Koguryo by the Mural Painting on Jangcheon Tomb No.1." 불교문예연구 ll, no. 10 (February 2018): 247–75. http://dx.doi.org/10.35388/buddhi..10.201802.008.
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Park, Jongseo, and Jeong Won Lee. "Analysis of Binding Media Used in Mural Painting of Temple Wall by Pyrolysis/GC/MS and IR." Journal of Conservation Science 33, no. 5 (October 30, 2017): 345–54. http://dx.doi.org/10.12654/jcs.2017.33.5.03.
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Koh, Seung-Hee. "A Study on Geumgokdang Yeonghwan’s Buddhist Banner Painting at the Bulam‐sa Temple in Mt. Cheonbo." Art History Journal 44 (June 15, 2015): 183–210. http://dx.doi.org/10.24828/ahj.44.183.210.
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Bopearachchi, Osmund. "Brahmā at the Ajapāla Banyan Tree: Re-Examining Paintings at the Sulamani Temple, Bagan." Religions 11, no. 4 (April 5, 2020): 171. http://dx.doi.org/10.3390/rel11040171.
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This article examines how the literary evidence corroborates with the visual evidence for the unusual presence of Brahmā with the Buddha at the Ajapāla banyan tree of the goatherd symbolizing the Fifth of the Seven Weeks after the Enlightenment of the Buddha in the paintings of the recessed chamber in the east corridor of the Sulamani temple in Bagan in Burma. The presence of Brahmā at the Ajapāla banyan tree is puzzling, because most of the mural paintings in Burma and Sri Lanka follow the chronological order given in the Nidānakathā, and, as a result, the intervention of Brahmā pleading with the Buddha to reconsider his decision not to expound the doctrine takes place in the Eighth Week. The painting of the encounter of Brahmā and the Buddha at the banyan tree in the Sulamani temple in the Fifth Week is thus a notable exception. It is argued that the visual artist of the Sulamani temple who introduced Brahmā in an earlier than normal context knew the narratives in the Pāli Mahāvagga and in the Nidānakathā well and, to shorten a long story, selected quite wisely the Ajapāla banyan tree of the goatherd where both events took place, meaning the Fifth and Eighth Weeks.
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Oliveira Lopes, Rui. "A New Light on the Shadows of Heavenly Bodies." Religion and the Arts 20, no. 1-2 (2016): 160–96. http://dx.doi.org/10.1163/15685292-02001008.
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The distinct tradition of Indian shadow puppetry has been the subject of much interest among scholars, focusing mainly on its origin, the mutual exchange between different regions across Asia, and the relationship between theater performance and popular culture. This study discusses the similarities of shadow puppets with temple mural painting and loose-leaf paintings, and shows how puppets may have shifted technically from narrative paintings on loose-leaf folios toward motion pictures, in order to create a more interactive link between the audience and the storyteller. The first part of this paper explores the archetypal and psychological meanings of shadow in Indian culture and religion, as well as its relationship with the origins of painting. The main issues include archetypal references to the shadow of Hindu gods described in Vedic, epic, and Purāņic sources, the use of prototypes to transmit knowledge to humankind, and the analysis of shadow puppets as moving pictures. Secondly, the paper analyzes the materiality of puppets and their consistency with Indian aesthetics and art criticism in the form of theoretical principles found in classical texts and art treatises such as the Nāțyaśāstra, the Viṣṇudhārmottāra, and the Śilpaśāstra.
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Lee, Jang Jon, Ji Yoon Ahn, Young Mi Yoo, Kyeong Min Lee, and Min Su Han. "Diagnosis of Coloration Status and Scientific Analysis for Pigments to Used Large Buddhist Painting(Gwaebultaeng) in Tongdosa Temple." Journal of Conservation Science 33, no. 6 (December 31, 2017): 431–42. http://dx.doi.org/10.12654/jcs.2017.33.6.03.
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Song, Yan, Linlin Zhou, Yunpeng Wang, Fangzhi Liu, Juwen Guo, Ruixia Wang, and Austin Nevin. "Technical Study of the Paint Layers from Buddhist Sculptures Unearthed from the Longxing Temple Site in Qingzhou, China." Heritage 4, no. 4 (September 22, 2021): 2599–622. http://dx.doi.org/10.3390/heritage4040147.
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In 1996, more than four hundred Buddhist statues were excavated from the Hoard of Longxing Temple site in Qingzhou, Shandong Province, China. They are of great significance in the study of Buddhism history during the Northern and Southern Dynasties of China, and have attracted widespread attention since they were unearthed. In this paper, the paint layers from 14 of the Buddhist statues unearthed from the Longxing Temple site were analyzed using portable 3D microscopy, Raman spectroscopy and X-ray fluorescence spectroscopy was used to determine the materials used in their production. Several microscopic samples were analyzed in the laboratory using scanning electron microscopy/energy dispersive spectrometer, X-ray diffraction and micro-Raman spectroscopy. The combined results from the field and laboratory analyses materials used in painting layers of these statues were identified, and the technique for the production of the sculptures was studied. After the stone sculpture of Buddha was finished, a priming layer of lead white was applied over the stone body as a ground, over which pigments were applied. These include mineral pigments (cinnabar, malachite, lapis lazuli and cerussite), Chinese ink (carbon black) and gold leaf. Cinnabar was used for the outer garments, the halos and ornaments of Buddha and Bodhisattva statues; malachite, was found primarily on the Monk’s clothing; the blue pigment, lapis lazuli, was mainly used for the Buddha’s bun, halo and outer garment edges; carbon black ink was employed for drafting and sketching clothing and decorative patterns.
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Lee, Yeon-Seo, and Yeon-A. Kim. "Application of Pictorial Elements in Body Art: Focusing on the Buddha expressed in Buddhist art in the Unified Silla Period." Korean Society of Beauty and Art 21, no. 3 (September 20, 2020): 311–24. http://dx.doi.org/10.18693/jksba.2020.21.3.311.
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In modern society, with its coexistence of diverse culture, it is a process of genuine cultural development to remember the beauty of the traditions in our cultural heritage and allow it to continue to evolve through art and cultural exchange and creative work. The truth and concept of religion are invisible in our daily lives. To expose it, help from art is needed. Buddhism, in which people realize truth on their own, samsara, and the redemption of all people are recognized as the highest values, has long been entwined with the history of the Republic of Korea. During the era of the Unified Silla Dynasty, Buddhism was beyond a mere religion and was an official state religion. Since it was directly connected with the country’s fate, Buddhist temple-related fine arts flourished. Therefore, this study attempted to reinterpret the images of Buddha based on a theoretical review of Buddhist concepts and characteristics of Buddhist art during the Unified Silla period and suggested new styles of both Korean and modern ambivalence by expressing pictorial element-applied design through body painting in a torso mannequin style. It is expected that these works would offer an opportunity to contemplate the meaning and value of Korean traditional patterns by expressing the Buddhist art of the Unified Silla Dynasty. It is also anticipated that they would be available as art and aesthetic cultural contents in a creative and diverse fashion.
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Schmidt, Birgit Angelika, Martin Andreas Ziemann, Simone Pentzien, Toralf Gabsch, Werner Koch, and Jörg Krüger. "Technical analysis of a Central Asian wall painting detached from a Buddhist cave temple on the northern Silk Road." Studies in Conservation 61, no. 2 (March 3, 2016): 113–22. http://dx.doi.org/10.1179/2047058414y.0000000152.
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Moon, Myung‐dae. ""An Iconographic Study on the Characteristics of Royal Family Sponsored Buddhist Painting at Heungcheonsa Temple and the Split Screen Type Painting of Nine Stages of Sukhavati"." Art History Journal 55 (December 15, 2020): 15–34. http://dx.doi.org/10.24828/ahj.55.15.34.
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Shin, Kwang hee. "The Buddhist Painting at the 'Border': Shakyamuni Buddha Preaching produced in the early Joseon Dynasty collected in Koshoji Temple, Japan." Journal of Buddhist Art 31 (December 31, 2020): 115–40. http://dx.doi.org/10.36620/bms.2021.31.4.
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An, Bo Yeon. "A Study on the Manufacture Process and Weaving Characteristics of the Ensouling Pouch Hung on Buddhist Painting in Namjangsa Temple, Sangju." Journal of the Korean Society of Costume 71, no. 2 (April 30, 2021): 107–25. http://dx.doi.org/10.7233/jksc.2021.71.2.107.
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Kim, Hyun-joong. "A Study of the Painting of the 104 Buddhist Guardian Deities – with the Focus on the Painting of the Guardian Deities in the Main Hall of Pyochungsa Temple by Ilseop." Dongak Art History 24 (December 31, 2018): 57–89. http://dx.doi.org/10.17300/dah.2018.24.3.
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Mangkhang, Charin, Nitikorn Kaewpanya, Tongsukh Sombun, and Watchara Pangchan. "The Mahaboworn Model of Social Studies Learning Network Innovation to Develop of Indigenous History Learning Resources in Northern Thailand." Journal of Education and Learning 10, no. 5 (August 30, 2021): 177. http://dx.doi.org/10.5539/jel.v10n5p177.
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The objective of this research is to 1) explore historical background through a participatory workshop on the legend of Phra Nang Malika of Wiang Malika in Lanna, and 2) create indigenous history learning resources through mural painting and picture book, the legend of Phra Nang Malika, in Mae Ai Luang Temple Chiang Mai Province. The samples included the following: 1) 22 community leaders, monks, school administrators, teachers, village philosophers, and youth representatives; 2) 8 indigenous technologists; and 3) 5 learning management specialists. Purposive sampling was used to choose a total of 35 individuals. The instruments used in the research were an unstructured interview, a knowledge synthesis form to create murals, and a validity assessment form and 4) a performance evaluation form for a picture book regarding indigenous history. Quantitative data were examined using statistical software to determine the mean and standard deviation. Qualitative data were analyzed using content analysis and presented in a descriptive format. The findings indicated that;
1) In Mae Ai district, the legend of Wiang Malika and Phra Nang Malika is a legacy of Chiang Mai Province, which is related to the history of Fang, and Phra Nang Sam Pew, which is connected to the Lanna Kingdom’s historical growth. In terms of trade, politics, governance, and religion, for example, is considered the role of women as rulers or kings, which exemplifies the notion of feminism throughout history and influencing the development of the Lanna Kingdom’s later age and 2) The outcome of the development of learning resources on indigenous history through murals and picture book at Phra Nang Malika in Mae Ai Luang Temple, Chiang Mai Province, through “the Mahabowon Model of Social Studies Learning Network or CMUR Model” resulting in educational materials on indigenous history that integrate the cooperation of universities, communities, temples, and schools, resulting in high-quality knowledge of indigenous historical record. A summary of the indigenous history picture book is also included. The appropriate sampling value is most suitable (x = 4.57, SD = 0.37).
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Ahn, Ho-Kyun. "A Study on Sketching of Buddhist Temple & Sightseeing Place of Sketching Landscape Appeared in Aactual-view Landscape Painting of the Geumgang mountain of Gyeomjae(Jeong Seon) - Focused on the Painting of Geumgang Naesan -." Journal of Art and Culture Studies 3 (December 31, 2013): 105. http://dx.doi.org/10.18707/jacs.2013.12.3.105.
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Koh, Seung Hee. "A Study on the Style of the Painting of the Assembly of Sakyamuni Preaching at Vulture Peak in the Old Buddhist sanctum of Ssanggyesa temple, Hadong." Art History Journal 58 (June 15, 2022): 93–114. http://dx.doi.org/10.24828/ahj.58.93.114.
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김건희. "A Study on the Origin of Korean Ideal Worlds Identified based on the Taoist-Buddhist Mixed Perspective on Afterlife Found on Mural Paintings of Ancient Tombs from the Goguryo Dynasty - With a Focus on the Buddhist Elysium and Land of Hermits with Mysterious Powers on Mural Painting of the Goguryo Ancient Tombs -." Journal of Korean Studies ll, no. 43 (December 2012): 285–311. http://dx.doi.org/10.17790/kors.2012..43.285.
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Syrtypova, S. Kh D. "Maitreya and Zanabazar in Mongolia." Orientalistica 5, no. 5 (December 25, 2022): 1043–61. http://dx.doi.org/10.31696/2618-7043-2022-5-5-1043-1061.
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An article is made in a series about the artistic activity by a brilliant sculptor and extraordinary thinker G. Zanabazar (1635–1723), whose criation predetermined the development of Buddhism and the entire course of events in Mongolia. The cult practice of Maitreya as one of the heroes of the bodhisattvas and as the Buddha of the Future among the Mongolian peoples arose under the decisive necessity of the first rituals performed under the influence of Undur-Gegen in the Erdene-Zuu monastery in 1657. Ritual meetings of the Buddha or Maitreya's cycle have become one of the most beloved, very colorful and festive events in the large-scale life of the most important Buddhist monasteries. The divine image of a beautiful, young yogi with the image of a stupa in his hair, an antelope skin on his left shoulder, a jug of sacred water and a gesture of preaching the teaching and at the same time granting protection, a noble Zanabazar, distinguished by elegances and nobility, and very close in style and spirit to the best works by Nepalese masters of the XI–XIV centuries. The sculpture of the standing bodhisattva Maitreya, 72 cm high, made by Undur-Gegen Zanabazar, is one of the main shrines of the capital's biggest Gandantegchenling Monastery. The rarest painting, the thangka of Maitreya Zanabazar, is found in the G. Zanabazar Fine Arts Museum in Ulaanbaatar. The second type of image of Maitreya is the crowned Buddha, sitting in bhadraasana on a high seat, also widespread in Tibeto-Mongolian Buddhism, and one of them is located in the Choijin Lama Museum-Temple in Ulaanbaatar, it belongs to the Zanabazar’s school. In this article, for the first time, a detailed description of the works by Zanabazar associated with to the cult of Maitreya is made.
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Pavlyshyn, Andrii. "Materials on the History of the UNESCO World Heritage Site – the Church of St. Spirit in Potelych." Scientific Papers of the Vinnytsia Mykhailo Kotsyiubynskyi State Pedagogical University. Series: History, no. 38 (December 2021): 9–16. http://dx.doi.org/10.31652/2411-2143-2021-38-9-16.
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The aim of the article is to analyze and systematize the materials on the history of the outstanding monument of Ukrainian sacred architecture and painting - the Church of St. Spirit in Potelych, as well as the introduction of a new source into scientific circulation, which helps to explore in more detail the history of the temple. The research methodology is based on the principles of objectivity, historicism, systematics, analytical and synthetic critique of sources. The method of historical reconstruction contributed to the formation of disparate facts into a holistic view of the history of the church of St. Spirit. The scientific novelty of the work lies in the attempt to systematize the materials on the history of the church of St. Spirit in Potelych. A new historical source of the XVIII century is introduced into scientific circulation, which complements the source base of the study of the monument, as well as the history of the settlement in which it is located. The proposed document can be used to study the history of the church, art, local lore, demographic studies, as well as other topics on the history of society in the early modern period. Conclusions. As a result of the analysis of the published, as well as the introduction of a new source into scientific circulation, it was possible to recreate the chronology of the existence of the Church of St. Spirit in Potelych from the 60s of the XVI century to modern time. It is established that the church was built on the site of the church of St. Borys and Hlib between 1559 and 1564. In the first half of the XVII century the church was decorated with a unique mural, which, in particular, may be associated with confessional processes. During this century, the church changed its confessional affiliation several times, until the second half of the XVII century. Finally it entered the structure of the Kyiv Union Metropolitanate. Over the following decades, the number of its parishioners increased and its interior was enriched, as evidenced by the act of visiting the church. During the Soviet era, the church was closed, at the same time declared a monument of national importance and thoroughly restored in 1970–1972. Since 2008, the church has fully restored its sacred functions, and in 2013 was declared a UNESCO World Heritage Site.
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Starodubcev, Tatjana. "Physician and miracle worker. The cult of Saint Sampson the Xenodochos and his images in eastern Orthodox medieval painting." Zograf, no. 39 (2015): 25–46. http://dx.doi.org/10.2298/zog1539025s.
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Saint Sampson, whose feast is celebrated on June 27, was depicted among holy physicians. However, his images were not frequent. He was usually accompanied with Saint Mokios (in Saint Sophia in Kiev, the Transfiguration church in the Mirozh monastery and the church of the Presentation of the Holy Virgin in the Temple in the monastery of Saint Euphrosyne; possibly also in Saint Panteleimon in Nerezi and Saint Demetrios in the village of Aiani near Kozani; furthermore, in the church of Saint Nicholas in Manastir and, afterwards, in the katholikon of the Vatopedi monastery). In a later period, he was usually shown in the vicinity of Saint Diomedes (in the churches of Saint Achillius in Arilje, Saint George in the village Vathiako on Crete, Saint Nicholas Orphanos in Thessaloniki, the Annunciation in Gracanica, the narthexes of the Hilandar katholikon and the church of the Holy Virgin in the monastery of Brontocheion at Mistra, the katholicon of the Pantokrator monastery and the church of Saint Demetrios in Markov Manastir). There are no substantial data regarding the identity of the saints depicted next to him in the metropolitan Church of Saint Demetrios at Mistra, while in a number of cases the image of the saint shown next to him has not been preserved (e.g. Saint Irene in the village of Agios Mamas on Crete, Gregory?s Gallery in the church of Saint Sophia in Ohrid and the church of the Holy Virgin (Panagia Kera) near the village Chromonastiri on Crete). On the other hand, in the church of the Holy Virgin in Mateic, Saint Sampson is, exceptionally, depicted among bishops, while in the church of the Holy Archangels in Prilep and the chapel of the Holy Anargyroi in Vatopedi, he is, as usual, surrounded by holy physicians but his mates are not featured - neither Saint Mokios, not Saint Diomedes. The earliest known commemorative text dedicated to him is the extensive hagiography - Vita Sampsonis I, composed in the seventh or the early eighth century. Other hagiographies, which mostly date from the tenth century, are completely based on the earlier writing. Such a composition can be found in the Synaxarion of the Church of Constantinople. In the extensive text (Vita Sampsonis II), Symeon Metaphrastes added a part that included detailed descriptions of a number of posthumous miracles, mostly healings; all these events are also mentioned in the short Hagiography. Finally, in the late thirteenth century, Constantine Akropolites wrote the still unpublished Hagiography (Vita Sampsonis III), in which he presented an account of events from the later history of the Saint?s hospital. The hagiographies inform us that Sampson was a Roman by birth and a kin of Emperor Constantine. He inherited a fortune, which he distributed to the poor. Then, he departed for Constantinople, where he found a modest home. Patriarch Menas ordained him a priest. Relying on the medical knowledge, Sampson was saving the sick and he even cured Emperor Justinian from an incurable disease. For that reason, the Emperor found a large house, in which he established and fully equipped a xenon (hospital, ?????), whereas Sampson was appointed as the skeuophylax of the Great Church. The Blessed continued to work there until his death. His venerable leipsana, which rested in the church of Saint Mokios, constantly issued the cures. His feast was celebrated in the hospital founded by him. Long time had passed between the period in which the Saint had lived and the epoch in which his earliest hagiography was compiled. During that time, some events could have fallen into oblivion and accounts of other events could have been invented. Accordingly, the results of the researchers of Saint Sampson?s xenon?s history are valuable. The hospital was housed in Sampson?s home, where he provided not only health care, but also food and bed. It was presumably founded in the fourth century. The xenon was burned in the Nika riots in 532 and Emperor Justinian had it renovated and expanded. Based on some documents issued in the Empire of Nicaea, it may be concluded that the xenon had vast estates. The Crusaders first sacked it, to subsequently use it for their own needs, as they established the Order of Saint Sampson. The hospital soon received many properties in Constantinople and its environs, Hungary and Flanders. It seems that after the liberation of Constantinople, the activities of Saint Sampson?s hospital were ceased and that there was a monastery at its place in the Palaiologan period. Anyway, the reputation of its holy founder persisted throughout the thirteenth century. Constantine Akropolites wrote the already mentioned Hagiography, and in one of his letters he spoke of the Saint, who was also mentioned in a poem by Manuel Philes (died around 1345). In Constantinople, the veneration of Saint Sampson had two centres - the hospital named after him and the church of Saint Mokios, where his leipsana rested. According to the synaxaria of the Typikon of the Great Church and the Church of Constantinople, the feast dedicated to the Saint was celebrated at his xenon. The former text informs us that the service was held by the Patriarch, whereas Symeon Metaphrastes relates that the vigil on the eve of the feast took place over the relics in the church of Saint Mokios. The Patriarch celebrated the feast dedicated to Saint Sampson with hospital clergy in the church within the xenon, both mentioned by Metaphrastes. It was either this church or a shrine from a later period that housed the iconostasis noted down by Constantine Stilbes, an eyewitness of the Latin capture of the Byzantine capital. Written sources and archaeological finds are consistent in that the hospital was located between the churches of Saint Sophia and Saint Irene. However, the first excavations carried out at the site of the xenon were not properly documented, whereas archaeologists involved in further investigations could not rely on reliable data, though they carefully examined all finds. The question arises why Saint Sampson was at first usually depicted in the company of Saint Mokios, a presbyter who died a martyr?s death in Constantinople (May 11), and later, together with Saint Diomedes, the physician who died in Nicaea (August 16). Therefore, this paper briefly presents the hagiographies of the two saints and the churches in the Byzantine capital where their relics rested - the monastery of Saint Mokios, which did not exist in the mid-fourteenth century, and Saint Diomedes, which was counting its last days in the fourteenth century, reduced to a small monastery. Dobrynja Jadrejkovic (subsequently Antony, archbishop of Novgorod) noted down around 1200 that the saint?s stick, epitrachelion and robes were kept at the hospital of Saint Sampson, whereas in the church of Saint Mokios, under the altar, rested Saint Mokios and Saint Sampson. He also mentioned that water flew from the latter?s grave, as well as that the church of Saint Diomedes was near the Golden Gate and that the relics of Saint Diomedes rested there. However, the Russian pilgrims who visited Constantinople during the Palaiologan period mentioned neither Saint Sampson?s hospital, not the church of Saint Mokios, whereas the church of Saint Diomedes, but not his relics, was noted down only by an unknown traveller who described the pilgrimage undertaken between the late 1389 and the early 1391. The answer to the question of what happened to the leipsana that once laid in these churches is not possible to provide. The fate of the relics of Saint Sampson, previously kept in his xenon, is not known, nor is it known where the commemorations of the three saints were held in the capital during the Palaiologan period. Anyway, the depictions of Saint Sampson accompanied by Saint Diomedes - whose oldest examples are preserved in Arilje - indicate that the connection of these two priest-physicians had already begun by the time when the church was painted (1295/1296), but, judging by the available sources, the only evidence on the process is given by the paintings. Although Saint Sampson founded the hospital which was probably the oldest in Constantinople, and though his leipsana, kept in the church of Saint Mokios, had healing powers, while his relics in the xenon were visited by pilgrims, it seems that the respect for this saint in the Byzantine capital was not reflected in the frequency of his images among holy physicians: he was fairly rarely shown among them. As a matter of fact, the earliest representations of Saint Sampson originated from Constantinople. They can be found on lead seals made for the hospital in the second half of the sixth and during the seventh century. On the other hand, there is no any known preserved depiction of this saint in the mural decoration of the early churches. Accordingly, it may be assumed that the veneration of Saint Sampson was initially limited to Constantinople, and that it was only later, since the time when his short hagiography was included in the synaxarium and his extensive hagiography was written for the Metaphrastes?s comprehensive work, that it was adopted in other areas of the East Christian world. It may seem paradoxical that the preserved images of the Saint dating from the period when his xenon flourished are less numerous than those from the time when the hospital, in all probability, did not exist. It seems that after the liberation of Constantinople from Latin rule, Saint Sampson was earnestly honoured and that the believers frequented the monastery at the site of the old xenon, though the hospital did not exist anymore. The former assumption is corroborated by the writings of Constantine Akropolites and Manuel Philes, whereas the latter is supported by the coins from the Palaiologan period found in the sacral building within the complex that once belonged to Saint Sampson?s hospital. Although his miraculous leipsana rested in the church of Saint Mokios, the posthumous miracles of Saint Sampson, described in later hagiographies, mostly took place in his xenon, which housed the relics that were visited by pilgrims and where commemorative services dedicated to him were held. The veneration of the Saint was long fostered within the institution founded by him - the ancient hospital where trained doctors worked - i.e. it was nurtured between the reputation of medical skills based on secular knowledge and miraculous healings.
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Joint Archaeological Team Of Resear, Academia Turfanica, and Kizil Research Institute. "The Tuyoq Buddhist Grottoes in Shanshan County, Xinjiang." Chinese Archaeology 12, no. 1 (January 1, 2012). http://dx.doi.org/10.1515/char-2012-0003.
Full textAbstract:
AbstractIn 2010, excavations were conducted to the Tuyoq Grottoes located in Shanshan (Piqan) County, Xinjiang. The excavation uncovered about 2500sq m in total, from which remains of over 50 grottoes and attached architectures and one ground level Buddhist temple were recovered. In the remains, about 200sq m of murals were unearthed, as well as large amounts of fragments of manuscripts, silk paintings and wooden implements. The caves of the Tuyoq Grottoes were arranged as multistoried clusters centered by chaityas around which viharas, meditation caves and caves with other functions were opened. The two new-recovered chaityas would be opened around the fifth century and belonged to the Early Phase of Tuyoq Grottoes. The excavation to Tuyoq Grottoes provided precious materials for the researches on the ancient Buddhist cave temples and the history and cultures of the Turfan area.
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Oo, Aye Aye. "Comparing the Parinirvāṇa Scene in Buddhist Murals of Myanmar | မြန်ြာနှိိုင်ငံရှှိ ဗိုဒ္ဓဝင်နံရံဆ ေးဆရေးပန်ေးခ ျီြ ာေးြှ ပရှိနှိဗဗာန်စံခန်ေးကှိို နှိှိုင်ေးယှဉ်မခင်ေး." SPAFA Journal 4 (July 22, 2020). http://dx.doi.org/10.26721/spafajournal.v4i0.626.
Full textAbstract:
From the beginning of the Bagan period (11th century CE), Buddha’s Parinirvāṇa Scene has been depicted on wall paintings in religious buildings and hollow vaulted temples at various places of middle Myanmar. It is found that wall paintings based on the Maha Parinirvāṇa Sutta vary in layout and size from period to period with Buddhist literature: just as single-scenes and small or large wall paintings were depicted during the Bagan period so also were depictions of multiple scenes made in the late Konbaung Period. Further additions were introduced in depictions of Buddha’s Parinirvāṇa in the late Bagan Period. When studying the Buddha’s Parinirvāṇa scene on wall paintings, the depicting styles and colour changed from period to period. Depending on the colour, the periods can be interpreted definitely. Wall paintings depicting the Parinirvāṇa Sutta at temples located in Bagan and middle Myanmar regions are compared among themselves to show differences and similarities. Accounts of the purported events surrounding the Buddha's own Parinirvāṇa are found in a wide range of Buddhist countries of South East Asia. This paper concludes that the hypothesis is viable, with comparisons with the wall paintings depicting Buddha’s Parinirvāṇa Scene in Myanmar and how the style changed and transformed.မြန်ြာနှိိုင်ငံအလယ်ပှိိုင်ေးဆနရာအနှံှံ့အမပာေးတွင် ပိုဂံဆခတ်အဆစာပှိိုင်ေးကာလ(၁၁ရာစို)ြှစ၍ ဗိုဒ္ဓ၏ပရှိနှိဗဗာန်စံခန်ေးကှိို ဘာသာ ဆရေး ှိိုင်ရာ အဆ ာက်အဦေးအြ ှိြုေးြ ှိြုေးနှငဲ့် ဂူဘိုရာေးဝတ်မပြုဆက ာင်ေးြ ာေး၏နံရံြ ာေးတွင် သရိုပ်ဆ ာ်ဆရေး ွွဲခွဲဲ့ကကသည်။ ြဟာပရှိ နှိဗဗာနသိုတတံကှိို အဆမခခံဆသာ နံရံဆ ေးဆရေးပန်ေးခ ျီြ ာေး၏ အခင်ေးအက င်ေး၊ အရွယ်အစာေးြ ာေးသည် ဆခတ်ကာလအလှိိုက် ကွွဲမပာေး မခာေးန ေးြှိုရှှိပပျီေး ပိုဂံဆခတ်ကာလက ဇာတ်ကွက်တစ်ကွက်ကှိိုသာ အရွယ်အစာေးအာေးမ ငဲ့် ကကျီေးသည်မ စ်ဆစ၊ ငယ်သည်မ စ်ဆစ နံရံဆ ေးဆရေးပန်ေးခ ျီတွင် သရိုပ်ဆ ာ်ဆရေး ွွဲဆလဲ့ရှှိပပျီေး ကိုန်ေးဆဘာင်ဆခတ်ဆနှ င်ေးပှိိုင်ေးကာလတွင် ဇာတ်ကွက်တစ်ကွက်ထက် ပှိိုြှိို ဆရေး ွွဲလာသည်ကှိို ဆတွွေ့ရှှိရပါသည်။ ဗိုဒ္ဓ၏ပရှိနှိဗဗာန်မပြုပံိုဇာတ်ကွက်အာေး သရိုပ်ဆ ာ်ဆရေး ွွဲရာတွင် ပိုဂံဆခတ်ဆနှ င်ေးပှိိုင်ေးကာ လ၌ ထပ်ြံထညဲ့်သွင်ေးြှိုြ ာေးကှိို မပြုလိုပ်လာကကသည်။ နံရံဆ ေးဆရေးပန်ေးခ ျီြှ ဗိုဒ္ဓ၏ပရှိနှိဗဗာန်ဇာတ်ကွက်အာေးဆလဲ့လာသညဲ့်အခါ သရိုပ်ဆ ာ်ဆရေး ွွဲြှိုပံိုစံြ ာေးနှငဲ့် ဆ ေးဆရာင်မခယ်သြှိုြ ာေးြှာ ဆခတ်ကာလအလှိိုက် ဆမပာင်ေးလွဲလာကကသည်။ ဆ ေးဆရာင်မခယ်သ ြှိုအဆပေါ်ြူတည်၍ ဆခတ်ကာလကှိို အတှိအက ဆ ာ်မပနှိိုင်သည်။ ပိုဂံနှငဲ့်မြန်ြာနှိိုင်ငံအလယ်ပှိိုင်ေးြှ ဘာသာဆရေးအဆ ာက်အဦေး ြ ာေးနှငဲ့် ဂူဘိုရာေးဝတ်မပြုဆက ာင်ေးြ ာေးတွင်ရှှိဆသာ နံရံဆ ေးဆရေးပန်ေးခ ျီြ ာေး၌ ပရှိနှိဗဗာနသိုတတံအာေး သရိုပ်ဆ ာ်ဆရေး ွွဲပံိုြ ာေးအကကာေး ကွွဲမပာေးမခာေးန ေးြှို၊ တူညျီြှိုတှိိုှံ့အာေး မပသနှိိုင်ရန်နှိှိုင်ေးယှဉ်ဆလဲ့လာထာေးပါသည်။ အဆရှွေ့ဆတာင်အာရှြှ ဗိုဒ္ဓဘာသာဝင်နှိိုင်ငံြ ာေးအ ကကာေး ဗိုဒ္ဓ၏ပရှိနှိဗဗာန်စံခန်ေးနှငဲ့်စပ်လ ဉ်ေးသညဲ့်ဆ ာ်မပခ က်ြ ာေးကှိို က ယ်မပနှံ့်စွာဆတွွေ့ရှှိရဆပသည်။ ယခိုစာတြ်ေးသည် အဆရှွေ့ ဆတာင်အာရှနှိိုင်ငံြ ာေးြှ နံရံဆ ေးဆရေးပန်ေးခ ျီြ ာေးတွင် သရိုပ်ဆ ာ်ဆရေး ွွဲထာေးဆသာ ပရှိနှိဗဗာန်စံခန်ေးနှငဲ့်ထှိိုင်ေးနှိိုင်ငံတှိိုှံ့ြှသရိုပ်ဆ ာ် ပံိုြ ာေးကှိို နှိှိုင်ေးယှဉ်ဆလဲ့လာြှိုြ ာေး မပြုလိုပ်နှိိုင်သည်ဟူဆသာ အယူအ ကှိို ဆကာက်ခ က်ခ ထာေးပါသည်။
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Gao, Zhenhua, Mingyi Du, Ning Cao, Miaole Hou, Wanfu Wang, and Shuqiang Lyu. "Application of hyperspectral imaging technology to digitally protect murals in the Qutan temple." Heritage Science 11, no. 1 (January 12, 2023). http://dx.doi.org/10.1186/s40494-022-00847-7.
Full textAbstract:
AbstractHyperspectral imaging technology is a research hotspot in the field of cultural heritage protection. It can be used to quickly and noninvasively obtain detailed spectral information from the surfaces of cultural relics of different categories. We can intuitively analyse pigment compositions, line characteristics, painting skills and patterns using spectral information. Hyperspectral imaging has high scientific significance and application value for the protection, restoration and research of ancient murals and other cultural relics. In this study, a mural from Daheitian hall in the Qutan temple, Qinghai Province, China, was used as a sample. The hyperspectral data were acquired and analysed for several purposes. Pigment spectral matching and abundance inversion were carried out to obtain the pigment distribution. These data were enhanced by continuum removal and histogram stretching to obtain hidden information. The dark channel prior, Criminisi and Retinex methods were used to virtually restore the image of the mural. The results indicated that by using hyperspectral imaging data, the constructed pure pigment spectrum library and suitable approaches, the types and distributions of mural pigments can be quantitatively analysed, and the lines in murals can be extracted. Hyperspectral images are helpful for identifying information hidden by pigments or surface materials. Mural images can be enhanced, and hidden information can be highlighted using enhancement methods, such as continuum removal and histogram linear stretching. In addition, hyperspectral imaging data have unique advantages in the restoration of mural images, and the combination of defogging methods and image inpainting algorithms can realize the virtual restoration of mural images. In brief, hyperspectral imaging technology was found to have a highly favourable effect on pigment analysis, line extraction, information enhancement, hidden information extraction and the virtual restoration of ancient murals.
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Yang, Hye Ri, Chan Hee Lee, and Jeongeun Yi. "Analysis of pigments and damages for the 19th century White-robed Water-moon Avalokitesvara Painting in Gongju Magoksa Temple, Republic of Korea." Heritage Science 9, no. 1 (October 30, 2021). http://dx.doi.org/10.1186/s40494-021-00600-6.
Full textAbstract:
AbstractThe White-Robed Water-Moon Avalokiteshvara painting displayed on the rear wall of Daegwangbojeon (main hall) in Magoksa temple, is one of the representative Buddhist paintings in the late nineteenth century of Korea, and a valuable resource for understanding the coloring techniques and characteristics of Buddhist paintings in terms of expression and description in landscape painting. In this painting, the contours and colored surface remain undamaged, but blistering and exfoliation appear on some pigment layers. Furthermore, the partial decomposition of wooden materials due to wood-decay fungi and insect damage were found on the rear wall requiring proper treatment for long-term conservation. As the results of chromaticity and P-XRF analysis regarding the color pigment layer of the painting, the pigments were classified into ten types. The results suggest that the colors other than blue, green, yellow, red, black, and white were prepared by mixing two or more pigments. The types of pigments according to colors, were determined as traditional pigments with azurite; emerald green or clinoatacamite; 0 massicot; minium or hematite; Chinese ink; and kaolin, white lead, and gypsum, respectively. Violet and pink colors were assumed to have been prepared by mixing white with blue and red. In most of these pigments, small amounts of synthetic compositions from the modern era were detected at many points.