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Letteratura scientifica selezionata sul tema "Buddha sculpture"

Autore: Grafiati

Pubblicato: 29 luglio 2024

Ultima modifica: 31 luglio 2024

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Articoli di riviste sul tema "Buddha sculpture"

Talesara, Priyank, e Aniruddh Bahuguna. "Decoding of the Story Superimposed of Buddhist Sculpture unearth from Bharja and testifying its relation to this Silk-route area of Sirohi District, India". Technium Social Sciences Journal 7 (25 aprile 2020): 302–11. http://dx.doi.org/10.47577/tssj.v7i1.410.

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

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Jinsin, Kun. "Chinese Buddhist Sculpture of the Early Period. Iconographic Features". Scientific and analytical journal Burganov House. The space of culture 16, n. 2 (10 giugno 2020): 114–26. http://dx.doi.org/10.36340/2071-6818-2020-16-2-114-126.

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Chinese Buddhist Sculpture of the Early Period. Iconographic Features The development period of the art of Buddhist sculpture from the mid and late era of Eastern Han to the era of Western Jin is addressed in this article. The Buddhist sculpture of this period is called early Chinese Buddhist sculpture. During this period, before individual Buddhist sculptures became official objects of worship, Buddha images were made on stone carvings in tombs, on money trees, bronze mirrors, hunping vessels, etc. They have many similarities between each other, and therefore are significantly different from Buddhist sculptures of the later period. Based on currently available archaeological materials, relief was the main form of Buddhist sculptures of this period; sculptures mainly served as decor and were not an object of worship. In terms of purpose and meaning, they were mainly associated with funeral rituals, beliefs about happy omens, beliefs about celestials, early Taoist and other ideas, etc. After putting in order and combining material on the remains of early Buddhist sculptures, the following features of the art of sculpture can be distinguished: 1. In many ways, the early Buddhist sculptures expressed the early style of Gandhara. 2. The early Buddhist statues were closely related to the themes of the celestials and Huang Lao. 3. Buddhist sculpture did not occupy the most respected position. These sculptures mainly performed a decorative function, symbolized happiness and prosperity, and were not the main object of worship. Two conclusions can be drawn from this: the art of early Buddhist sculptures and religion basically developed synchronously; after appearing in China, the art of Buddhist images immediately became Chinese.

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Ullah, Irfan, Muhammad Akram Soomro e Mudassar Zulfiqar. "A Review of Archaeological Reports and Literature on the Gandhara Sculpture Collection of the Royal Ontario Museum". Academic Journal of Social Sciences (AJSS ) 4, n. 3 (11 novembre 2020): 377–403. http://dx.doi.org/10.54692/ajss.2020.04031212.

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This review paper focuses on a forty-three-piece collection of Gandhara sculpture in the Royal Ontario Museum in Toronto, Canada. Although individual pieces of Gandhara sculpture are widely known to scholars, much of the collection of the Gandhara sculpture of the Royal Ontario Museum is unknown to scholars. In this paper, these sculptures have been described and analysed as a collection. The paper is organised on Gandhara ancient history, physical geography, and the history of the Buddha image in ancient subcontinent Pakistan in South Asia. Emphasis is placed on the era of the Kushan Empire from the 1st to 4th century AD when the school of Gandhara sculpture achieved its highest levels of production and craftsmanship. The Gandhara School of sculpture produced work continuously for at least six centuries and reached its peak of achievement during the era of the Kushan Empire that dominated Central Asia and Northern sub-continent India-Pakistan from the 1st to 4th centuries AD.

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Istanto, Riza, e T. Triyanto. "Religious Tolerance Through Stone Sculpture Production: The Case of Indonesian Sculptors". Walisongo: Jurnal Penelitian Sosial Keagamaan 27, n. 1 (30 luglio 2019): 179–98. http://dx.doi.org/10.21580/ws.27.1.3630.

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The purpose of this research is to analyze the value of tolerance reflected in the stone-sculpture production in Muntilan. This study used a sociology research approach with an ethnographic research design. The data collection techniques were conducted through ethnographic observation and interviews as well as document data. The results showed that the stone craft production in Muntilan is local wisdom that reflects the value of tolerance. Most of the rock artisans are Moslems, but they continued stone sculpture production that is part of the Hindhu-Buddist tradition. The product is oriented towards consumer demand, which is a contrast to the beliefs of sculptors such as Buddha statues, Hindu deities, statues of Jesus, as well as statues of other religions. The sculptures separated themselves between work and religious issues. It illustrates an open attitude as well as tolerance in accepting and understanding differences. Such local wisdom with a long-standing tolerance value in the community is a potential for community development in realizing a harmonious and peaceful life.

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Yusuf, Muhamad Satok. "ARCA BHAIRAWA (HAYAGRĪWA LOKEŚWARA) PADANGROCO BERLANGGAM SENI SIŊHASĀRI". AMERTA 40, n. 1 (26 giugno 2022): 41–56. http://dx.doi.org/10.55981/amt.2022.19.

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Abstrak. Para peneliti terdahulu meyakini bahwa arca Bhairawa dari Situs Padangroco, Provinsi Sumatra Barat berlanggam Majapahit berdasarkan konteks relasi historis Raja Ādityawarman dengan Kerajaan Majapahit dan penggambaran arca dalam postur tegak kaku seperti arca Majapahit pada umumnya. Tinjauan terhadap langgam arca seharusnya juga memperhatikan ornamen dan gaya seninya. Penelitian ini berupaya mengkaji ulang ikonografi dan langgam arca Bhairawa Padangroco yang diduga kuat berlanggam Siŋhasāri dan bukan perwujudan Bhairawa. Analisis yang digunakan ialah analisis ikonografi dan perbandingan gaya seni. Hasil kajian ulang ikonografis pada penelitian ini menunjukkan bahwa arca Bhairawa Padangroco merupakan perwujudan Hayagrīwa sebagai manifestasi Awalokiteśwara dalam wujud mengerikan, yang di dalam agama Buddha didudukkan sebagai simbol penguasaan terhadap kekuatan diri sendiri. Lebih lanjut dikemukakan bahwa arca Bhairawa Padangroco ialah Hayagrīwa Lokeśwara. Berdasarkan hasil analisis perbandingan gaya seni arca, ditemukan bahwa arca Bhairawa Padangroco memiliki langgam Siŋhasāri. Adapun arca yang digunakan sebagai pembandingnya ialah dua arca kembarannya dari Situs Candi Jago dan koleksi Metropolitan Museum of Arts, arca kembar Siŋhasāri lainnya, dan arca-arca berlanggam Siŋhasāri dan Majapahit. Kata kunci: Reinterpretasi, Bhairawa, Padangroco, Ikonografi, gaya seni. Abstract. The Sculpture of Bhairawa (Hayagrīwa Lokeśwara) of Padangroco as Art of Siŋhasāri. Previous researchers believed that the Bhairawa sculpture from the site of Padangroco, West Sumatra Province was in Majapahit style based on the historical context of King Ādityawarman’s relationship with the Majapahit Kingdom and the depiction of the sculpture in a rigid upright posture like Majapahit sculptures in general. A style review of the sculpture should also pay attention to its ornamentation and art style. This study seeks to reinterpret the iconography and style of the Bhairawa Padangroco sculpture, which is strongly suspected to be in the Siŋhasāri style and not the embodiment of Bhairawa. The study used iconographic analysis and comparison of art styles. The results of the iconographic review show that the Bhairawa Padangroco sculpture is the embodiment of Hayagrīwa as a manifestation of Awalokiteśwara in a terrible form, which in Buddhism is positioned as a symbol of mastery over one’s strength. It was further stated that the Bhairawa Padangroco sculpture was Hayagrīwa Lokeśwara. Based on the results of the comparative analysis of sculpture art styles, it was found that the Bhairawa Padangroco sculpture has the Siŋhasāri style. The sculptures used as comparisons are the two twin sculptures from the site of Jago Temple and the Metropolitan Museum of Arts’ collection, other Siŋhasāri twin sculptures, and the sculptures in Siŋhasāri and Majapahit styles. Keywords: Reinterpretation, Bhairawa, Padangroco, Iconography, art style.

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Demenova, Victoria V. "Sino-Tibetan Style of Buddhist Sculpture: Articulation of the Attribution Problem". Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, n. 2 (2022): 272–86. http://dx.doi.org/10.15826/izv2.2022.24.2.039.

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This article is devoted to the concept of “style” and the possibility of its application in the attribution of works of Buddhist metal sculpture. This aspect, which, as a rule, is peripheral for classical Oriental studies, Buddhology, and history, where it is interpreted quite freely, is one of the key ones for art history and museum attribution activities. The author notes the terminological and factual diversity of the designation of the “Sino-Tibetan style” in the circle of researchers of the art of Buddhism. The author poses the question of what exactly the concept of “Sino-Tibetan style” means and whether it is an indication of the body of technical and plastic features of sculptures, or just a designation of the geography of the origin of Buddhist sculptures of the eighteenth and nineteenth centuries made in the western provinces of China. The author refers to three sculptures which are the most controversial ones from the point of view of attribution (Maitreya Buddha from the private collection of A. V. Glazyrin (Ekaterinburg), Shakyamuni Buddha, and Begtse from the collection of the Sverdlovsk Regional Museum of Local Lore), which have several similar stylistic features, and which could presumably be attributed to the “Sino-Tibetan style” of the eighteenth century. Also, the article presents the results of the study of the metal composition of these sculptures using an X-ray fluorescence analyser (spectrometer). Based on the data obtained on the content of substances in the alloy and considering the general artistic and stylistic features of metal images, the author makes a conclusion as to when the attribution designation “Tibeto-Chinese style” is the most accurate one and when it can be applied to Buddhist gilded sculptures created on the territory of China (Manchu Qin dynasty) between the eighteenth and nineteenth centuries.

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Yan, Lifang. "Study on the Thin Flesh Sculptures of Northern Zhou Dynasty in Maijishan Grottoes". Highlights in Art and Design 4, n. 2 (27 ottobre 2023): 71–75. http://dx.doi.org/10.54097/hiaad.v4i2.13204.

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The thin flesh sculpture of the Flying Sky mural in the Seven Buddha Pavilion of the fourth cave of Maijishan was created in the Northern Zhou Dynasty, which is the product of the fusion of Buddhist art and traditional Chinese culture. Among them, the mural uses the method of combining painting and sculpture, which is rare and novel, which not only fully reflects the intelligence and extraordinary creativity of ancient artists in China, but also has high artistic value for Buddhist sculpture art in China. Taking "thin meat sculpture" as the research object, this paper analyzes and elaborates on the historical development of Northern Zhou statues, the overview of thin meat sculpture murals, their characteristics and artistic achievements, explores the relationship between the artistic techniques of painting and sculpture and Chinese sculpture and murals, and studies the significance of thin meat sculpture in the development of Chinese Buddhist sculpture and mural art.

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Xiao, Wei. "The Technique of Creating Buddhist Polychrome Sculpture". Scientific and analytical journal Burganov House. The space of culture 15, n. 3 (10 settembre 2019): 55–74. http://dx.doi.org/10.36340/2071-6818-2019-15-3-55-74.

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This work focuses on the origin, development, evolution of the Chinese art of polychrome sculpture, as well as philosophical ideas, national specificities, cultural content, a religious concept, artistic specificity and aesthetic ideas manifested in this context. The study provides a picture of how the cultural specificities of China are expressed in art and how spirituality is reflected in works of art. An objective description and complete historical research of the mentioned historical sites increase the available information on them and are meant to strengthen measures intended for their protection. The first comprehensive and detailed analysis of the technology for creating Chinese traditional Buddhist polychrome sculpture is presented in the article.The subject-matter of the artworks, the characteristics of the material used to create them, and the sculpting methods are fully analyzed through the method of a thorough study of the current state of the preserved polychrome sculpture in the Shuanglin Monastery. Two thousand and fifty-four statues of polychrome sculpture, the main of which are Buddha (佛祖), Bodhisattva (菩萨), Heavenly Kings (天王) and Arhat (罗汉) are preserved in the monastery. They are divided into two large groups: circular form sculptures and bas-reliefs. Clay, wood, water, straw, and mineral pigments are the main materials used for the creation of Buddhist polychrome sculptures. Modeling and polychrome painting are two main technologies in the process of making sculptures. Modeling consisted of creating a frame, applying coarse clay and sculpting a large-scale figure, applying medium density clay, applying thin layers of clay and creating details, whitening, bas-relief painting with the chalk-glue mixture, gilding, painting, etc. From the point of view of form, the ancient Chinese Buddhist polychrome sculpture as a work of religious art had to correspond to Buddhist canons. Before starting the process of creating a statue, a craftsman had to make a sketch. During modeling, an artist was guided by the secrets of the craft passed down orally from a teacher to his student and summarized as a technical guide by his predecessors. Statue of Skanda. Dynasty Min. Shuanglin Buddhist polychrome sculpture as a form of fine art with an elaborated form and rich spiritual content perfectly combines technology and artistry.

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Arissusila, I. Wayan, e Ni Luh Putu Trisdiyani. "Pasang Surut Kerajinan Patung Kayu Pada Industri Pariwisata Di Desa Batubulan Kangin". Ganaya : Jurnal Ilmu Sosial dan Humaniora 4, n. 2 (13 settembre 2021): 589–606. http://dx.doi.org/10.37329/ganaya.v4i2.1400.

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The wooden sculpture craft in Batubulan Kangin Village began in 1968. The learning process was more than twenty people, and took place in Guang Village. In 1970, after they were proficient at making sculptures, they taught their villages starting with statues of Garuda, Ramayana and others. These crafts have marketing opportunities and motivate craftsmen to increase their creativity. When there was the first Bali bombing, and the globalization market, these crafts experienced a decline. Based on that, the problems were posed, namely: How is the process of realizing wooden sculptures, what products are produced, and how are the ebb and flow of wooden sculptures in Batubulan Kangin Village. The purpose of this study was to describe the ebb and flow of wooden sculpture in the tourism industry in Batubulan Kangin Village. This study uses data collection techniques carried out by observation, interviews and document studies. Data analysis was carried out with a qualitative approach, based on aesthetic theory and social change. The results of this study are the process of realizing wooden sculptures starting from the exploration of ideas, shapes, selection of materials, tools, work processes and finishing. The products produced are statues of Garuda Wisnu, Rama Shinta, Hanoman, Chinese Dragon, Kwan Im, Toa Pe Kong, Buddha, Barong, Rangda, Saraswati, Sri, Durga, Lord Shiva, Ganesha and Kwan Sing Tee Koen statues. The ups and downs of wooden sculpture can be seen from 1970. In that year there were about twenty people who were skilled at making sculptures and developing them, for example the statue of Garuda, Ramayana, and others. The existence of these crafts, has marketing opportunities and motivates craftsmen to increase their creativity. When the first Bali bombing occurred, the globalization market, and the corona virus, these crafts experienced a decline, but craftsmen continued to produce these crafts.

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Dulal, Lok N. "Bronze Sculpture of Mara Vijaya of National Museum, Nepal: A Study of Iconographic Perspective". Molung Educational Frontier 14 (22 luglio 2024): 179–204. http://dx.doi.org/10.3126/mef.v14i01.67902.

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In Buddhism the images display the story and event of temptation of Mara to disturb and misguide devotion during the process of enlightenment of Siddhartha Gautam. The art which reflects this is called the icon of Mara Vijaya. The legend regarding the story of temptation of evil Mara over the good Sidhhartha Gautam can be found in several Buddhist texts. Due to the iconographic features and themes of the Buddha Jataka stories of temptation of Mara, the bronze sculpture of national museum is considered as an important specimen. The figures of Lord Buddha, demon Mara, his daughters, army troops, Ganesh and other animal’s figures have been sculptured in very attractive ways in this bronze relief. This paper explores the major iconographic features and to examine its importance as the bronze art heritage of Nepal. It employs qualitative approach and primary data and secondary information have been used. Required secondary information has been generated from journals, books and electronic versions of different sources while primary data have been collected by doing field study in national museum with in-depth observation of such relief.

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Più fonti

Tesi sul tema "Buddha sculpture"

Chiu, Angela Shih Chih. "The social and religious world of northern Thai Buddha images : art, lineage, power and place in Lan Na monastic chronicles (Tamnan)". Thesis, SOAS, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.617604.

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Revire, Nicolas. "The Enthroned Buddha in Majesty : an Iconological Study". Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA157/document.

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Cette thèse étudie en détail un type particulier de représentation du Bouddha où il est représenté assis sur un trône prééminent, le bhadrapīṭha ou bhadrāsana, dans une posture majestueuse avec les deux jambes pendantes, c’est-à-dire assis en bhadrāsana ou dans l’attitude « de bon augure ». Cette iconographie, étroitement associée à l’imagerie du trône, se retrouve largement représentée dans l’art de l’Asie du Sud, de l’Est et du Sud-Est, et est, en règle générale, intimement liée aux modèles de la royauté, de la fertilité, et même du divin. Plusieurs implications notables ressortent de cet examen iconologique concernant les origines, la diffusion, et le développement de l’art bouddhique dans ces contrées, particulièrement au cours du premier millénaire de notre ère
This dissertation provides a detailed study of a particular representation of the Buddha, in which he sits on a prominent throne, i.e. a bhadrapīṭha or bhadrāsana, in a majestic posture with two legs pendant, that is, in bhadrāsana or the “auspicious pose.” This pendant-legged imagery, generally associated with the throne, has been found widely depicted in South, East, and Southeast Asian art and is, as a rule, mostly associated with kingship, fertility, and even divinity. The results of this iconological examination have wide implications for understanding the origins, spread, and development of Buddhist art in those lands, particularly during the first millennium CE

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Rahman, Ghani-Ur <1974&gt. "Iconographic symbolism of a worldly mission: some selected prodigious episodes from the life of Buddha Sakyamuni represented in Gandhara sculpture". Doctoral thesis, Università Ca' Foscari Venezia, 2007. http://hdl.handle.net/10579/331.

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Karlsson, Klemens. "Face to face with the absent Buddha : The formation of Buddhist Aniconic art". Doctoral thesis, Uppsala University, Department of Theology, 2000. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-421.

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Early art in Buddhist cultic sites was characterized by the absence of anthropomorphicimages of the Buddha. The Buddha was instead represented by different signs, like awheel, a tree, a seat and footprints. This study emphasizes the transformation this artunderwent from simple signs to carefully made aniconic compositions representing theBuddha in a narrative context.

Buddhist aniconic art has been explained by a prohibition against images of theBuddha or by a doctrine that made it inappropriate to depict the body of the Buddha.This study rejects such explanations. Likewise, the practice of different meditationalexercises cannot explain this transformation. Instead, it is important to understand thatearly art at Buddhist cultic sites consisted of simple signs belonging to a shared sacredIndian culture. This art reflected a notion of auspiciousness, fertility and abundance.The formation of Buddhist aniconic art was indicated by the connection of these auspi- cious signs with a narrative tradition about the life and teachings of the Buddha.

The study emphasizes the importance Sakyamuni Buddha played in the formation ofBuddhist art. The Buddha was interpreted as an expression of auspiciousness, but hewas also connected with a soteriological perspective. Attention is also focused on thefact that the development of Buddhist art and literature was a gradual and mutualprocess. Furthermore, Buddhist aniconic art presaged the making of anthropomorphicimages of the Buddha. It was not an innovation of motive for the Buddhists when theystarted to make anthropomorphic images of the Buddha. He was already there.

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Sāising, Sakchai. "Les statues du Buddha de l'école du Lân Nâ : réflexions sur les influences reçues du XIIIe au XVIIIe siècle". Paris 4, 1999. http://www.theses.fr/1999PA040079.

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Le royaume du Lân Nâ, situé dans la région septentrionale de la Thaïlande, est apparu vers la fin du XIIIe siècle. Cette région du bouddhisme theravāda est célèbre par ses statues du Buddha en bronze. Influencée dès le début par l'art pala indien transmis par Pagan et par les Môns de la basse Birmanie, l'école du Lân Nâ se rapprocha ensuite à l'art de Sukhothai (en Thaïlande). Vers le milieu du XVe siècle et le début du XVIe siècle, l'art de ce royaume s'épanouit. Avec l' « âge d'or », les images du Buddha présentent plusieurs styles différents selon leurs inspirations : prolongation du style influencé par l'art pala, style hérité de l’art de Sukhothai et influence artistique venue de la Thaïlande centrale (Uthong et Ayuthya). L'école du Lân Nâ commença à décliner à partir du milieu du XVe siècle. Le royaume eut à affronter de nombreuses guerres avant de tomber sous la domination birmane en 1558. Les artistes surent conserver l’art de l' « âge d'or », bien qu'il y eut de moins en moins de fontes de statues du Buddha. Quand le Lân Nâ passa sous le contrôle du Siam, à la fin du XVIIIe siècle, il entra alors dans une période de reconstruction. [. . . ]Les récentes fouilles archéologiques du nord de la Thaïlande, ont permis de mettre au jour de nombreux vestiges, et en particulier des inscriptions. Grâce à ces découvertes, nous pouvons maintenant pousser plus loin les recherches sur les statures du Buddha du Lân Nâ - leur datation, leur classification, leur évolution - et essayer de faire des comparaisons. En nous appuyant sur les inscriptions, sur les chroniques historiques, et surtout sur la chronique du Lân Nâ, nous allons tenter de faire une une étude stylistique des statues du Buddha et une analyse des influences que le Lân Nâ à reçues depuis sa fondation en 1296 jusqu'à son déclin en 1774.

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Galloway, Charlotte Kendrick. "Burmese Buddhist imagery of the early Bagan period (1044-1113)". Connect to this title online, 2006. http://thesis.anu.edu.au/public/adt-ANU20071112.160557/index.html.

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Tun, Puthpiseth. "Bouddhisme Theravāda et production artistique en pays khmer : étude d’un corpus d’images en ronde-bosse du Buddha (XIIIe-XVIe siècles)". Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040223.

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Les statues en ronde-bosse du Buddha khmer, exécutées entre le XIIIe et le XVIe siècle, expriment des pratiques religieuses bien spécifiques, sont marquées du sceau de la tradition angkorienne et révèlent la sensibilité des échanges artistiques avec les pays voisins. Elles sont ainsi le reflet des diverses élaborations et des différents rôles qu’elles ont joué. Un corpus raisonné de deux cent trente-huit statues du Buddha travaillées dans la pierre, le bois et le bronze, issues de plusieurs collections muséales, de collections privées ou de découvertes restées in situ, aide à retracer l’évolution de la production artistique dans le royaume khmer durant cette période. Les principaux résultats de ce travail apportent de nouvelles explications autour de l’idée d’une prise et occupation d’Angkor par Ayutthaya et d’un déplacement du centre politique de la région d’Angkor vers la région des Quatre Bras
Images of Khmer Buddha executed between the 13th and c. 16th CE demonstrate specific religious practice, continuity of the Angkorian tradition, and artistic exchange with bordering countries. Together, they also reveal transformations in the form, definition and role of Buddhist sculpture in Cambodia. An annotated corpus of 238 Buddha images in stone, wood, and bronze from several museum and private collections, and in situ, assist in the reconstruction of changes to artistic production in the Khmer kingdom during this period. The principal results of this work provide new interpretations about the Ayutthyan invasion and occupation at Angkor, and resettlement of the Angkorian political centre in the Quatre Bras region

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Hoffman, Jeffrey. "A Crack in Everything". Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5305.

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Contained herein is a close examination of self-awareness and self-portraiture as it applies to the works of artist Jeffrey Hoffman. Water, frozen into various forms and combined with natural elements of wood, slowly melt over an indeterminable amount of time, each droplet documented as the process transforms the elements. Through this process, we see change. We see time. We see truth. This documentation of change and time through natural elements is where the artwork comes full circle. Working with new media to explore man's interconnectivity to life, energy, and the cosmos, he produces time based installations, photographs, videos, and sculptures that serve as both existential metaphors and Tantric symbols. With the use of digital cameras and video, a record is created by which the disintegration which occurs from the unseen forces of gravity, heat and time upon sculptures made from natural elements and ice is examined. In its sculptural form, his work can be categorized as Installation art and Performance art due to its evolving nature. Each piece is intended to either change over time or to have that change halted by another temporal force like that of flowing electricity. The possibility of allowing varying levels of self-awareness to emerge through self portraiture is also examined. The existential, as well as the metaphysical, can be present in a physical form when the form is imbued with evidence of an evolutionary process. In many ways, the work serves as a self portrait. It is a means for Hoffman to examine his own existentialism as a student of the modern western world and life.
ID: 031001330; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Title from PDF title page (viewed April 8, 2013).; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 31).
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and the Computer

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Juhel, Katia. "Histoire écrite, Histoire sculptée : essai d'analyse «philologique» de trois épisodes de la vie du Buddha dans les reliefs gandhariens au regard des sources narratives". Paris, EPHE, 2013. http://www.theses.fr/2013EPHE5010.

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Entre le milieu du Ier siècle de notre ère et le Ve siècle de n. è. , la région du Gāndhāra (vallée de l'actuelle Peshāwar) a été l'un des principaux centres d'une production artistique tout à fait particulière, qui est l'un des témoins majeurs de la diffusion locale du bouddhisme. La caractéristique de cet art est la représentation de différents événements de la vie du Buddha, d'importance variable, et leur agencement en séquences chronologiques diverses. Or, pendant la période considérée, deux textes à caractère biographique circulaient vraisemblablement dans la même aire géographique : le Buddhacarita et le Mahāvastu. L'un et l'autre ont été employés pour identifier les personnages ou les circonstances d'une scène, mais de façon très ponctuelle, ce qui n'est pas sans poser des problèmes sur le plan méthodologique : l'élément étudié intervient en effet dans un contexte très différent selon qu'il apparaît sur un bas-relief ou dans un récit narratif. L'objet du présent travail est justement de montrer l'importance d'une analyse d'ensemble qui prenne en compte la spécificité des sources avant de les confronter les unes aux autres. Nous avons pour ce faire mis en regard 364 scènes, réparties en dix-sept épisodes, avec les passages correspondants des textes, tout en cherchant à dégager les principes qui présidaient à leur ordonnancement dans l'un ou l'autre support. L'ensemble s'avère bien sûr disparate au premier abord, mais ne tarde pas à laisser apparaître une logique sous-jacente commune, qui atteste de la vivacité et de la cohérence des productions bouddhiques de l'époque
Between the middle of the Ist century A. D. And the Vth century A. D. , the region of Gāndhāra (nowadays the Peshāwar valley) has been one of the main centers of a very peculiar artistic production, that strongly testify to the local diffusion of Buddhism. The specificity of this artistic school is to represent events, sometimes secondary, of the life of the Buddha, and to set them in varyious chronological sequences. During the same period, two texts narrating the Buddha's life were possibly known, if not circulating in this very area : the Buddhacarita and the Mahāvastu. Both texts have been used in order to identify a given personage or a particular aspect of a figurative scene, proceeding thus by some sort of admitted correspondence or analogy whereas this approach reveals to be problematic. As a matter of fact indeed, the element under investigation, and even if apparently it denotes a similar meaning, intervenes differently and plays a different role in both media. The present essay aims at demonstrating the importance of an in-depth analysis and identification of the elements and variants specific to each source, as a propedeutic to their confrontation. Having this hypothesis in mind, we have compared 364 scenes, distributed among seventeen episodes, with the relevant textual passages, while searching the principles governing the organisation of the singular episodes. The interesting result of our analysis is that though at first glance the two types of sources seem to be heterogeneous, actually and rather quickly they appear to display a common underlying logic that testify to the vivacity and inner coherence of the buddhist productions of that time

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Kazuaki, Uehara, e 上原一明. "The influence of China on the Buddha sculpture art in Japan". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/86309337370283560041.

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博士
淡江大學
中國文學系博士班
100
China and Japan are both in the east of the Eurasia. Because of geographical proximity, the culture exchanges began since ancient times. Culture is the common wealth of mankind. Cultural exchange is not only the driving force of human progress, but an inevitable trend of historical development. It is not confine to ethnic, geographic and other restrictions. Culture exchanges in the reciprocal and cooperative ways. Japan is China''s neighbors. There are many envoys, returned students between the regions. They give impetus to interflow in religion, commercial and trade activities. Japan has formed a new culture with Chinese culture as the center. Japan start to send envoys to China in Sui Dynasty Kai Huang Two decades (A.D 600). The next two hundred and fifty decades, the envoys, returned students and monks kept bringing back Chinese culture from Sui and Tang dynasty. The most important in these exchanges was Buddhist. Mikado Shotoku sent envoys to absorbing Chinese culture. By the Japanese Buddhist improved the standard of Japanese culture and reformed national policy for purpose. Since then the Buddhist symbol of the political power of the rulers. The other hand, Buddhist interfused into Japan''s spiritual and cultural. The influenced of Chinese Buddhist and ideologies on Japanese culture were immeasurable. It developed into a unique culture. The paper cited the visual sculptures in the Buddhist faith-- Buddha sculptures. Compare Buddha sculptures In Japan which be made From the Asuka period to Tempyo period with Buddha sculptures In China that be made in Wei, Jin, Northern, Southern, Sui and Tang dynasty. Further, observe its characteristics, analyzing the source materials, technology and other factors. From different point of views to investigate The art of Buddha sculpture between China and Japan.

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Libri sul tema "Buddha sculpture"

Amarasiṃha, Māliṅga. Lakdiva Buddha pratimāva. Koḷamba: Dayāvaṃsa Jayakoḍi saha Samāgama, 2010.

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Candra, Jagadīśa. Bhāratīya kalā meṃ Buddha carita. Āgarā (U. Pra.), Bhārata: Jñānodaya Prakāśana, 1991.

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Vīrapokuṇē, Uparatana. Mūrtiyen mūrtimat Buddha. Koḷamba: Sūriya Prakāśakayō, 2011.

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1947-, An Chang-hŏn, a cura di. Buddha: Bildnisse aus Stein in Korea. Tübingen: Wasmuth, 2005.

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Carter, Martha L. The mystery of the Udayana Buddha. Napoli: Istituto Universitario Orientale, 1990.

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Griswold, Alexander B. What is a Buddha image? 4^a ed. Bangkok, Thailand: Promotion and Public Relations Sub-Division, Fine Arts Dept., 1990.

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Doḍamkubure, Dhammadassi. Śrī Lānkēya Buddha pratimā lakṣaṇa. Koḷamba: Ăs. Goḍagē saha Sahōdarayō, 2010.

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India. Ministry of Information and Broadcasting. Publications Division., a cura di. The Way of the Buddha. New Delhi: Publications Division, Ministry of Information and Broadcasting, Govt. of India, 1995.

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Lukas, Nickel, a cura di. Return of the Buddha: The Qingzhou discoveries. London: Royal Academy of Arts, 2002.

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Khunāwong, Sœ̄mkhun. Buddha image talks: Watčhana Phutthapatimā. [Bangkok, Thailand]: PhotoArt Media, 2012.

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Capitoli di libri sul tema "Buddha sculpture"

Klimburg-Salter, Deborah. "Entangled Narrative Biographies of the Colossal Sculptures of Bāmiyān: Heroes of the Mythic History of the Conversion to Islam". In The Future of the Bamiyan Buddha Statues, 215–37. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51316-0_14.

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Staiff, Russell, e Robyn Bushell. "6. ‘Souvenirs’ at the Margin? Place, Commodities, Transformations and the Symbolic in Buddha Sculptures from Luang Prabang, Laos". In Tourism and Souvenirs, a cura di Jenny Cave, Lee Jolliffe e Tom Baum, 82–97. Bristol, Blue Ridge Summit: Multilingual Matters, 2013. http://dx.doi.org/10.21832/9781845414078-007.

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Huntington, John C. "The iconography of Borobudur revisited The concepts of śleṣa and sarva[buddha]kāya". In Ancient Indonesian Sculpture, 133–53. BRILL, 1995. http://dx.doi.org/10.1163/9789004454033_010.

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Amstutz, Andrew. "From colonial Greece to postcolonial Rome? Re-orienting ancient Pakistan in museum guides in the 1950s and 1960s". In The Rediscovery and Reception of Gandhāran Art, 136–51. Archaeopress Archaeology, 2022. http://dx.doi.org/10.32028/9781803272337-7.

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

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"468 Ajanta’s first Buddha images". In Ajanta: History and Development, Volume 4 Painting, Sculpture, Architecture - Year by Year, 33–35. BRILL, 2009. http://dx.doi.org/10.1163/ej.9789004149830.i-354.13.

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Chotpradit, Thanavi. "Yimsiri, Khien (1922–1971)". In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2073-1.

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Khien Yimsiri was a pioneer of modern Thai sculpture and an influential teacher of sculpture at Silpakorn University, Bangkok. Born in Bangkok, he graduated from Rongrian Praneetsilapakam (School of Fine Arts, now Silpakorn University) in 1941. In his early career, he won prestigious awards at the National Exhibition of Art and received scholarships to study abroad. In 1949, Yimsiri studied under the guidance of Henry Moore at Chelsea College of Art and Design in London. He was also exposed to European modern art during his scholarship at the Academy of Fine Arts of Rome from 1953 to 1954. The revival of traditionalism in Thailand during 1940s and as well as Yimsiri’s work at the Fine Art Department provided him with the chance to explore Thai cultural heritage. Buddha Statues, spiritual dolls, terracotta toys and votive tablets from the Sukhothai era (1238–1438) became sources of inspiration for him, in addition to Western semi-abstract sculptures.

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MacLeod, Suzanne. "Out of time and place: the recent history and curious double life of the Sultanganj Buddha". In Sculpture and the Museum, 153–73. Routledge, 2017. http://dx.doi.org/10.4324/9781315088259-9.

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Liao, Hsin-Tien. "Ju Ming (1938–)". In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2046-1.

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Ju Ming, also known as Ju Chuantai, is one the most prominent Taiwanese sculptors to have emerged in the latter half of the twentieth century. Born in Miaoli County in northern Taiwan, he originally trained in wood sculpture, carving traditional figures such as those of the Buddha and Mazu, the sea goddess. In 1968, he decided to shift his focus to the depiction of modern themes. He studied with the famous sculptor Yang Yuyu, who suggested he change his name from Ju Chuantai to Ju Ming to signify this change in artistic direction. Ju’s early works explored aspects of Taiwanese folk life, often depicting farmers, domestic animals, or oxcarts. His geometric and abstract style of artistic execution was often compared to the vivid and expressive Xieyi (寫意) brush technique used in Chinese ink-wash painting. His works were also praised for their ability to combine Chinese folk culture and artistic traditions with modern sensibilities. He attracted great attention from both the public and critics at his first solo show at the National Museum of History in 1976. In 1971, following the expulsion of the Republic of China (ROC) from the United Nations, his works were seen as representing Taiwan’s artistic spirit and its nativist cultural movement.

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"The cave 1 Buddha and the death of Harisena (Late 477)". In Ajanta: History and Development, Volume 4 Painting, Sculpture, Architecture - Year by Year, 80–81. BRILL, 2009. http://dx.doi.org/10.1163/ej.9789004149830.i-354.25.

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Nguyễn, Thị Tú Anh. "Enquiring the two transcendent Buddha statues of Cham art belonging to the Vijaya state in the 11th to 13th centuries | Tìm hiểu hai pho tượng Phật Chàm bằng đá thuộc Tiểu quốc Vijaya thế kỷ 11-13". In From Megaliths to Maritime Landscapes: Perspectives on Indo-Pacific Archaeology, 52–63. SEAMEO SPAFA, 2024. http://dx.doi.org/10.26721/spafa.p663o83rkr-5.

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Although the stone sitting Buddha statue from the Thủ Thiện temple has been documented by French scholars since the early 20th century, the Buddha figure currently on display at the Đà Nẵng Museum of Cham Sculpture remains a mystery in Cham Buddhist art from the 11th to 13th centuries. In addition to the other stone Buddha statue in meditation position on display at the Museum of Fine Arts in Ho Chi Minh City, these masterpieces are a challenge for modern Cham Buddhist art historians. This paper will argue that the Thủ Thiện’s Buddha image is Amoghasiddhi based on his hand gesture in abhaya-mudrā (gesture of fearlessness); while the other one is Vairocana with his hand gesture in bodhyāgrī-mudrā (the fist of wisdom). These two transcendent Buddhas may lead to the assumption that esoteric Buddhism was once practiced in the Campā kingdom during the Vijaya art period in the 11th to 13th centuries. It may also indicate the cultural relationships between Campā and the other Buddhist states during the time of esoteric Buddhism spreading throughout the entire Maritime Asia. Pho tượng Phật ngồi bằng đá thuộc di tích Thủ Thiện, Bình Định, đã được các học giả Pháp tìm thấy vào đầu thế kỷ 20; sau đó, tuyệt phẩm này đã được chuyển về trưng bày tại Bảo tàng Điêu khắc Chăm Đà Nẵng, tuy nhiên pho tượng này vẫn ẩn chứa nhiều bí ẩn chưa được tìm hiểu cho đến nay. Ngoài ra, một tuyệt tác điêu khắc đá khác cũng thể hiện đức Phật ngồi trong tư thế thiền định, đang trưng bày tại Bảo tàng Mỹ thuật Thành phố Hồ Chí Minh cũng thuộc thời kỳ Vijaya vào thế kỷ 11-13. Cả hai pho tượng vẫn còn là một thử thách đối với các nhà nghiên cứu nghệ thuật Campā trong việc thẩm định nội hàm của chúng. Tiểu luận này đặt giả thiết bức tượng Thủ Thiện là hình ảnh của đức Phật Amoghasiddhi dựa trên tạo hình ấn quyết abhaya-mudrā (vô uý thí); đồng thời giả định rằng đức Phật của Bảo tàng Mỹ Thuật TPHCM là Vairocana dựa trên ấn quyết bodhyāgrī-mudrā (trí huệ ấn). Hai pho tượng Phật này đưa đến nhận định rằng Phật giáo Mật tông từng được thực hành phổ biến tại vương quốc Campā vào thời kỳ Vijaya thế kỷ 11-13. Nhận định đó đồng thời phác họa mối liên hệ Phật giáo giữa Campā và các quốc gia khác trong suốt thời kỳ Phật giáo Mật tông phát triển, dựa trên mạng lưới hải thương châu Á đương thời.

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