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Thematische Bibliographien / Thangka Art / Zeitschriftenartikel

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Zeitschriftenartikel zum Thema „Thangka Art“

Autor: Grafiati

Veröffentlicht am 18. Mai 2024

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1

Belova, Darya Nikolaevna. "Manifestation of female image in iconography of the Tibetan thangka and orthodox icon." Культура и искусство, no. 5 (May 2020): 1–17. http://dx.doi.org/10.7256/2454-0625.2020.5.32764.

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This article analyzes the female beginning reflected in the Buddhist art of thangka, and emphasizes its specificity in comparison with the Orthodox icon. The author examines symbolism of the key visual elements that form iconography of female characters and their color solution, as well as analyzes the symbolism of light in thangka painting and painting of icons. In drawing parallels between light symbolism of a female image in both types of religious paintings, the author determines their definite similarity in perception of light as a divine beginning of enlightened mind. The subject of this

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Wang, Xiaoyong. "Between the Religious Act and Art Commodity." Re:Locations - Journal of the Asia-Pacific World 2, no. 1 (2019): 1–22. http://dx.doi.org/10.33137/relocations.v2i1.31674.

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Rebgong, located in Huangnan Tibetan Autonomous Prefecture in Qinghai, China, has become one of the most productive areas of Tibetan Thangka painting since the 1980s. Why has Rebgong, a place outside the Tibet Autonomous Region (TAR), become the stronghold of Thangka commercialization? How have Thangka Buddhist painters reacted to the commercialization of their work? I chose to focus on the changes in the past decades in the transmission and commercialization models of Rebgong Thangka. Based on my analysis of both Chinese and English textual sources as well as three weeks of fieldwork conducte

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Li, Hang, Jie Fang, Ying Jia, Liqi Ji, Xin Chen, and Nianyi Wang. "Thangka Sketch Colorization Based on Multi-Level Adaptive-Instance-Normalized Color Fusion and Skip Connection Attention." Electronics 12, no. 7 (2023): 1745. http://dx.doi.org/10.3390/electronics12071745.

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Thangka is an important intangible cultural heritage of Tibet. Due to the complexity, and time-consuming nature of the Thangka painting technique, this technique is currently facing the risk of being lost. It is important to preserve the art of Thangka through digital painting methods. Machine learning-based auto-sketch colorization is one of the vital steps for digital Thangka painting. However, existing learning-based sketch colorization methods face two challenges in solving the problem of colorizing Thangka: (1) the extremely rich colors of the Thangka make it difficult to color accurately

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Hu, Wenjin, Lang Qiao, Wendong Kang, and Xinyue Shi. "Thangka Image Captioning Based on Semantic Concept Prompt and Multimodal Feature Optimization." Journal of Imaging 9, no. 8 (2023): 162. http://dx.doi.org/10.3390/jimaging9080162.

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Thangka images exhibit a high level of diversity and richness, and the existing deep learning-based image captioning methods generate poor accuracy and richness of Chinese captions for Thangka images. To address this issue, this paper proposes a Semantic Concept Prompt and Multimodal Feature Optimization network (SCAMF-Net). The Semantic Concept Prompt (SCP) module is introduced in the text encoding stage to obtain more semantic information about the Thangka by introducing contextual prompts, thus enhancing the richness of the description content. The Multimodal Feature Optimization (MFO) modu

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Shuang, Wang, and Ren Shuai. "Colour symbolism in the art of Thangka." OOO "Zhurnal "Voprosy Istorii" 2023, no. 12-1 (2023): 208–19. http://dx.doi.org/10.31166/voprosyistorii202312statyi06.

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The article examines the origin of symbolism and the cult of colour on the example of colour symbolism in the art of Thangka; it analyses two cultural and logical approaches to colour symbolism comprehension: using inductive method (generalization of natural attributes of colour) and deductive method (further transformation of colour symbolism into a social phenomenon and extension of colour semantic field). Two main symbolic systems generated by colour symbolism in Tibetan culture in the deductive process of its transformation into a social phenomenon - the “system of objectification” and the

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Wang, Tiejun, and Weilan Wang. "Research on a Thangka Image Classification Method Based on Support Vector Machine." International Journal of Pattern Recognition and Artificial Intelligence 33, no. 12 (2019): 1954030. http://dx.doi.org/10.1142/s0218001419540302.

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As an art image, Thangka images have rich themes, various forms of expression, complex picture content and many layers of color representation. This paper mainly constructs a multi-core support vector machine (SVM) based on the information entropy feature-weighted radial basis kernel function. In this paper, the kernel function is optimized, and the feature reduction is performed by using the random forest feature selection algorithm with average accuracy degradation. Finally, the effective classification of the icon image and the mandala image in Thangka is realized. The research results prov

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Sharaeva, Tatyana I. "Особенности иконографии в калмыцкой вышивке: традиционные и современные практики". Oriental Studies 14, № 2 (2021): 314–36. http://dx.doi.org/10.22162/2619-0990-2021-54-2-314-336.

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Introduction. The Kalmyks are a Mongolic Buddhist people that arrived in the Volga region in the 17th century. The specific ethnic features of Buddhism professed by the Kalmyks took shape over centuries of Russian suzerainty and were determined by various historical factors, including prolonged remoteness from Buddhist centers, the total eradication of Buddhist monasteries and centuries-long ban on spiritual guidance experienced in the 20th century, and the official Buddhist restoration by the early 21st century. Goals. The work aims at identifying and comparing traditional and contemporary Bu

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Chen, Yijing, Luqing Wang, Xingquan Liu, and Hongjun Wang. "Artificial Intelligence-Empowered Art Education: A Cycle-Consistency Network-Based Model for Creating the Fusion Works of Tibetan Painting Styles." Sustainability 15, no. 8 (2023): 6692. http://dx.doi.org/10.3390/su15086692.

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The integration of Tibetan Thangka and other ethnic painting styles is an important topic of Chinese ethnic art. Its purpose is to explore, supplement, and continue Chinese traditional culture. Restricted by Buddhism and the economy, the traditional Thangka presents the problem of a single style, and drawing a Thangka is time-consuming and labor-intensive. In response to these problems, we propose a Tibetan painting style fusion (TPSF) model based on neural networks that can automatically and quickly integrate the painting styles of the two ethnicities. First, we set up Thangka and Chinese pai

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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, № 2 (30 грудня 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

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Асалханова, Екатерина Владимировна. "Some early Buryat Buddhist thangka from the Sukachev Irkutsk Regional Art Museum." Искусство Евразии, no. 2(17) (June 27, 2020): 350–62. http://dx.doi.org/10.25712/astu.2518-7767.2020.02.023.

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В статье рассматриваются некоторые ранние произведения бурятской буддийской живописи из собрания Иркутского областного художественного музея имени В.П. Сукачева с изображением одних из наиболее популярных в народе персонажей пантеона – будды Амитабхи, бодхисаттвы-спасительницы Зеленой Тары, защитника учения Махакалы, божества долголетия Белого Старца. Акцент делается на своеобразии старинной бурятской живописи XVIII в. Иконы-танка этого периода обладают монументальностью, своеобразием колорита, отсутствием лишних деталей. Автор проводит их иконографический, композиционный, типологический, худо

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Shuang, Wang, and Ren Shuai. "A concise analysis of the construction of cultural space in thangka art from the perspective of representational and sign systems." OOO "Zhurnal "Voprosy Istorii" 2023, no. 4-1 (2023): 94–103. http://dx.doi.org/10.31166/voprosyistorii202304statyi07.

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The question, which in the process of maintaining the continuity and development of thangka painting must be addressed both theoretically and practically, is how a religious pictorial art, existing in a complex and multilayered geographical environment, can both maintain its religious character and build a cultural space capable of attracting masses of viewers.

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Almanda, Hafi Hilmiah, Setya Yuwana, and Setyo Yanuartuti. "Kajian pertunjukan musik “Thungka” dalam masyarakat Bawean Gresik (Tinjauan etnomusikologi)." Imaji 21, no. 1 (2023): 30–37. http://dx.doi.org/10.21831/imaji.v21i1.49233.

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Penelitian ini menemukan kajian etnomusikologi pada alat musik thungka, karena peneliti ingin mengetahui segala sesuatu yang terdapat dalam alat musik thangka, baik itu berupa aspek fungsi, musikal, instrumental dan sosial budaya musik tradisional thungka. Dalam penelitian ini metode yang digunakan yaitu metode kualitatif. Fungsi musik Thungka pada dasarnya sebagai alat untuk penumbuk padi dalam acara musim panen disetiap tahun akan tetapi sekarang menjadi sebagai media pertunjukan seni tradisional, acara pernikahan sampai keacara penyambutan tamu turis ke Bawean. Alat musik Thungka ini merupa

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Hu, Qinghua. "Research on the Inheritance and Development of Thangka under the Mode of Art Management." Art and Design Review 09, no. 01 (2021): 74–79. http://dx.doi.org/10.4236/adr.2021.91006.

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14

Given, Brian J. "Tsundu: Becoming a Lama./Mystic Vision, Sacred Art: Tibetan Thangka Painting in Kathmandu Valley:Tsundu: Becoming a Lama." American Anthropologist 101, no. 3 (1999): 635–39. http://dx.doi.org/10.1525/aa.1999.101.3.635.

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15

Wang, Shuang. "Language of Color in the Art of Thangka Wang Shuang Chengdu University Academy of Fine Arts and Design." Университетский научный журнал, no. 58 (2020): 89–93. http://dx.doi.org/10.25807/pbh.22225064.2020.58.89.93.

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16

Garri, Irina. "Sumpa Khenpo Yeshe Peljor (1704–1788): Life and work of the Oirat Buddhist scholar." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 1 (2024): 198. http://dx.doi.org/10.31857/s086919080029430-0.

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The article analyzes life and work of a famous Oirat Buddhist scholar Sumpa-kenpo Yeshe Peljor (1704–1788). He was born in 1704 in Amdo, south of Lake Kokonor, in a family of Oirat Mongols. At the age of 7, he was recognized as a reincarnation of the abbot of Gonglung Monastery. In 1723 he went to study in Central Tibet at the Gomang-datsan of the Drepung Monastery. While studying in the dastan, he urged monks of the Lhasa monasteries not to join the army during the civil war of 1727-1728 between the provinces of U and Tsang. In gratitude for the service, the ruler of Tibet, Polhane, appointed

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Wang, Hongyang, and Tiejun Wang. "Multi-Scale Residual Aggregation Feature Pyramid Network for Object Detection." Electronics 12, no. 1 (2022): 93. http://dx.doi.org/10.3390/electronics12010093.

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The effective use of multi-scale features remains an open problem for object detection tasks. Recently, proposed object detectors have usually used Feature Pyramid Networks (FPN) to fuse multi-scale features. Since Feature Pyramid Networks use a relatively simple feature map fusion approach, it can lead to the loss or misalignment of semantic information in the fusion process. Several works have demonstrated that using a bottom-up structure in a Feature Pyramid Network can shorten the information path between lower layers and the topmost feature, allowing an adequate exchange of semantic infor

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Jones, Gayle C. "Jumping Cultures — Is the Baggage All Packed?" Dialogue and Universalism 7, no. 3 (1997): 171–77. http://dx.doi.org/10.5840/du199773/417.

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Western aesthetics attends to its art as a symbohsm-statement created by an artist with a signature-statement. Accompanying every piece is a unique set of informative signs, symbols and techniques which allow for interpretive readings from an individual expression within the Western cultural context. Does an art form from another culture, specifically the Tibetan thanka as selfless art in a selfless culture, retain its aflfectivity and integrity when attended to by Western perusal outside its cultural context? And when the thanka travels (outside its culture), does it come with all its baggage

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DeVito, Jr., Richard A. "Thanks and Welcome!" American Journal of Recreation Therapy 18, no. 3 (2019): 6. http://dx.doi.org/10.5055/ajrt.2019.0196.

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It is with saddened heart that I announce the retirement of Dr. Nancy Richeson, PhD, CTRS, FDRT as Editorin- Chief of the American Journal of Recreation Therapy (AJRT). . .As with many transitions, change can be unsettling. Fortunately for the American Journal of Recreation Therapy and the field, I am pleased to welcome Dr. Allison Wilder, PhD, CTRS/L as our new Editor-in-Chief. Dr. Wilder is Associate Professor and Faculty Fellow at the Center on Aging and Community Living in the Department of Recreation Management and Policy at the University of New Hampshire—College of Health and Human Serv

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Concu, Valentina. "“Face” in retrospective: The use of “thanks” and “to thank” In Old Saxon and Old High German." Lodz Papers in Pragmatics 19, no. 1 (2023): 175–98. http://dx.doi.org/10.1515/lpp-2023-0009.

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Abstract Despite being often criticized, the notion of face has recently begun to be applied in diachronic pragmatic investigations on directives, requests, apologies, and terms of address. The present study also uses the notion of face to investigate the use of Dank ‘thanks’, Dankbarkeit ‘thankfulness’, and danken ‘to thank’ in expressions of gratitude in Old Saxon and Old High German, laying the foundations to a better understanding of the speech act of thanking in the history of German. The data suggest that, although the manifestation of gratitude was common, the expressions containing Dan

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McComas, William. "2020 Thank You." American Biology Teacher 83, no. 3 (2021): 136–37. http://dx.doi.org/10.1525/abt.2021.83.3.136.

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McComas, William. "2021 Thank You." American Biology Teacher 84, no. 3 (2022): 120–21. http://dx.doi.org/10.1525/abt.2022.84.3.120.

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McComas, William. "2022 Thank You." American Biology Teacher 85, no. 3 (2023): 134. http://dx.doi.org/10.1525/abt.2023.85.3.134.

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McComas, William. "2023 Thank You." American Biology Teacher 86, no. 3 (2024): 129. http://dx.doi.org/10.1525/abt.2024.86.3.129.

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Syrtypova, Surun-Khanda D. "Автопортрет и Будда Ваджрасаттва у Дзанабазара". Oriental Studies 13, № 4 (2020): 1045–77. http://dx.doi.org/10.22162/2619-0990-2020-50-4-1045-1077.

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Introduction. Jebtsundamba Khutuktu Öndör Gegeen Zanabazar was Mongolia’s first ruler to hold both secular and spiritual power. In the late 17th century, the country witnessed dramatic internecine wars, and his overriding goal was to unify the nation and increase the educational level. Virtually all his self-portraits discovered depict Zanabazar as a real priest with iconographic markers of Buddha Vajrasattva. The selected Buddhist symbol is supposed to deliver a deepest nonverbal sermon and mysterious testament of the prominent Buddhist master. Goals. The paper seeks to further reveal, examin

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McComas, William F. "Thank You, ABT Reviewers." American Biology Teacher 77, no. 2 (2015): 91. http://dx.doi.org/10.1525/abt.2015.77.2.2.

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Leonard, Bill. "Thank You, ABT Reviewers." American Biology Teacher 72, no. 9 (2010): 537–39. http://dx.doi.org/10.1525/abt.2010.72.9.3.

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Leonard, William, and Kathleen Westrich. "Thank You, ABT Reviewers." American Biology Teacher 74, no. 1 (2012): 7–8. http://dx.doi.org/10.1525/abt.2012.74.1.3.

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Leonard, William, and Kathleen Westrich. "Thank You, ABT Reviewers." American Biology Teacher 75, no. 1 (2013): 11–12. http://dx.doi.org/10.1525/abt.2013.75.1.4.

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Leonard, William, and Kathleen Westrich. "Thank You, ABT Reviewers." American Biology Teacher 76, no. 1 (2014): 8–10. http://dx.doi.org/10.1525/abt.2014.76.1.3.

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van de Putte, Leo. "Goodbye and thank you." Annals of the Rheumatic Diseases 67, no. 4 (2008): 437.1–437. http://dx.doi.org/10.1136/ard.2008.088690.

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Goel, Ina. "Manufacturing “Self” through the Divine—Thangka Paintings of Tibet." Material Religion 16, no. 2 (2020): 272–74. http://dx.doi.org/10.1080/17432200.2020.1717833.

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Malcolm, Reed. "Love and Hate in the Land of Thangka." Jung Journal 13, no. 3 (2019): 51–53. http://dx.doi.org/10.1080/19342039.2019.1636455.

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McComas, William F. "Thank You, ABT Publication Team Members." American Biology Teacher 78, no. 3 (2016): 187–88. http://dx.doi.org/10.1525/abt.2016.78.3.187.

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McComas, William F. "Thank You, ABT Publication Team Members." American Biology Teacher 79, no. 3 (2017): 167–68. http://dx.doi.org/10.1525/abt.2017.79.3.167.

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McComas, William F. "Thank You, ABT Publication Team Members." American Biology Teacher 80, no. 3 (2018): 165–66. http://dx.doi.org/10.1525/abt.2018.80.3.165.

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Anwar, Muhammad Javaid, Basri Sattar, and Muhammad Naveed Anwar. "Art of Characterization in “Thank You, Ma'am” by Langston Hughes." IJOHMN (International Journal online of Humanities) 5, no. 1 (2019): 10. http://dx.doi.org/10.24113/ijohmn.v5i1.82.

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Langston Hughes was an American artist, writer, and dramatist whose African-American subjects made him an essential supporter of the Harlem Renaissance of the 1920s. Langston Hughes was conceived on February 1, 1902, in Joplin, Missouri. He distributed his first lyric in 1921. He went to Columbia University, yet left following one year to travel. He proceeded to compose incalculable works of verse, writing and plays, and in addition a prominent section for the Chicago Defender. He passed away from this world on May 22, 1967. (Editors, 2014) When you were younger, has anyone treated you good or

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Santoro, Alyce. "Sonic Sails (The Tell-Tail Thangkas)." Leonardo 42, no. 5 (2009): 392. http://dx.doi.org/10.1162/leon.2009.42.5.392.

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Delgado, Sarah. "Thanks for the Feedback: The Science and Art of Receiving Feedback Well." Critical Care Nurse 37, no. 3 (2017): 84. http://dx.doi.org/10.4037/ccn2017155.

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Tamburini, Diego, Joanne Dyer, Teresa Heady, et al. "Bordering on Asian Paintings: Dye Analysis of Textile Borders and Mount Elements to Complement Research on Asian Pictorial Art." Heritage 4, no. 4 (2021): 4344–65. http://dx.doi.org/10.3390/heritage4040240.

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Mount components and textile borders represent important elements of Asian paintings. However, they are often side-lined or not considered an integral part of the original piece, as they may be later additions or may have been replaced during historic conservation or mounting interventions. Nevertheless, evidence is sometimes present that textile borders are contemporaneous to the production of the paintings they frame or, in the case of paintings found in archaeological contexts, to the time of deposition. Even when not contemporaneous with the paintings, the mount textiles are often of signi

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Husa, Jaakko. "Human Rights? No Thanks We’re English!" European Journal of Comparative Law and Governance 3, no. 3 (2016): 229–53. http://dx.doi.org/10.1163/22134514-00303002.

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Twenty years ago a still ongoing scholarly debate started over the future direction of law in Europe. The lines of battle were drawn between the convergence and non-convergence theories. This paper re-examines and discusses the non-convergence theory and its take on English common law’s legal cultural key elements in the light of the human rights debate. The aim is to highlight human rights tensions within uk public law by applying a culturally oriented comparative law approach. The focus of the analysis is on the Human Rights Act and the way in which it has been adapted to the legal system. I

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Bradley, Suzanne F. "Thank You to a Class Act." Infection Control & Hospital Epidemiology 35, no. 12 (2014): 1443. http://dx.doi.org/10.1086/678591.

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Macdonald, Ian W. "Editorial Thanks." Journal of Screenwriting 7, no. 1 (2016): 3–4. http://dx.doi.org/10.1386/josc.7.1.3_2.

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Hammoudi, Valentin. "The art of passing unnoticed: pathogenic fungi remain incognito thanks to EWCA effectors." Plant Cell 33, no. 4 (2021): 1097–98. http://dx.doi.org/10.1093/plcell/koab017.

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McComas, William. "Thank You to the ABT Production Team and Reviewers." American Biology Teacher 81, no. 4 (2019): 219–20. http://dx.doi.org/10.1525/abt.2019.81.4.219.

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McComas, William. "Thank You to the ABT Production Team, Authors, and Reviewers." American Biology Teacher 82, no. 3 (2020): 139–40. http://dx.doi.org/10.1525/abt.2020.82.3.139.

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Monem, Reza. "Acknowledgments: thank you to our reviewers." Accounting Research Journal 35, no. 1 (2022): 101–5. http://dx.doi.org/10.1108/arj-02-2022-381.

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Furness, P. N. "We can communicate better thanks to the new act." BMJ 340, mar24 3 (2010): c1563. http://dx.doi.org/10.1136/bmj.c1563.

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Roncarolo, Franca. "A Woman at the Quirinal? Thanks, But No Thanks." European Journal of Women's Studies 7, no. 1 (2000): 103–26. http://dx.doi.org/10.1177/135050680000700113.

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Neveu, Marc J. "Thank You." Journal of Architectural Education 75, no. 2 (2021): 155. http://dx.doi.org/10.1080/10464883.2021.1947667.

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