Relevant bibliographies by topics / Apsaras in art

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Apsaras in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Apsaras in art"

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Zhao, Zijian. "An Analysis On The Sincization of Apsaras Art In Dunhuang Mogao Grottoes." World Construction 8, no. 1 (2019): 1–5. http://dx.doi.org/10.26789/jwc.2019.01.002.

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Buddhist art is an important way to illustrate Buddhist thoughts. Among Buddhist art, Apsaras Art is an extremely significant part of it. Simultaneously, it is the essence of Dunhuang Mogao Grottoes art as well as. As it known to all, Apsaras Art, as an artistic expression of religious thoughts, its artistic style is bound to be influenced by different social consciousness in different times with little doubts. At the same time, this influence will inevitably let creators make performance style of Apsaras increasingly close to the mundane life, which is more and more in line with the aesthetic
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Zhang, Yiran. "From the Evolution of the “Flying Apsaras” Art in the Mogao Caves, the Influence of Taoism on Dunhuang Culture Observe." Sociology, Philosophy and Psychology 2, no. 1 (2025): 5–8. https://doi.org/10.70267/web5xr46.

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Dunhuang is located at the western end of the Hexi Corridor in Gansu, China. It is an important gateway on the ancient Silk Road and a treasure trove of cultural exchange. Among them, the Mogao Caves in Dunhuang are renowned for their large number of extant murals, which vividly illustrate the changes in Buddhist Flying Apsaras art after its introduction to China and the characteristics of Taoist elements. This article, through reviewing Dunhuang literature and referring to previous research, compares the changes in elements of flying apsaras across different periods, aiming to explore the pro
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Xiong, Shanfu, and Yingzhi Li. "Based on the Emotional Background of Dunhuang Flying Astronomy Creative Product Design and Research." Highlights in Art and Design 4, no. 1 (2023): 81–83. http://dx.doi.org/10.54097/hiaad.v4i1.11856.

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Flying Apsaras is the most representative image of God in Dunhuang fresco art. In order to draw the distance between flying apsaras and consumers and to promote the demand of consumers to take them home,this paper explores a new way of design based on the theory of emotional design. Based on the analysis of flying image developed on the basis of different periods,and combined with the present,in the form of Dunhuang Feitian cultural and creative design,user, diversified consumer demand and market development,analytical feelings when below and the significance of design,explore the emotional de
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Chen, Zhong, Shengwu Xiong, Qingzhou Mao, Zhixiang Fang, and Xiaohan Yu. "An Improved Saliency Detection Approach for Flying Apsaras in the Dunhuang Grotto Murals, China." Advances in Multimedia 2015 (2015): 1–11. http://dx.doi.org/10.1155/2015/625915.

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Saliency can be described as the ability of an item to be detected from its background in any particular scene, and it aims to estimate the probable location of the salient objects. Due to the salient map that computed by local contrast features can extract and highlight the edge parts including painting lines of Flying Apsaras, in this paper, we proposed an improved approach based on a frequency-tuned method for visual saliency detection of Flying Apsaras in the Dunhuang Grotto Murals, China. This improved saliency detection approach comprises three important steps: (1) image color and gray c
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Kuzina, Elizaveta O. "INDIAN MODERNISM IN POSTCOLONIAL PERSPECTIVE: HYBRID IMAGERY IN F.N. SOUZA’S ART (1924-2002)." Articult, no. 3 (2021): 96–105. http://dx.doi.org/10.28995/2227-6165-2021-3-96-105.

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An attempt to analyze the oeuvre of Indian-Portuguese artist Francis Newton Souza is made in this paper, adopting postcolonial theory, especially the concept of ‘hybridity’. Souza creates his special imagery, existing on the border of Indian and European cultures. Re-writing works by well-known European artists, reconsidering compositions by Titian, Picasso as well as some of his contemporaries (Francis Bacon), Souza implicates new traits, designed to discover figure of the Other. Dark color palette, monstrous forms and faces, aggressive sensuality – all these characterize those works by Souza
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Dubey, Abhay. "MUSIC AND SOCIETY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3390.

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In India, music is believed to be as eternal as God. Before the creation of the world —it existed as the all-pervading sound of "Om" —ringing through space. Brahma, the Creator, revealed the four Vedas, the last of which was the Sama Veda —dealing with music.Vedic hymns were ritualistic chants of invocation to different nature gods. It is not strange therefore to find the beginnings of Hindu music associated with Gods and Goddesses. The mythological heaven of Indra, God of Rain, was inhabited by Gandharvas (singers), Apsaras (female dancers) and Kinnaras (instrumentalists). Saraswati, Goddess
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Ying, Zheng. "Feitian in Thick Time." Screen Bodies 9, no. 2 (2024): 62–83. https://doi.org/10.3167/screen.2024.090205.

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Abstract This article explores women's re-appropriation of the national discourse of history and heritage in contemporary China. Examining women artists’ recreation of Silk Road heritage objects, I demonstrate how they produce a new narrative of women's time that, in turn, generates an alternative form of agency. In remaking the figure of the feitian (apsaras) from the material heritage of the Silk Road, as represented in Dunhuang Buddhist art, Chinese female artists offer new ways to understand the position of women in Chinese historical cultures. The artists tell these stories not in a linea
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Shi, Jie. "To Die with the Buddha: The Brick Pagoda and Its Role in the Xuezhuang Tomb in Early Medieval China." T’oung Pao 100, no. 4-5 (2014): 363–403. http://dx.doi.org/10.1163/15685322-10045p03.

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The important late fifth- or early sixth-century brick tomb at Xuezhuang in Dengxian (Henan) features a brick form at the rear wall, which remained mysterious until it has recently been shown to represent a Buddhist pagoda. This discovery sheds light on the purpose of the burial chamber, featuring the novel combination of vaulted ceiling, colonnade, and pagoda, as simulating an Indian-derived Buddhist temple (caitya). To reinforce this Buddhist context, the burial chamber simultaneously imitates the structure of a Buddhist votive stele (zaoxiangbei 造像碑), in which various Buddhist images, inclu
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Tovbych, Valerii, Oleh Slieptsov, Mykola Dyomin, and Olena Kozakova. "PHILOSOPHICAL AND RELIGIOUS TEACHINGS OF CHINA AS THE BASIS OF ART AND ARCHITECTURE." Spatial development, no. 5 (November 24, 2023): 121–28. http://dx.doi.org/10.32347/2786-7269.2023.5.121-128.

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The social life of China, its culture and art were determined by the local religion of Taoism, and the main postulates were laid out in the treatise "Daodejing" ("The Book of Tao and De", 6th century AD). Accordingly, a person with the whole way of life became a participant in the cycle of phenomena in nature, and therefore felt that he was not the main creation of God, as it was in Christianity, but only one of the components of the universe.
 Unlike Christianity, the phenomenon of Buddhism consists in the absence of a "logos" – the deity at the heart of the religion, since initially the
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Wirasanti, Niken. "Ornamental Art of Kalasan Temple in The Perspective of Art Philosophy." Mudra Jurnal Seni Budaya 38, no. 4 (2023): 468–79. http://dx.doi.org/10.31091/mudra.v38i4.2337.

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The beauty of Kalasan Temple façade can be seen from its variety of decorations known as the pearls of Central Java art in the 8th century AD. The artwork manifests in the aesthetics and artistic value of Kala-Makara, leaf tendrils (purnakalasa), paper paste, apsara-apsari figures. The purpose of this writing is to gain knowledge and insight about the decorative artistic expressions carved on the temples. The method used is qualitative research observing its form, content and meaning. The analysis uses contextual analysis, which is to look at the relationship between ornaments and their contex
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Dissertations / Theses on the topic "Apsaras in art"

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Tsai, Yi-Chen, and 蔡依蓁. "The Studies Of The Flying Apsaras In The Tang Dynasty The Enlightening And Reappearing Of The Art Of Dunfuang." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/x4kc3a.

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碩士<br>國立臺灣藝術大學<br>視覺傳達設計學系碩士班<br>102<br>Dunhuang Mural is a broad and profound world heritage, and the Flying Apsaras among the cultural heritage are even the essence of history, culture and art in Tang Dynasty. Flying Apsaras carry the significant value of the Eastern and the Western cultures and the concepts of Oriental ideas. The excavations of Dunhuang grottoes started from the period of the Sixteen Kingdoms to the Sui and Tang Dynasties, while Buddhism art became mature during the time. The gorgeous and elegant forms of Flying Apsaras in Tang Dynasty feature the unique style and profound
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Books on the topic "Apsaras in art"

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Rao, Rekha. Apsaras in Hoysala art: A new dimension. Aryan Books International, 2009.

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Rao, Rekha. Apsaras in Hoysala art: A new dimension. Aryan Books International, 2009.

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Silva, R. H. De. Sigiriya paintings. Bibliotheque, 2009.

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Silva, R. H. De. Sigiriya paintings. Bibliotheque, 2009.

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Srivastava, K. M. Apsarases at Angkor Wat—in Indian context. Angkor Publishers, 1994.

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Jinshi, Fan, and Dunhuang yan jiu yuan (China), eds. Tian shang ren jian wu pian xian. Shanghai ren min chu ban she, 2007.

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Sheng huo yue kan bian ji bu. Dunhuang: Zhong ren shou dao zhao huan. Guangxi shi fan da xue chu ban she, 2015.

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Stephanie, Burridge, and Frumberg Fred, eds. Beyond the Apsara: Celebrating dance in Cambodia. Routledge, 2010.

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Stephanie, Burridge, and Frumberg Fred, eds. Beyond the Apsara: Celebrating dance in Cambodia. Routledge, 2010.

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Rao, Rekha. Therapeutics in Indian sculptures: Ranki Vav, Patan. Aryan Books International, 2006.

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Book chapters on the topic "Apsaras in art"

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Burkadze, Lana. "Gonio-Apsarus (Short History and Architectural Review)." In Greco-Roman Cities at the Crossroads of Cultures: The 20th Anniversary of Polish-Egyptian Conservation Mission Marina el-Alamein. Archaeopress Publishing Ltd, 2019. http://dx.doi.org/10.2307/j.ctvndv687.9.

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Orr, Leslie C. "Introduction." In Donors, Devotes, and Daughters of God. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195099621.003.0001.

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Abstract Every well-appointed Hindu temple aims at being an earthly reproduction of the paradise of the god in whose honour it was built… The Gandharvas are represented by the Temple-band, the Apsarases by the courtesans who sing and dance in the service. These are dedicated to the service of the god; but they give their favours to his worshippers. They are usually called Devadiisfs, handmaidens of the god… They dance and sing in the temple services and also when the images are carried out through the town in procession. Hence the common name for them everywhere is Nautch-girls, Dancing-girls…
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Conference papers on the topic "Apsaras in art"

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Sato, Yuni, Tomomi Tamura, Hiroshi Sugiyama та ін. "A Study on the Structure and Significance of the North Sanctuary at Western Prasat Top | ការសិក្សាអំពីរចនាសម្ព័ន្ធ និងសារៈសំខាន់ននតួប៉មខាងជ􀈹ើងជៅប្រាសា ទតុបខាងលិច". У The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-13.

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Western Prasat Top is located in the south-west quadrant of Angkor Thom. The Central, South, and North Sanctuaries, and the uposathāgāra are divided by sīmā stones and, along with a laterite boundary, form the temple precinct. In order to study the history of Western Prasat Top, the Nara National Research Institute for Cultural Properties (NABUNKEN), in collaboration with the Apsara National Authority (APSARA), began surveying in 2003. Our discoveries from the North Sanctuary have contributed new and important evidence to understanding the history of the late Angkor period. We will discuss thi
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Lu, Shaoshan. "The Image Analysis on Apsara and Sariputta in Vimalakirti Sutra Taking the areas of the Central China in Sui Dynasty and Dunhuang in Tang Dynasty as examples." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.125.

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Zhu Yongtao, Wang Caiyun, Li Liang, and Hong Jun. "An X band polarimetric ARC prototype." In 2007 1st Asian and Pacific Conference on Synthetic Aperture Radar. IEEE, 2007. http://dx.doi.org/10.1109/apsar.2007.4418593.

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Liang, Li, Wang Caiyun, Zhu Yongtao, and Hong Jun. "The development and performance of the prototype coded ARC." In 2009 2nd Asian-Pacific Conference on Synthetic Aperture Radar (APSAR). IEEE, 2009. http://dx.doi.org/10.1109/apsar.2009.5374101.

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Vipperman, Jeffrey S., and Deyu Li. "Dielectric Response of Adaptive Piezoelectric Sensoriactuators." In ASME 2000 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2000. http://dx.doi.org/10.1115/imece2000-1741.

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Abstract This paper closely examines the nature of the dielectric response of piezoceramics that are used as Adaptive Piezoelectric Sensoriactuators (APSAs). Firstly, it is demonstrated that he APSA possesses real time structural health monitoring abilities, based on the capacitance measurement of the piezoceramic. Secondly, nonideal behavior including lossy, hysteretic, and field dependence is measured in the piezoceramics and a method mitigating some of this response in the Adaptive Piezoelectric Sensoriactuator is proposed.
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Huang, Zengshu, Jinping Sun, Weixian Tan, Pingping Huang, and Yaolong Qi. "Amplitude and Phase Errors Correction for Ground-based Arc Array SAR." In 2019 6th Asia-Pacific Conference on Synthetic Aperture Radar (APSAR). IEEE, 2019. http://dx.doi.org/10.1109/apsar46974.2019.9048445.

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Zhu, Xian, Zixiang Hu, and Zhaobin Hong. "Design of arc-tooth servo structure for a missile-borne radar seeker." In 2019 6th Asia-Pacific Conference on Synthetic Aperture Radar (APSAR). IEEE, 2019. http://dx.doi.org/10.1109/apsar46974.2019.9048286.

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Dong, Yifan, Congfei Wu, Wei Xu, Pingping Huang, Weixian Tan, and Wen Hong. "Vibration Error Compensation Imaging Algorithm for Arc Array SAR Besed on Parameter Estimation." In 2019 6th Asia-Pacific Conference on Synthetic Aperture Radar (APSAR). IEEE, 2019. http://dx.doi.org/10.1109/apsar46974.2019.9048550.

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Zhang, Qiming, Changshun Yuan, Ruoyun Li, Jinping Sun, and Dandan Gu. "A Fast Near-Field 3D Imaging Method for Single-Frequency MIMO Arc Array Radar." In 2023 8th Asia-Pacific Conference on Synthetic Aperture Radar (APSAR). IEEE, 2023. http://dx.doi.org/10.1109/apsar58496.2023.10388573.

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