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Journal articles on the topic 'Architecture, Buddhist'
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1
Salim, Singgih, Rahadhian Prajudi Herwindo, and Yuswadi Saliya. "The application of sacredness in temple architecture – Buddhist museum." ARTEKS : Jurnal Teknik Arsitektur 7, no. 1 (2022): 11–22. http://dx.doi.org/10.30822/arteks.v7i1.1087.
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Buddhism is one of the oldest religions in the world, and the development has led to a great change in the typology of Buddhist architecture, and caused a complex scope of the concept. This complexity is due to the absence of architectural literature that regulates the addition of supporting functions, such as profane and sacred value, in improving Buddhists' education. However, the addition of a profane function reduces sacred value and act of worship, opposes architectural design, and defiles ritual activities. Furthermore, one of the functions that provide education as well as a personal approach to Buddhism is the museum. This research aims to examine the contextual relationship between main and supporting functions, namely the sacred (worship building) and the profane (museum), respectively. And also, to display the sacred value through architectural characteristics. The analytical method used the theory of sacredness and contextuality. This was further elaborated in various architectural scopes to produce a relationship between temples and museums, that apply sacred values according to Buddhist philosophy. The research leads to differences in principles application, such as orientation, hierarchy, boundary scope, geometric shapes, symmetry, repetition, material appearance, shape synergy, zoning, processions, atmospheric ambiguity, symbolic objects, boundary guards, and gathering areas.
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Zuo, Yun. "Study on the Composition of Inner Mongolia Wudangzhao Monastery Building Complex." Applied Mechanics and Materials 357-360 (August 2013): 141–44. http://dx.doi.org/10.4028/www.scientific.net/amm.357-360.141.
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Tibetan Buddhist monasteries embody almost all achievements of the Tibetan community in religious, scientific, cultural and artistic. The erection of Tibetan Buddhist monasteries are closely related to the history of Tibetan Buddhism in Inner Mongolia. As the Tibetan Buddhism had been spread to Inner Mongolia in different periods, Tibetan Buddhist monasteries presented different features in its architectural style. Wudangzhao Lamasery is the grandest integral monastery complex still remaining in Inner Mongolia.Its buildings have high value of art and characteristically Tibetan Buddhist Architectural style on monasterys arrangement and style. Different types of the building gathered together form a Tibetan monastery, buildings complex reflected the intact standard of Tibetan Architecture. They express the Tibetan traditional mountain worship idea, and Buddhist the Mandala Cosmology and Three Realms idea.
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Shen, Hong. "On the evolution of the architectural style of Tao Fong Shan." International Journal of Arts and Humanities 1, no. 1 (2020): 28–35. http://dx.doi.org/10.25082/ijah.2020.01.006.
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The characteristic architectural style of Tao Fong Shan in Hong Kong is unique in the sense that this Christian institution looks exactly like a traditional Chinese Buddhist monastery. What kind of secret exists behind this seemingly uncoordinated appearance? The two names of Karl Ludvig Reichelt and Johannes Prip-Møller are closely connected with Tao Fong Shan buildings, but few people know how exactly the Norwegian founder of The Christian Church for China’s Buddhists met and cooperated with the Danish architect in designing these buildings. The present paper is an effort to retrace the initial vision of architectural style for Tao Fong Shan shared by Reichelt and Prip-Møller, as well as the evolution of the later designs at different stages. Reichelt found many common features between Chinese Buddhism and the Gospel of John in New Testament. In order to promote the missionary work among China’s Buddhists, he tried to create an environment in which the inquiring Buddhists would find it comfortable and at ease. Reichelt’s another contribution is in raising money for the construction of Tao Fung Shan buildings. His method of crowd funding proved to be practical and effective. Prip-Møller had ten years’ experiences of working in China and was a top-notch expert in China’s Buddhist architecture. His professional expertise has ensured that Reichelt’s idea of combining the traditional Chinese Buddhist architectural style and the Christian nature of Tao Fong Shan buildings could be eventually realized.
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Yu, Shuishan. "The Translation of Buddhism in the Funeral Architecture of Medieval China." Religions 12, no. 9 (2021): 690. http://dx.doi.org/10.3390/rel12090690.
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This article explores the Buddhist ritual and architectural conventions that were incorporated into the Chinese funeral architecture during the medieval period from the 3rd to the 13th centuries. A careful observation of some key types of sacred architectural forms from ancient East Asia, for instance, pagoda, lingtai, and hunping, reviews fundamental similarities in their form and structure. Applying translation theory rather than the influence and Sinicization model to analyze the impact of Buddhism on Chinese funeral architecture, this article offers a comparative study of the historical contexts from which certain architectural types and imageries were produced. It argues that there was an intertwined mutual translation of formal and ritual conventions between Buddhist and Chinese funeral architecture, which had played a significant role in the formations of both architectural traditions in Medieval China.
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Liu, Jie, Yincheng Jiang, and Chen Cao. "The Remaining Buddhist Architecture in Fu’an, the Core Hinterland of the Changxi River Basin." Religions 12, no. 12 (2021): 1054. http://dx.doi.org/10.3390/rel12121054.
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The Changxi River Basin is a small root-like watershed, surrounded by mountains on three sides and facing the sea to the southeast. It is located on the border between Fujian and Zhejiang on the southeast coast of China. The area gave rise to the Changxi Culture that began in the Sui and Tang Dynasties and flourished in the Song Dynasty. Buddhism in the Changxi Basin was introduced no later than the 9th century. As the core hinterland of the Changxi Basin, Fu’an has always been an important center for Buddhism in Eastern Fujian. It reached its peak in the 10th to 13th centuries during the Song Dynasty. This article conducts a comprehensive investigation and study of the existing Buddhist temple sites and relics in Fu’an. It highlights these structures’ single-bay pattern of construction, based on rectangular plans in which the longitudinal axis extends along the plan’s direction of depth. This is a pattern rarely seen in the history of Chinese Buddhist architecture. The paper also summarizes a common element in these temples, their petal-shaped corrugated stone pillars which are divided into eight segments. Lastly, it illustrates the evolution of the temples in the Changxi River Basin from single-bay layouts to those with widths of multiple bays and indicates the unique status and associated values of single-bay Buddhist temples in the history of southern Buddhist architecture. The study examines new local findings and ideas for the study of Chinese Buddhist architectural history, providing academic support for the protection and research of Buddhist architectural heritage in Southeast China.
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Wu, Yali. "Classification of Ancient Buddhist Architecture in Multi-Cultural Context Based on Local Feature Learning." Mobile Information Systems 2022 (May 23, 2022): 1–11. http://dx.doi.org/10.1155/2022/8952381.
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Ancient Buddhist architecture plays an important role in the development of Chinese architectural culture. Under the background of multiculturalism, the ancient Buddhist architectural style has also been influenced to varying degrees. In order to realize automatic classification of ancient Buddhist architecture under multi-cultural background, this paper proposes an automatic classification algorithm based on local feature learning. Firstly, the ancient Buddhist architecture images are gridded, so that the backbone network can obtain relatively flat ancient Buddhist architecture image blocks. At the same time, the backbone network can learn more local details. Then, the grid reconstruction module is designed to strengthen the connection between the features of each block and highlight the distinguishing detail features. The accuracy of ancient Buddhist architecture classification can be effectively improved through image meshing and mesh reconstruction. Experiment and analysis are carried out by using the dataset of ancient Buddhist architecture images on the Internet. Experimental results show that the proposed algorithm has better recognition accuracy and robustness than other comparison algorithms.
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Zhang, Dong Xu, Da Ping Liu, Xin Ru Wei, and Meng Xiao. "Research of Chinese Buddhist Temples Space Design." Advanced Materials Research 311-313 (August 2011): 1569–72. http://dx.doi.org/10.4028/www.scientific.net/amr.311-313.1569.
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The number of the religious architecture makes up 70 percent of the total of existing traditional buildings in China, in which the largest proportion is the Chinese Buddhist architecture, this paper has been studied in this kind of building. Firstly, the religious background and development history of the Chinese Buddhist architecture is introduced, and this paper puts forward that this architectural form was affected by the ancient folk houses. Compared to Buddhist architecture in other countries, they are majestic in shape and beautiful elaborate in decoration, the whole form and nature landscape melt into one another. Secondly, religious spaces are analyzed, including the location of Buddhist temple, the overall layout and the single building. Most temples were built on the hill, and the Buddhist hall is the center of architectural complex. Single building is very similar, and its position is attached to its status in spatial sequence. Thirdly, the design concept of Buddhist architecture was discovered. It was pointed out that Chinese traditional philosophy, i.e. the view of the nature, determines the space composition inside and outside of Chinese Buddhist architecture. At last, the paper summed up the design of Buddhist architecture and gave a prospect about the way of its future development.
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Clarissa ; Rahadhian P. Herwindo, Clarissa. "APPLICATION OF MAHAYANA AND VAJRAYANA CONCEPT, AND MANASARA BOOK ON MATARAM SAILENDRA BUDDHIST TEMPLE IN TERMS OF FIGURE, ORNAMENT, MASS AND SPATIAL ORDER." Riset Arsitektur (RISA) 5, no. 01 (2020): 1–17. http://dx.doi.org/10.26593/risa.v5i01.4414.1-17.
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Abstract- Classical Indian architectural principles and traditions has been collected and preserved in a vast body of literature collectively known as the Vāstuśāstra. This branch of classical Indian knowledge is a realization of Hindu ideals in terms of architectural edifice, which significantly influence the religious architecture of the Indian cultural sphere which extends to the medieval Island of Java. Indian influence can be seen in Hindu temples of Java during the Śailendra’s dynasty even though some of it’s architectural elements can’t be found in vāstuśāstra. However, in contrast of Hindu’s vāstuśāstra, Buddhism has no architecture guideline and free standing structure as of sources that are used as it’s guide are questioned, especially Buddhist Temples in Central Java during ancient Mataram’s Dynasty of Śailendra. Although Buddha’s teachings and some parts of vāstuśāstra are known to play a role in the construction of Buddhist Temples in Indonesia, how far they are applied is difficult to observe, giving the absence of special studies and free standing temple references to build Buddhist Temple, and it’s interviewees are gone. By finding information about architecture’s theory of Buddha’s teachings that entered Indonesia and identify as well as compare the relevant parts of vāstuśāstra, then the architectural elements that are part of the concept of Buddha’s teachings and vāstuśāstra can be seen.In this research, descriptive method and qualitative approach are used by the author. The author focused in terms of figure and ornament as well as mass and spatial order. This research collects and compares parts of vāstuśāstra that are relevant as well as Buddha’s teachings concept to compare them with datas from the twelve samples of Buddhist Temples in Central Java during ancient Mataram’s Dynasty of Śailendra. Comparison by the author shows a number of results. Firstly, the concept of mahāyāna, vajrayāna, and mānasāra book applied in terms of figure, ornament, mass, and spatial order are seen in Central Java’s Buddhist Temples. However, various architectural details of these elements have marked differences from what is instructed in the Vāstuśāstra. The distinctive Javanese Kala-Makara for example, does not conform the mānasāra book. Secondly, the application of mānasāra book concepts in Central Java’s Buddhist Temples prove the influence of Hinduism which was affected by the harmonious relationship between Buddhism and Hinduism during that time. Lastly, the first free-standing Buddhist Temples is 5th Batujaya Temple/Blandongan Temple (2-3 CE and 7-10 CE) because the Mahabodhi Temple in India was built as we see today during the 6th restoration phase (8 CE).
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Kowal, Katarzyna. "The Borobudur temple: the Buddhist architecture in Indonesia." Budownictwo i Architektura 18, no. 2 (2019): 005–19. http://dx.doi.org/10.35784/bud-arch.550.
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The article presents the current state of knowledge about the Borobudur temple, a valuable representative of Buddhist architecture, located in Java, Indonesia. The author presents the genesis of the temple, the facts concerning its rediscovery after centuries of oblivion, and Buddhist cosmology embodied in the form of a three-dimensional mandala on which the architectural form of Borobudur is based. The author studies Buddhist symbolism of the architectural form, reliefs and sculptures created on the basis of regional patterns and local Javanese culture of everyday life. This temple is one of the most perfect examples of translation of Buddhist cosmology and symbolism into an architectural form. At the same time, it constitutes an intercultural and timeless masterpiece of architecture and sculpture which requires particular protection, also due to the influence it exerts on the life of local Buddhist religious minorities.
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Kim, Young-Jae. "Reconstructing Pure Land Buddhist Architecture in Ancient East Asia." Religions 12, no. 9 (2021): 764. http://dx.doi.org/10.3390/rel12090764.
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Pure land comes from the Indian term “sukha,” which means welfare and happiness. However, in East Asia, Buddhism has been associated with the theological concepts of the immortal realm in the bond of death and afterlife. This study reviews detailed conception of Pure Land architecture in Sanskrit literature, as well as Buddhist sutras. The thesis notes that the conceptual explanation of Pure Land architecture, which describes the real world, becomes more concrete over time. Such detailed expression is revealed through the depiction of the transformation tableau. Hence, through Pure Land architecture situated on Earth, this research shows that Buddhist monks and laypeople hope for their own happy and wealthy settlement in the Pure Land. The building’s expression of transformation tableaux influences the layout and shape of Buddhist temples built in the mundane real world at that time. Moreover, this study notes that Bulguksa Monastery is a cumulative product of U-shaped central-axis arrangements with courtyards, terraced platforms, high-rise pavilions, and lotus ponds, plus an integrated synthesis of religious behaviors by votaries as a system of rituals. Further, it merges pre-Buddhist practices and other Buddhist subdivisions’ notions with Hwaeom thought, in comparison with Hojoji and Byodoin Temples that follow the Pure Land tradition.
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SUGATA, FERLINA. "KETERKAITAN AKTIVITAS PRADAKSINA PADA RAGAM TIPOLOGI BANGUNAN STUPA." Serat Rupa Journal of Design 1, no. 2 (2018): 247. http://dx.doi.org/10.28932/srjd.v1i2.452.
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Circumambulation as one of the Buddhist worship activity is a pathway around the shrines clockwise, from East to the West. There are two kinds of pradaksina activity refer to schools in Buddhism, the Theravada as an honor symbol and the Mahayana as one type of meditation. Stupa as one of Buddhist worship architecture is a place to accommodate the activity itself and the worship symbol as well. Stupa is a conical monument erected over relics of the Buddhas, Arhats, Kings or other great men. Stupa as a religious architecture nowadays became the image of The Buddha as known all around the world which is also known as the symbol of the composition of robe, bowl, and walking stick from a monk. The interrelatedness between the pradaksina as an activity and the stupa as the architecture cause some effects that related to space dimension, space quality, orientation of space, and function of the building. All the effects only influence the spatial matter but not influence the meaning of pradaksina and the stupa. Keyword: pradaksina; stupa’s typology, the interrelatedness
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Klein, Rudolf. "Some Cosmological Roots of Modern Architecture." YBL Journal of Built Environment 2, no. 1 (2014): 5–17. http://dx.doi.org/10.2478/jbe-2014-0001.
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Abstract This paper investigates the links between some oriental cosmologies and modern architecture, stemming from major non-Western religions, such as Buddhism, Islam and Judaism as well as from Einstein’s theories. It analyses both the direct impact of these concepts, influencing modernism at a theoretical level, and their indirect impact through historic non-Western architecture, mainly Buddhist and Islamic. While modernist theoreticians and architects frequently emphasised functional and technical priorities of modernism, I argue that modernism was far less rational than it is commonly thought, and that it was substantially influenced by non-Western thought, particularly in its early period. This paper considers two main innovations of modernism resulting from oriental concepts of void: (1) the flat and undecorated façade, the avoidance of traditional ‘façade-discourse’, (2) the promotion of space as the main objective of architecture. The impact of Buddhist, Islamic, Judaic and the Einstenian cosmologies on modernism are considered
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Herwindo, Rahadhian Prajudi, and Singgih Salim. "Influence of Mahayana-Vajrayana School on the Sacred Characteristics of Theravada Vihara in Indonesia." Khazanah Theologia 4, no. 1 (2022): 19–34. http://dx.doi.org/10.15575/kt.v4i1.17872.
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After Buddha parinibbana, difference of views between his disciples in interpreting Dhamma result in the creation of three main Buddhist schools: Theravada, Mahayana, and Vajrayana. With slightly different philosophies, these schools also have their own unique architectural characteristics to represent sacredness. However, due to the absence of any architectural literature, wide interpretations of Buddhist teachings, and acculturation with local culture, sacred characteristics of Buddhist architecture became mixed and difficult to distinguish. This research aims to study the influence of Mahayana and Vajrayana schools on the sacred characteristics of Theravada Buddhist architecture in Indonesia. Elaboration of Buddhist architecture and sacredness theory are used to analyse case study in surrounding environment, figure, mass structure, spatial planning, and ornamentation scope to obtain comprehensive acculturation picture of Mahayana and Vajrayana philosophy on Theravada vihara in Indonesia. Based on the results of the analysis, it can be seen that the circular shape that was characteristic of the early Theravada school in the architectural form of the monastery began to be abandoned and the use of anthropomorphic Buddha and iconic symbols as ornamentation elements which were only known in the development of Mahayana and Vajrayana schools.
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Dubey, Shobharam. "Buddhist Art Center of Bihar." RESEARCH HUB International Multidisciplinary Research Journal 9, no. 2 (2022): 14–19. http://dx.doi.org/10.53573/rhimrj.2022.v09i02.003.
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Mahatma Buddha took birth in Lumbini, Nepal and spread Buddhism in Uttar Pradesh and Bihar. The remains of Buddhist architecture in the form of stupas, chaityas and Bihar are spread over the states of Uttar Pradesh, Madhya Pradesh, Bihar, Maharashtra and Andhra Pradesh in the form of Buddhist art centers of India. The state of Bihar has been the abode of Buddha. Bodh Gaya situated here is famous for the Buddha's enlightenment. Among the famous Buddhist art centers of Vihara state, Laurianandangarh, Rajgir, Nalanda, Bodh Gaya and Vaishali are the main ones.
 
 Abstract in Hindi Language: लौरियानन्दनगढ़, राजगीर, नालन्दा, बोधगया, वैशाली।
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JUNZHENG, WANG. "GENESIS AND MAIN TRENDS IN THE DEVELOPMENT OF BUDDHISM IN THE BOHAI STATE." Study of Religion, no. 4 (2021): 64–77. http://dx.doi.org/10.22250/2072-8662.2021.4.64-77.
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The genesis and initial development of Bohai Buddhism is due to several factors. Firstly, the beginning of Buddhism in the Bohai State was laid by the penetration and influence of the Buddhist culture of the Sui and Tang dynasties; the carriers of this trend could be the Mohe from Yingzhou, who were part of the conglomerate of the creators of the state. Secondly, the integration of Goguryeo Buddhism and its followers who inhabited the Tumen River basin played a significant role. Later, the Buddhist culture of the Tang Dynasty exerted an ever-increasing influence on the development of Bohai Buddhism. With the development of the political system, cities and transport links in the Bohai State, Buddhism gradually became the dominant religious ideology in worldview and culture. Bohai Buddhism received its vivid expression in the construction of temples and pagodas. The architecture and decoration of Bohai's Buddhist temples and pagodas reflected their strong resemblance to the Buddhist culture of the Tang Dynasty. After the defeat of the Bohai State by the Khitan and the creation of the Liao Empire, Bohai Buddhism did not quickly disappear, its remains can be traced in the culture of the Bohai people that survived after the fall of the state, especially in the beliefs of the Bohai aristocracy.
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Xie, Yifeng. "Struggle on the Axis: The Advance and Retreat of Buddhist Influences in the Political Axis of Capitals in Medieval China (220–907)." Religions 12, no. 11 (2021): 984. http://dx.doi.org/10.3390/rel12110984.
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Buddhist influences on the sacred axis of the capital during Medieval China (220–907) underwent a process of starting with little impact during the era of Eastern Han, Caowei, and Western Jin (220–317) to a more prominent influence from the late Southern and Northern Dynasties (386–589) to early Tang (618–907), peaked during the reign of Wu Zetian (690–705), and roughly returned to the layout patterns from the late Southern and Northern Dynasties to early Tang after the death of Wu Zetian. As maintained below, the process appears complex in terms of the interaction between Buddhism and political space throughout early Medieval China. There are roughly two modes of integration and interaction between Buddhist buildings and ritual buildings with Buddhist influences and the political axis of the capital: the first mode can be regarded as a typical mode after its establishment in the late Northern Wei Dynasty. This mode exhibits major Buddhist influences, particularly regarding the huge scale of monasteries and pagodas, and the location of high-rise pagodas as landmarks flanking the political axis of the capital. The second mode should be regarded as an atypical mode occurring during the late period of Emperor Wu of the Liang (464–549, r. 502–549), the period of Northern Qi (550–577), and the reign of Wu Zetian. At this point, Buddhist buildings and imperial ritual buildings with Buddhist characteristics and symbolic meanings were placed directly on the political axis of the capital, close to or located at the core of the palace. This practice was a sign that the influence of Buddhism in the political culture and ideology of the entire empire during these eras of Emperor Wu of the Liang, the Northern Qi, and the reign of Wu Zetian had reached their culmination. Architecture reflected the most intuitive embodiment of an external visual form in presenting the most symbolic image of power. With the decline of political enthusiasm for advocating Buddhism, Buddhist and related buildings no longer occupied the political axis of the capital. Various forces majeure such as natural fires, demolition, and reconstruction by subsequent rulers also led to the demise of Buddhist influence on the pollical axis of capital architecture in subsequent eras.
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Islam, Sk Zohirul. "Lion Motif used in Buddhist Architecture of Ancient Bangladesh." American International Journal of Social Science Research 2, no. 2 (2018): 24–33. http://dx.doi.org/10.46281/aijssr.v2i2.176.
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Lion is the king of the animal world. They live in the plains and grassy hills. The male lion's job is to protect the clan from enemies. However, lions do not have any natural enemy. Due to these characteristics, the lion has been considered through all ages in the world as a symbol of royalty and protection as well as of wisdom and pride. In Buddhism, lions are symbolic of the Bodhisattvas. In Buddhist architecture, lion motifs or figure were used as protectors of Dharma and therefore support the throne of the Buddha’s and Bodhisattvas. The lion motifs (symbol) were also used at the entrance of the monasteries and shrines possibly for the same reason. In ancient Bangladesh, there are various types of Lion motif used in terracotta plaques of Ananda Vihara, Rupbhan Mura and Shalban Vihara at Mainamati in Comilla district, Vashu Vihara, Mankalir Kundo at Mahasthangarh in Bogra district and Somapura Mahavihara at Paharpur in Naogaon district. This paper aims to address the cultural significance of the lion motif in Buddhist architecture of ancient Bangladesh and relates it to various types of representation to understand its origin and evaluation.
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Xu, Xin, Fei Wang, and Yu Chen Sun. "The Research on Protection Planning of Ancestral Temple of Sanlun Caotang Temple of Chinese Buddhism in Mount Zhongnan Based on ASEB Grid Analysis." Applied Mechanics and Materials 357-360 (August 2013): 20–25. http://dx.doi.org/10.4028/www.scientific.net/amm.357-360.20.
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This paper focuses on the systematical analysis of strengths, weaknesses, opportunities and threats of Caotang Temple by using ASEB grid analysis. Caotang Temple, situated in Mount Zhongnan, is the ancestral place of Chinese Buddhism Sanlun. It possesses plentiful religious culture resources and shows great value of protection and development. However, it still shows some weaknesses, such as insufficient protection, poor access, lacking features of Buddhism architecture, poor management of entrance space, incomplete service facility etc. Based on ASEB grid analysis and using the example of Caotang Temple, this paper uses the modern architectural concept and space design techniques to highlight the features of religious doctrine of Sanlun, emphasize place spirit, and inherit Buddhist culture.
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Ulmasov, A. "TRANSFORMATION PROCESSES IN CENTRAL ASIAN AND INDIAN ARCHITECTURE." Builders Of The Future 02, no. 02 (2022): 79–89. http://dx.doi.org/10.37547/builders-v2-i2-13.
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The article provides information about the originality and harmony in the architecture of Central Asia and India. This architectural transformation is approached in the example of the ornaments of Buddhist stupa.
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Ladwig, Patrice. "Imitations of Buddhist Statecraft." Social Analysis 62, no. 2 (2018): 98–125. http://dx.doi.org/10.3167/sa.2018.620205.
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From 1893 onward, French colonialism sponsored and restructured Lao and Khmer Buddhism in order to create an ‘Indochinese Buddhism’. Over a span of several decades, the French promoted monastic education, reconstructed the major temples in Vientiane, and renovated the That Luang, the most important Buddhist relic shrine of Laos. This article explores the motivations and strategies for this endeavor, specifically focusing on French efforts to ‘re-materialize’ Lao Buddhism’s religious architecture. I argue that the renovation of these monuments as symbols and centers of power under the auspices of the École française d’Extrême-Orient was based on mimetic processes that should be understood as a form of ceremonial governmentality and colonial politics of affect, whose goal was to win the ‘sympathies’ of the colonized.
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Raina, Asif Rashid, and Anoop Singh. "Impact of Buddhist thoughts on Cultural Nationalism of India." Sprin Journal of Arts, Humanities and Social Sciences 2, no. 01 (2023): 01–07. http://dx.doi.org/10.55559/sjahss.v2i01.73.
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The colonized nations saw a rise in nationalistic feelings during the height of colonialism in the middle of the 19th century, putting special stress on the concept of shared ancestry, culture, and language. It is important to note that this idea has strong roots in India, where there is a plethora of ancient literature that emphasizes on cultural nationalism, whether it is Vedic, Jain, or Buddhist. In most regions of the continent, Buddhism has had a major geographic and historical presence often for very long times. Additionally, it has had a significant impact on the creation of particular states as well as less formal interpretations and shaping of social and political processes, and this influence has persisted to the present day. It promoted the notion of tolerance and diversity and integrity. Asoka, Kanishka, and Harshavardhan became passionate nationalists who sought to reunite India under a unified state. Both the Mughals and the British did this afterward. Thus, it seems likely that Buddhism contributed to national cohesion. Buddhism has a significant impact on Indian society and culture in every way. The restrictions placed on the populace by the Latter Vedic religion society and literature was lifted. It advocated for social harmony and spoke out against the caste system. Buddhism has had an impact on a variety of art genres, including painting, sculpture, literature, and architecture. Buddhism promoted unrestricted trade between India and other nations. Buddhist monks began disseminating the Buddha's teachings to other countries in the third century B.C. and pilgrims and students from other Buddhist countries began travelling to India to further their education. When foreigners visited India, the rich culture of Buddhism engulfed them; they abandoned their own identities and creeds in favour of Buddhist names and the faith. These outsiders included the mythical Kushana ruler Kanishka and Greek emperors. Buddhism thus had a significant influence on the synthesis that led to the development of contemporary Indian civilization. This paper highlights Buddhism's history, including its rise and fall, as well as how Buddhist teachings have influenced cultural nationalism of India.
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A., Sanithabeevi. "FASCINATING STORIES ABOUT CAMBODIAN RELIGION-AN BREAKDOWN." International Journal of Advanced Research 11, no. 01 (2023): 1079–83. http://dx.doi.org/10.21474/ijar01/16122.
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Cambodia is among the countries where people have the strongest and most absolute faith in religion in the world. Since the dawn of the nation, the holy spirit has been a crucial part of daily life. Nowadays, the imprint of traditional cults and creeds is apparent in both the lifestyle and the architecture of the Cambodian. Exploring Cambodian religion, you will step into a whole new world full of myths and legends. In general, Buddhism is the official Cambodian religion. About 97% of the Cambodian population are Buddhist followers. Most of them are Theravada Buddhist. Other popular religions include Islam (2.1%), Christianity (1.3%), and ethnic religions (0.3%). Buddhism plays such an essential part that Dhamma teachings in monasteries with Sangha (monks) developing in most of the temples in Cambodia. Over time the original beliefs of Theravada Buddhism did integrate with the local rituals to create an indigenous culture of the Cambodian.
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De Silva, W. "Nature and buddhist architecture: Sri lanka." International Journal of Design & Nature and Ecodynamics 12, no. 2 (2017): 225–34. http://dx.doi.org/10.2495/dne-v12-n2-225-234.
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Nianchen, Ren. "METALLIC ARCHITECTURE OF CHINA IN LATE MIDDLE AGES: TYPOLOGY AND ARTISTRY." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 12. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-12.
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The article considers the use of copper-alloy and iron casting technology in China from the Song dynasty (960–1279 AD) to the Qing dynasty (1644–1912 AD) inclusive. The architectural typology covers cult buildings – Buddhist and Tibetan-Buddhist pagodas, Taoist temples, and secular park pavilions. The specifics of the technology and artistic expressiveness distinguishing Chinese metallic architectural structures are identified based on concrete examples using the formal stylistic method of art analysis and technical analysis method. It is concluded that the metallic architecture did not work out new structural and art forms, the casting technique reproducing the structures and décor of wooden prototypes. This was associated with both the conservatism of visual perception and centuries-long standardized forms of cult and palace architecture. The casting technology potentialities enabled the structural and decorative features of wooden prototypes to be reproduced in every detail.
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Choy, Young-Ho. "Buddhist activity & personality of the Jeong Gong－Kwon(鄭公權) in the late 14th century". Institute of Korean Cultural Studies Yeungnam University 81 (31 серпня 2022): 543–72. http://dx.doi.org/10.15186/ikc.2022.08.31.17.
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This paper aims to identify Jeong Gong-Kwon’s Buddhist activities and his nature during the late 14th century. This research illustrates that in the year 1377(禑王 3年) Jeong Gong-Kwon mobilized human resources from Goryeo-Dynasty(高麗國)’s Daejangdogam(大藏都監) and Bunsadogam (分司都監) in order to engrave a number of 「Assorted and Annotated Mahavaipulya purnabudha Sutra(圓覺類解)」 woodblocks. These taskforces manufacturing Buddhist scripture woodblocks were established in the midst of 13th century.
 A well-known Neo-Confucianist Jeong Gong-Kwon engaged in a variety of Buddhist activities based on his sophisticated understanding of Buddhisim. His 49th Buddhist ritual ceremony also took place at Bobeob- Temple(報法寺).
 His devotion to Buddhisim founded upon a wide human-network including his family members and Buddhist intellectuals such as Hwan Am(幻菴) Hon Su(混脩). High-ranking government officials like Lee Saek (李穡) and Han Su(韓脩) also participated in his Buddhist initiatives.
 Particularly, Jeong Gon-Kwon had intimate relationship with Han-Su and Lee-Saek.
 Jeong Gong-Kwon was highly committed to esoteric Buddhism(密敎) that puts more weight on practicing good deeds mainly being benevolent to others(功德) which is commonly emphasized among Buddhist monks.
 His religious piety also pertains to Zen(禪) and is in line with the Susun-Temple(修禪社). In conclusion, Jeong Gong-Kwon’s religious enthusiasm reflects autonomy of Goryeo-Dynasty and conventional authority of its king.
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Haoribao, Enke, Yoshinori Natsume, and Shinichi Hamada. "Arrangement Plan of Inner Mongolia Buddhist Temple." ATHENS JOURNAL OF ARCHITECTURE 8, no. 1 (2022): 67–90. http://dx.doi.org/10.30958/aja.8-1-4.
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Since BC, the construction of cities has been started in the Mongolian Plateau with the establishment of dynasties, but many were turned into ruins. However, the Tibetan Buddhist temples built after the 16th century, which are an indispensable element in the process of settling the Mongolians from nomadic life, have been relatively well preserved in Inner Mongolia. These temples have been thought to be the epitome of the Mongolian economy, culture, art, and construction technology. Therefore, it has a great significance to research them systematically. Interestingly, these temples in Mongolia were originated from Inner Mongolia, which is located on the south side of Mongolia. The architectural design of these temples has been primarily influenced by Chinese and Tibetan temple architecture, suggesting that the temples appear to be considered a vital sample for studying temple architecture in Mongolia or East Asia. So far, there is still no study systematically on temple architecture in Inner Mongolia. Therefore, this research aims to study the arrangement plan of Inner Mongolian Tibetan Buddhist temples, which is the most important factor to consider in the first stage of temple construction.
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Zhu, Sun, and Li Chen. "The Analysis of Architecture Image of Anande Temple - The Value and Protection of Gude Temple in Wuhan City." Applied Mechanics and Materials 71-78 (July 2011): 171–74. http://dx.doi.org/10.4028/www.scientific.net/amm.71-78.171.
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Anande Temple originated from Myanmar, which belongs to Theravada Buddhism. Anande was the son of the Sakyamuni’s uncle, Hufan, and he finally became one of the Ten Great Disciples of Sakyamuni. Dedicated to the Buddhist temple, AnandeTemple is the most important Theravada Buddhist temple. According to literature, this kind of architectural style has only two buildings: one is AnandeTemple in Myanmar, the other is Gude Temple in Wuhan.This article mainly discusses the idea of restoration programming system of Gude Temple, one of the four jungles in Wuhan city. From the different characteristics in cultural value and architectural space layout represented by “Tianzhu standard” and “Garan seven standard”, the author explains the overall cultural understanding of Gude Temple and program the system with the consideration of cultural and environmental factors.
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Pane, Imam Faisal, Hilma T Fachrudin, Hesti Fibriasari, and Aurora S Lubis. "Reading Sign as a response to an architectural work (Case study: Wisma Garuda)." Britain International of Linguistics Arts and Education (BIoLAE) Journal 2, no. 1 (2020): 338–45. http://dx.doi.org/10.33258/biolae.v2i1.204.
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Between objects and observers in the world of architecture have a close relationship. In assessing and appreciating an architectural work it is necessary to synchronize architectural objects as a sign. The sign in question means an architectural work that functions as a sentence that can be read and has a meaning or meaning. The position of an architectural work depends on the observer in appreciating it. In general, this paper explains that an architectural object has an understanding that can be understood by the observer in accordance with the appreciation reached to the observer. The object under study was Wisma Garuda, a budget hotel. Where the hotel applies the concept of experience in architecture, but it reads as Buddhist philosophy by the curator of the Indonesian Pavilion 2018. Even though the architect of the building does not use Buddhist philosophy, based on an analysis of the interconnectedness of Husserl's and Buddha's philosophy it proves that the meaning received by the curator is something natural.
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Idham, Noor Cholis. "JAVANESE ISLAMIC ARCHITECTURE: ADOPTION AND ADAPTATION OF JAVANESE AND HINDU-BUDDHIST CULTURES IN INDONESIA." JOURNAL OF ARCHITECTURE AND URBANISM 45, no. 1 (2021): 9–18. http://dx.doi.org/10.3846/jau.2021.13709.
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Javanese Islamic architecture appears to be highly influenced by previous cultures, even though Islam has brought a new civilisation since the 13th century in Indonesia. The classical mosques and houses seem to follow Javanese and Hindu-Buddhist principles in their buildings, elements and spatial arrangements. This paper examines how the Javanese adapted their architecture to meet Islamic values while preserving their previous traditions. The concept of architectural synchronisation in Javanese architecture is examined from the traces observed in the temple dioramas, depictions of contemporary cultural products, and several traditional buildings. The adoptions and adaptations that appear in some significant objects such as old mosques and houses are traced back to previous transformation principles. Architectural harmonisation for new needs seemingly bases on religion as the most potent driving aspect. However, what is interesting is that in the case of Java, embracing a new religion does not mean forgetting existing traditions. On the other hand, the principle of acculturation has created a peaceful transition in architecture. Some evidence suggests that Javanese high culture, such as the classical grand mosque and the joglo house, succeeded in translating Javanese and Hindu-Buddhist ideas into Islamic architecture in very distinctive ways.
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Seo, jimin. "A Study on the Background of Formation in the Avatamska Vairocana Buddha statues in Zen Buddhism temples in the Latter Part of the Silla Dynasty." Paek-San Society 124 (December 31, 2022): 231–55. http://dx.doi.org/10.52557/tpsh.2022.124.231.
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This paper was intended to explain the reason why the Zen Buddhism temples in the latter part of the Silla Dynasty that built Avatamska Vairocana Buddha statues became to believe in Avatamska Vairocana Buddha statues unlike the discipline of the Zen sect that regards the Buddhist sanctuary where Zen masters preach Buddhist teachings so that complete enlightenment can be obtained on behalf of Buddha as the most important space without building the Buddhist sanctum where the main Buddha statue is created and the rituals such as sutra chanting or prayers to Buddha are held.
 According to the result of the study, although it has been vaguely assumed that the Avatamska Vairocana Buddha was enshrined in Zen Buddhism temples in the latter part of the Silla Dynasty, when the literature data and excavation investigation results were put together, no clear evidence to conclude such an assumption could be found. In addition, given that the Avatamska Vairocana Buddha statue was not enshrined in the main building of the temple, which is the central Buddhist sanctum of the Zen Buddhism temple, but was enshrined in an attached Buddhist temple or created after a considerable period of time after the temple was built, it was found that the Avatamska Vairocana Buddha statue did not play the role of the main Buddha statue, which was the main object of worship from the beginning. In particular, it was confirmed that Avatamska Vairocana Buddha was not believed as the main Buddha in Zen Buddhism temples in the latter part of the Silla Dynasty from the mention that the iron Vairocana Buddha statue in Borimsa Temple played the role of decorating the place where Chejing stayed, written in the 「Bojo Zen master Changseong stone monument」.
 The Zen masters who created mountain monasteries in the latter part of the Silla Dynasty must have adapted to the Zen Buddhism temple system of the Tang age through studying abroad and thus it is thought that they followed the Buddhism temple architecture presented in the『Baizhang Qinggui (百丈淸規)』 in the Tang age. However, the Zen Buddhism temples in the latter part of the Silla Dynasty enshrined the Avatamska Vairocana Buddha statue unlike the Zen Buddhism temples of the Tang age, and it is presumed that they could not but respond to the demand from the royal family because the royal family sponsored the operation of Zen Buddhism temples with political purposes. In the latter part of the Silla Dynasty, the Avatamsaka sutra studies were popular such as the creation of the Avatamska Vairocana Buddha statue centered on the royal temple, and it is thought it affected Zen Buddhism temples.
 It is understood that in the latter part of the Silla Dynasty, the Zen sect supplemented and developed its ideological system while actively developing ideological exchanges with the Huayan sect. In the atmosphere of the Buddhist world where the Zen sect and the Huayan sect communicate, the original theory of the Zen sect that Buddha statues are not the true form of the Tathagata and therefore do not need to be respected was not followed, and Zen Buddhism temples became to enshrine the Avatamska Vairocana Buddha statue, which was most familiar to Buddhists. By analyzing the mention that Buddha statues could not but be created to convey enlightenment written in the 「Dansoksa Temple Shinhaeng Zen master monument」 and the recognition of Avatamska Vairocana Buddha recorded in 「Borimsa Temple Bozo Zen master Changseong stone monument」 which is in line with the Buddha faith view in 「Avatamsaka sutra」 the reason why Zen Buddhism temples in the latter part of the Silla Dynasty became to believe in Avatamska Vairocana Buddha could be concretely understood.
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Jin, Jian, Jindi Yao, and Jianxiang Wang. "Value of Planning and Design of Buddhist Temples in Hebei Province, China." Open House International 41, no. 3 (2016): 44–49. http://dx.doi.org/10.1108/ohi-03-2016-b0007.
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To raise public awareness of protecting Buddhist temples, this study considers Hebei Province of China as an example, and explores the value of architectural planning and design of Buddhist temples. After 11 Buddhist temples in Hebei Province of China are selected, the paper adopts a Delphi method and questionnaire survey method, establishes the value evaluation system from four dimensions: historical value, artistic value, scientific value, and sociocultural value; and calculates the value of the Buddhist temples’ architectural planning and design according to expert rating. Research results indicate the following. Puning Temple, Jinhe Temple, and ShiEn Temple rank at the top because they are complete extant ancient buildings and have beautiful architectural styles. Chongguang Temple and other Buddhist temples have low comprehensive score because they are severely damaged and other reasons. The comparative study indicates that Buddhist temples at different historical periods have different architectural heritage values, and different influencing factors exert different effects on the architectural heritage value. The study establishes an evaluation indicator system, studies the value of Buddhist temples’ architectural planning and design, and achieves certain innovative research perspective. The evaluation of the value of Buddhist temples’ architectural planning and design can help the public gain a better understanding of the value of temple architectural culture. This understanding benefits the preservation of the temple building heritage.
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Leksukhum, Santi. "Buddhism in Thai Architecture: Stupa." MANUSYA 4, no. 1 (2001): 68–77. http://dx.doi.org/10.1163/26659077-00401006.
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Buddhist stupas have existed in Thailand for more than a thousand years. They have evolved their own distinctive styles in each period, and todayʼs style consists of modifying the styles of the past so as to create a new style for today.
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Thirathamrongwee, Punjaphut, and Wonchai Mongkolpradit. "A Study of the Principles of Three Major Sects for Creating Buddhist Sacred Places." Nakhara : Journal of Environmental Design and Planning 20 (December 24, 2021): 118. http://dx.doi.org/10.54028/nj202120118.
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This article aims to establish the principles for the creation of Buddhist sacred places based on primary sources of the three major sects, namely, Theravāda, Mahāyāna, and Vajrayāna, and studied architecture based on promising secondary sources through case studies. The stated research question is to understand the interaction among Buddhist principles, human activities, and Buddhist architecture in order to develop the criteria for creating Buddhist sacred places in the context of the modern world. The results indicate that criteria should be considered in two aspects. First, a method is required to characterize the context and environment that promotes the practice of virtues such as concentration and wisdom, resulting in mental development. Second, and a method is needed for characterization of the context and activities performed that are appropriate for spiritual cultivation. The proposed criteria offer appropriate methods for developing sacred places in various societies, and contexts comprising any circumstances.
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Mitypova, G. S. "Buddhism as a Factor in Educational Processes in Buryatia: Socio-Historical Aspects." Bulletin of Irkutsk State University. Series Political Science and Religion Studies 38 (2021): 118–28. http://dx.doi.org/10.26516/2073-3380.2021.38.118.
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The article examines some socio-historical aspects in the context of educational processes in Buryatia in the case of the integration of Buddhist institutions in the field of culture and education in the early 20th and 21th centuries. Today Buddhism in Buryatia is one of sustainable confessional institutions and has all the traditions in its arsenal it had in prerevolutionary history. They are restored datsan complexes, the development of building construction, architecture, and crafts, the establishment of parish communities that are characteristic of the cultural landscape of the region.
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II, Richard D. McBRIDE. "Buddhist Kingship and Symbolic Architecture in Silla Korea." International Journal of Buddhist Thought and Culture 31, no. 1 (2021): 181–215. http://dx.doi.org/10.16893/ijbtc.2021.06.30.1.181.
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Fogelin, Lars. "Ritual and Presentation in Early Buddhist Religious Architecture." Asian Perspectives 42, no. 1 (2003): 129–54. http://dx.doi.org/10.1353/asi.2003.0021.
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Sugata, Ferlina, and Venny. "Study of typology and morphology of stupa variety at the Padepokan Dhammadipa Arama in Malang, East Java." SMARATUNGGA: JURNAL OF EDUCATION AND BUDDHIST STUDIES 1, no. 2 (2021): 23–36. http://dx.doi.org/10.53417/sjebs.v1i2.53.
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Religious people generally have a symbol of respect to worship the greatness of role models in their respective religions. This is motivated by different traditions, history, locations, and developments of religion and worship activities that affect the emergence of various types and forms of worship. One of them is a building named stupa. The stupa building as a means of worship accommodates worship activities in Buddhism. The stupa also functions as an object of respect in implementing worship. Padepokan Dhammadipa Ārāma's premises in Malang are architectural stupas buildings similar to the Patirupaka Stupa Shwedagon in Myanmar. Therefore, this study aims to determine the extent to which this replication process occurs in terms of typological and morphological studies, to analyze typology by classifying stupas based on the types of stupas in the world where each culture has its characteristics, and to analyze morphology based on the level of change and tendency of change. The method of this study is a qualitative study with a rationalistic approach. The study results are tabulations of typology and morphology of stupa architecture as a guide for the types and forms of stupa architecture, contributing to the science of Buddhist religious architecture in the Indonesian Archipelago.
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Sentot, Santacitto, Uun Triya Tribuce, and Aryanto Firnadi. "The Meaning of Buddhist Statue Symbols In Borobudur, Mendut And Plaosan Temples Based on Buddhist Literature." Eduvest - Journal of Universal Studies 3, no. 1 (2023): 18–33. http://dx.doi.org/10.36418/eduvest.v3i1.715.
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Borobudur, Mendut, and Plaosan temples are representative temples in Buddhist temple architecture in Indonesia. These three temples were built with different backgrounds in their time but have a common function as places of worship. One of the main characteristics in the building of this temple is the presence of Buddha statues with their spiritual function in the religious activities of Buddhists. This research uses qualitative research methods with a phenomenological approach. Data is processed and analyzed with several stages, namely data condensation, data presentation, and drawing conclusions. The results of the study show that the Buddha statue is interpreted as an important main symbol in temple buildings. This symbol is related to the sacred meaning of the temple and puja activities carried out by the community. The Buddha statue is the most important symbol because it directly represents the Buddha. These Buddha statues are found in all three temples with different names but as Buddhist symbols, have the same characteristics. All three stand out because they are in the middle and tend to be larger in size than other objects, and without a doubt that Buddha statues symbolizing Buddha itself are certainly discussed in Buddhist literature. Although in making Buddhist statues in the three temples look different such as the sitting position of the statues, the shape of the mudras, and the ornaments that adorn them, there are similarities in the components of the statues based on Buddhist literature. The similarity of these components is contained in one sermon (sutta) that explains the characteristics or signs of a Buddha is the Lakkhaṇa Sutta in Dīghanikāya. It is said in the literature that Buddha had 32 signs of the body as a great man
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Zhao, Zhi Qing, and Li Tao. "Differences of Philosophy and Culture between Chinese and Western Reflected in Construction." Advanced Materials Research 953-954 (June 2014): 1533–36. http://dx.doi.org/10.4028/www.scientific.net/amr.953-954.1533.
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Globalization had the great influence on architectural culture. Rational and fighting spirit, the individual and subject consciousness, religion and willpower of Western culture were represented on buildings. And Confucianism and Taoism, with other various internal and foreign Buddhist, complement each other, became the main line of ancient China thought, were penetrated and cohered in all aspects of Chinese buildings. In the globalized world, the architect should explore the rational core and objective laws of architectural development, and consciously promote the continuous development of traditional regional architecture, activate special cultural value of regional architecture. Based on the absorption, blend and innovation of both ancient and modern, Chinese and foreign architectural excellence culture, the Chinese architectural culture will be full of vitality.
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Li, Z., M. Hou, Y. Dong, J. Wang, Y. Ji, and P. Huo. "RESEARCH ON THE DIGITAL RETENTION MECHANISM OF TIBETAN BUDDHISM ARCHITECTURE BASED ON UAV AND TLS: A CASE STUDY OF BAOGUANG HALL." ISPRS Annals of the Photogrammetry, Remote Sensing and Spatial Information Sciences VIII-M-1-2021 (August 27, 2021): 95–100. http://dx.doi.org/10.5194/isprs-annals-viii-m-1-2021-95-2021.
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Abstract. Tibetan Buddhist architecture embodies ancient Chinese architectural culture and religious culture. In the past, the information retention mechanisms for ancient buildings were implemented as photos, tracings, and rubbings, which cannot fundamentally document the authenticity of architectural heritage. To explore the digital retention method for the unique style of Han Tibetan architecture，this research that based on the idea of reverse documentation first collects point cloud data with the technical support of unmanned aerial vehicle (UAV) photogrammetry and terrestrial laser scanner (TLS) and then uses registration method to obtain the integral of the point cloud model of Baoguang Hall. This paper explores the possibility of extracting 2D and 3D information, such as architectural plans, facades, decorative components, and models of the temple architecture, by processing point cloud data. Finally, this study proves the feasibility of using digital technology for the preservation and protection of architectural heritage.
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Phongkanpai, Nittaya, Kittisan Sriruksa, and Panya Napangmaun. "Esan Color Glass: Artisans and Symbolic in Buddhist Architecture." Journal of Engineering and Applied Sciences 14, no. 13 (2019): 4508–17. http://dx.doi.org/10.36478/jeasci.2019.4508.4517.
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Chuki, Sonam, Raju Sarkar, and Ritesh Kurar. "A Review on Traditional Architecture Houses in Buddhist Culture." American Journal of Civil Engineering and Architecture 5, no. 3 (2017): 113–23. http://dx.doi.org/10.12691/ajcea-5-3-6.
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Acri, Andrea. "Alternative approaches to eighth-century Central Javanese Buddhist architecture." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 167, no. 2-3 (2011): 313–21. http://dx.doi.org/10.1163/22134379-90003595.
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Moon, Jung Pil. "Storytelling and Cultural Tourism of Architectural Change in Mythology: Focusing on Bongjeongsa Temple in Andong." Korean Association of Regional Sociology 23, no. 3 (2022): 123–47. http://dx.doi.org/10.35175/krs.2022.23.3.123.
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In this study, the values of storytelling to be applied to a culture tourism program were suggested by interpreting the Confucian ideology of Joseon and architectural changes in the later generations in terms of modern mythologies through Ahndong Bongjeongsa Temple. As the research method, Bongjeongsa Temple was examined from the aspect of Roland Barthes’s modern mythologies and discussed in three viewpoints found in the historical flow. The categories are the Confucian mythologic feature that shows the symbolism of how Bongjeongsa Temple was built through a human phoenix, the modern mythologic feature which dismantles the building to which Confucian supremacy was applied at the point of cultural assets restoration in 1960s, and the inherited mythological feature that the space of Manselu of Bongjeongsa Temple where Confucianism and Buddhism had been exchanged was applied to the construction of Seowons and to the elements of modern architecture later. The mythological values of storytelling culture tourism centered around Bongjeongsa Temple are as follows: First, Bongjeongsa Temple clearly reveals the semiotic meanings of ‘a phoenix’, ‘heavenly lamp’, ‘placenta of a king’ and etc. with its tale of establishment, and the analytic contents of the Buddhist tales implying a unified nation of those times should be reflected as the value of culture tourism storytelling. Second, the symbolized tradition in which a phoenix represents a king in the Bongjeongsa Temple foundation tale and the Confucian myth where Toegye is praised as a human phoenix need to be discussed as culture tourism contents that can be developed into an ideological value after being mixed with Buddhistic beliefs. Third, the dismantlement of ‘Wuhwalu’ and ‘Jinyeomun’ was the act of space restoration eliminating the complexity from the exchange between Buddhism and Confucianism, and needs to be recognized as the storytelling value to reflect on the modern mythological behavior exerted on Bongjeongsa Temple from which the historical trail had been erased. ‘Manselu’ of Bongjeongsa Temple is the space where monks and classical scholars interacted, and ‘Mandaelu’ of Byeongsanseowon, a Confucian building, has the common architectural element. It is the concept of ‘Nuhajinib’, shift of space and an entrance function, and ‘Lu malu’ to which nature was introduced with Chagyeong technique, and has been settled as the value of an inheritance factor of the traditional architectural culture today. Therefore, the archetetural elements related to the foundation tale of Bongjeongsa Temple can create the storytelling value with the implication of liberal arts that tourists can actually recognize with traditional architecture.
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Roskam, Cole. "Situating Chinese Architecture within “A Century of Progress”." Journal of the Society of Architectural Historians 73, no. 3 (2014): 347–71. http://dx.doi.org/10.1525/jsah.2014.73.3.347.
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Situating Chinese Architecture within “A Century of Progress”: The Chinese Pavilion, the Bendix Golden Temple, and the 1933 Chicago World’s Fair explores the overlooked role played by Chicago’s 1933 World’s Fair in China’s twentieth-century architectural development. The exposition initially represented a valuable opportunity for China’s recently established Guomindang administration to highlight its new political agenda via a national pavilion that would also symbolize the country’s search for a modern, uniquely Chinese architectural expression. Numerous financial and geopolitical obstacles would eventually prevent official Chinese participation, and two unofficial structures were completed instead on China’s behalf: a privately financed Chinese pavilion and a piece-by-piece reconstruction of an eighteenth-century Qing replica of a Tibetan Buddhist shrine, the Golden Temple, sponsored by the Chicago-based industrialist Vincent Bendix. Cole Roskam investigates the transnational forces that produced these buildings at the fair and argues that the event should be considered an important new point of inquiry in the study of Chinese modern architecture.
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Chen, Anran, Nicole Porter, and Yue Tang. "How Does Buddhist Contemplative Space Facilitate the Practice of Mindfulness?" Religions 13, no. 5 (2022): 437. http://dx.doi.org/10.3390/rel13050437.
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This paper examines the spaces where Buddhist spiritual activity—specifically mindfulness practice—takes place, exploring how contemporary urban Buddhist contemplative places may benefit people’s mindful experience. Historical Buddhist contemplative places are examined through a literature review of Buddhist philosophy and Buddhist architecture and landscape. A case study of Kagyu Samye Dzong London, UK (KSDL) in the contemporary western context is then presented, drawing upon mixed methods (qualitative spatial analysis, questionnaires with mindfulness practitioners, and an in-depth interview with the director of the Buddhist center). This study investigates the relationship between the Buddhist spiritual activity of mindfulness practice and one specific physical space, exploring how the KSDL has been designed and is used to facilitate such mindfulness awareness and insight. Results suggest that quiet, solitude, and the presence of nature are three tangible spatial qualities that can facilitate mindful practice to some extent. However, additional relational or intangible qualities, namely the presence of The Three Jewels and blessings, are equally if not more important when sustaining mindfulness for Buddhist practitioners, and these contemplative qualities are more than “spatial”. Both the physical tangible qualities and intangible qualities are indispensable in the contemplative space and in influencing one’s practice. Findings evidence the importance of physical design and space for supporting contemporary mindfulness practitioners, whilst acknowledging that mindfulness emanates from—and can ultimately be discovered from—within.
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Dubakov, Leonid V. "Zen Buddhist Motifs in A. Makushinsky’s novel ‘The Stopped World’." Вестник Пермского университета. Российская и зарубежная филология 14, no. 3 (2022): 78–86. http://dx.doi.org/10.17072/2073-6681-2022-3-78-86.
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The article aims to comprehend the impact of Zen Buddhism, its philosophical positions and practices on the problems and poetics of the novel by A. Makushinsky The Stopped World. The Buddhist influence in the novel is manifested in the literary implementation of the principles of the emptiness of reality, the illusory nature of the human ‘I’, the relativity of time and space, and also in the features of the created characters, landscapes and interiors, in the organization of the chronotope. Based on the results of the study, it can be stated that in The Stopped World A. Makushinsky not only depicts the world perceived in meditation by means of a thorough and detailed analysis of all components of reality but also literally depicts the world from meditation. The writer draws attention to the principle of universal connections of things showing the similarities of various characters in the novel. The Stopped World is looking for parallels that would most adequately explain what Zen and human consciousness are. Such parallels are sky and water, photography, architecture. Each of them expresses the dynamics that have become static, the fuss that has become peace, or the ‘stopped world’. The theoretical and methodological base of the work rests on the research conducted by V. Toporov (on the ‘Petersburg text’) and P. Alexeev (on the ‘Muslim text’): the precedent translation of the structural-semiotic approach from the urban-cultural into the religious sphere allows us to apply it also to the literary study of the presence of Buddhist ideas and motifs in the text. The relevance of the article is determined by the low level of knowledge of the presence of Buddhism in Russian literature as one of the world religions and one of the traditional religions of Russia. The article is novel in that it attempts to provide a consistent and broad study of the ‘Buddhist text’ of modern Russian literature based on thenovel The Stopped World by A. Makushinsky taking into account the writer’s poetic work.
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Byard, Dorick Jean. "Review: The Roof in Japanese Buddhist Architecture by Mary Parent." Journal of the Society of Architectural Historians 45, no. 2 (1986): 183. http://dx.doi.org/10.2307/990105.
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Moon, Myung-dae. "The Characteristics of the Buddhist Architecture in Heungcheon‐sa Temple." Art History Journal 57 (December 15, 2021): 15–30. http://dx.doi.org/10.24828/ahj.57.15.30.
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Coningham, R. A. E., K. P. Acharya, K. M. Strickland, et al. "The earliest Buddhist shrine: excavating the birthplace of the Buddha, Lumbini (Nepal)." Antiquity 87, no. 338 (2013): 1104–23. http://dx.doi.org/10.1017/s0003598x00049899.
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Key locations identified with the lives of important religious founders have often been extensively remodelled in later periods, entraining the destruction of many of the earlier remains. Recent UNESCO-sponsored work at the major Buddhist centre of Lumbini in Nepal has sought to overcome these limitations, providing direct archaeological evidence of the nature of an early Buddhist shrine and a secure chronology. The excavations revealed a sequence of early structures preceding the major rebuilding by Asoka during the third century BC. The sequence of durable brick architecture supplanting non-durable timber was foreseen by British prehistorian Stuart Piggott when he was stationed in India over 70 years ago. Lumbini provides a rare and valuable insight into the structure and character of the earliest Buddhist shrines.