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Books on the topic 'Arte Budista'

Author: Grafiati
Published: 9 September 2021
Last updated: 2 March 2023

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1

Rhie, Marylin M. Wisdom and compassion: The sacred art of Tibet. New York: Abrams, 1991.

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2

Rhie, Marylin M. Wisdom and compassion: The sacred art of Tibet. New York: Tibet House New York in association with Harry N. Abrams, Inc., 1996.

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3

Rhie, Marylin M. Wisdom and compassion =: Śes rab daṅ sñiṅ rjeʼi rol pa : the sacred art of Tibet. [San Francisco]: Asian Art Museum of San Francisco, 1991.

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4

F, Thurman Robert A., and Royal Academy of Arts, eds. Wisdom and compassion: The sacred art of Tibet. London: Royal Academy of Arts, 1992.

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5

Bstan-ʼdzin-rgya-mtsho. El Arte de la felicidad. Barcelona: Debolsillo, 2007.

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6

Bstan-ʼdzin-rgya-mtsho. El arte de la felicidad. México, D.F: Debolsillo, 2014.

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7

Bstan-ʼdzin-rgya-mtsho. El arte de la felicidad. Barcelona, Spain: Debolsillo, 2004.

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8

Hanh, Nhat. Cita con la vida: El arte de vivir en el presente. Barcelona: Ediciones Oniro, 2004.

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9

Ricard, Matthieu. El arte de la meditación: ¿Por que meditar?, ¿Sobre qué?, ¿Cómo? Barcelona: Ediciones Urano, 2009.

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10

Hanh, Nhat. El Corazón de las enseñanzas de Buda: El arte de transformar el sufrimiento en paz, alegría y liberación. Barcelona: Oniro, 2012.

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11

Zen y el arte de la felicidad. México, D.F: Grupo Editorial Tomo, 2008.

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12

Hanh, Nhat. Sintiendo la paz: El arte de vivir conscientemente. Barcelona: Oniro, 1999.

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13

Bing, Stanley. El zen y el arte de dominar al jefe. Barcelona: Javier Vergara Editor, 2002.

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14

Bstan-ʼdzin-rgya-mtsho. El arte de la felicidad. Barcelona: Grijalbo Mondadori, 2000.

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15

Bstan-ʼdzin-rgya-mtsho. El arte de la felicidad. México, D.F: Debolsillo, 2004.

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16

Hanh, Nhat. El arte del poder: El secreto de la felicidad y la vida plena. Barcelona: Oniro, 2008.

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17

Hanh, Nhat. El corazón de las enseñanzas de Buda: El arte de transformar el sufrimiento en paz, alegría y liberación. Barcelona: Ediciones Oniro, 2000.

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18

Bstan-ʼdzin-rgya-mtsho, Dalai Lama XIV, 1935-, ed. El arte de estar bien: Con base en las enseñanzas de Tenzin Gyatso, el XIV Dalai Lama. México, D.F: Bodhi, 2011.

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19

Nalda, José Santos. ?Buscas un maestro--? Bilbao: Mensajero, 1988.

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20

Vuković, Kosta. Srpska crkvenoumetnička zbirka: Sentandreja = Szerb Egyházművészeti Gyűjtemény : Szentendre = The Serbian Ecclesiastical Collection = Sammlung der Serbischen Sakralkunst. [Sentandreja]: Srpska pravoslavna eparhija budimska, 2014.

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21

Spomenici Budimske eparhije. Beograd: Prosveta, 1990.

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22

Arte de Curar no Budismo Tibetano. 3rd ed. Pensamento, 2001.

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23

Arte da Vida: Os Fundamentos do Budismo, A. Ground, 2003.

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24

Budismo Essencial: A Arte de Viver o Dia-a-Dia. 2nd ed. Axis Mundi, 1995.

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25

Bstan-ʼdzin-rgya-mtsho and Howard C. Cutler. El arte de la felicidad. Distribooks, 2002.

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26

Bstan-ʼdzin-rgya-mtsho. El Arte de la Felicidad. Editorial Grijalbo, S.A. de C.V., 1999.

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27

A Arte da Felicidade: Um Manual para a Vida. Martins Fontes, 2001.

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28

Desire, Divine & Demonic: Balinese Mysticism In The Paintings Of I Ketut Budiana And. I Gusti Nyoman Miriana. University of Hawaii Press, 2005.

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29

Stephen, Michele. Desire, Divine and Demonic: Balinese Mysticism in the Paintings of I Ketut Budiana and I Gusti Nyoman Mirdiana. University of Hawaii Press, 2005.

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30

Stamenkoviç, Marko, ed. Resistance. 2nd ed. punctum books, 2021. http://dx.doi.org/10.53288/0384.1.00.

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Abstract:
esistance features a selection of overtly non-conformist positions in the contemporary visual art scene of Albania vis-à-vis the most recent social, political, and economic turmoils in the Western Balkans – a region marked by the dark side of political governances that have remained “democratic” in their outward appearance (especially toward the European Union), while dramatically leaning toward autocratic regimes in the eyes of their own citizens. Regardless of their citizens’ primary interests, and despite some positive signals surfacing in the international media, almost every attempt to establish lasting conditions for democratic governance in the Western Balkans has been shrouded in the veil of profit-driven political scandals, personal greed for more and more power over the people’s rights, and the extinction of public property in pursuit of social elite’s corporate and private interests. Additionally, and more specifically related to Tirana, artists and citizens have, over the years, been involved in various types of revolt, expressing their disagreements with the ongoing destruction of public property in the name of “modernization and development”: a movement led by local political powers through financially and strategically motivated processes of architectural cannibalism – not only at the expense of erasing Albanian cultural heritage or long-term residents’ habitats, but also at the expense of taking human lives under the pretext of “urbanization.” The most obvious instance of this economy of destruction was the complex of buildings linked to the National Theater of Albania in downtown Tirana that has served as a symbolic and material place of citizens’ resistance: for more than two years, together with local artists, they have been opposing the government’s plans to demolish the old complex in order to build a new one – until this finally happened in Spring 2020, in the midst of the ongoing COVID19 pandemic. Rooted in the atmosphere of the National Theater Protests in Tirana, RESISTANCE was conceived in Summer 2019 by ZETA Center for Contemporary Art as the International Artists-in-Residence Program, in cooperation with three partner organizations from Kosovo, Serbia and North Macedonia (Stacion – Center for Contemporary Art in Prishtina; Ilija & Mangelos Foundation in Novi Sad; and Faculty of Things That Can’t Be Learned in Bitola) and supported by Swiss Cultural Fund in Albania, a project of the Swiss Agency for Development and Cooperation. Gradually, the project expanded into an exhibition (Heterotopias of Resistance, curated by Blerta Hoçia and featuring works by Lori Lako, Fatlum Doçi, Edona Kryeziu, Nina Galiç, Darko Vukiç, Nikola Slavevski, and Natasha Nedelkova) and a series of interviews and panel discussions (with contributions by Lindita Komani, Edmond Budina, Ervin Goci, Ergin Zaloshnja, Pleurad Xhafa, Gentian Shkurti, Stefano Romano, Luçjan Bedeni, HAVEIT, Leonard Qylafi, Jonida Gashi, and Fatmira Nikolli). The results of both have been collected and presented in the format of a publication that, besides serving as an indispensable reading material concerning visual arts and politics in contemporary Albania, especially to those abroad, functions by itself as a form of resistance against contagious cultural policies in weak post-socialist “democracies” in Southeastern Europe.
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