Dissertations / Theses on the topic 'Buddha image'

Thesis (Ph. D.)--Ohio State University, 2004.
Document formatted into pages; contains xvi,375 p.; also contains graphics. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2009 Aug. 18.

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

This thesis focuses on the socio-cultural and anthropological aspects of Tibetan medicine in contemporary Russia and investigates how Tibetan medicine is practised, consumed and represented in two major Russian cities, Moscow and St Petersburg. It is the first case-study of such kind in the context of Russian culture, as the anthropological aspects of Tibetan medicine in contemporary Russia have not yet been the subject of a systematic research. Up till now, scholarly publications on Tibetan medicine in Russia have dealt either with the translation and textual analysis of ancient Tibetan medical treatises or with the history of the first appearance of Tibetan medicine in Buriatia, the traditionally Buddhist region of Russia, and St Petersburg / Petrograd, paying little attention to contemporary developments and, most importantly, ignoring how Tibetan practitioners and their patients are making sense of Tibetan medicine. Based on twenty four interviews with practitioners and consumers of Tibetan medicine in the two Russian capitals, my research fills in this lacuna by looking at personal experiences, perceptions and accounts of my interviewees and exploring how they adapt Tibetan medicine to their skills, beliefs and ideas. My approach to sources is informed by Iurii Lotman's theory of intercultural communication. Although this theory was developed by Lotman for the analyses of the processes of cultural reception of literary texts, it is also relevant, with some modifications, for the analysis of the process of reception of non-textual cultural forms. The analysis of data collected from interviews with doctors and patients and the textual analysis of media, cinematic and literary sources has revealed two dominant trends and representational techniques. The first trend amounts to representing Tibetan medicine as unique and exotic, while the second trend amounts to the conceiving of Tibetan medicine as Russia's indigenous tradition, a part of Russian history, which had been subverted and suppressed in the Soviet period, yet rediscovered post-1991. Thus, we see here a co-existence of the inter-cultural dialogue between Russian culture and an exotic 'other' and the intra-cultural dialogue with a recently rediscovered part of 'self'. Both trends, which, at first glance, might appear to stand in contradiction to each other, sometimes coexist within a single explanatory narrative. The thesis also focuses on inter-cultural interactions between doctors and patients. It is argued that these interactions take place in the context of a noteworthy sociological and cultural phenomenon that the thesis calls 'mutual counter-adaptation'. Mutual counter-adaptation is the key mechanism used, consciously or spontaneously, by Tibetan doctors and their patients in order to facilitate the process of understanding between the parties involved in an inter-cultural dialogue around Tibetan medicine. The thesis finally reveals how this mutual counter-adaption takes place within a wider Russian cultural and media environment which exploits a set of specific symbols and images in order to make Tibetan medicine comprehensible and attractive to the wider Russian public.

碩士
國立臺灣師範大學
設計研究所在職進修碩士班
99
Buddhism, one of the four major religions in the world, was founded by Sakyamuni Buddha in 528 B.C. The transition of. the development of Buddhist at and the concept of religious philosophy are closely connected. The research discusses the bodhi tree which symbolizes Buddha during the period of no Buddha statues as well as the meaning of the image of Sakyamuni Buddha. and the transformation of icons during the period of statues of the Buddha. It is found that the two distinctive representations are significantly the mark of the beginning in the.meaning.and development.of ancient Indian Buddhism history. It is the.meaning.behind the formation of the transformation in image and style of Buddism icon. Lotus is a sacred flower in Buddism.therefore. The relationship between lotus and Buddhist art is worth further discussing. The subjects of the research: discussion on the meaning of the iconsand their styles between the bodhi tree symbolizing Buddha during the period of no Buddhist statues, Sakyamuni Buddha during the period of Buddhist statues and lotus the significance of as purity in Buddhism. Through the progressive resulf of the research, the principle of function of represented Buddhist image and icons can be transformed into a source for reference fur cneation. The relevant results of research to the above-mentioned research can be catagorized as followed: 1. The bodhi tree, growing out of the ground and develop into another dimention, is from the essence of life. This vitality of extending into two dimentions at the same time is regarded as the expansion of universe lives by ancient Indians. Buddha became enlightened under the bodhi tree. “The bodhi tree” which is the image of life,is transformed into the representation of “ the tree of wisdom” of the Buddha. 2. When the image of Sakyamuni Buddha fist emerged,it was combined with the Buddha stories of “Phanigiri.”Eventually the image of Buddha appeared alone. It does not rely on the “Phanigiri” and stories as a combination.It is considered that followers’ faith in Buddha no longer requive any stories to reinforce the value of the Buddha as a teacher of the devas and centient being. Therefore, the independent image of Sakyamuni Buddha has indeed excelled beyond the meaning of “Phanigiri” 3. Lotus, one of the auspicious symbols that appeared at the birth of Sakyamuni Buddha, means purity. Lotus is often refevred as the Jewelled Lotus in the Sutras. Since lotus has the quality of being valuable and auspicious as symbols, it is presented in an elegant form from its flower, fruit, stem,and leaves. It bears the sense for decoration, therefore lotus decoration is often seen in Buddhism art.

碩士
靜宜大學
觀光事業學系
104
The study was aimed to investigate religious tourist’s destination image, perceived value, and satisfaction toward Guang Shan Buddha Memorial Center. A total of three hundred and thirty-three valid convenient samples were collected and analyzed by the study by via descriptive statistics, independent t-test, one-way ANOVA, Scheffé post hoc comparison, Pearson's correlation analysis, and multiple liner regression analysis. The study results indicates that: (1) Most of the religious tourists’ socio-demographic background were women, 41-60 years old, high school or college educated, married status, NT 20001-30000 income, and Buddhist belief; (2) Religious tourist had higher evaluations on affective, service quality, religious culture, and religious belief; (3) Tourist’s socio-demographic background had significant influences on destination image, perceived value, and satisfaction; and (4) There were significant relationships among religious tourist’s destination image, perceived value, and satisfaction toward Fo Guang Shan Memorial Center.

碩士
國立東華大學
藝術與設計學系
107
This body of artwork is a series of photographic images whose theme is that of Buddhist images and mudras. The main subject is statues of Buddha, and simultaneously it uses the related mudras to express the process of dialogue between the photographer and the deities. It places emphasis upon conversations with the gods that cannot be seen in our everyday reality, and uses the method of surrealist photography to convey the message of the existence of another realm. The purpose of this body of artwork is to follow the developments and changes of Buddhist images, and to collate the mudras associated with them. Lastly, the images produced use the method of surrealist photography to convey the mutual relationship between statues of Buddha and their associated mudras. This body of work has been split into five chapters. The first chapter discusses the background and the impetus behind the creations. It introduces the motivations and purpose behind the artworks. Chapter two is an analysis of existing documents and materials, it gives an overview into the developments and changes within the realms of Buddhist images, as well as the related mudras. It uses the discourse from scholars and books to understand the language and implied meaning of the mudras, as well as its perception of its awareness of the spiritual world. It also analyses the ways in which photographic art can be expressed, with surrealist photography as the main subject of discussion. The third chapter talks about the creative process. It explains the creative process, with the photographer going to famous temples to photograph Buddhist images. It talks about the difficulties encountered during the travelling and photography process, and how these problems were overcome. The mudras were replicated by the photographer herself within the home, by actually making the hand gestures herself and taking photos of them. She then used Adobe Photoshop as a tool to assist in composing the images. By using photography to achieve the effect of surrealist images, the photographer hopes to use the creations to display the worth and manifestations of every image of Buddha. Chapter four is an analysis of the artwork created, it talks about the creative philosophy behind the artwork and its emergence. Furthermore, it talks about the reasons behind how the images were arranged and the background story of how the Buddhist images were chosen. Chapter five is a conclusion to the whole body of artistic research and provides further suggestions.

This dissertation is a comparative, interdisciplinary, and transregional study of the connections between textual and iconographic representations of the Buddha Shakyamuni’s extended biography, and a re-assessment of its role and significance for the spread of Buddhism from India through Central Asia to China between the third century BCE to around the sixth century CE. My research relies on diverse sources: early Buddhist canonical sources; the earliest textual versions of the Buddha’s life stories in Chinese, Sanskrit, and Pali; art historical and archaeological material remains from early stupa sites and cave temples in India, Central Asia, and China; and also other visual material such as Buddha images, stelae, votive stupas, portable shrines, etc. Utilizing a multidisciplinary approach, I propose a new interpretative framework to re-evaluate the connections between the Buddha’s life stories and his body. In this dissertation, I suggest a new approach to “reading” the Buddha’s extended biography, which I posit is not merely a story of his life, but essentially is a story of his body. With that thesis in mind, I also shed new light on the role and function of the Buddha’s biography in the production and use of images, proposing a new hypothesis to re-examine the design and construction of early stupa sites and cave temples. This study suggests a common iconographical programme that lasted for several centuries and demonstrates how this programme connects to the story of the Buddha and his body.

碩士
國立臺南藝術大學
藝術史學系藝術史與藝術評論碩士班
106
Qiuci, located in the northern Silk Road, was an importantsite of connecting the East and the West. The celestial images in Qiuci grottoes were products of the cultural exchange between China and Western countries. Regarding the celestial images, the current scholarship mostly concerns few intact images of Qiuci grottoes to explain the interactions between Qiuci and foreign cultures. Without understanding the comprehensive context of the images, the discussions of the Qiuci celestial images are limited. In order to fill the gap in the academia,this thesis adopts iconology to examine four types of the celestial images,Standing Buddha, Sun God, Moon God, and Wind God,in Kizil, Kumtura, Kizilgaha, and Simsim caves. My intention is to position the roles of the celestial images in the caves. Additionally, I consider the current studies of Kizilcaves to construct the developments of these types of images.