Relevant bibliographies by topics / Buddhist arts

Contents

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

Academic literature on the topic 'Buddhist arts'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Buddhist arts"

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Trenson, Steven. "Buddhism and Martial Arts in Premodern Japan: New Observations from a Religious Historical Perspective." Religions 13, no. 5 (May 13, 2022): 440. http://dx.doi.org/10.3390/rel13050440.

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This article investigates two issues regarding the Buddhism of premodern Japanese martial arts. The first issue concerns the historical channels through which Buddhist elements were adopted into martial lineages, and the second pertains to the general character of the Buddhism that can be found in the various martial art initiation documents (densho). As for the first issue, while previous scholarship underscored Shugendō (mountain asceticism) as an important factor in the earliest phases of the integration process of Buddhist elements in martial schools, this study focuses on textual evidence that points to what is referred to as “medieval Shinto”—a Shinto tradition that heavily relied on Esoteric Buddhist (Mikkyō) teachings—in scholarship. Regarding the second issue, although numerous studies have already shown the indebtedness of premodern martial schools to Buddhist teachings drawn mainly from the Esoteric Buddhist or Zen traditions, this article sheds more light on the nature of these teachings by drawing attention to the fact that they often emphasize the Buddhist thought of isshin or “One Mind”. The article illustrates how this thought was adopted in premodern martial art texts and in doing so clarifies the reasons why Buddhism was valued in those arts.
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Syrtypova, S. Kh D. "Toward a Methodology for the Study of Buddhist Fine Art: (using an example of Zanabazar’s works)." Orientalistica 6, no. 3-4 (November 19, 2023): 534–47. http://dx.doi.org/10.31696/2618-7043-2023-6-3-4-534-547.

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The article provides a comparative analysis of different approaches to the study of Buddhist iconography and objects of religious art: scientific academic and traditional Buddhist. Their main goals and objectives, understanding of the fine art style in art history and the Buddhist tradition are considered. The possibility and necessity of using diverse sources of research, or rather, the complex and multidisciplinary principle of working with cult images of Buddhas, bodhisattvas and deities for the most profound and adequate understanding of them, as well as exhibiting them in a museum or other exhibition space, is argued. The ideal model for the development of such a research methodology, in the author's opinion, is the work of the greatest Buddhist master Gombodorjiin Zanabazar (1635–1723), who combined the qualities of both an artist, a highly educated Buddhist adept, spiritual mentor, and a ruler of the state. The types of written and other verbal sources, as well as the types of objects or visual sources that should be used to reveal the theme of Buddhist artistic creativity are considered. It was also made an attempt to formulate the most urgent tasks and promising directions for researchers of Tibeto-Mongolian Buddhists fine arts.
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Yan, Zhilong, and Aixin Zhang. "“Ritual and Magic” in Buddhist Visual Culture from the Bird Totem." Religions 13, no. 8 (August 8, 2022): 719. http://dx.doi.org/10.3390/rel13080719.

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Despite numerous research findings related to medieval Chinese Buddhism, the witchcraft role of bird totems in Buddhist history has not received sufficient attention. In order to fill this gap, this paper analyzes how Buddhist monks in medieval China developed a close relationship with bird-totem worship. This relationship has been documented in Buddhist scriptures, rituals, oral traditions, biographies, and mural art. Although bird-totem worship was practiced in many regions of medieval China, this paper specifically examines the visual culture of bird totems in Tibetan and Chinese Buddhism. Furthermore, some details of this culture were recorded in Buddhist texts and images. According to these works, various bird-totem patterns and symbols are believed to be effective ritual arts used by Tibetan and Chinese Buddhist monks to influence nature and the supernatural through ritual and magic.
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Vrhovski, Jan. "Buddhist Realism for Modern Times." Ars & Humanitas 16, no. 2 (December 29, 2022): 111–33. http://dx.doi.org/10.4312/ars.16.2.111-133.

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In the early 1930s, when the project of scientific modernization was in full swing in Chinese Buddhist circles, Dharma Master Taixu wrote a series of essays on “Realism” (Xianshi zhuyi 現實主義, 1928–1931). These represent one of the profoundest series of writings documenting his understanding of the link between science and Buddhist epistemology/ontology, and consequently also on the role of his notion of scientific Buddhism for modern times. Aside from his meditations on the relationship between science and Buddhism, in this important series of essays Taixu also provided his more or less critical accounts on modern philosophical currents in contemporary China, including Russell’s “New Realism” and materialism. This paper aims to provide a concise reading of the above-mentioned writings by Taixu, in order to cast some new light on the understanding of Western modern philosophy in Chinese Buddhist modernism of the Republican Era, on the one hand, and to highlight the main theoretical features of Taixu’s notion of scientific Buddhism, on the other. Aside from that, I also aim to present some new insights into the otherwise overlooked aspects of the broader intellectual sphere of Chinese Buddhism of the Republican Era. As regards the broader historical and intellectual context of Taixu’s writings, the analysis provided in this article will be regarded within the framework constructed in my forthcoming article on Taixu’s philosophy in the journal Buddhist Studies Review.
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WINFIELD, JORDAN CARLYLE. "Buddhism and Insurrection in Burma, 1886–1890." Journal of the Royal Asiatic Society 20, no. 3 (June 4, 2010): 345–67. http://dx.doi.org/10.1017/s1356186310000076.

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AbstractThis article examines the significance of Buddhism in the insurgency that followed the annexation of the kingdom of Burma in 1886, demonstrating that Buddhism was a critically important part of the Burmese polity and identity. Moreover, it indicates that opposition to the British after the full colonisation of Burma was not only instantaneous, but also fuelled primarily by Buddhist sentiment. This challenges the prevailing notion that anti-colonialism in Burma – Buddhist-inspired or otherwise – was a twentieth century phenomenon. Beginning with the pre-colonial era, the article explores the intimate connection between Buddhism, the Burmese polity and the national psyche. The critical importance of the Buddhist king is emphasised in particular. When the kingdom of Burma was annexed in 1886, opposition to the British manifested itself instantaneously in the form of rebellions and insurgency. This period, sometimes referred to as the “pacification”, has been often ignored in studies. The article, using British colonial documents, shows clearly the importance of Buddhist sentiment in these uprisings as a response to the abolition of Burma's last Buddhist king. Buddhist themes present in translated rebel proclamations, as well as the widespread participation of Buddhist monks corroborate this.
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Langenberg, Amy Paris. ""Perhaps I'm Not a Global Citizen but a Global Listener Now": The Ethics of Study Abroad in Buddhist Spaces." Journal of Global Buddhism 25, no. 1 (June 18, 2024): 118–34. http://dx.doi.org/10.26034/lu.jgb.2024.4228.

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The study of global Buddhism through a study abroad encounter presents invaluable opportunities for teachers and students at liberal arts institutions to contemplate the conundrum of global citizenship, a standard aim of liberal education in North America. When studying abroad, students become viscerally aware of their own positionality, which is reflected back to them constantly as they move through the social and cultural landscapes of Buddhist Asia. This reflection leaves them eager to raise, to the level of critical thinking, what is quite literally an embodied experience of difference and privilege. The essay connects the field of Buddhist studies to a larger conversation in the field of global education, arguing that Buddhist studies travel courses must interrogate concepts of global citizenship, address the legacies of colonialism, and teach the principles of ethical travel, in addition to introducing students to the living traditions of global Buddhism.
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He, Yuemin. "“Personal Items”." Religion and the Arts 26, no. 1-2 (March 24, 2022): 184–203. http://dx.doi.org/10.1163/15685292-02601008.

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Abstract Whereas Buddhism’s profile is rising in the US, there are surprising ways that Buddhism recirculates in more secular guises in traditionally Buddhist cultures of East Asia. This essay explores an intriguing case. Chi Li’s razor-sharp, passionate poems are quirkily “personal,” but relate very well to a wide spectrum of Chinese readers who made the popular novelist’s surprise poetry debut a bestseller in China. By studying Chi’s extensive use of Buddhist references to tap into issues dear to her, this essay shows that the Chinese readers are receptive to Buddhist ideas more as philosophies, principles, and moral codes than as explicit religion, even though Buddhism has a 2,000-year history in China. It argues that understanding this coded receptiveness helps translate Chi’s personal musings, blasts, and defiance into dialogues that address social norms, environmental issues, and individual complicity in social problems.
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Sinclair, Tara. "Tibetan Reform and the Kalmyk Revival of Buddhism." Inner Asia 10, no. 2 (2008): 241–59. http://dx.doi.org/10.1163/000000008793066713.

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AbstractThe anti-religious campaigns of the Soviet Union in the 1930s eradicated Kalmyk Buddhism from the public sphere. Following perestroika the Kalmyks retain a sense of being an essentially Buddhist people. Accordingly, the new Kalmyk government is reviving the religion with the building of temples and the attempted training of Kalmyk monks, yet monasticism is proving too alien for young post-soviets. According to traditional Kalmyk Gelug Buddhism authoritative Buddhist teachers must be monks, so monastic Tibetans from India have been invited to the republic to help revive Buddhism. The subsequent labelling by these monks of 'surviving' Kalmyk Buddhist practices as superstitious, mistaken or corrupt is an initial step in the purification of alternate views, leading to religious reform. This appraisal of historical practices is encouraged by younger Kalmyks who do not find sense in surviving Buddhism but are enthused with the philosophical approach taught by visiting Buddhist teachers at Dharma centres. By discussing this post-Soviet shift in local notions of religious efficacy, I show how the social movements of both reform and revival arise as collusion between contemporary Tibetan and Kalmyk views on the nature of true Buddhism.
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Priest, Graham. "The Martial Arts and Buddhist Philosophy." Royal Institute of Philosophy Supplement 73 (August 21, 2013): 17–28. http://dx.doi.org/10.1017/s1358246113000246.

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My topic concerns the martial arts – or at least the East Asian martial arts, such as karatedo, taekwondo, kendo, wushu. To what extent what I have to say applies to other martial arts, such as boxing, silat, capoeira, I leave as an open question. I will illustrate much of what I have to say with reference to karatedo, since that is the art with which I am most familiar; but I am sure that matters are much the same with other East Asian martial arts.
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Wang, Jinping. "CLERGY, KINSHIP, AND CLOUT IN YUAN DYNASTY SHANXI." International Journal of Asian Studies 13, no. 2 (July 2016): 197–228. http://dx.doi.org/10.1017/s1479591416000036.

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During the thirteenth and fourteenth centuries, people in north China took advantage of a Mongol policy that gave Buddhist officials a status equivalent to what civil officials enjoyed, as a strategy for family advancement. Monk Zhang Zhiyu and his family provide a case study of an emerging influential Buddhist order based at Mount Wutai that connected the Yuan regime with local communities through the kinship ties of prominent monks. Within this Buddhist order, powerful monks like Zhiyu used their prestigious positions in the clerical world to help the upward social mobility of their lay families, displaying a distinctive pattern of interpenetration between Buddhism and family. This new pattern also fit the way that northern Chinese families used Buddhist structures such as Zunsheng Dhāranῑ pillars and private Buddhist chapels to record their genealogies and consolidate kinship ties.
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Dissertations / Theses on the topic "Buddhist arts"

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Hsieh, Su-Lien. "Buddhist meditation as art practice : art practice as Buddhist meditation." Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/1942/.

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This thesis explores the impact of meditation on art practice. Its basic hypothesis is that Buddhist meditation can expand creative capacity by enabling the practitioner to transcend the limits of everyday sense experience and consciousness. Artists engaging in meditation develop a closer, more aware relationship with their emptiness mind (kongxin), freeing them from preconceptions and contexts that limit their artistic creation. Because this practice-led research focuses on how to expand one‘s freedom as an artist, I use two models to explore studio practice, then compare and contrast them with my own prior approach. A year-by-year methodology is followed, as artistic practice develops over time. The first model is studio practice in the UK, the second is Buddhist meditation before artistic activity. The research took place over three years, each representing a distinct area. Accordingly, in area 1 (the first year), I compared studio art practice in the UK with post-meditation art practice; in area 2 (the second year), I compared studio art practice in the UK with prostration practice at Bodh-gaya, India plus meditation before act activity; in area 3 (the third year), I compared studio art practice in the UK with entering a month-long meditation retreat in Taiwan before practicing art. By Buddhist meditation I refer more specifically to insight meditation, which K. Sri Dhammananda has described as follows: Buddha offers four objects of meditation for consideration: body, feeling, thoughts, and mental states. The basis of the Satipatthana (Pāli, refers to a "foundation" for a "presence" of mindfulness) practice is to use these four objects for the development of concentration, mindfulness, and insight or understanding of our-self and the world around you. Satipatthana offers the most simple, direct, and effective method for training the mind to meet daily tasks and problems and to achieve the highest aim: liberation. (K. Sri II Dhammananda 1987:59) In my own current meditation practice before art practice, I sit in a lotus position and focus on breathing in and breathing out, so that my mind achieves a state of emptiness and calm and my body becomes relaxed yet fully energized and free. When embarking on artistic activity after meditation, the practice of art then emerges automatically from this enhanced body/mind awareness. For an artist from an Eastern culture, this post-meditation art seems to differ from the practices of Western art, even those that seek to eliminate intention (e.g. Pollock), in that the artist‘s action seem to genuinely escape cogito: that is, break free of the rational dimensions of creating art. In my training and development as a studio artist, I applied cogito all the time, but this frequently generated body/mind conflict, which became most apparent after leaving the studio at the end of the day: I always felt exhausted, and what was worse, the art that I created was somehow limited. However, my experience was that Buddhist meditation, when applied before undertaking art practice, establishes body/mind harmony and empties the mind. For this artist at least, this discovery seemed to free my art as it emerged from emptiness through the agency of my energized hand. It was this, admittedly highly personal, experience that led me to undertake the research that informs this thesis.
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Rugola, Patricia Frame. "Japanese Buddhist art in context : the Saikoku Kannon pilgrimage route." Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1261486365.

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Leoshko, Janice. "The iconography of Buddhist sculptures of the P?la and Sena periods from Bodhgay? /." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487327695623672.

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Pacheco, Katie. "The Buddhist Coleridge: Creating Space for The Rime of the Ancient Mariner within Buddhist Romantic Studies." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/937.

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The popularization of academic spaces that combine Buddhist philosophy with the literature of the Romantic period – a discipline I refer to as Buddhist Romantic Studies – have exposed the lack of scholarly attention Samuel Taylor Coleridge and The Rime of the Ancient Mariner have received within such studies. Validating Coleridge’s right to exist within Buddhist Romantic spheres, my thesis argues that Coleridge was cognizant of Buddhism through historical and textual encounters. To create a space for The Rime within Buddhist Romantic Studies, my thesis provides an interpretation of the poem that centers on the concept of prajna, or wisdom, as a vital tool for cultivating the mind. Focusing on prajna, I argue that the Mariner’s didactic story traces his cognitive voyage from ignorance to enlightenment. By examining The Rime within the framework of Buddhism, readers will also be able to grasp the importance of cultivating the mind and transcending ignorance.
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Randall, Diane. "An art therapy programme incorporating Buddhist concepts to address issues of aggression in adult male prisoners." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1998. https://ro.ecu.edu.au/theses/1447.

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This thesis has researched and designed a programme that offers an alternative way of working with aggression in a male prison population, using an art therapy approach that incorporates Buddhist concepts as an intervention. Buddhist practices have traditionally been used in Eastern cultures to calm the mind and to develop compassion as an antidote to aggression. Therefore these practices have seen used as a basis for the design of exercises in the programme. The purpose of the programme is to offer an intervention that will complement, support, or be an alternative to existing treatments, which are primarily cognitive-behavioural in orientation. The research method for designing the programme was qualitative, based on an action research model. This paradigm has an approach of co-operative and participatory inquiry which has its roots in humanistic psychology; therefore, working in such a tradition was appropriate to the nature of the research undertaken in that it gave a humanistic and holistic character to the method. The male prison population was chosen as the focus for the proposed programme because it is a convenient sample, clearly identifiable as a group which is likely to have a problem with aggressive behaviour. If art therapy can be successfully applied with such a group, then it may have relevance to other groups exhibiting less aggressive forms of behaviour. Another potentially positive outcome of this treatment intervention is the benefit that it may have on staff, family, and others who are in contact with this population. In other words, a reduction in the stress levels of aggressive prisoners would hopefully have a more general therapeutic effect upon the quality of all the interpersonal relationships within the larger prison community. The benefit of this research to the field of art therapy is that it has explored the potential of such an intervention being used as a therapeutic strategy in dealing with aggression. The study's findings indicate that Buddhist concepts can be successfully incorporated into the design of an art therapy programme. It is hoped that this programme could be used with any population manifesting aggressive behaviours, either covertly or overtly. The results of this study could potentially benefit a range of client populations where an alternative to aggressive or violent behaviour is sought, and it is suggested that future research could be conducted by implementing the programme with diverse groups.
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Treat, Nicholas. "Xiwu yu Wudao: Wushu yu Daojia ji Shijia SixiangThe Learning of Marital Arts and Daoist and Buddhist Thought." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555390221952377.

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Hagerty, Darbee Nicole. "A Feminist Perspective on the Lack of Full Ordination for Burmese Buddhist Nuns." FIU Digital Commons, 2016. http://digitalcommons.fiu.edu/etd/2435.

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This thesis examines the position of Buddhist nuns (thila-shins) in contemporary Burmese society. The Sangha, a branch of the Burmese state, has disallowed them from seeking full ordination as bhikkhunis. Based on interviews and observations conducted in Myanmar in June-July 2015, the thesis examines the current socioeconomic status of thila-shins using a transnational feminist framework. It argues that Burmese Buddhist nuns are not simply passive victims of a patriarchal structure, but agents and actors within their own spaces who have their own agendas. The central questions are: How do thila-shins understand their social, economic, and religious position? How does ordination status affect thila-shins? Is barring thila-shins from seeking full ordination ethical according to Buddhist texts? Special emphasis is given to a rereading of traditional Buddhist doctrine on the issue of reviving full ordination for Buddhist nuns in light of concerns regarding agency present in Third World feminist movements.
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Bilek, Gage Rosann M. "AN EXPLORATION OF SELF-CONSTRUCTION THROUGH BUDDHIST IMAGERY IN MAXINE HONG KINGSTON’S THE WOMAN WARRIOR." Cleveland State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=csu1327884388.

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Szczepanski, Beth. "Sheng Guan in the Past and Present: Tradition, Adaptation and Innovation in Wutai Shan's Buddhist Music." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1211286766.

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Vignato, Giuseppe. "Chinese transformation of Buddhism the case of Kuan-yin /." Theological Research Exchange Network (TREN), 1993. http://www.tren.com.

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Books on the topic "Buddhist arts"

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1951-, Till Barry, and Art Gallery of Greater Victoria., eds. The Buddhist arts of Asia. [Victoria, B.C.]: Art Gallery of Greater Victoria, 2001.

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Bunce, Fredrick W. An encyclopaedia of Buddhist deities, demigods, godlings, saints, and demons with special focus on iconographic attributes. New Delhi: D.K. Printworld, 1994.

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Graham, Patricia Jane. Faith and power in Japanese Buddhist art, 1600-2005. Honolulu, HI: University of Hawai'i Press, 2008.

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Graham, Patricia Jane. Faith and power in Japanese Buddhist art, 1600-2005. Honolulu: University of Hawai'i Press, 2007.

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1953-, Muller A. Charles, ed. Korean Buddhism information page. Japan: [s.n.], 1994.

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Bhattacharyya, Narendra Nath. Buddhism in the history of Indian thoughts. New Delhi: Manohar Publishers & Distributors, 1993.

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Buddhist art in India and Sri Lanka: 3rd century BC to 6th century AD : a critical study. New Delhi: D.K. Printworld, 2000.

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Rāya, Vinaya Kumāra. Madhya Bhārata kī Bauddha saṃskr̥ti evaṃ kalā: Prārambha se pūrva madhyakāla taka. Dillī: Svāti Pablikeśansa, 2016.

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1932-, Suzuki Shōei, ed. Bukkyō geinō to bijutsu. Tōkyō: Meicho Shuppan, 1993.

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Khuiṅʻ, Thvanʻʺ Rvhe. Ra khuiṅʻ Vesālī khetʻ Buddha ʼanupaññā. Ranʻ kunʻ: Cacʻ saññʻ toʻ Cā pe, 1990.

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Book chapters on the topic "Buddhist arts"

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Dolan, Marion. "Art, Architecture, and Astronomy of Buddhism." In Decoding Astronomy in Art and Architecture, 107–27. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76511-8_9.

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Lefferts, Leedom. "Textiles and Social Action in Theravada Buddhist Thailand." In A Companion to Asian Art and Architecture, 48–69. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444396355.ch3.

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Priest, Graham. "The Martial Arts and Buddhist Philosophy." In Philosophy and the Martial Arts, 192–201. Routledge, 2014. http://dx.doi.org/10.4324/9781315780788-12.

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Teo, Stephen. "Buddhist impermanence and martial arts in The Grandmaster." In Chinese Martial Arts Film and the Philosophy of Action, 80–99. Routledge, 2021. http://dx.doi.org/10.4324/9781003035435-5.

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Davis, Andy Alexander. "The Buddhist Canon and the Liberal Arts Classroom." In Buddhisms in Asia, 1–17. SUNY Press, 2019. http://dx.doi.org/10.1515/9781438475868-005.

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"Buddhist Arts: A Survey of Sites, Paintings, and Iconography." In Modern Chinese Religion I (2 vols.), 844–928. BRILL, 2015. http://dx.doi.org/10.1163/9789004271647_016.

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Lopez, Donald S. "Tibetan Buddhism." In Treasures of Tibetan Art, 19–30. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195097139.003.0002.

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Abstract The influence of Buddhism on Tibet since its introduction in the seventh century has been profound, serving as a catalyst for developments in almost every facet of the Tibetan world: in art, with the development of the Tibetan painted scroll; in architecture, with the design of temples, monasteries, and stupas; in politics, with the institution of the Dalai Lama; in social structure, with a large segment of the male population becoming celibate monks; in language, with the creation of the Tibetan script for the purpose of translating Buddhist scriptures; in literature, with the composition of thousands of Buddhist texts in a vast variety of genres; and, of course, in religion. In this essay I will briefly outline the history of Buddhism in Tibet, before going on to discuss some of the fundamental doctrines of Tibetan Buddhism, doctrines reflected so vividly in the Jacques Marchais collections.It is important to understand at the outset that the majority of Tibetan Buddhist beliefs and doctrines are shared by Buddhists throughout Asia. Buddhism has both changed the cultures it has encountered and been changed by them, so that we speak of Indian Buddhism, Chinese Buddhism, Japanese Buddhism, and so on. Tibetan Buddhism is one of the major forms of Buddhism in Asia, with its influence extending far beyond the borders of Tibet, to the Kalmyk region of Russia near the Caspian Sea in the west, to Siberia in the north, to Mongolia, China, and Manchuria in the east, and to the Sherpa regions of Nepal in the south. This religious tradition is properly referred to as Tibetan Buddhism, rather than Lamaism, an anachronistic and pejorative term that mistakenly suggests that the religion of Tibet is not Buddhism. It is, therefore, perfectly acceptable to refer to the Mongols, for example, as Tibetan Buddhists, much as one might say that the Spanish are Roman Catholics.Buddhist thought, practice, and institutions were imported into Tibet beginning in the seventh century, most importantly from India. From that point, Buddhism in Tibet developed rapidly, with the early centuries marked by contacts with influential Buddhist
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Stephens, Tim Paul. "Photographic Non-Self." In Advances in Media, Entertainment, and the Arts, 485–509. IGI Global, 2023. http://dx.doi.org/10.4018/978-1-6684-5337-7.ch022.

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Non-self has unsurprisingly been featured very little in explanatory material of-object-based contemporary art history. Buddhist nonself has contributed to subjectivity research, but non-self in photography is, perhaps appropriately, absent. This chapter will explore how the experience of non-self might differ from but overlap with emptiness in the ‘history of art' specifically ‘photography theory and practice.' The author's research in experiential non-self wrestles with the complexities of non-representation when articulating embodied affect, of childhood racial discrimination, for instance. Yet, embodied autobiographical non-self is an impossible category. This is a subjugated knowledge that disrupts self-hood, undermines historical artefacts -leaving us with no birth of photography- and ruptures socio-cultural identity. Can a contemporary secular Buddhist non-self function as liberatory? Photographic non-self might render ‘writing on/and photography' disastrous, when indelibly marked by the failures of representation.
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Nguyễn, Thị Tú Anh. "Enquiring the two transcendent Buddha statues of Cham art belonging to the Vijaya state in the 11th to 13th centuries | Tìm hiểu hai pho tượng Phật Chàm bằng đá thuộc Tiểu quốc Vijaya thế kỷ 11-13." In From Megaliths to Maritime Landscapes: Perspectives on Indo-Pacific Archaeology, 52–63. SEAMEO SPAFA, 2024. http://dx.doi.org/10.26721/spafa.p663o83rkr-5.

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Although the stone sitting Buddha statue from the Thủ Thiện temple has been documented by French scholars since the early 20th century, the Buddha figure currently on display at the Đà Nẵng Museum of Cham Sculpture remains a mystery in Cham Buddhist art from the 11th to 13th centuries. In addition to the other stone Buddha statue in meditation position on display at the Museum of Fine Arts in Ho Chi Minh City, these masterpieces are a challenge for modern Cham Buddhist art historians. This paper will argue that the Thủ Thiện’s Buddha image is Amoghasiddhi based on his hand gesture in abhaya-mudrā (gesture of fearlessness); while the other one is Vairocana with his hand gesture in bodhyāgrī-mudrā (the fist of wisdom). These two transcendent Buddhas may lead to the assumption that esoteric Buddhism was once practiced in the Campā kingdom during the Vijaya art period in the 11th to 13th centuries. It may also indicate the cultural relationships between Campā and the other Buddhist states during the time of esoteric Buddhism spreading throughout the entire Maritime Asia. Pho tượng Phật ngồi bằng đá thuộc di tích Thủ Thiện, Bình Định, đã được các học giả Pháp tìm thấy vào đầu thế kỷ 20; sau đó, tuyệt phẩm này đã được chuyển về trưng bày tại Bảo tàng Điêu khắc Chăm Đà Nẵng, tuy nhiên pho tượng này vẫn ẩn chứa nhiều bí ẩn chưa được tìm hiểu cho đến nay. Ngoài ra, một tuyệt tác điêu khắc đá khác cũng thể hiện đức Phật ngồi trong tư thế thiền định, đang trưng bày tại Bảo tàng Mỹ thuật Thành phố Hồ Chí Minh cũng thuộc thời kỳ Vijaya vào thế kỷ 11-13. Cả hai pho tượng vẫn còn là một thử thách đối với các nhà nghiên cứu nghệ thuật Campā trong việc thẩm định nội hàm của chúng. Tiểu luận này đặt giả thiết bức tượng Thủ Thiện là hình ảnh của đức Phật Amoghasiddhi dựa trên tạo hình ấn quyết abhaya-mudrā (vô uý thí); đồng thời giả định rằng đức Phật của Bảo tàng Mỹ Thuật TPHCM là Vairocana dựa trên ấn quyết bodhyāgrī-mudrā (trí huệ ấn). Hai pho tượng Phật này đưa đến nhận định rằng Phật giáo Mật tông từng được thực hành phổ biến tại vương quốc Campā vào thời kỳ Vijaya thế kỷ 11-13. Nhận định đó đồng thời phác họa mối liên hệ Phật giáo giữa Campā và các quốc gia khác trong suốt thời kỳ Phật giáo Mật tông phát triển, dựa trên mạng lưới hải thương châu Á đương thời.
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Ellis, Robert M. "Practice." In The Thought of Sangharakshita: A Critical Assessment, 72–122. Equinox Publishing, 2020. http://dx.doi.org/10.1558/equinox.38960.

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One of the core strengths of the movement that Sangharakshita founded is its emphasis on practice, and its emphasis on the interconnections between elements of the Eightfold Path. Apart from meditation, Sangharakshita emphasised ethics, friendship, the development of social institutions, and the arts. He also insisted on the value of Buddhist ritual. All of these areas of practice have been of substantial practical help to Western Buddhists, but there are also various unnecessary dogmatic assumptions in his framing of them. Controversy has been particularly created by his ideas on ‘vertical friendship’ as a re-presentation of the guru-disciple relationship, and his limited emphasis on accountability in social institutions.
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Conference papers on the topic "Buddhist arts"

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Arnold, Matthias. "BUDDHIST STONE SCRIPTURES FROM SHANDONG, CHINA." In Electronic Visualisation and the Arts (EVA 2008). BCS Learning & Development, 2008. http://dx.doi.org/10.14236/ewic/eva2008.1.

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Seglins, Valdis. "A BUDDHIST STATUE MADE FROM METEORITE." In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.1/s07.021.

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Yang, Xuelan. "Landscape Art in Chinese Buddhist Temples." In 2017 International Conference on Sports, Arts, Education and Management Engineering (SAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/saeme-17.2017.61.

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Mengna, Y., and NW Madzhi. "THE DAXIANGGUO TEMPLE BUDDHIST ORCHESTRA OF CHINA: CONTEMPORARY ROLE AND FUNCTIONS." In International Conference on Arts and Humanities. The Institute of Knowledge Managment, 2024. http://dx.doi.org/10.17501/23572744.2023.10107.

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Turco, Maria Grazia. "THE BUDDHIST SITE OF TOKAR-DARA 1 (SWAT, PAKISTAN). BUILDING TECHNIQUES IN THE ANCIENT GANDHARA." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s15.122.

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"The opportunities and challenges of the reconstruction of Buddhist charity thought." In 2017 International Conference on Humanities, Arts and Language. Francis Academic Press, 2018. http://dx.doi.org/10.25236/humal.2017.82.

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Kowal, Katarzyna. "THE MODEL PROJECT OF CONTEMPORARY WESTERN BUDDHIST RETREAT CENTER." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/5.3/s21.096.

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Wu, Bo. "On the Buddhist Thought in Tang Yin's Poetry." In Proceedings of the 2018 5th International Conference on Education, Management, Arts, Economics and Social Science (ICEMAESS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icemaess-18.2018.120.

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FANG, Qin. "Interpretation of the Artistic Spirit of Buddhist Painting of Xia Jingshan." In 2022 International Conference on Social Sciences and Humanities and Arts (SSHA 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220401.128.

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Zhang, Ting. "The Changes of Ru Skirt in Tang Dynasty Under the Influence of Buddhist Culture." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.37.

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