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Journal articles on the topic 'Buddhist arts'
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1
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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Hwang, Ren-Lai. "Integrating Buddhist doctrine into arts education." International Journal of Education through Art 2, no. 2 (August 2006): 93–103. http://dx.doi.org/10.1386/etar.2.2.93/1.
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Vanchikova, Tsymzhit P. "Буддийская конфессия в Российской империи во второй половине XIX в." Монголоведение (Монгол судлал) 15, no. 1 (June 23, 2023): 95–114. http://dx.doi.org/10.22162/2500-1523-2023-1-95-114.
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Introduction. The mid-to-late 19th century was witnessing transformations that had begun during the reign of Alexander II, and the former were to affect virtually all aspects of Russian public life — including those relating to the then religious situation. Goals. So, the article attempts analytical insights into religious affairs of Buryats and Kalmyks throughout the mentioned period, examines archival documents and legislative acts of the Russian Government to identify the legal status of the Buddhist Church, reviews some essentials pertaining to control over the Buddhist clergy. Materials and methods. The work considers a variety of archival documents, including statistical data and materials of the First General Census of the Russian Empire of 1897 and the Regulations on Lamaist Clergy (1853). Theoretically and methodologically, the study employs the principles of scientific objectivity and historicism, such general research approaches as structural and systems ones, including methods of historical and religious investigation. The study covers actual historical contexts, describes positions of the Buddhist denomination among Mongolic peoples of Russia, i.e. Buryats and Kalmyks Buddhists, the latter’s legal status, numbers of believers, monks and temples. Special attention is paid to specific features of Kalmyk and Buryat Buddhist communities, their relations with Russia’s authorities in 1855–1897. Results. The completed analysis concludes that in domestic religious affairs the Government was guided not only by confessional issues proper but also by the then foreign policy agenda. The latter factor was directly related to Russia’s economic interests in Asia — the maintenance of the status quo in advantageous trade with China. The examined documents attest to these were primarily aimed at isolating Kalmyks and Buryats from Buddhist centers and hierarchs of Mongolia and Tibet; secondly, at limiting the rapid spread of Buddhism; and thirdly, at establishing control over the Church and regulating economic and administrative activities of Buddhist monasteries. Conclusions. Despite all the restrictions, the examined period in the history of Buddhism across the Russian Empire was characterized by that Buddhist monasteries would consolidate Kalmyk and Buryat peoples and become centers of cultural interaction with neighboring countries and communities. By the late 19th century Buddhism became a remarkable religious and political force that had its impacts on lives of Buryats and Kalmyks — and largely shaped their ethnic identities. As for Buryats, the period was marked by a strengthening of the unified Buddhist church system that grew independent of foreign centers and developed individual governance tools completely concentrated in the hands of a single executive — Pandita Khambo Lama. The Regulations on Kalmyk People’s Governance (1847) established some undivided clerical authority of the Lama of the Kalmyk People over the bulk of the ethnic community, except for the local group of Don Kalmyk Cossacks clerically headed by Senior Bakshi Lama of theirs.
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Lee, Yeon-Seo, and Yeon-A. Kim. "Application of Pictorial Elements in Body Art: Focusing on the Buddha expressed in Buddhist art in the Unified Silla Period." Korean Society of Beauty and Art 21, no. 3 (September 20, 2020): 311–24. http://dx.doi.org/10.18693/jksba.2020.21.3.311.
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In modern society, with its coexistence of diverse culture, it is a process of genuine cultural development to remember the beauty of the traditions in our cultural heritage and allow it to continue to evolve through art and cultural exchange and creative work. The truth and concept of religion are invisible in our daily lives. To expose it, help from art is needed. Buddhism, in which people realize truth on their own, samsara, and the redemption of all people are recognized as the highest values, has long been entwined with the history of the Republic of Korea. During the era of the Unified Silla Dynasty, Buddhism was beyond a mere religion and was an official state religion. Since it was directly connected with the country’s fate, Buddhist temple-related fine arts flourished. Therefore, this study attempted to reinterpret the images of Buddha based on a theoretical review of Buddhist concepts and characteristics of Buddhist art during the Unified Silla period and suggested new styles of both Korean and modern ambivalence by expressing pictorial element-applied design through body painting in a torso mannequin style. It is expected that these works would offer an opportunity to contemplate the meaning and value of Korean traditional patterns by expressing the Buddhist art of the Unified Silla Dynasty. It is also anticipated that they would be available as art and aesthetic cultural contents in a creative and diverse fashion.
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Xuan, Fang. "Unraveling the Origins, Evolution, and Contemporary Applications of qili qiji 契理契机." Review of Religion and Chinese Society 10, no. 1 (March 6, 2024): 7–37. http://dx.doi.org/10.1163/22143955-12340014.
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Abstract This article presents a historical exploration of the concept of qili qiji 契理契机 (according with the [core] principles [of Buddhism] and the circumstances or capacities [of sentient beings]) in the context of Buddhist thought from the Eastern Jin era (317–420 CE) to contemporary times, examining its origins, development, and dissemination, and the progressive expansion of its definition. The study explores the significance of qili qiji in the writings and discussions of influential figures and organizations in the domain of “Buddhism for the Human Realm” (renjian fojiao 人间佛教), such as Taixu 太虚, Yin Shun 印顺, Sheng-yen 圣严, Hsing Yun 星云, Zhao Puchu 赵朴初, and the Buddhist Association of China. Lastly, the study investigates the adoption of this term beyond the Buddhist community, specifically its incorporation into the official discourse of governmental religious affairs departments and its usage within other religions such as Daoism.
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Kim, Youn-mi. "Historical Origin and Evolution of Late-Joseon Perceptions on the Miraculous Perspiration of Buddhist Statues." Korean Journal of Art History 319 (September 30, 2023): 201–37. http://dx.doi.org/10.31065/kjah.319.202309.007.
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This paper analyses historical documents from ancient China through to Korea’s Chosŏn Dynasty, seeking to understand why the <i>Veritable Records of the Chosŏn Dynasty</i> predominantly documented instances of perspiration in Buddhist statues, often overlooking other types of miraculous phenomena associated with them. In China, records documenting the perspiration of Buddhist statues have existed since at least the 7th century. The perspiration of these statues was commonly regarded as a significant omen, foretelling calamities such as wars and the downfall of dynasties. A similar perception of sweating in Buddhist statues was evident during the late Koryŏ period, as corroborated by a poem from Yi Saek 李穡 (1328-1396), featured in <i>Mokŭn chip</i> 牧 隱集, as well as by Yi Kyubo’s 李奎報 (1168-1241) “Organized Miracle Records of the Sixteenfoot Golden Statue at Wangryunsa” (王輪寺丈六金像靈驗收拾記). Given that Buddhism was the state ideology of the Koryŏ dynasty, Buddhist statues known for perspiration were venerated as state-protection statues, serving as early harbingers of impending calamities for the country. With the change of dynasty and the adoption of Confucianism as the political ideology during the Chosŏn period, the perspiration of Buddhist statues began to be perceived as chaei 災異, or a portent, signifying improper governance by the ruler. However, the transition in perception from a Buddhist miracle to a Confucian portent was not smooth, leading to debates among court officials who advanced conflicting arguments on how to respond to reports of perspiring Buddha statues. Nonetheless, since portents in the Confucian worldview were considered important clues to understanding the movement of <i>ch’ŏnmyŏng</i> 天命, or the Mandate of Heaven, a considerable number of reports on perspiring Buddhist statues were included in the <i>Veritable Records of the Chosŏn Dynasty</i> until the early 18<sup>th</sup> century. The notion that the perspiration of a Buddhist statue predicts national calamities continues in modern and contemporary Korea, as evidenced by Yi Nŭnghwa’s <i>Chosŏn Pulgyo t’ongsa</i> and various news reports.
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Myer, Prudence R. "Bodhisattvas and Buddhas: Early Buddhist Images from Mathura." Artibus Asiae 47, no. 2 (1986): 107. http://dx.doi.org/10.2307/3249969.
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Averbuch, Irit. "Reflections of Buddhist Thought in Kagura Dance, Song, and Structure." Journal of Religion in Japan 2, no. 2-3 (2013): 244–75. http://dx.doi.org/10.1163/22118349-12341259.
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Abstract The influence of Buddhist thought, cosmologies and practices on the formation of folk kagura and other minzoku geinō (folk performing arts) forms in medieval Japan is widely recognized. The Buddhist worldview was often spread through the ritual performing arts of the yamabushi (Shugendō practitioners) of medieval times. Today the evidence for such influences is relatively obscure, due to the impact of Shintō policies since the nineteenth century. However, traces of Buddhist cosmologies, ideas and practices can still be found, to a greater or lesser degree, in most forms of kagura. Such ‘traces’ may range from but a preserved memory of abandoned practices in some schools, to explicit Buddhist texts in others. This paper presents examples of Buddhist ‘echoes’ in a number of kagura schools from around Japan. These serve to illuminate the extant to which Buddhist ideas and practices were imbedded in the ritual texts and kami uta of the various kagura schools, in their dance choreographies, and in the structures of their kagura spaces. A special characteristic common to all (otherwise extremely variegated) kagura forms is the construction of the kagura space as a symbolic universe. This paper argues for a probable Buddhist origin of the kagura stage-universe.
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Kharanutova, Darima Sh, Larisa B. Budazhapova, and Nikolay S. Baikalov. "Заимствованная буддийская лексика бурятского языка в историко-лингвистическом освещении." Монголоведение (Монгол судлал) 15, no. 4 (December 25, 2023): 742–56. http://dx.doi.org/10.22162/2500-1523-2023-4-742-756.
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Introduction. The article is devoted to Buddhist terms, which represent a significant layer in the lexical system of the Buryat language. The borrowed Buddhist vocabulary of the Buryat language is the result of the enteringprocessof Buddhist terms into the Buryat language taken place over centuries. It was not stable, it, like any process, had periods of decline and activity. Of course, borrowing of Buddhist terms is a consequence of the development of Buddhist ideas. The main purpose of the study is to describe the features of borrowed Buddhist terms, which are the result of an inextricable connection between the process of their appearing in the Buryat language and the history of Buddhism popularization among the Mongolian–speaking peoples. The objectives of the study include: 1) justification of intensification periods of entering the Buddhist terms into the lexicological system of the Buryat language against a historical background; 2) a brief historical and linguistic description of periods of the mass appearance of the Buddhist terms; 3) identification of the peculiarities of the semantics of individual borrowings belonging to different periods of borrowing and different donor languages. Results. Based on the historical and linguistic facts, the authors justify the validity of the allocation of periods of appearing of Buddhist terms associated with periods of intensive development of Buddhism. The study showed that in the first period of borrowing Buddhist terms of the Buryat language, their guides were the Sogdian and Uighur languages: from Sanskrit and Tibetan they fell into Sogdian, then into Uighur. It was only after Uighur that they appeared in the Mongolian languages through the old-written Mongolian language. In the second period, Buddhist terms came directly from the Tibetan language to the Buryat language, in some cases the Mongolian language was the intermediary. The third period of intensification of the appearance of Buddhist terms is characterized by the revival of previously borrowed words. The authors conclude that the features of Buddhist terms depend on the donor language, while the roads along which they came to the Buryat language also play an important role: directly or through an intermediary language, orally or in writing.
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Kashyap, Tripura, Anubha Doshi, and Karishma Arora. "Buddhist Psychology Intersects with Dance Movement Therapy." Creative Arts in Education and Therapy 8, no. 1 (August 23, 2022): 56–67. http://dx.doi.org/10.15212/caet/2021/7/17.
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This article highlights the potential role of the “brahmaviharas,” a Buddhist concept which emphasizes certain spiritual dimensions and have been interlinked with dance movement therapy combined with other expressive arts, in responding effectively to the unpredictable life changes during pandemic situations such as the COVID-19. A multiple therapeutic–expressive–creative movement sequence model and meditation practices were collaboratively developed by movement therapist Tripura Kashyap and expressive arts therapy practitioner Anubha Doshi to address each of the brahmaviharas: loving–kindness (mettā), compassion (karuṇā), sympathetic joy (muditā), and equanimity (upekkhā). This article specifically reveals how the embodiment of concepts from Buddhism through movement can help in concretizing and embedding meditative practices in the mind–body continuum. Finally, the article explores the relevance of practicing the brahmaviharas by utilizing specifically crafted movement rituals, such as body preparatory routines, mindful movement, body scans, embodiment, gratitude rituals, interspersed with visual art and the use of props to focus on enhancing people’s resilience, mental health, and well-being. All these experiences were creatively adapted to the virtual medium during the COVID-19 pandemic period.
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Mulyadi, Budi. "KEUNIKAN SENI BELA DIRI JEPANG SHOURINJIKENPOU." KIRYOKU 1, no. 4 (December 7, 2017): 29. http://dx.doi.org/10.14710/kiryoku.v1i4.29-36.
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This article entitled The Uniqueness of Japan Martial Arts Shourinjikenpou The main goal of this paper writing is to know about several uniqueness of shourinjikenpou as one of martial arts from Japan. This article writing uses field reserach. Main method are observation, and interpretation. This article explains shourinjikenpou has many uniquennes such as: shourijinkenpou is combined between tradisional martial arts from China and ancient martial arts from Japan. Also shorinjikenpou contains Buddhist Teaching therefore the philosophy of shorinjikenpou is taken from buddhist teaching. Shourinjikenpou has two main stance. They are goho and juho. Thr student of shourinjikenpou has to master it before learning other stance
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Bicheev, Baazr A., and Gerelmaa Guruuchin. "Ойратский текст дхарани-сутры Ганапати." Монголоведение (Монгол судлал) 15, no. 3 (December 8, 2023): 430–45. http://dx.doi.org/10.22162/2500-1523-2023-3-430-445.
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Introduction. The tradition of worshiping Ganapati in Buddhism, including in religious traditions of Mongols, is an interesting — though understudied — issue. In Hinduism, this ancient deity was believed an evil demon (Vinayaka) inclined to create obstacles. Subsequently, when included in the Buddhist pantheon, its tantric forms became widespread enough in Tibet and Mongolia. In Buddhist teachings, Ganapati is seen as an emanation of Avalokiteshvara, and in some of its forms is associated with Chakrasamvara and Tara, hence having little in common with the Hindu Ganesha, the son of Parvati and Shiva, the Lord of the Ganas. The cult of Ganapati in Buddhist countries shows how the ancient deity of Hinduism had lost its original essence — to become an organic part of the Buddhist tantric tradition. Goals. The paper aims to introduce Oirat texts of the Ganapati Dharani Sutra. Materials and methods. Collections of Mongolian manuscripts in Russia and other countries contain a total of seven dharani sutras in the Oirat Clear Script. The study focuses on a Kalmyk manuscript from the Saxon State and University Library Dresden (Mongolian Collection) and a manuscript from the Mongolian Academy of Sciences (Institute of Language and Literature, Oirat Collection). The work employs textual research methods and tools of comparative historical analysis. Results. Some manuscripts in the Clear Script are literary works of minimal size that include two parts — Dharani Sutra of Lord Ganapati (Oir. Xutuqtu čuulγani ezen kemēküyin toqtōl) and Collected Dharanis of the Five Chapters of Pancharaksha (Oir. Pañcaragšyin tabun bölögiyin xurangyui). The combination of the two texts in a single work makes it possible to assume the worshipping practice of Ganapati be somewhat tied to that of the five Pancharaksha protector goddesses. In Buddhism, the Ganapati Dharani Sutra is recited for various purposes, such as welfare, virtuous reincarnation, new knowledge, and spiritual progress. Conclusions. Texts of the Ganapati Dharani Sutra and various iconographic images (forms) are integral to tantric practices believed instrumental in acquiring, cognizing and organizing new knowledge, thus forming milestone spiritual experiences on the path towards the ultimate goal of Buddhists.
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Kartika, Nyai, Yasraf Amir Piliang, Imam Santosa, and Reiza D. Dienaputra. "The Visual Arts of Masjid Agung Sang Cipta Rasa Cirebon: Hybrid Culture Identity." Harmonia: Journal of Arts Research and Education 20, no. 1 (June 9, 2020): 95–107. http://dx.doi.org/10.15294/harmonia.v20i1.17525.
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Cultural hybrids complement the richness of the visual art of Masjid Agung Sang Cipta Rasa in Cirebon. The influence of diversity can be seen in the mosque including having strong local cultural characteristics, coupled with the influence of foreign cultures such as Arabic, India, and China. This study aims to find hybrid culture crosses in elements of Masjid Agung Sang Cipta Cipta. The method used is the historical method. The historical method is the process of critically testing and analyzing records and relics of the past. This method consists of several stages, namely heuristics, criticism, interpretation, and historiography. The results of this study describe various forms of hybridity that have influenced the development of Masjid Agung Sang Cipta Rasa. The elements are considered to represent the period before Islam entered, or the influence of Hindu Buddhism, Chinese, Arab, Javanese, and European that coexist in Cirebon. The elements of visual arts in the mosque which are part of the hybrid cultural cross-identity among which are represented on the roof that gets influence (Javanese, Hindu-Buddhist, Arabic/Islamic); gate (Hindu-Buddhist); maksurah (Arabic); mihrab (Arabic, Chinese); pillars (Javanese, Arabic). This shows that the greatest influence on the building of Masjid Agung Sang Cipta Rasa, starting from the earliest development until several centuries later, is the influence of culture from outside.
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Andreyev, Alexander. "Russian Buddhists in Tibet, from the end of the nineteenth century – 1930." Journal of the Royal Asiatic Society 11, no. 3 (October 29, 2001): 349–62. http://dx.doi.org/10.1017/s1356186301000323.
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AbstractThe article offers a survey of religious contacts maintained between Tibet and Russian Buddhists, the ethnic Buryats and Kalmyks, from the late 19th C. to the 1930s. Chronologically, the story falls into two parts, the dividing point being the Bolshevik revolution of 1917. The focus in the first portion is on the Russian Buddhist colony in Lhasa centred around the Gomang Datsang (school) of the Drepung monastery, its emergence and growth in the early 20th C., in the wake of Russo-Tibetan rapprochement brought about by a Buryat scholar-monk and adviser of the 13th Dalai Lama, Agvan Dorjiev. The tsarist government tried to use their Buddhist connection with Lhasa to political ends – in January 1904, shortly after the beginning of the British military invasion of Tibet, they sent a secret Kalmyk reconnaissance mission to Lhasa under a Cossack subaltern, Naran Ulanov, assisted by a cleric (bakshi) Dambo Ulianov. The latter part of the article concentrates on the dramatic post-revolutionary period. It begins with the story of the Kalmyk refugees in Turkey and their abortive attempt to emigrate to Tibet. There's also a detailed discussion of the endeavours by Soviet leaders to win the Dalai Lama over, by employing the loyal Buryats and Kalmyks for their secret missions to the Potala. The key figures behind this scheme were the Soviet foreign minister, G. V. Chicherin, and the same Agvan Dorjiev, posing as the Dalai Lama's representative in the USSR. As a result of the Bolshevik propaganda, many of the Buryat and Kalmyk residents in Lhasa began to return to their homeland in the 1920s. The crackdown on Buddhism in Soviet Russia put an end to the Moscow–Lhasa political dialogue. Hence all connections between the Buryat and Kalmyk Buddhists and their religious “Mecca” were deliberately cut by the Soviet authorities by 1930.
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Annaev, Jaloliddin. "Age Determination Of Buddhist Cult Complexes Of Northwestern Bactria-Tokharistan." American Journal of Social Science and Education Innovations 03, no. 06 (June 17, 2021): 19–26. http://dx.doi.org/10.37547/tajssei/volume03issue06-03.
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In the Twenty-First Century, in the context of globalization processes, special attention is paid to the study of the contribution of religions to the development of world civilization, spirituality and enlightenment, because spiritual culture determined the progress of society and, since ancient periods, has been closely associated with religious views and beliefs. This definition is fully applying to Buddhism, that existed for many centuries in the south of Central Asia, including in the historical and cultural region of Bactria, along with Zoroastrianism and other religions. Central Asia is considered as a territory of distribution of various religious views, religions and teachings by the world's leading research institutions since ancient times. In this regard, special studies have been conducted and their results were published in many scientific publications. In particular, Uzbek and foreign scientists carried out fundamentally important archaeological work with the aim of studying the Buddhist monuments of Tarmidh-Termez, as well as identifying the features of the spread of Buddhism through this region to Margiana, Sogdiana and East Turkistan. From this point of view and out of the need to analyze other topical issues (spiritual and material culture, fine arts, numismatics and epigraphy, reconstruction of the functions of Buddhist centers), additional research based on new approaches is an urgent scientific task.
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Ahn, Hyun-Jeoung. "Korean Buddhist Tales utilised Cultural Arts Education for Young Children and the Effect on Young Children’s Empathetic Ability from the Integrated Approach of Problem-Based Learning (PBL)." Korean Association For Learner-Centered Curriculum And Instruction 23, no. 5 (March 15, 2023): 61–76. http://dx.doi.org/10.22251/jlcci.2023.23.5.61.
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Objectives This study analysed Korean Buddhist Tales utilised cultural arts education for young children and the effect on young children’s empathetic ability from the integrated approach of problem-based learning (PBL). Methods Fifty Gwangju city based five years-old young children (twenty-five children for both experiment group and controlled group) were selected and the experiment were held for eight weeks (four times a week and thirty-two times in total). Five Korean Buddhist tales were selected to build a teaching-learning method that integrates cultural arts education for young children and PBL, and five stages of experiment were executed; stage 1: facing the problem; stage 2: identifying the topic; stage 3: discovery; stage 4: finding the solution; stage 5: presentation and assessment. The examination on the children’s empathetic ability was used to analyze, using SPSS (ver. 26), the difference among groups based on ANCOVA and MANCOVA. Results To sum, Korean Buddhist Tales utilised cultural arts education for young children and the integrated approach of PBL has positive impact on improvement of children’s empathetic ability. Among the sub-elements, communication empathy and cognitive empathy also showed positive impact on this while the other sub-elements that are social empathy and emotional empathy didn’t show a meaningful difference. Conclusions This proves that Korean Buddhist Tales utilised cultural arts education for young children and the integrated approach of PBL have a positive impact in increasing ‘communication empathy’ and ‘cognitive empathy’.
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Syrtypova, Surun-Khanda D. "Автопортрет и Будда Ваджрасаттва у Дзанабазара." Oriental Studies 13, no. 4 (December 25, 2020): 1045–77. http://dx.doi.org/10.22162/2619-0990-2020-50-4-1045-1077.
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Introduction. Jebtsundamba Khutuktu Öndör Gegeen Zanabazar was Mongolia’s first ruler to hold both secular and spiritual power. In the late 17th century, the country witnessed dramatic internecine wars, and his overriding goal was to unify the nation and increase the educational level. Virtually all his self-portraits discovered depict Zanabazar as a real priest with iconographic markers of Buddha Vajrasattva. The selected Buddhist symbol is supposed to deliver a deepest nonverbal sermon and mysterious testament of the prominent Buddhist master. Goals. The paper seeks to further reveal, examine, and describe objects of artistic heritage authored by Öndör Gegeen Zanabazar and currently stored in state, public, administrative, and private collections of Mongolia and Russia. Results. The work is a first attempt to examine Zanabazar’s self-portraits — both sculptural and graphic ones (including tiny elements of different thangkas) — in their structural unity in the context of his meditative practices. The descriptions of the pictures compiled with due regard of Buddha Vajrasattva-related tantric texts and facts of Öndör Gegeen’s biography may be viewed as sources for historical and art studies in Vajrayana Buddhism. The analysis of textual and graphic materials attempts to interpret Zanabazar’s unique position as both a spiritual and Buddhist arts master.
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Keyworth, George A. "‘Study Effortless-Action’." Journal of Religion in Japan 6, no. 2 (2017): 75–106. http://dx.doi.org/10.1163/22118349-00602003.
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Today there is a distinction in Japanese Zen Buddhist monasticism between prayer temples and training centers. Zen training is typically thought to encompass either meditation training or public-case introspection, or both. Yet first-hand accounts exist from the Edo period (1603–1868) which suggest that the study of Buddhist (e.g., public case records, discourse records, sūtra literature, prayer manuals) and Chinese (poetry, philosophy, history) literature may have been equally if not more important topics for rigorous study. How much more so the case with the cultivation of the literary arts by Zen monastics? This paper first investigates the case of a network of eminent seventeenth- and eighteenth-century scholar-monks from all three modern traditions of Japanese Zen—Sōtō, Rinzai, and Ōbaku—who extolled the commentary Kakumon Kantetsu 廓門貫徹 (d. 1730) wrote to every single piece of poetry or prose in Juefan Huihong’s 覺範恵洪 (1071–1128) collected works, Chan of Words and Letters from Stone Gate Monastery (Ch. Shimen wenzichan; Jp. Sekimon mojizen). Next, it explores what the wooden engravings of Study Effortless-Action and Efficacious Vulture at Daiōji, the temple where Kantetsu was the thirteenth abbot and where he welcomed the Chinese émigré Buddhist monk Xinyue Xingchou (Shin’etsu Kōchū 心越興儔, alt. Donggao Xinyue, Tōkō Shin’etsu 東皐心越, 1639–1696), might disclose about how Zen was cultivated in practice? Finally, this paper asks how Kantetsu’s promotion of Huihong’s “scholastic” or “lettered” Chan or Zen might lead us rethink the role of Song dynasty (960–1279) literary arts within the rich historical context of Zen Buddhism in Edo Japan?
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Ladwig, Patrice. "Imitations of Buddhist Statecraft." Social Analysis 62, no. 2 (June 1, 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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Maskarinec, Gregory G., Todd T. Lewis, Subarna Man Tuladhar, and Labh Ratna Tuladhar. "Popular Buddhist Texts from Nepal: Narratives and Rituals of Newar Buddhism." Asian Folklore Studies 61, no. 2 (2002): 345. http://dx.doi.org/10.2307/1178989.
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GONKATSANG, TSERING, and MICHAEL WILLIS. "The Ra Mo Che Temple, Lhasa, and the Image of Mi bsKyod rDo rJe: The Narrative of Ri ‘Bur sPrul sKu." Journal of the Royal Asiatic Society of Great Britain & Ireland 19, no. 1 (January 2009): 41–57. http://dx.doi.org/10.1017/s1356186308009097.
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Although practicing Buddhists and historians of Tibet are well aware of the Ra Mo Che Temple in Lhasa, very little about the building and its history has been published. Situated a short distance north-west of the more-famous Ra Sa gTsug Lag Khang or Jo Khang, the temple received, according to the dBa' bZhed, the Buddha image brought to Tibet in the time of the Tang princess Ong Jo. Early in the reign of Khri Srong lDe bTsan, while the king was still in his minority, anti-Buddhist factions led by Zhang Ma Zham Khrom Pa sKyes circumscribed royal power and murdered the pro-Buddhist minister Zhang sNa Nam Khri Thong rJe Thang la ‘Bar. They also arranged for the image at Ra Mo Che to be removed from the temple. The plan was to return the Buddha to China, along with the head priest and his entourage. The statue's great weight, however, thwarted the scheme. After being dragged a short distance, the Buddha was left half-buried in the earth. The state of affairs in those days is indicated by dBa' bZhed which reports that the Lhasa vihāra was turned into a workshop with sheep carcasses hung from the arms of the principal holy images and entrails wound round their necks! After Buddhism was reinstated, the Ra Mo Che was returned to worship. Subject to campaigns of refurbishment and additions through the centuries, it was the centre of a number of important developments, notably becoming the seat of the upper Tantric college (rGyud sTod) established by rJe bTsun Kun dGa' Don Drub in 1474.
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Ambros, Barbara. "Buddhist materiality a cultural history of objects in japanese buddhism Rambelli, Fabio." Material Religion 6, no. 1 (March 2010): 119–21. http://dx.doi.org/10.2752/174322010x12663379393576.
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Zhanaev, Ayur. "A Heap of Leaves or Fellow Travellers." Inner Asia 24, no. 2 (October 12, 2022): 245–78. http://dx.doi.org/10.1163/22105018-02302029.
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Abstract Much has been written about the role of ‘shamanism’ in the making of Mongol kinship. This article aims to explore the role of Buddhism in constructing kinship, which has received less scholarly attention. In particular, I investigate the ways the ‘anti-family’ orientation of Buddhism was propagated in Buryat society, which had assigned great social importance to kinship networks. In didactic texts compiled by Buryat lamas for the laity in the nineteenth and early twentieth centuries, lamas argued that, despite the impermanent character of kinship, kinship bonds nevertheless were to be arranged in a proper way to avoid multiplying sins. However, lamas did not offer a ready model or a special Buddhist ideal of the family organisation. Like in other regional contexts, Buddhist ethics were adapted to the existing cultural traditions and mostly emphasised proper roles and responsibilities in conjugal and parent-child relationships.
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Vanchikova, Tsymzhit P., and Nomin D. Tsyrenova. "К истории монастыря Гандантегченлин." Монголоведение (Монгол судлал) 14, no. 2 (August 10, 2022): 393–404. http://dx.doi.org/10.22162/2500-1523-2022-2-393-404.
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Introduction. The article summarizes the history of the Gandantegchinlen Monastery (Mongolia). Goals. It aims at revealing the latter’s place and role in the history of Buddhism nationwide. Insights into the history and functioning structures of the Gandantegchinlen Monastery reveal certain historical links between Buddhist centers of Mongolia and Buryatia. Being a stronghold of Buddhist education, Gandantegchenlin has made (and still does) its essential impacts on the shaping and development of religious and philosophical educational systems among Mongolic peoples — and contributed to the dissemination of Tibetan Buddhist culture. Methods. The study employs tools of factor analysis (characterizing the place and role in historical reality), the historical/genetic and retrospective research methods. Results. The retrospective analysis reveals key stages in the development of the monastery — from its earliest activities, closure, and restoration in the 1940s–1960s to present days witnessing a gradual revival of Buddhist traditions in Russia and Mongolia.
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Dugarov, Bair S. "Индо-буддийские заимствования в бурятской Гэсэриаде." Монголоведение (Монгол судлал) 14, no. 3 (December 27, 2022): 608–19. http://dx.doi.org/10.22162/2500-1523-2022-3-608-619.
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Introduction. The article examines an understudied issue of how and to what extent Buddhism had influenced the Buryat epic of Geser. Over the past two millennia, the Buddhist factor — starting from the Xiongnu era — has been to a certain degree reflected in various areas of spiritual life of Turko-Mongolian nomads and their descendants. Goals. So, the work aims to study impacts of Buddhism on such a significant monument of the Buryat oral poetic tradition as Geseriad. Results. The method of comparative analysis proves instrumental in identifying terms and concepts of Indo-Buddhist origin that constitute an ancient dimension in narrative structures of the uliger (epic). Those constants include as follows: hумбэр уула ‘Mount Sumeru’ associated with the world Mount Meru that serves to mark a center of the earth and universe in ancient Indian mythology; hун далай ‘milk sea’ that has an ancient Indian prototype in the Samudra Manthana episode. Similarly, some other cosmogonic concepts of ancient India — such as замби (Sanskr. Jambudvīpa ‘Jambu mainland’) and галаб (Sanskr. kalpa ‘aeon’) — had penetrated the Buryat folk mythological tradition through Buddhism to get completely absorbed and adapted. The Buryat Geseriad also contains traces of Indo-Buddhist mythology at the level of zoomorphic images, especially notable in the case of Khan Kherdig ‘king of birds and devourer of serpents’. Conclusions. The southern borrowings had become organically integral to the epic of Geser — its plot and images — so that nowadays tend to be perceived as quite ‘autochthonous’ and indigenous elements of the narrative. This circumstance attests to that Buddhist vestiges in the Buryat epic have a long history.
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Jang, Jea Jin. "Terrain and Methodology of Buddhist Arts Studies as a Field within Arts Studies." Journal of Korean Association for Buddhist Studies 77 (February 28, 2016): 155–90. http://dx.doi.org/10.22255/jkabs.77.05.
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Mahadev, Neena. "Post-war Blood." Religion and Society 10, no. 1 (September 1, 2019): 130–50. http://dx.doi.org/10.3167/arrs.2019.100110.
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Since 2009, in the aftermath of Sri Lanka’s ethnic war, certain contingents of Sinhala Buddhists have lodged attacks against religious minorities, whom they censure for committing violence against animals in accordance with the dictates of their gods. Considering these interventions against sacrifice in spaces of shared Hindu and Buddhist religiosity, this article examines the economies of derogation, violence, and scapegoating in post-war Sri Lanka. Within Sinhala Buddhism, sacrifice is considered bio-morally impure yet politically efficacious, whereas meritorious Buddhist discipleship is sacrificial only in aspirational, bloodless terms. Nevertheless, both practices fall within the spectrum of Sinhala Buddhist religious life. Majoritarian imperatives concerning postwar blood impinge upon marginal sites of shared religiosity—spaces where the blood of animals is spilled and, ironically, where political potency can be substantively shored up. The article examines the siting of sacrifice and the purifying majoritarian interventions against it, as Buddhists strive to assert sovereignty over religious others.
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Handriyotopo, Handriyotopo. "Plaosan Temple Ornaments As Iconography Metaphorical Hindu-Buddhist Ideology." Harmonia: Journal of Arts Research and Education 22, no. 1 (July 1, 2022): 129–43. http://dx.doi.org/10.15294/harmonia.v22i1.33358.
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Plaosan Temple is a building structure filled with beautiful ornaments and decorations, reliefs, and statues. Therefore, this research aims to analyze the metaphorical aspect of symbolism in the Plaosan temple reliefs, which represent Hindu and Buddhist ideologies. It also aims to understand the iconographic meaning of this structure as a temple building that unites differences for a peaceful purpose. This is a qualitative descriptive and interpretative research with the “minus one” technique used to determine the effect of removing an element of the temple. The hermeneutic-metaphorical interpretive description was used to visualize the ornaments’ symbols and determine the philosophical meaning between the ideological domain of Hindu symbolism and Buddhism. The results showed that the manifestation of love from the Plaosan temple is indicated in its temple’s relief elements and decorated ornaments.
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Kwon, Junghyun, Jiyun Kim, Younghee Jung, and Jin Son. "Unravelling the Influence of Buddhist Liberal Arts Education on College Students’ Self-Reflection." Religions 15, no. 6 (May 24, 2024): 647. http://dx.doi.org/10.3390/rel15060647.
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The purpose of this paper is to investigate the measurable impact of Buddhist liberal arts courses on college students’ ability to engage in self-reflection. This study uses the data gathered to establish, through statistical analysis, any correlations between two variables—Buddhist liberal arts as courses as the independent variable and self-reflection intelligence as the continuous dependent variable. First, the following results of the study show that the mean of the four self-reflection sub-categories for the students who found that the courses were helpful was higher than that of the students who found that they were not helpful: self-awareness (4.10 ± 0.49 > 3.90 ± 0.87), self-design (3.84 ± 0.66 > 3.40 ± 0.97), self-regulation (4.01 ± 0.04 > 3.48 ± 0.18), and self-examination (4.21 ± 0.03 > 3.94 ± 0.15), respectively. Second, the mean of the four self-reflection sub-categories for students who experienced a positive change of their perception in the courses was higher than that of students who experienced a negative change, as follows: self-awareness (4.08 ± 0.50 > 3.75 ± 0.82), self-design (3.84 ± 0.68 > 3.51 ± 0.93), self-regulation (4.00 ± 0.59 > 3.56 ± 0.67), and self-examination (4.17 ± 0.49 > 4.04 ± 0.73), respectively. This study illuminates the role of Buddhist-related liberal arts courses in higher education, specifically in fostering students’ self-reflection skills. It offers valuable insights into educational practices aimed at enhancing self-reflection levels.
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Wang, Ching-Ling. "True Identity." Rijksmuseum Bulletin 66, no. 2 (June 15, 2018): 100–119. http://dx.doi.org/10.52476/trb.9750.
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In the Rijksmuseum collection there is a painting depicting the Buddhist deity Water-Moon Avalokite´svara. The identification and dating of this painting are complex. It had long been considered to be a Chinese work of the Song Dynasty and dated to the twelfth century; later it was regarded as a Chinese work from the Yuan Dynasty and dated to the fourteenth century; more recently opinion shifted and it was seen as a Korean Buddhist painting from the Goryeo Dynasty and dated to the first half of the fourteenth century. This essay aims to serve as a fundamental research by examining the iconography and style of this painting in detail. The author argues on the basis of style that this painting is a late fourteenth-century Japanese hybrid creation that combines both Chinese iconography and the colouring of Chinese Song Buddhist painting with decorative elements of Korean Goryeo Buddhist painting. In light of the recent research into the inter-regional connection of East Asian Buddhist image production, the Rijksmuseum Water-Moon Avalokite´svaraprovides an example of the artistic interactions between China, Korea and Japan in the fourteenth century.
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Kaeolan. "Buddhist Monk Preachers: A Study of Preaching Arts for Increasing Faith in Buddhism of Isan People." Journal of Social Sciences 7, no. 2 (April 1, 2011): 271–73. http://dx.doi.org/10.3844/jssp.2011.271.273.
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Huang, Bing. "The Posture of Lalitāsana: Buddhist Posing Hierarchy in a Tang-Dynasty Chinese Bronze Sculpture." Religions 13, no. 8 (August 13, 2022): 740. http://dx.doi.org/10.3390/rel13080740.
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The rubric of the presence of Buddhist sculpture in the absence of an actual deity represents an admirable aspect of Buddhist art, especially sculpture, where the best works have drawn on this paradox in an astounding fashion. An important element in the realization of this religious archetype is the Buddhist statues’ sublime poses. This article demonstrates the Buddhist posture hierarchy, based on a case study of a Tang-Dynasty Chinese Buddhist Bronze collected by the Pulitzer Arts Foundation, the posture of which is identified as lalitāsana: one leg pendant and the other bent horizontally. This article shows how this pose engendered various other compositional situations and postures popular in East Asia icon design and, moreover, that this sculpture might form part of an assemblage, where the pose indicates the central Buddha figure, to which all of the other figures are formally and doctrinally posed following a hierarchy. This article argues that Buddhist figures of different religious ranks are characterized by their pose and degree of movement. This research proves that the myriad forms of Buddhist postures and hierarchy have been devised to illustrate mythologies and philosophical, doctrinal, or social concepts, and their representations, in turn, have engendered other myths and beliefs.
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Trubnikova, N. N. "Early Japanese Philosophers in Konjaku monogatari shū." Russian Journal of Philosophical Sciences, no. 8 (November 28, 2018): 23–45. http://dx.doi.org/10.30727/0235-1188-2018-8-23-45.
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The paper deals with the tales on the origins of Japanese Buddhism from the 11th scroll of the Konjaku monogatari shū (early 12th century). Particular attention is paid to the stories about Saichō (767–822) and Kūkai (774–835), the founders of the Tendai and Shingon schools, thinkers, whose writings have built two versions of the doctrine of the Buddhist ritual aimed at “state protection” and “benefits in this world.” From the elements familiar to the Western reader – “lives, opinions and sayings,” according to Laertius, – in these stories the first one dominates. Brief information about the doctrines of the famous teachers in Konjaku is embedded in the narrative about their practical activities. The objectives of this activity are, firstly, to adopt in China and root in Japan the Chinese traditions of Buddhist practice, which go back to the Indian models; secondly, to arrange monasteries and monastic orders best suited to serve the country and its inhabitants. The legends about Saichō and Kūkai in Konjaku are placed in context of the narratives about the builders of temples and about the monks who visited the mainland in search of Buddha’s Teaching. This context helps to understand the principle of selecting (pseudo)biographical details for each of the sages in Konjaku. The themes of a wonderful birth and early learning successes are common in these stories; the theme of appeasement of kami deities or the treaty with them also sounds in many of these stories. In the legends about Kukai and Saichō, the themes of the arts in its Buddhist meaning (calligraphy, sculpture) and the separation of the school within the Buddhist community are also important: according to the plan of their founders, the “secret” schools, preaching enlightenment for all, follow their own special path of practice.
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Shaereh Shaerpooraslilankrodi, Shaereh, and Ruzy Suliza Hashim. "Buddhist Precepts and the Diagnosis of Women’s suffering in Doris Lessing’s The Golden Notebook." Asian Social Science 12, no. 3 (February 23, 2016): 42. http://dx.doi.org/10.5539/ass.v12n3p42.
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<p>In Doris Lessing’s fictions, the effects of the world outside on the female self-transcendence are invariably lost, and instead the journey in the world within is notably emphasized. Similarly in <em>The Golden Notebook</em> the didactic bend of the female enlightenment is firmly entrenched to the world within where personal harmonies parallel the mystical patterns of self-development. Moreover, the detailed exploration of the novel foregrounds the female characters’ hard effort to end their suffering which is the core of Buddhist teachings. Hence, while Lessing is not specifically attempting to portray Buddhist principles in her novel, her vision captures the universal nature of humankind’s attempts to overcome suffering which is the most emphasized concept in Buddhism. Accordingly, the purpose of this paper is to use Buddhist philosophical thoughts, particularly the founding of the pioneer of Mahayana Buddhism, Nagarjuna, in his book <em>Mulamadhyamakakarika </em>to look more closely at the root of women’s suffering and their prescription to overcome it. The methodology appropriated entails depiction of clinging as the root of female suffering which is overtly discussed in Nagarjuna’s philosophy. After diagnosis of clinging disease as the root of suffering, this paper presents Nagarjuna’s prescription to end suffering through viewing the “empty” nature of beings and “dependent arising”. By examining the root of female suffering and offering the method for its eradication, we depart from other critics who examine Lessing’s works under Sufi mystic thoughts. This departure is significant since we reveal, unlike Sufi patterns within which the suffering is only diagnosed, Lessing’s mystic aim in shaping her female characters is not only to detect their suffering, but like Buddhism, to suggest a prescription for it. </p>
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Dahl, Shayne A. P. "Buddhist Mummy or ‘Living Buddha’? The Politics of Immortality in Japanese Buddhism." Anthropological Forum 30, no. 3 (June 30, 2020): 292–312. http://dx.doi.org/10.1080/00664677.2020.1786804.
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Faure, Bernard. "The Cultic World of the Blind Monks: Benzaiten, Jūzenji, and Shukujin." Journal of Religion in Japan 2, no. 2-3 (2013): 171–94. http://dx.doi.org/10.1163/22118349-12341254.
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Abstract This paper examines the complex institutional and symbolic network that developed during the medieval period, bringing together people, places, institutions, myths, legends, rituals, and deities. It focuses on the relationships between the goddess of musical arts and eloquence Benzaiten, the Hie Shrine deity Jūzenji, and itinerant performers such as the blind monks (mōsō) and the biwa hōshi, who were instrumental in bringing together traditional Buddhist teachings and the performing arts (geinō). The paper argues that these relationships formed part of a broader semantic and symbolic field, at the center of which was the Protean figure of the shukujin (whose name can mean “astral god” and “god of destiny,” but also “god of the shuku”—outcasts groups and settlements). It shows how the latter was eventually identified by the Nō playwright Konparu Zenchiku (1405-1468), in his seminal work Meishukushū, with the figure of Okina, the divine old man that is widely regarded as the symbol of Nō theater. With the slow decline of the blind monks and the growing aestheticism of Nō, however, the vital connection between esoteric Buddhism, local religious traditions, and the performing arts eventually unraveled.
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Paine, Crispin. "Architects of Buddhist Leisure: Socially Disengaged Buddhism in Asia’s Museums, Monuments and Amusement Parks." Material Religion 17, no. 1 (January 1, 2021): 131–32. http://dx.doi.org/10.1080/17432200.2021.1873012.
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Jaffe, Richard M. "Buddhist Material Culture, "Indianism," and the Construction of Pan-Asian Buddhism in Prewar Japan." Material Religion: The Journal of Objects, Art and Belief 2, no. 3 (November 1, 2006): 266–92. http://dx.doi.org/10.2752/174322006778815126.
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Kinnard, Jacob N. "Reading buddhist art: an illustrated guide to buddhist signs and symbols McArthur, Meher." Material Religion 1, no. 2 (July 2005): 282–83. http://dx.doi.org/10.2752/174322005778054375.
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Kwon, Bo Kyung. "The Origins and Significances of Iron Buddha Statues of late Silla." Korean Journal of Art History 318 (June 30, 2023): 5–35. http://dx.doi.org/10.31065/kjah.318.202306.001.
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Among the various materials used for Buddhist statues, iron is noteworthy in the history of Korean art as it only started to be used for Buddha statues in late Shilla and almost disappears after Koryŏ. Previous studies have attributed the emergence of iron Buddha statues to the introduction of the Sŏn(Chinese Chan) Buddhism to Shilla, rise of local powers, and shortage of copper, but this study argues that the lack of tin brought the production of iron Buddha statues. Shilla was not short of copper, but tin, another indispensable material when making bronzeware, was not mined in the Korean peninsula and therefore was expensive. At the time, to effectively exert power in the provinces, monarchs of Shilla turned to the Sŏn Buddhism, which had spread to all corners of the country. Large Buddhist statues were made for Sŏn temples to demonstrate the royal authority. For this purpose, iron was used in the place of bronze, whose production process required tin, a precious material.</br>First made with above reasons, iron Buddha statues fulfilled the wishes of patrons including the royal family, to decorate temples. At first, Sŏn monks were not enthusiastic about making iron statues, but as time passed, they also participated actively. Iron Buddha statues were initially made to decorate temples and to pray for the souls of the dead but they came to take on the role of supporting and protecting the temple in the chaotic late Shilla society. In conclusion, the perception and the significance attributed to iron Buddha statues changed according to the economical, political, and social changes in late Shilla.
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Cox, Collett, and Tadeusz Skorupski. "The Buddhist Heritage." Journal of the American Oriental Society 112, no. 4 (October 1992): 666. http://dx.doi.org/10.2307/604490.
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