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Academic literature on the topic 'Buddhist monks as artists'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2024

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Journal articles on the topic "Buddhist monks as artists"

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Kim, Jahyun. "Utilization of the Iconography of Buddhist Prints during the Joseon Dynasty—Focusing on “the Listener” in Sakyamuni Preaching Paintings." Religions 12, no. 5 (May 2, 2021): 324. http://dx.doi.org/10.3390/rel12050324.

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This paper focuses on the iconography of “the Listener” in Buddhist prints that was adopted in Joseon dynasty Sakyamuni Preaching paintings. Regarding change in the Listener iconography from bodhisattva form to monk form, diverse research has been conducted on the Listener’s identity and origin. However, existing studies are limited as they fail to consider the circumstances of the time this iconography was first adopted and trends in Joseon Buddhism. As the first Joseon print where the Listener in bodhisattva form appeared was based on a print from the Chinese Ming dynasty, and considering trends in publication of Buddhist prints in China where pictures of the Buddha preaching were used repeatedly in sutras regardless of the contents, this paper argues that the Listener should not be identified with any particular figure and examines the current state and characteristics of Joseon Buddhist paintings where the Listener appears. It also explores the possibility that the Listener’s change from bodhisattva form to monk form was driven by monk artists such as Myeongok, who were exposed to diverse iconography as they participated in creating both Buddhist paintings and prints in a situation where monks who had received systematic education gained a new awareness of iconography.

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Kim, A.-Reum. "The Buddhist Temple and Buddhist Painting of Bogwangsa Temple in Paju in 1898." RESEARCH INSTITUTE FOR THE MAHAN-BAEKJE CULTURE 39 (June 30, 2022): 302–31. http://dx.doi.org/10.34265/mbmh.2022.39.302.

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Bogwangsa temple (普光寺) located at the foot of Goryeongsan mountain, Paju city, Gyeonggi province is well-known as the temple dedicated to Soryeongwon(昭寧園), the tomb of Sukbin Ms Choi (淑嬪崔氏, 1670-1718), mother of King Yeongjo(英祖, r. 1724-1776) in late Joseon Dynasty. At the same time, the temple had long been closely related with the royal family of Joseon Dynasty, serving as the temple for royal family members. The year 1898 was one of the important occasions when constructions and repairs of the structures of the temple had been made throughout the history. In 1896, Inpa Yeonghyeon(仁坡英玄) advised Court Lady Cheon to reconstruct Chwijeon(鷲殿), a building in the temple, leading the court to decide to do that. In 1897, construction began, and, in spring 1898, Empress Eom and Court Lady Hong donated funds to paint the new building of Chwijeon. In addition, distinguished painters in Seoul city and Gyeonggi province were asked to draw Buddhist paintings, and they produced six pieces of Buddhist painting: Samjangbosaldo, Hyeonwangdo, Chilseongdo, Dokseongdo, and Gamrodo in addition to Shakyamuni Preaching at the Vulture Peak. The director of painting works was Inpa Yeonghyeon as in the case of the construction works of Daeungjeon Hall. The Buddhist monk-painters who drew the Buddhist paintings were over 20 painter monks in the Seoul and Gyeonggi region from the late 19th century to the early 20th century including Gyeongseon Eungseok (慶船應釋), Yewun Sanggyu (禮芸尙奎) and Geumhwa Gihyeong (錦華機炯). They had began to know each other before participating in producing Buddhist paintings in Bogwangsa, and, continued to cooperate in producing Buddhist paintings ever since. The Buddhist Services and Buddhist paintings of Paju Bogwangsa in 1898 are important sources to allow us to recognize the power of Bogwangsa temple and how the court supported the works. The Buddhist paintings are precious sources from which we can figure out the characteristics of Buddhist paintings in the Seoul and Gyeonggi region from the late 19th century to the early 20th century, and painting styles of those artists. In addition, those paintings are precious sources from which we can comprehensively examine the times when they were drawn, the places they were devoted, the backgrounds of drawing them, artists who created them, other people who were involved in drawing those paintings with various services, and exchanges among painter monks, etc.

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Christopher, Stephen, and Gabrielle Laumonier. "The eroticization of Tibetan monks in shōnen-ai and yaoi manga." East Asian Journal of Popular Culture 9, no. 1 (April 1, 2023): 83–102. http://dx.doi.org/10.1386/eapc_00090_1.

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Men have historically dominated the artistic production of cultural exotifications. This article flips the script by analysing how two prominent female Japanese manga artists – Kuranishi and Shinsan Nameko – erotically illustrate Tibetan men, specifically Tibetan Buddhist monks. Through textual analysis and fieldwork conducted between 2019 and 2021, we show how their manga depictions of Tibetan young men, in particular monks, tend towards eroticization and sexual innuendo. This discursive and aesthetic trend in manga parallels ethnographic data on how Japanese women – facing unprecedented social precarity, seeking spiritual healing and self-transformation and desiring alternate masculinities – look elsewhere, outside of Japan and the perceived inadequacies of Japanese masculinities. We explore how liberative erotics, especially homoeroticism and love between boys, fuses with Buddhist and alternative spiritualities in yaoi and shōnen-ai genres and gestures towards a changing landscape of female desire.

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Susuz Aygül, Merve. "Japanese Soto Zen Monastery as a Worldly Institution." GLOBAL PERSPECTIVES ON JAPAN, no. 6 (March 31, 2023): 38–69. http://dx.doi.org/10.62231/gp6.160001a02.

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The Buddhist monastery is idealized as an institution free from worldly pursuits. The monks who enter the monastery need to leave their worldly interests and desires and adopt an entirely new way of life. However, in reality, in addition to its religious function the Buddhist monastery has been an institution with economic, political, and social aspects throughout its history, and has also existed as one of the centers where artistic activities are concentrated. The monks, who were supposed to leave their worldly interests and desires outside the monastery gate, have not cut off their relations with the worldly life, on the contrary, they returned to the world they left with transformed forms of relationships. One of the most obvious examples of this transformative effect of worldly pursuits on the monastic institution and the monk profile is the Japanese Sōtō Zen school. This article discusses the claim that the monastery and monks are not free from worldly interests, in the example of the Sōtō Zen school, based on Keizan Shingi, the text of monastic rules written by Keizan (1268-1325), the second important name of the school after Dōgen (1200-1253). The Sōtō school, which was founded by Dōgen on an ascetic monastic understanding, began to transform into a kind of folk religion that responded to the wishes and needs of the people within the framework of Keizan’s policy of spreading the school to the people. This transformation has led to a radical change in the monastery and the monk profile by bringing worldly pursuits inside the monastery walls. Idealized as an institution free from worldly interests, the monastery had a great economic existence, and political, social, and artistic activities were included in the ritual routine of the monastery. On the other hand, the monks who had to abandon their worldly pursuits returned to worldly life in different ways as political actors, a kind of spiritual members of their families, and artists.

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Suren, P. K. I. "Study on the Uniqueness of Vessanthara Jataka Stories in Sri Lankan Buddhist Temple Paintings (1750 - 1900 A.D)." Vidyodaya Journal of Humanities and Social Sciences 08, no. 02 (2023): 124–42. http://dx.doi.org/10.31357/fhss/vjhss.v08i02.10.

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Archeological and literary sources attest that the “Jataka Stories” were subject to temple paintings from the second century onwards. The Vessanthara Jataka has featured prominently among temple painting in several eras of Sri Lankan history. Vessanthara jataka is a famous jataka story which is highlighted among other jataka stories in Buddhist shrines. The specialty given to the Vessanthara jataka in the paintings of Kandy era is particularly noticeable. This feature can be clearly observed in the temples which were built between 1750 and 1900. Some of these temples, located in the up country were patronized by royals like King Kirthi Sri Raja Singha. Other temples in the low country were built with the patronage of the rising middle class. Even with many fluctuating political and social issues, it seems the prominence given to the depiction of the Vessantara jataka was stable and unshakable. Giving priority to the Vessanthara jataka seems to have been a process carried out by a group of patrons, monks, artists and general public patrons who may have expected to achieve their political and social targets through the depiction of the vessanthara jatakaya. Buddhist monks have also attempted to convey the message of Buddhism through the depiction of Vessanthara jatakaya. Artists may have been interested in depiction of the “Vessanthara jataka” story because it was an opportunity to display their talent and attract others. It seems that the general public was also attracted to the Vessanthara jatakaya because of the characters of that jataka story and its sensitive and emotional scenes. The paper will examine the allocation of space to the Vessanthara jataka and its tactful visual techniques.

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Tripathi, Shubha, and Beena Jain. "PORTRAYAL OF WOMAN IN THE CAVE PAINTINGS OF AJANTA." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 135–40. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3722.

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The thirty rock cut cave temples of Ajanta located near a village named “Ajistha” in Aurangabad district of Maharashtra state. The caves are carved in a half crescent shape overlooking the Waghora river. The caves are located at a picturesque location having beautiful natural surroundings. Because of this peace and godly environment Buddhist monks might have chosen this place for their artistic endeavour. The caves possess well carved sculptures, pillars, entrances and walls are embellished with beautiful paintings. The art of Ajanta flourished from 1st century BC to 7th century AD. The Ajanta art is considered as the classical age of Indian painting. The artists of Ajanta did not follow the law of perspective and represented the figures in its entirety rather than appeared through a normal eye. Ajanta artists tried to depict the whole view through horizontal bands. In the paintings at Ajanta, the background was painted at the topmost band, the middle part of the painting below it and the foreground below the middle ground.

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Chang, Qing. "Tradition and Transmission: Rocana Assembly in Niche no. 5 at Feilai Feng and Huayan Teaching during the Song Period." Religions 14, no. 5 (April 29, 2023): 588. http://dx.doi.org/10.3390/rel14050588.

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The Huayan sutras are important historical references for the Chinese worship of the Rocana Buddha; however, these Huayan sutras provide little help in understanding the worship for the larger Rocana triad (i.e., Rocana Buddha flanked by two bodhisattvas) in niche no. 5 at the Feilai Feng complex. The Rocana triad images are primarily linked to the Buddhist texts written by Chinese monks which established the principle for teaching the Huayan ritual during the Tang period. With regard to the iconographic characteristics of the two bodhisattvas of the triad in niche no. 5, the bodhisattva Samantabhadra rides an elephant, while the bodhisattva Manjusri rides a lion. They are associated with Buddhist texts and artistic productions beyond the Huayan school and are possibly related to esoteric Buddhism. Similarly, the crowned Rocana seen in niche no. 5 is likely derived from an older tradition dating to the Tang and Five Dynasties periods. Similar descriptions can be found in esoteric Buddhist texts and images. Nevertheless, niche no. 5 is the earliest extant example of such a Rocana triad, wherein the triad is represented by a central crowned Buddha with a special hand gesture or mudra, who is flanked by two bodhisattvas riding animals. From niche no. 5, one can see the development of the Huayan Rocana triad within the tenth century. The combination of elements seen in this niche also indicates that Buddhist artists were not limited by the boundaries of different schools or teachings when they created a new form of iconography. The specific iconography of niche no. 5 can be linked to the Han-style Buddhist artistic traditions from previous periods, such as the Tang, Five Dynasties/Wuyue Kingdom. Ultimately, the contemporary Northern Song capital, Kaifeng, was likely the most direct influence. The Rocana Buddhist triad at niche no. 5 is reflected in the iconography of the same triad installed at the Huiyin monastery at a later time during the Northern Song Dynasty. In turn, the similarities between the images in niche no. 5 and those from other regions, such as Sichuan, Yunnan, Korea and Japan, reveal the connection between the Huiyin monastery and these other sites.

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Song, Unsok. "Rediscovering the Monk-Sculptor Ch’ŏnsin: The Missing Link between the Ŭngwŏn-In'gyun and Saengnan Schools of the Honam Area in the Late Chosŏn Period." Sungkyun Journal of East Asian Studies 22, no. 2 (November 1, 2022): 207–31. http://dx.doi.org/10.1215/15982661-10040897.

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Abstract Of the monk-sculptor groups active in the Honam area in the southwest part of the Korean Peninsula during the late Chosŏn period, the Saengnan School was the largest, both in terms of the number of artists in the group and of the works they left behind. Studies of the group have largely focused on the sculpting activities of the Buddhist monk Saengnan (fl. late seventeenth to the early eighteenth century; 1663–1709) and his followers, while little is known about the origins of the school due to a lack of records about his formative years as an assistant. The recent discovery of four Buddhist parwŏn prayer texts has revealed that Saengnan spent the early years of his career as a sculptor assisting the monk-sculptors In'gyun and Ch’ŏnsin, who were key members of the Ŭngwŏn-In'gyun School that played a central role in the production of Buddhist sculptures in the early to late seventeenth century in the region. This study shows that the Saengnan School, the most productive group of monk-sculptors from the late seventeenth to the early eighteenth century in the Honam region, was a successor to the Ŭngwŏn-In'gyun School, through a comparative examination of these highly informative prayers and relevant Buddhist sculptures. My examination also reveals that the two schools were linked by Ch’ŏnsin, who studied sculpture under In'gyun, and in turn, taught Saengnan.

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Ying, Lei. "Between Passion and Compassion: The Story of the Stone and Its Modern Reincarnations." Religions 12, no. 1 (January 17, 2021): 62. http://dx.doi.org/10.3390/rel12010062.

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This study reconsiders The Story of the Stone as a literary exemplum of the “Buddhist conquest of China.” The kind of Buddhism that Stone embodies in its fictional form and makes indelible on the Chinese cultural imagination simultaneously indulges in and wavers from the Mahāyāna teachings of the nonduality of saṃsāra and nirvāṇa. The dialectics of truth and falsehood, love and emptiness, passion and compassion, which Stone dramatizes and problematizes, continues to stir the creative impulses of artists in revolutionary and post-revolutionary China. This study features three of Stone’s modern reincarnations. Tale of the Crimson Silk, a story by the amorous poet-monk Su Manshu (1884–1918), recasts at once the idea of Buddhist monkhood and that of “free love” in early Republican China. In Lust, Caution, a spy story by the celebrated writer Eileen Chang (1920–1995), a revolutionary heroine is compelled to weigh the emptiness/truth of carnal desire against the truth/emptiness of patriotic commitment. Decades later, love and illusion dwell again at the epicenter of a fallen empire in the director Chen Kaige’s (b. 1952) 2017 film, The Legend of the Demon Cat, in which an illustrious poet sings testimony to the (un)witting (com)passion of a femme fatale.

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Wang, Anyu, and Alexandra V. Troschinskaya. "ON THE QUESTION OF CLARIFYING THE NAME OF ZHU DA (1626–1705) AND ITS ORIGIN." Scientific and analytical journal Burganov House. The space of culture 19, no. 4 (September 10, 2023): 56–67. http://dx.doi.org/10.36340/2071-6818-2023-19-4-56-67.

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Zhu Da (1626–1705) was a famous Chinese artist who lived during the late-Ming Dynasty and early Qing Dynasty. He was born in Nanchang, Jiangxi Province. Zhu Da was related to the imperial house of Ming. After the fall of this dynasty, during the reign of the Manchus, he was forced to hide, became a monk for some time and reached heights in the study of Buddhism, after which he returned to worldly life. Zhu Da and his work were significantly influenced by the classical texts of Confucianism, the philosophy of Cheng-Zhu, Buddhism and Taoism. His poetic captions for paintings and individual poems are extremely symbolic and have a special artistic style. Zhu Da became a reformer of traditional literati painting (wenrenhua) and raised it to new heights. Subsequently, he had a great influence on the painting of representatives of the Four Monks and the Eight Eccentrics from Yangzhou, as well as on the style of such 20th century masters as Qi Baishi and Xu Beihong, who worked at the end of the Qing period and the beginning of the Republican period in China. The last fifty years have become the most fruitful period in the field of studying the work of Zhu Da. The research moved outside of China, publications by foreign scientists appeared about the artist, and the name of Zhu Da (Bada Shanren) gained worldwide fame and recognition. The scientific works and articles devoted to him are conventionally divided into the following three thematic areas. The first one is the study of Zhu Da’s pseudonyms (names), his life and contacts with artists and poets, his contemporaries. The second area is the study of Zhu Da’s creative thought and artistic achievements. The third one is a study of the influence of Zhu Da’s painting style on later artists and related comparisons. The article analyses publications and scientific works devoted to Zhu Da’s creative work, published over the past half century. Among them, those related to clarifying the pseudonyms (names) of Zhu Da, his pedigree and biography are especially highlighted; various approaches of Chinese and foreign scientists to the study of the creative work of the outstanding Chinese master and his artistic heritage are considered.

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Dissertations / Theses on the topic "Buddhist monks as artists"

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Au, Ho Vanessa, and 區皓. "Buddhist monks and Daoist priests in Jinyong's "condor trilogy"." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B42925848.

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Biswas, Tanushree. "Paradoxes of Conversion : Everyday Lives of Tibetan Buddhist Child Monks in Ladakh." Thesis, Norges teknisk-naturvitenskapelige universitet, Norsk senter for barneforskning, 2013. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-23735.

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Converting to modernity does not only imply changing what one does and how, rather it involves changes in one's relationship with existence as a whole. Every culture is founded upon metaphysical presuppositions which determine the way its people relate to each other including children and childhood, and the environment that they are part of. Consequently, I view cultures as an ecosystem. Restructuring and inserting new elements (schooling, tourism, consumer economy and so on) which are founded upon different metaphysical presuppositions cause a considerable strain on the roots of the ecosystem. This is especially true if the compatibility threshold between the two systems is low. Modernity is based on a linear understanding of causality, while the culture in question is founded on a cyclical understanding of causality. Some of the practical implications of this strain emerge in this study. The belief in rebirth and practices around it stem from a cyclical understanding of causality. No child is born a tabula rasa, and is in fact a continuation of previous cycles. For debates in childhood studies around the 'being and becoming' nature of children and childhood – this understanding opens the door to a fresh consideration – that both adults as well as children are processionary becomings. This does not imply a necessary acceptance of the hypothesis of rebirth, but discards the possibility of being born as a tabula rasa. As a young project, the thesis is unable to present a definition of childhood as distinct from adulthood. However, it takes the position that no one is born a tabula rasa. Monasteries are an indispensable part of Ladakh. Ladakh is a peaceful, high altitude culture on the Indo Tibetan border and is experiencing accelerated growth towards globalisation, predominant representatives of which are schooling, tourism and television. This qualitative project tries to understand the everyday lives of child monks in a monastery, who play a pivotal role in social reproduction in the region. The monastic community, known as the sangha becomes an extension of the family for these children. The relation between the sangha and the lay community is based on values of reciprocal generosity. Schooling occupies the biggest space as child monks follow government syllabus and guidelines. However, it is debatable whether this model of education is working for child monks and aiding them in performing their roles in a modern scenario. The monk, the school child and an exotic part of the touristscape are some identities that these children have to ebb and flow through. Seen within the context of globalisation and the crises that come along with it, the will of children to adopt lives of simplicity is perceived as valuable. At the same time the text acknowledges that becoming a standardised global child and being a monk at the same time is a highly challenging paradox.

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Lingley, Kate Alexandra. "Widows, monks, magistrates, and concubines social dimensions of sixth-century Buddhist art patronage /." Click to view the dissertation via Digital dissertation consortium, 2004.

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Sonam, Tenzin, and Tenzin Sonam. "Buddhism at Crossroads: A Case Study of Six Tibetan Buddhist Monks Navigating the Intersection of Buddhist Theology and Western Science." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/624305.

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Recent effort to teach Western science in the Tibetan Buddhist monasteries has drawn interest both within and outside the quarters of these monasteries. This novel and historic move of bringing Western science in a traditional monastic community began around year 2000 at the behest of His Holiness the Dalai Lama, the spiritual head of Tibetan Buddhism. Despite the novelty of this effort, the literature in science education about learners from non-Western communities suggests various "cognitive conflicts" experienced by these non-Western learners due to fundamental difference in the worldview of the two knowledge traditions. Hence, in this research focuses on how six Tibetan Buddhist monks were situating/reconciling the scientific concepts like the theory of evolution into their traditional Buddhist worldview. The monks who participated in this study were engaged in a further study science at a university in the U.S. for two years. Using case study approach, the participants were interviewed individually and in groups over the two-year period. The findings revealed that although the monks scored highly on their acceptance of evolution on the Measurement of Acceptance of Theory of Evolution (MATE) survey, however in the follow-up individual and focus group interviews, certain conflicts as well as agreement between the theory of evolution and their Buddhist beliefs were revealed. The monks experienced conflicts over concepts within evolution such as common ancestry, human evolution, and origin of life, and in reconciling the Buddhist and scientific notion of life. The conflicts were analyzed using the theory of collateral learning and was found that the monks engaged in different kinds of collateral learning, which is the degree of interaction and resolution of conflicting schemas. The different collateral learning of the monks was correlated to the concepts within evolution and has no correlation to the monks’ years in secular school, science learning or their proficiency of English language. This study has indicted that the Tibetan Buddhist monks also experience certain cognitive conflict when situating Western scientific concepts into their Buddhist worldview as suggested by research of science learners from other non-Western societies. By explicating how the monks make sense of scientific theories like the theory of evolution as an exemplar, I hope to inform the current effort to establish science education in the monastery to develop curricula that would result in meaningful science teaching and learning, and also sensitive to needs and the cultural survival of the monastics.

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Lai, Lei Kuan. "Praying for the republic: Buddhist education, student monks, and citizenship in modern China (1911-1949)." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121131.

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This dissertation is a study of the emergence and impact of modern educational institutions in Chinese Buddhism. My aim is twofold: 1) to produce a history of modern monastic education in China; and 2) to investigate the intended outcomes of this new system of education as shown in the student-monks it produced. Focusing on identity formation, I examine the production of a collective identity – the student-monk – within and outside of the Buddhist academies (foxueyuan). Student-monks were those who identified with the imagined community formed around modern Buddhist academies and, more importantly, Buddhist periodicals that were widely circulated during the Republican period. I argue that this collective identity was indispensable to the young monks' creation of a distinctly Buddhist citizenship, which allowed them to engage and negotiate with the nation-state in a series of encounters. In other words, student-monks were both the products of a reformulated Buddhism-state relation and agents for that very transformation in twentieth-century China. I maintain that the emergence of student-monks as both an actual and imagined community is crucial to our understanding of the development of modern Chinese Buddhism.
Cette thèse est une étude de l'émergence et de l'impact des institutions d'éducation moderne sur le Bouddhisme chinois. L'objectif de mon projet est en deux temps: 1) produire une histoire de l'éducation monastique moderne en Chine; et 2) étudier les résultats escomptés de ce nouveau système d'éducation tels que visibles chez les étudiants moines sortants. En me concentrant sur l'identité en formation, j'examine la production d'une identité collective, soit l'étudiant moine, au sein et hors des académies bouddhistes (foxueyuan). Les étudiants moines étaient ceux qui s'identifiaient avec la communauté imaginée qui se formait autour des académies bouddhistes modernes, et surtout, les périodiques bouddhistes qui étaient largement distribués lors de la période républicaine. Je soutiens que cette identité collective était cruciale à la création d'une citoyenneté distinctivement bouddhiste chez les jeunes moines, ce qui leur a permis de s'engager et de négocier avec l'État-nation lors d'une série de rencontres. En d'autres termes, les étudiants moines étaient à la fois les produits d'une relation Bouddhisme-État reformulée ainsi que les agents de cette même transformation dans la Chine du vingtième siècle. Je maintiens que l'émergence de ces étudiants moines en tant que communauté et véritable et imaginée est cruciale à notre compréhension du développement du Bouddhisme chinois moderne.

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Kwan, Chinachote Sriprapha Petcharamesree. "Buddhism and human rights : forest monks' perspectives on human rights and the Songha administration /." Abstract, 2007. http://mulinet3.li.mahidol.ac.th/thesis/2550/cd399/4536976.pdf.

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Au, Ho Vanessa. "Buddhist monks and Daoist priests in Jinyong's "Condor trilogy" Jin Yong "san bu qu" zhong de Seng Dao yan jiu /." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B42925848.

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Phan, Cam Van Thi. "Family ties to Buddhist monks and nuns in medieval China : a biographical and hagiographical study of the Southern Xiao family branch." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/32228.

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The roles of kinship and family ties have recently become recognized as a vital yet unexplored area in the study of medieval Buddhism. This is especially critical in restructuring the relationship between political and religious spheres, which for the Sinologist have always been intricately linked to one another. Although there are studies noting the prominence of family connection in the study of monks and nuns, past studies have focused mainly on the manipulation and modification of religion by political figures for solely secular purposes. Not many studies have turned the tables to analyze the significance of a monk or nun's family background and its intimate influence throughout his or her religious life; nor have they considered how a layman or laywoman's spiritual devotion greatly shapes his or her social life and political career. It is my aim to extend such research and explore on a larger scale the intricate relationship between monastic and lay family members, in this case Xiao Yu, his daughters, sons and relatives, ten in all, from the Southern Xiao family branch during the late Sui to early Tang period. This research serves to prove that the life of a monk or nun, while determined by that individual's vocation and endeavor, is to a degree also conditioned by his or her family background, kinship ties and secular acquaintance. This research, based upon hagiography, epigraphy and relevant materials from canonical and secular sources substantiates the belief that comprehensive study of the monastic order should involve analysis of factors beyond the spiritual sphere.
Arts, Faculty of
Asian Studies, Department of
Graduate

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Bailey, Cameron. "A feast for scholars : the life and works of Sle lung Bzhad pa'i rdo rje." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:c8de47c2-98b2-4b3c-8bcb-3e93ca668722.

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Bzhad pa'i rdo rje (1697-1740), the Fifth Sle lung Rin po che, was a religiously and politically controversial figure and an incredibly prolific author, having written or compiled over 46 volumes worth of mainly religious texts. A high-ranking Dge lugs pa sprul sku, Sle lung is seen as having gradually "defected" to the Rnying ma school, although he self-identified as a follower of the "non-sectarian" (ris med) perspective. Sle lung also acted as a spiritual advisor to most of the major central Tibetan rulers during the course of his life, most significantly Mi dbang Pho lha nas (r. 1729-1747). But despite numerous features of fascinating interest, Sle lung and his writings have received very little scholarly attention, and this thesis is intended to fill this unfortunate lacuna. The present study begins with an extended biographical examination of Sle lung's life, and the political and religious unrest in central Tibet at the time in which he was deeply invested. I pay special attention to the controversies that surrounded him, particularly his purported sexual licentiousness and his ecumenical work which was unpopular among his more sectarian Dge lugs pa critics. This opening biography provides critical historical context as I move on to examine two of Sle lung's most important literary works. The first is the sixteen-volume Gsang ba ye shes chos skor, a massive cycle of teachings by Sle lung and his students that integrates tantric theories derived from Sle lung's experience with Gsar ma (specifically Dge lugs pa) teachings. The second work is the Bstan srung rgya mtsho'i rnam thar, a unique text in Tibetan literature which consists of an apparently unprecedented compilation of Tibetan Buddhist protector deity (bstan srung, chos skyong) origin myths. I will make sense of key features of these two works within the larger context of Indo-Tibetan Buddhism, as well as the political and personal concerns of Sle lung himself.

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[Verfasser], Bounleuth Sengsoulin, and Volker [Akademischer Betreuer] Grabowsky. "Buddhist Monks and their Search for Knowledge : an examination of the personal collection of manuscripts of Phra Khamchan Virachitto (1920–2007), Abbot of Vat Saen Sukharam, Luang Prabang / Bounleuth Sengsoulin. Betreuer: Volker Grabowsky." Hamburg : Staats- und Universitätsbibliothek Hamburg, 2016. http://d-nb.info/1113184272/34.

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Books on the topic "Buddhist monks as artists"

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Budaev, Osor. Osor Budaev: Monakh, khudozhnik, sobiratelʹ : proizvedenii︠a︡ O. Budaeva v Peterburgskikh sobranii︠a︡kh. Sankt-Peterburg: Gosudarstvennyĭ muzeĭ istorii religii, 2019.

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Hagyesil, Pulgyo Chungang Pangmulgwan, ed. Sŭng: Kudoja ŭi kil = Sangha, the great seeker : 3rd special exhibition. Sŏul-si: Taehan Pulgyo Chogyejong Pulgyo Chungang Pangmulgwan, 2009.

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Dillard, J. M. Bulletproof monk. New York: Pocket Star Books, 2003.

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Magoksa, kŭndae purhwa rŭl mannada: Magoksa temple, encounter with modern Buddhist paintings. Ch'ungnam Kongju-si: Kungnip Kongju Pangmulgwan, 2012.

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Shibunkaku, Gyararī. Kindai kōsō sakuhinten: Shimizu Kōshō tokushū. Kyōto-shi: Gyararī Shibunkaku, 2009.

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Campione, Francesco Paolo, and Anna Maria Montaldo. Città d'acque: L'opera fotografica di Hans Georg Berger. Milano: Aisthesis, 2001.

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Ha, Chi-gwŏn. Chŏlchip: Ha Chi-gwŏn sajinjip = Temple : photographs by Ha Ji-Kwon. Sŏul-si: Nunpit, 2016.

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Gao, Bo. Tibet 1985-1995: Offrandes. Paris: Éditions Xavier Barral, 2017.

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editor, Lefebvre Éric 1975, Bellec Mael editor, and Musée Cernuschi, eds. Peindre hors du monde: Moines et lettrés des dynasties Ming et Qing, collection Chih Lo Lou. Paris: Musée Cernuschi, 2021.

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1923-, Lahiri Latika, ed. Chinese monks in India: Biography of eminent monks who went Tʻang dynasty. Delhi: Motilal Banarsidass, 1986.

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Book chapters on the topic "Buddhist monks as artists"

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Lock, Graham, and Gary S. Linebarger. "Biographies of Eminent Monks and Nuns." In Chinese Buddhist Texts, 69–77. New York : Routledge, 2018. | Chinese and English.: Routledge, 2018. http://dx.doi.org/10.4324/9781315667386-7.

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Bopearachchi, Osmund. "Indian Ocean Trade through Buddhist Iconographies." In The Maritime Silk Road. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463722247_ch09.

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The maritime trade is not limited to exchange of goods alone. In the ancient world deprived of passenger ships, cargoes were the only mode of transportation in the Indian Ocean. Not only traders, but also Buddhist monks, nuns, philosophers, artists and diplomats as well travelled together; and as a result, not only goods, but also philosophical thoughts and iconographies were exchanged. As a result, Buddhist iconographies developed in a cross-fertilized context, ingenuously incorporating the sentiments and aesthetics of their respective populations. Instead of reproducing stereotypical prototypes, they created new forms of art leaving some traces of the aspirations of the donor-traders, enabling us to understand the growth of the maritime networks.

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"Buddhist monks." In The Culture of Giving in Myanmar. Bloomsbury Academic, 2020. http://dx.doi.org/10.5040/9781350124202.ch-004.

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Birnbaum, Raoul. "Master Hongyi Looks Back: A Modern Man Becomes a Monk in Twentieth-Century China." In Buddhism in the Modern World, 75–124. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195146974.003.0005.

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Abstract The story that I have to tell concerns the quiet dramas of one man’s life. This particular man was born in 1880, in the waning decades of the Qing dynasty, and he came of age as tremendous forces of change swept across China. Li Shutong—a stunningly talented and influential artist, writer, musician, actor, and educator—became famous in China as a “modern man,” but in 1918 at the height of this fame he altered his course to become a Buddhist monk, renamed Hongyi.1 By the time of his death in 1942, Chinese Buddhists considered Hongyi a towering figure in their modern history (Wg. 4.1). Among Buddhists, he was well known for his profound scholarship on Vinaya (monastic rules), but he was honored most especially for the depth of his religious practice. His artistic talents found particular expression in a unique style of brush writing, developed in his mature years, that ever since has been identified as quintessentially “Buddhist.” The center of my narrative focuses on Hongyi’s recollections of the pivotal years at midlife when he decided to “leave home” (become a monk). Since this chapter looks at his recollections, its subject also is self-representation reflections on one man’s experiences and the ways that he chose to express them. Hongyi’s story is neither typical nor representative. He was an extraordinary person in many ways, which is why memories of him linger sixty years after his death. Indeed, he remains well known in China far beyond Buddhist circles as an enigmatic and romantic Wgure of the near past.

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Green, Alexandra. "Word and Image." In Buddhist Visual Cultures, Rhetoric, and Narrative in Late Burmese Wall Paintings, 161–89. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390885.003.0005.

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As Chapter Four demonstrates, the murals were part of the efflorescence of Nyaungyan and Konbaung dynasty literary activity, visual counterparts to vernacular, Pāli, and dramatic productions. The narratives in the Burmese wall paintings were new tellings of old stories, drawing on Pāli texts and oral traditions, that were shaped to serve the purposes of the temples that housed the murals, reflecting the established repertoire, the desires and goals of donors, and the roles of the artists and monk producers. This chapter explores the various ways in which Burmese wall paintings connected with and related to “words,” both of the written and spoken variety. Textually and visually, Burmese wall paintings incorporated literary concepts in three main ways. First, the prose captions of the murals functioned as glosses to the visual narrative. Secondly, the popularization of drama and narration in Burmese society connected with a focus on an extended narrative format in the murals. Thirdly, the embellishments of descriptive prose and poetry paralleled the illustration of elaborate settings in the murals. The wall paintings formed a nexus of oral, visual, and textual traditions, linking them together through biographical memorialization.

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Borchert, Thomas A. "Transnational Buddhist Education and the Limits of the Buddhist Ethnoscape." In Educating Monks. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824866488.003.0007.

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This chapter focuses on the phenomenon of transnational monastic education and the experiences of Dai-lue monastics in traveling outside of Sipsongpannā for an education. While monks and nuns have long traveled to attend schools, there has been little scholarly reflection on this travel. By looking at the experience of the Dai-lue monastics in Chinese Mahayana Buddhist Institutes and Thai Dhamma schools, I show how Buddhism, Theravada and citizenship enable this travel. While these create a notion of a Buddhist ethnoscape, this is a weak connection that is undercut by frictions created by class and nationalism.

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"6. Transnational Buddhist Education and the Limits of the Buddhist Ethnoscape." In Educating Monks, 152–71. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824866525-011.

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"Monks in the Making." In Creating a Buddhist Community, 76–96. Temple University Press, 2015. http://dx.doi.org/10.2307/j.ctvrdf39f.8.

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Chia, Jack Meng-Tat. "Chuk Mor." In Monks in Motion, 46–76. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190090975.003.0003.

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Chapter 2 examines the transnational life and career of Chuk Mor during the second half of the twentieth century. The chapter argues that Chuk Mor redefined the basis of “being Buddhist” in Malaysia by drawing on Taixu’s modernist ideas of Human Life Buddhism. As this chapter demonstrates, migratory circulations expanded, corrected, and modified understandings of Buddhist modernism and significantly transformed the religious landscape in postcolonial Malaysia. Chuk Mor encouraged intrareligious conversion by advocating a Malaysian Chinese Buddhist identity that emphasized this-worldly practice of Buddhism, promoted a vision of Buddhist orthodoxy (zhengxin fojiao), and established new Buddhist spaces for the promotion of religious education. By examining the Malaysian context with the idea of South China Sea Buddhism in mind, this chapter highlights the connected history of Buddhist communities in China and maritime Southeast Asia.

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"Why Nuns Cannot Be Monks." In Being a Buddhist Nun, 198–218. Harvard University Press, 2009. http://dx.doi.org/10.2307/j.ctv1smjssx.9.

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Conference papers on the topic "Buddhist monks as artists"

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Feliz, Nerea. "Temple in a House." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intlp.2016.4.

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In 2011, 15 families of the Burmese refugee community on Buffalo’s Westside collectively purchased a vacant house in Buffalo at 349 Plymouth Ave. They wanted to convert the house to a Buddhist temple and residence for three monks. ‘Temple in a House’ is an adaptive project designed in collaboration with local architect and artist Dennis Maher (University at Buffalo), which presented a significant challenge: that of trying to reconcile a very radical change of program, use, and cultural references. Beyond the project’s unique socio-economic characteristics pertaining to Buffalo, this project has global implications. Changing world demographics, as a result of different economic and migratory dynamics, are increasingly asking designers to negotiate complex cultural, social, religious, and economic systems.

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Bingenheimer, Marcus, Jen-Jou Hung, and Simon Wiles. "Markup Meets GIS - Visualizing the "Biographies of Eminent Buddhist Monks'." In 2009 13th International Conference Information Visualisation, IV. IEEE, 2009. http://dx.doi.org/10.1109/iv.2009.91.

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Raffone, Antonino, Antonietta Manna, Gianni Mauro Perrucci, Antonio Ferretti, Cosimo del Gratta, Marta Olivetti Belardinelli, and Gian Luca Romani. "Neural Correlates of Mindfulness and Concentration in Buddhist Monks: A fMRI study." In 2007 Joint Meeting of the 6th International Symposium on Noninvasive Functional Source Imaging of the Brain and Heart and the International Conference on Functional Biomedical Imaging. IEEE, 2007. http://dx.doi.org/10.1109/nfsi-icfbi.2007.4387740.

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Johnson, Andy, Charles Henderson, Mel Sabella, and Leon Hsu. "Similarities and Differences In Ideas Generated by Physics Learners: US College Students Vs. Tibetan Buddhist Monks." In 2008 PHYSICS EDUCATION RESEARCH CONFERENCE. AIP, 2008. http://dx.doi.org/10.1063/1.3021264.

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Orlova, Elena. "ON THE INFLUENCE OF THE VIMALAKIRTI NIRDESA SUTRA ON WANG WEI’S POETRY." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.17.

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Wang Wei (699–759), an outstanding poet of the Tang period, was brought up in a Buddhist environment from a young age and remained a follower of Buddhist teachings throughout his life. Being a layman who chose the civil service career, he was acquainted and communicated with monks of different schools of Buddhism. He knew well canonical Mahayana scriptures that, clearly, had a certain impact on the poet’s worldview and works, and in many ways became his source of inspiration. One of these scriptures was undoubtedly the Vimalakirti Nirdesa Sutra (English: The Sutra of The Teaching of Vimalakirti; Chinese: Weimojie suo shuo jing, 維摩詰所說經). In this paper, the author, through the analysis of a number of Wang Wei’s works, makes an attempt to identify the impact of the conceptual component of the sutra on the poet’s worldview, which is transmitted in the themes and interpretations of his poems.

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Bocutoğlu, Ersan. "An Economic Eurasian Tale: Rakhine State." In International Conference on Eurasian Economies. Eurasian Economists Association, 2017. http://dx.doi.org/10.36880/c09.02030.

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Genocide or, to say the least, ethnic cleansing towards Muslims in Rakhine State, Myanmar, conducted by fanatic Buddhist monks and the military has been on the agenda in recent months. This opening speech aims at finding out real causes of this inhumane incident and investigating whether or not it is solely a result of some kind interreligious conflict in Myanmar. My research has convinced me that Rakhine inter-ethnic question has international economic and security related roots that deserve close and detailed investigation. In my point of view, the Rakhine Question depends heavily on economic security considerations such as: a) security of natural gas and petrol reservoirs in Rakhine State and pipelines connecting Rakhine State to China, b) security of railway link connecting Kyaukpyu Deep Water Sea Port in Kyaukpyu Special Economic Zone in Rakhine State to China which has developed by China to bypass Malacca Strait. The potential that Muslim dominated Rakhine State may cause security threats to some of the foreign Chinese investments in Myanmar in medium term should be taken as a main cause that gives way to ethnic cleansing against Muslim Rakhine population.

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Leick, Eva. "Encircling Transnational Peace through Khaita – Joyful Dances." In 8th Peace and Conflict Resolution Conference [PCRC2021]. Tomorrow People Organization, 2021. http://dx.doi.org/10.52987/pcrc.2021.004.

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Abstract This article investigates how Khaita- Joyful Dances promote an understanding of peace from a transrational and Buddhist perspective. Khaita dances have been created by the Buddhist Dzogchen master Namkhai Norbu as a practice of presence and collaboration, promoting an inner attitude of peace spreading from the individual to the group. Peace is hereby understood as a multi-faceted, intra- as well as interpersonal, dynamic state perceived and experienced not only by the intellectual mind but also through the body and subtle energies. This article is structured in three parts. First, I will explore peace theory in the context of Khaita. Second, I will illustrate the peace understanding promoted by the Tibetan artists through examples from the Khaita songs. The Tibetan song lyrics thereby express the wish for unification amongst Tibetans and the desire for (world) peace. Third, I will investigate the principles of accessible participation, equality as well as collaboration as parameters for peace experiences through examples from the Khaita practice sessions as well as Khaita Kordros, circle dances. The circle dances thereby offer an easy, non-hierarchical immersion in a diverse group of dancers and require presence and self-observation. KEYWORDS: transrational peace, peace theory, circle dance, Tibetan dance, Buddhism

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Reports on the topic "Buddhist monks as artists"

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Seneviratne, Kalinga. Exploring the role of Buddhist monks’ and nuns’ engagement in community development as catalysts for social change and sustainable development in Lao People’s Democratic Republic: A case study of the Buddhism for Development Project at Ban Bungsanthueng, Nongbok District, Khammouane Province, by Toung Eh Synuanchanh. Unitec ePress, November 2018. http://dx.doi.org/10.34074/thes.revw4499.

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The topic of this research report is an important one in the context of Asia’s rapid economic development in recent years, and the need to rethink development policy and especially methodologies of development communications, so the mistakes of the past will not be replicated. Thus, the study is an important initiative at this period of time. The research takes as a case study the Buddhism for Development Project (BDP) implemented at Ban Bungsanthueng village in the Khammouane Province by its Buddhist Volunteer Spirit for Community network (BVSC network). The fieldwork took place at the BDP’s training centre in Vientiane and the Buddhist initiatives at Ban Bungsanthueng. The research demonstrates how the BDP and its network apply participatory approaches through interpersonal communication, such as sermon delivery, Dhamma (Buddhist teachings) talk, and daily interaction with villagers and project members.

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