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Relevant bibliographies by topics / Buddhist sculpturet

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Academic literature on the topic 'Buddhist sculpturet'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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Journal articles on the topic "Buddhist sculpturet"

1

Thangamari, Sudalai. "A composition of sculptural figures." MUTHTHARASI – Art Literary Culture Tamil Journal II, no. 1 (2024): 8. https://doi.org/10.5281/zenodo.12758705.

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In our country, the four religions namely Shaivism, Vaishnavism, Buddhism and Jainism are the old religions that have been existing for a long time. All these four sects built temples for Dattam and worshiped Dattam in sculptures and paintings in those temples. There are some notable differences in the morphology of these deities. Those who study sculpture should be aware of those differences. In these four cases, Saivism Vaishnavism has a similar character to Buddhist Jainism. In another sense, Saivism and Vaishnava Buddhism are similar. Saivism and Vainism are the dominant religions in

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Thangamari, Sudalai. "A composition of sculptural figures." MUTHTHARASI – Art Literary Culture Tamil Journal II, no. 1 (2024): 8. https://doi.org/10.5281/zenodo.12758721.

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In our country, the four religions namely Shaivism, Vaishnavism, Buddhism and Jainism are the old religions that have been existing for a long time. All these four sects built temples for Dattam and worshiped Dattam in sculptures and paintings in those temples. There are some notable differences in the morphology of these deities. Those who study sculpture should be aware of those differences. In these four cases, Saivism Vaishnavism has a similar character to Buddhist Jainism. In another sense, Saivism and Vaishnava Buddhism are similar. Saivism and Vainism are the dominant religions in

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3

Syrtypova, S. K. "Buddha Akshobhya in Mongolia." Orientalistica 2, no. 4 (2020): 817–37. http://dx.doi.org/10.31696/2618-7043-2019-2-4-817-837.

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This is another article in the series of researches published by the present author, which deal with the iconography and the meaning of Buddhist deities of Vajrayana in particular in Mongolian Buddhism. Buddha Akshobhya is a one of the Tathagata Buddhas, the forefathers of Five Buddha families or Five Dhyani Buddhas. The article deals with the development stages of the Akshobhya cult, some specific features of its practice among Mongolian Buddhists and the visual representations by the famous master Ondor Gegen Zanabazar (1635–1723). The author publishes here images of various sculptures of Ak

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Jinsin, Kun. "Chinese Buddhist Sculpture of the Early Period. Iconographic Features." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (2020): 114–26. http://dx.doi.org/10.36340/2071-6818-2020-16-2-114-126.

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Chinese Buddhist Sculpture of the Early Period. Iconographic Features The development period of the art of Buddhist sculpture from the mid and late era of Eastern Han to the era of Western Jin is addressed in this article. The Buddhist sculpture of this period is called early Chinese Buddhist sculpture. During this period, before individual Buddhist sculptures became official objects of worship, Buddha images were made on stone carvings in tombs, on money trees, bronze mirrors, hunping vessels, etc. They have many similarities between each other, and therefore are significantly different from

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Yang, Xiao. "Between North and South: Buddhist Cliff Sculpture in Northern Sichuan in the First Half of the Seventh Century CE." Religions 15, no. 9 (2024): 1123. http://dx.doi.org/10.3390/rel15091123.

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In the first half of the seventh century CE, clusters of Buddhist cliff sculptures were carved into cliffs and boulders in Guangyuan, Mianyang, Bazhong, and other locations nestled in the northern Sichuan Basin. They mark the start of large-scale Buddhist grotto construction in Sichuan, significantly impacting the establishment of regional grotto traditions in southwestern China. Through analysis of site forms, statue types, and devotional inscriptions, this article argues that these Buddhist cliff sculptures represent a reintegration of divergent Buddhist practices and artistic conventions th

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Kuzhel, Yu L., and T. I. Breslavets. "Japanese Buddhist Canon Depicting Heavenly Sovereigns." Yearbook Japan 51 (December 7, 2022): 206–25. https://doi.org/10.55105/2687-1440-2022-51-206-225.

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In the Japanese Buddhist canon, the heavenly sovereigns belong to the fourth class of Buddhist deities — after the Buddhas, bodhisattvas, and light kings. They are the largest group. Sculptures are distinguished by the complexity of plastic forms, decorativeness, and expression. In Japanese iconography, the appearance of Buddhist characters was transformed according to ethnic requirements; their attributes, costumes, and poses changed. The heavenly sovereigns, with soft faces reminiscent of bodhisattvas, were endowed with formidable features in Japan; secular attire was changed to the attire o

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Demenova, Victoria V. "Sino-Tibetan Style of Buddhist Sculpture: Articulation of the Attribution Problem." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 2 (2022): 272–86. http://dx.doi.org/10.15826/izv2.2022.24.2.039.

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This article is devoted to the concept of “style” and the possibility of its application in the attribution of works of Buddhist metal sculpture. This aspect, which, as a rule, is peripheral for classical Oriental studies, Buddhology, and history, where it is interpreted quite freely, is one of the key ones for art history and museum attribution activities. The author notes the terminological and factual diversity of the designation of the “Sino-Tibetan style” in the circle of researchers of the art of Buddhism. The author poses the question of what exactly the concept of “Sino-Tibetan style”

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Zolotarova, Kristina. "SACRED TEXTS AS A SOURCE OF THE BUDDHIST VISUAL TRADITION: THE JAPANESE ICONOMETRIC CORPUS." Doxa, no. 2(42) (December 20, 2024): 148–64. https://doi.org/10.18524/2410-2601.2024.2(42).333064.

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Buddhist sacred sculpture is based on classical sacred Buddhist texts that have a history of hundreds of years of existence and transformation. The need to create such instructional texts was dictated by the necessity to preserve and transmit tradition and craftsmanship (waza no denshō, 技の伝承), including the reproduction of the ritual for creating images (sacred sculptures), from master to disciple (shishi sōjō, 師資相承). Iconometric texts are present in the cultures of most countries where Buddhism was widespread, but due to their large number and content, it is more appropriate to study them acc

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Dasgupta, Kallol. "A Survey of Buddhist Sculptural Art from Coastal West Bengal." Journal of Heritage, Archaeology & Management (JHAM) 1, no. 1 (2021): 94–111. https://doi.org/10.5281/zenodo.5035192.

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Abstract This paper highlights the extension, chronology and sculptural art of Buddhism from coastal West Bengal. This article also focuses on the classical foreign sources mainly the Chinese traveller accounts which reflect the continuation of the Buddhism in this area. The recent discoveries of sculptural art of Buddhist religion create a coherent picture of this area. A vast remote forest land which is geographically known as Sundarban area and central part of coastal WestBengal where considerable number of Buddhist image recovered has been discussed in this paper.

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Xiao, Wei. "The Technique of Creating Buddhist Polychrome Sculpture." Scientific and analytical journal Burganov House. The space of culture 15, no. 3 (2019): 55–74. http://dx.doi.org/10.36340/2071-6818-2019-15-3-55-74.

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This work focuses on the origin, development, evolution of the Chinese art of polychrome sculpture, as well as philosophical ideas, national specificities, cultural content, a religious concept, artistic specificity and aesthetic ideas manifested in this context. The study provides a picture of how the cultural specificities of China are expressed in art and how spirituality is reflected in works of art. An objective description and complete historical research of the mentioned historical sites increase the available information on them and are meant to strengthen measures intended for their p

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Dissertations / Theses on the topic "Buddhist sculpturet"

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Chiu, Angela Shih Chih. "The social and religious world of northern Thai Buddha images : art, lineage, power and place in Lan Na monastic chronicles (Tamnan)." Thesis, SOAS, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.617604.

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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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Galloway, Charlotte Kendrick. "Burmese Buddhist imagery of the early Bagan period (1044-1113)." Connect to this title online, 2006. http://thesis.anu.edu.au/public/adt-ANU20071112.160557/index.html.

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Karlsson, Klemens. "Face to face with the absent Buddha : The formation of Buddhist Aniconic art." Doctoral thesis, Uppsala University, Department of Theology, 2000. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-421.

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<p>Early art in Buddhist cultic sites was characterized by the absence of anthropomorphicimages of the Buddha. The Buddha was instead represented by different signs, like awheel, a tree, a seat and footprints. This study emphasizes the transformation this artunderwent from simple signs to carefully made aniconic compositions representing theBuddha in a narrative context.</p><p>Buddhist aniconic art has been explained by a prohibition against images of theBuddha or by a doctrine that made it inappropriate to depict the body of the Buddha.This study rejects such explanations. Likewise, the pract

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Le, Thua Tien Art College of Fine Arts UNSW. "Journey to inner peace installation and sculpture from a buddhist perspective." Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/41874.

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My Master of Fine Arts research project focuses on installation and sculpture that embodies the themes of Buddhism and War. My artwork examines how the two themes interact and influence each other. Making art, for me, is an intensely personal process of rediscovering myself. The project is an attempt to create a visual conversation between my personal experiences, memories and imagination. In particular, I explore the collective memory of the people of Hue in relation to the immediate past, and the longer historical heritage of the city and the region. Chapter One provides a background to my

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Galloway, Charlotte Kendrick, and charlotte galloway@anu edu au. "Burmese Buddhist Imagery of the Early Bagan Period (1044-1113)." The Australian National University. Faculty of Arts, 2007. http://thesis.anu.edu.au./public/adt-ANU20071112.160557.

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Buddhism is an integral part of Burmese culture. While Buddhism has been practiced in Burma for around 1500 years and evidence of the religion is found throughout the country, nothing surpasses the concentration of Buddhist monuments found at Bagan. Bagan represents not only the beginnings of a unified Burmese country, but also symbolises Burmese 'ownership' of Theravada Buddhism. ¶ While there is an abundance of artistic material throughout Burma, the study of Burmese Buddhist art by western scholars remains in it infancy due to historical events. In recent years, opportunities for further r

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Lok, Wai-ying, and 駱慧瑛. "The significance of Dunhuang iconography from the perspective of Buddhist philosophy: a study mainly based onCave 45." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48199321.

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This study explores the significance of Dunhuang 敦煌 iconography from the perspective of Buddhist philosophy. The time span of the Dunhuang iconography of the Grottoes runs from the 4th to the 14th centuries. This wide coverage makes it extremely valuable for revealing the developments in art, history, culture, and religious activities in China, and neighbouring regions along the Silk Road. Most scholars have approached the Dunhuang Grottoes from the perspectives of art, history, or archaeology. However, studying the Dunhuang Grottoes from the perspective of Buddhist philosophy has rema

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

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Suchan, Thomas. "The eternally flourishing stronghold: an iconographic study of the Buddhist sculpture of the Fowan and related sites at Beishan, Dazu Ca. 892-1155." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1054225952.

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Leoshko, Janice. "The Iconography of Buddhist Sculptures of the Pala and Sena Periods from Bodhgaya Volume I." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392309418.

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Books on the topic "Buddhist sculpturet"

1

Lōphētcharat, Somkīat. Wikhro̜ prawat kānnapthư̄ sātsanā Phut læ sinlapa phraphuttharūp nai ʻĒchīa. ʻAmarin, 2003.

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2

McNair, Scott Miriam, ed. Buddhist sculpture of Northern Thailand. Buppha Press, 2004.

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India. Ministry of Information and Broadcasting., ed. Buddhist sculptures and monuments. Publication Division, Ministry of Information and Broadcasting, Govt. of India, 1994.

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Chandra, Mariani. Lalitavistara: Membaca relief kehidupan Buddha Gotama : Borobudur. PT Gaya Favorit Press, 2016.

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5

Zuihō, Menzan. Dōjō garan shodō anzōki / Menzan Zuihō jutsu. Dōjō garan zakki /Keigan Eboku shū. Seizansha, 1992.

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6

Gotō, Munetoshi. Senbutsu no kita michi: Hakuhōki Bukkyō juyō no yōsō. Shibunkaku Shuppan, 2008.

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Gotō, Munetoshi. Senbutsu no kita michi: Hakuhōki Bukkyō juyō no yōsō. Shibunkaku Shuppan, 2008.

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8

Gupta, Vinay Kumar. Buddhism in Mathura: A detailed study of Buddhist tradition, archaeology, and art. Bharatiya Kala Prakashan, 2009.

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Gupta, Vinay Kumar. Buddhism in Mathura: A detailed study of Buddhist tradition, archaeology, and art. Bharatiya Kala Prakashan, 2009.

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Rama. Buddhist art of Nāgārjunakoṇḍa. Sundeep Prakashan, 1995.

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Book chapters on the topic "Buddhist sculpturet"

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Peleggi, Maurizio. "CHAPTER FOUR. THE PLOT OF THAI ART HISTORY: BUDDHIST SCULPTURE AND THE MYTH OF NATIONAL ORIGINS." In A Sarong for Clio, edited by Maurizio Peleggi. Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501725937-006.

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Prasad, Birendra Nath. "The Socio-Religious Dimensions of Dedicatory Inscriptions on Sculptures Donated to a Buddhist Establishment in Early Medieval Magadha: Kurkihar, c. 800 CE-1200 CE*." In Rethinking Bihar and Bengal. Routledge, 2021. http://dx.doi.org/10.4324/9781003221227-2.

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Prasad, Birendra Nath. "A Folk Tradition Integrated into Mahāyāna Buddhism: Some Observations on the Votive Inscriptions on the Sculptures of Puṇḍeśvarī/Pūrṇeśvarī/Puṇyeśvarī Discovered in the Kiul-Lakhisarai Area, Bihar." In Rethinking Bihar and Bengal. Routledge, 2021. http://dx.doi.org/10.4324/9781003221227-3.

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Vaneian, Elizaveta S. "The “Spectrum of Corporeality” in Japanese Buddhist Sculpture." In Artificial Body in the World Intellectual and Artistic Culture. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0719-9-31-57.

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This paper examines, based on concrete examples, ways in which the artificial bodies of Japanese Buddhist sculptures have been created and explores the relevant background ideas and assumptions. Particular “bodies” of Japanese sculpture can be associated, to a lesser or greater extent, with the understanding of the human body; however, in certain aspects they constitute their own reality. These variations create what I have called “the spectrum of corporeality” in Japanese Buddhist sculpture. Specifically, I review ways in which statues have been empowered as sacred objects and approximated to

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Sørensen, Henrik H. "The Didactic Use of Animal Images in Southern Song Buddhism: The Case of Mount Baoding in Dazu, Sichuan." In The Zoomorphic Imagination in Chinese Art and Culture. University of Hawai'i Press, 2016. http://dx.doi.org/10.21313/hawaii/9780824846763.003.0005.

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This presentation revolves around the sculptural art of Southern Song Buddhism at Mt. Baoding in Dazu, Sichuan. Among the many sculptural groups imaged, both actual renditions of animals and divinities with animal attributes occur in great numbers. As such animals and animal themes are fully integrated into the overall sculptural program at the site. A number of these sculptural groups reveal an increased sensitivity for animals and pastoral sceneries that is new to Buddhist sculptural art of the Southern Song. Here it is expressed in a stylized form of naturalism.

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Holt, John Clifford. "Buddhist Sculpture at Polonnaruva." In The Sri Lanka Reader. Duke University Press, 2011. http://dx.doi.org/10.1215/9780822394051-017.

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Amstutz, Andrew. "From colonial Greece to postcolonial Rome? Re-orienting ancient Pakistan in museum guides in the 1950s and 1960s." In The Rediscovery and Reception of Gandhāran Art. Archaeopress Archaeology, 2022. http://dx.doi.org/10.32028/9781803272337-7.

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In 1956, the National Museum of Pakistan, a recently established institution in Karachi, launched a new exhibit on Buddhist sculpture from Gandhāra to mark ‘the 2500th anniversary of the birth of the Buddha’ (Gandhara Sculpture in the National Museum of Pakistan 1956: 3). To celebrate this new exhibit, Pakistan’s Department of Archaeology published Gandhara Sculpture in the National Museum of Pakistan to go along with the new exhibit. The anonymous exhibit organizers flagged two important elements of this ancient Buddhist sculpture for the newly created Muslim-majority nation-state of Pakistan

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Naz, Fozia. "Buddhist art of Gandhāra: a catalogue of newly documented sites in Malakand District." In Gandhāran Art in Its Buddhist Context. Archaeopress Archaeology, 2023. http://dx.doi.org/10.32028/9781803274737-06.

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In respect to Gandhāra civilization, antiquarians and archaeologists have made many discoveries in ancient Uḍḍiyāna (Swat) and the present-day Khyber Pakhtunkhwa region of Pakistan. Historically and geographically, ancient Uḍḍiyāna (Swat) occupies an important position in South and Central Asia. From the nineteenth century, archaeological explorations have entailed surveys and excavations of many sites within the confines of Uḍḍiyāna (Faccenna 1980; Stacul 1989; Callieri 2005). These sites included structural remains and cultural artefacts, consisting of pottery, coins, Buddhist sculptures, de

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"Dating Gandhāran Sculpture." In The Buddhist Architecture of Gandhāra. BRILL, 2004. http://dx.doi.org/10.1163/9789047412571_013.

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Wu, Hong. "Reevaluating Buddhist Art in Korean Three Kingdoms." In Rethinking Asuka Sculpture. BRILL, 2024. http://dx.doi.org/10.1163/9789004701922_005.

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Conference papers on the topic "Buddhist sculpturet"

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Hendradi, Rimuljo, Ikhsan Rosyid Mujahidul Anwari, and Kinara Al Ghiffari. "Augmented reality application development on universitas airlangga Museum’s sculpture as Hindu-Buddhist history educational media." In 4TH INTERNATIONAL SCIENTIFIC CONFERENCE OF ALKAFEEL UNIVERSITY (ISCKU 2022). AIP Publishing, 2023. http://dx.doi.org/10.1063/5.0181221.

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Shao, Changzong. "Discussion on the Humanities and Artistry of Buddhist Sculptures in Wei, Jin, Southern and Northern Dynasties." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.008.

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Koc, Adem. "A Symbolic Taste of the City: Eskișehir Met Halva from Legend to Game." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.29.

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Th ere are some symbols (images) of cities in which they come to the fore. Th ese symbols can be diverse such as city silhouettes, temples, holy places, museums, festivals, natural areas, food, drinks, and desserts. Urban symbols can be an important soft power and tourism intermediary for the promotion of both the city and the country. Many examples such as Japan’s kimono, Kyoto garden, and sushi; France’s Paris Eiff el Tower; Moldova’s wine cellars; Moscow’s Kremlin Palace in Russia; Istanbul’s Topkapi Palace in Türkiye, beaches, doner kebab and baklava; Tibet’s Buddhist temples can be cited.

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