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Dissertations / Theses on the topic 'Buddhist sculpturet'

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Published: 4 June 2021

Last updated: 28 July 2025

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Allard-Latour, Sophie. "La sculpture bouddhique en bronze en Chine des origines au Ve siècle, analyses et datations." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040250.

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L’arrivée en terre chinoise du bouddhisme et de ses images eut pour conséquence d’influencer de manière déterminante et durable la pensée et les expressions artistiques chinoises. Cette thèse se propose d’étudier la sculpture bouddhique en bronze en Chine des origines au Ve siècle, sa constitution et son processus d’élaboration dans le contexte social et culturel chinois des Ier et IIe siècles à partir des données archéologiques récentes et son évolution vers des formes iconographiques normatives, du IIIe au Ve siècle. Les images les plus anciennes découvertes à ce jour dans le Sichuan et la r

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12

Boehm, Christian Matthias. "The concept of 'danzō' : 'sandalwood images' in Japanese Buddhist sculpture of the 8th to 14th centuries." Thesis, SOAS, University of London, 2005. http://eprints.soas.ac.uk/28795/.

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This thesis examines Buddhist images known as danzo (sandalwood sculptures) in Japan from the 8th to 14th centuries in terms of the types of material used to make them, their distinctive form (as determined by iconography and style), and the religious functions for which they were used. All three of these fundamental defining elements are considered essential for a comprehensive understanding of danzo as religious icons, but for the clarification of crucial issues the first two chapters examine each of these elements separately. Chapters One and Two consider issues concerning definitions of ma

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13

Pons, Jessie. "Inventaire et étude systématiques des sites et des sculptures bouddhiques du Gandhāra : ateliers, centres de production." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040086.

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Les statues et les reliefs narratifs bouddhiques du Gandhāra présentent des points communs qui justifient la désignation d’un « art du Gandhāra » : le matériau, le sujet et la nature composite. Malgré cette évidente homogénéité, il existe d’importantes variations iconographiques et stylistiques. Cette thèse de doctorat tend à mettre en évidence ces variations afin de produire la première identification et caractérisation des langages stylistiques de l’art du Gandhāra. Les réflexions liminaires sur les contextes géographique, historique et religieux dans lesquels l’art du Gandhāra s’est dévelop

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14

Bae, Jeon Ah. "Reincarnating the micro universe /." Online version of thesis, 2008. http://hdl.handle.net/1850/7792.

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15

Kim, Bo-Young. "Indefinite boundaries reconsidering the relationship between Borobudur and Loro Jonggrong in Central Java /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467888511&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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16

Chamas, Fernando Carlos. "A escultura budista japonesa até o período Fujiwara (552 -1185): a arte da iluminação." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8157/tde-09112007-150941/.

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O budismo, como o xintoísmo, é um dos alicerces religiosos da sociedade japonesa. Sua grande propagação no Japão dependeu muito da importação e enorme produção de imagens budistas que não se restringem apenas a representações do buda histórico. Por aproximadamente treze séculos, o estilo das estátuas búdicas passou por transformações que buscavam um estilo próprio japonês, atingindo o seu auge no período Heian (794~1185). Este trabalho é uma apresentação dessas transformações estilísticas e segue uma metodologia que visa a cercar o objeto \"escultura budista japonesa\" em todos os seus ângulos

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17

Astier, Alexandre. "Recherches sur l’iconographie de Kubera." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040064.

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Cette thèse a pour objet l’étude des images du dieu Kubera (nommé aussi Vaiśravaṇa ou Jambhala) dans le monde indien, de leur apparition (vers 150 avant notre ère) jusqu’au XIIe siècle. Dans l’hindouisme, Kubera a comme fonctions principales d’être le maître des yakṣa, le dieu de la richesse et le gardien (lokapāla) du nord. Kubera a été également intégré parmi les divinités mineures du bouddhisme et du jaïnisme. Cette thèse s’attache à présenter les caractéristiques de la personnalité de Kubera dans la littérature, puis à étudier chronologiquement l’évolution de son iconographie. Cette thèse

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18

Tun, Puthpiseth. "Bouddhisme Theravāda et production artistique en pays khmer : étude d’un corpus d’images en ronde-bosse du Buddha (XIIIe-XVIe siècles)." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040223.

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Les statues en ronde-bosse du Buddha khmer, exécutées entre le XIIIe et le XVIe siècle, expriment des pratiques religieuses bien spécifiques, sont marquées du sceau de la tradition angkorienne et révèlent la sensibilité des échanges artistiques avec les pays voisins. Elles sont ainsi le reflet des diverses élaborations et des différents rôles qu’elles ont joué. Un corpus raisonné de deux cent trente-huit statues du Buddha travaillées dans la pierre, le bois et le bronze, issues de plusieurs collections muséales, de collections privées ou de découvertes restées in situ, aide à retracer l’évolut

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19

Hein, Jean-Claude. "Le portrait japonais du VIIIe au XVIe siècle. Études des représentations artistiques et des sources historiques." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040276.

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Comment définir ces peintures ou rondes-bosses que sont les portraits japonais figurant des moines ? Par leur forme spécifique qui, issue d’un prototype continental qui n’a pas été remis en question, est demeurée stable à l’exception de brèves périodes. Cette constance s’explique par l’importance accordée à la Chine, l’usage de modèles iconographiques (zuzō) et le recours à une réplique qui n’est jamais dénigrée. Le portrait est de plus une image au bénéfice des sectes qui la produisent. En fournissant une représentation qui ne se dégrade pas, il est aussi la preuve d’un état de sainteté, voir

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20

Hoffman, Jeffrey. "A Crack in Everything." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5305.

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Contained herein is a close examination of self-awareness and self-portraiture as it applies to the works of artist Jeffrey Hoffman. Water, frozen into various forms and combined with natural elements of wood, slowly melt over an indeterminable amount of time, each droplet documented as the process transforms the elements. Through this process, we see change. We see time. We see truth. This documentation of change and time through natural elements is where the artwork comes full circle. Working with new media to explore man's interconnectivity to life, energy, and the cosmos, he produces time

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21

Neishi, Miwa. "The Formless Self." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461685555.

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22

Benson, Martin L. "Beginner's Mind." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2365.

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My art distills my relationship to spirituality, digital culture, and the practices and side-effects therein, into a simplified visual language. The work manifests in the form of paintings, drawings, and light sculptures. Meditation and mindfulness training are a large part of my influence and interests. I often wonder how mindfulness practice can be mirrored in my artwork, not only in my process for creating the work, but also with what the resulting imagery does for the viewer. My intention is to provide an art form that invites one to look and experience one’s own capacity to observe, witho

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23

Revire, Nicolas. "The Enthroned Buddha in Majesty : an Iconological Study." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA157/document.

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Cette thèse étudie en détail un type particulier de représentation du Bouddha où il est représenté assis sur un trône prééminent, le bhadrapīṭha ou bhadrāsana, dans une posture majestueuse avec les deux jambes pendantes, c’est-à-dire assis en bhadrāsana ou dans l’attitude « de bon augure ». Cette iconographie, étroitement associée à l’imagerie du trône, se retrouve largement représentée dans l’art de l’Asie du Sud, de l’Est et du Sud-Est, et est, en règle générale, intimement liée aux modèles de la royauté, de la fertilité, et même du divin. Plusieurs implications notables ressortent de cet ex

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24

Hsin-chiWang and 王心琪. "A Study on Yuyu Yang’s Buddhist sculptures." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/91173062696381210175.

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碩士<br>國立成功大學<br>藝術研究所<br>98<br>This paper will focus on the Taiwanese artist Yuyu Yang’ sculptures. Through out his forty years career, Buddhist sculptures were his major works. Hence I will focus mainly on his Buddhist images. Stylistic speaking his works were prolific and innovative. During his studies, he visited the Yungang Buddhist Cave and was stunned by the massive Buddhist images. This experience became a turning point in his artistic career and led him in the production of Buddhist images. Yuyu Yang’s works can be divided into three forms : the Prajna or Emptiness abstract form, the

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25

"孔望山佛敎造像年代考察". 1986. http://library.cuhk.edu.hk/record=b5887631.

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許雪輝.<br>稿本 ; 複本據稿本影印.<br>Thesis (M.A.)--香港中文大學硏究院藝術學部.<br>Gao ben ; fu ben ju gao ben ying yin.<br>Includes bibliographical references (leaves 224-259).<br>Xu Xuehui.<br>Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan yi shu xue bu.<br>導言<br>Chapter 第一章 --- 孔望山佛教造像題材之發現<br>Chapter 甲 --- 孔望山之地理位置 --- p.6<br>Chapter 乙 --- 歷代對孔望山造像題材及年代之認識<br>Chapter （一） --- 文献記載 --- p.11<br>Chapter （二） --- 近人考察 --- p.13<br>Chapter 丙 --- 孔望山造像內容之概述 --- p.18<br>Chapter 第二章 --- 孔望山造像年代問題述評<br>Chapter 甲 --- 東漢說 --- p.36<br>Chapter （一） --- 小結 --- p.44<br>Chapter 乙 --- 非東漢說<br>Chapter （一） --- 曹魏以後元魏以前說

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26

Yiengpruksawan, Melanie Hall. "The Buddhist sculpture of Chūsonji the meaning of style at the Hiraizumi temples of the Ōshū Fujiwaras /." 1988. http://catalog.hathitrust.org/api/volumes/oclc/22423815.html.

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27

Gridley, Marilyn Leidig. "Chinese Buddhist sculpture under the Liao free standing works in situ and selected examples from public collections /." 1985. http://catalog.hathitrust.org/api/volumes/oclc/18969358.html.

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28

Hock, Nancy. "Buddhist ideology and the sculpture of Ratnagiri seventh through thirteenth centuries /." 1987. http://catalog.hathitrust.org/api/volumes/oclc/23638134.html.

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29

Galloway, Charlotte Kendrick. "Burmese Buddhist Imagery of the Early Bagan Period (1044-1113)." Phd thesis, 2006. http://hdl.handle.net/1885/47078.

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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. Recently, opportunities for further research

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30

Ya-Chu, Fan, and 范雅竹. "The Study on Buddhist Sculptures of the Northern Chi Dynasty in Luoyang." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/65959944003632373437.

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31

Yun-Sheng, Lin, and 林雲生. "Discussin about the Artistic Creation of Buddhist Sculptures from Yun-Sheng Lin." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/98796871104763743578.

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碩士<br>大葉大學<br>設計暨藝術學院碩士在職專班<br>101<br>The researcher,who grew up in a family with the atmosphere full of Buddhism,gradusted from a college of Buddhism and did a few researches about The Tipitaka and dvadasanga Buddha Vacana. The researcher has some contacts with Buddhist statue colored drawing. Presently,the researcher has great interest of the Buddhist sculptures which is from the painyed sculptures and the artistic creation of stones reliefs in all the past dynasties till the Buddhist sculptures of Han Dynasty in modern times. As a result of the artistic creation of Buddhist sculptures which

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32

Wang, Xin-man, and 王馨蔓. "The Study of the Images of Buddhist Sculptures in Tezuka Osamu’s Manga." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/69157452579912839579.

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碩士<br>國立中央大學<br>藝術學研究所<br>102<br>In 2011, Tokyo National Museum held an exhibition entitled “BUDDHA—The Story in Manga and Art,” in which the original drawings of the manga Buddha by Tezuka Osamu (1928-1989) were juxtaposed with some Buddhist sculptures. It inspired me to think about the possibility of comparing manga with Buddhist sculptures and other art works. In fact, in addition to this work, Tezuka also depicted many images of Buddhist sculptures during his four-decade career. These images spanned different creative periods, appeared in different subjects, and were presented in diverse s

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33

Ning, Qiang. "Art, religion and politics Dunhuang Cave 220 /." 1997. http://catalog.hathitrust.org/api/volumes/oclc/38535268.html.

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34

Abe, Stanley Kenji. "Mogao Cave 254 a case study in early Chinese Buddhist art /." 1989. http://catalog.hathitrust.org/api/volumes/oclc/23748969.html.

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35

Chen, Kuan-Hsun, and 陳冠勳. "A Study of Metal Technology of Bronze Buddhist Sculpture in Tibetan Government in Exile." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/u3wqpv.

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博士<br>中原大學<br>設計學博士學位學程<br>104<br>Tibetan Buddhist sculptural arts began developing alongside Tibetan Buddhism starting in the early seventh century. This art was influenced by Buddhist culture in such peripheral areas as India, Nepal, and China, and constantly absorbing indigenous Tibetan beliefs and popular aesthetic concepts, which caused it to evolve into a unique form of Buddhist craftsmanship. Many kinds of Tibetan Buddhist statues were made, and were often very complex and elaborate in form. As a result, both Tibetan Buddhist painting and sculpture became spectacular art forms. While ea

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36

Chou, Ching-Pei, and 周景培. "A Study of Ming Dynasty Buddhist Bronze Sculptures Made at the Yongle Court (1402-1424)." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/02590549346883391191.

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碩士<br>國立臺灣大學<br>藝術史研究所<br>104<br>The Tibetan Buddhist art made at the imperial court in the Yongle period (1402-1424) is a unique chapter of Ming dynasty. Especially the numerous gilded Buddhist bronze sculptures are the representative works of Tibetan Buddhist art of Ming court. These Buddhist bronze sculptures are often known as ‘the Yongle bronzes,’ due to six characters inscription on the pedestals which indicate the sculptures were made in the Yongle period. In this thesis, the influences of Tibetan Buddhist art on the Yongle bronzes, due to the communicating between the Ming court and Ti

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Chuang, Cheng-Hui, and 莊正暉. "The Icongraphy of the Birth of the Buddha in Individual Buddhist Sculpture in the Northern Dynasties." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/94528965163708495097.

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Lee, Pei-Chieh, and 李沛倢. "A Study of the Buddhist, Taoist Sculptures and Religion around Guanzhong in the North Wei of China." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/91715531537312212573.

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碩士<br>國立臺灣大學<br>藝術史研究所<br>101<br>The Guanzhong(關中) plain in Shaanxi(陜西) province is one of the oldest and most significant political, cultural, and religious centers. By the late 4th century and early 5th century, Chang’an(長安) was an important center in the dissemination of Buddhism and foreign-style Buddhist images. However, from 416 to 533, was one of eclipse for Chang’an, for it was neither a political capital nor a religious center. The Buddhist persecution in 444 was a major setback to Chang’an, but Taoism was flourished under the strong support of the North Wei courts. Nevertheless, the

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Weisner, Christina Lorena. "Form and function." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-1494.

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This is a report concerning the body of artwork I have formulated in the last two of my three years spent as a graduate student in the M.F.A. program at the University of Texas at Austin. It provides a chronological description of key works and the influences drawn upon within this time frame. Broken into eight substantive sections, the report reflects an in-depth study on “object-hood.”<br>text

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40

Chien, Li-kuei, and 簡鸝媯. "An Inquiry Into the Style of Qingzhou Buddhist Sculpture of the Northern Qi Period（550-577 AD.）." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/m3xna5.

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碩士<br>臺南藝術學院<br>藝術史與藝術評論研究所<br>89<br>During the latest two decades, there were continually discovery of various kinds of Buddhist stone statues and steles of the sixth century around Qingzhou, the middle region of Shangdon Province. The discovered objects indicate a very unique style that harmoniously unifies the strength and elegance. Initially, this paper exams the geographical boundary of Qingzhou region in the middle sixth century according to the official history records, “Wei shu” and “Suei shu”, and the inscriptions on the excavated steles. Based on the former research, the a

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Chang, Chih-Wei, and 張秩瑋. "A Study of Style & Iconography of Small Bronze Buddhist Sculptures in the Northern Wei Dynasty of China." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/18241277322652417000.

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碩士<br>國立臺灣大學<br>藝術史研究所<br>99<br>During the Northern Wei dynasty (A.D. 386-534), Chinese bronze Buddhist sculpture is extremely prevalent. Both city people and country people may preserve or pay obeisance in the bronze Buddhist sculptures at their home. Its distribution and production are affected by the political situations, economic conditions, and social organizations. As a background for the following study it is necessary to remember some events, especially of the unification of northern China in 439, deporting craftsmen from Hebei(河北) to Datong(大同), Emperor Tai-Wu’s (太武帝, 424-452) destroy

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42

Langberg, Hillary Anne. "Visualizing the power of wisdom : Mañjuvajra Mandala, an eleventh century Pāla period sculpture from Bengal." 2013. http://hdl.handle.net/2152/22427.

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Among the extant examples of carved-stone deity mūrtis from Pāla-period Bengal, few express their subject matter in such dynamic and aesthetically refined visual terms as a sculpture now in the collection of the Metropolitan Museum of Art in New York. Entitled Mañjuvajra Mandala, the stele depicts a three-faced six-armed form of the bodhisattva of wisdom, Mañjuśrī. It dates from the latest phase of Vajrayāna Buddhism in India and likely reflects sādhana practices that entail mandala visualization rituals and union with a female consort. Although a superbly carved piece and an unusual fo

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Lee, Michaela. "Ikonografie buddhistického sochařství v Koreji." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-308735.

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in English: The aim of this thesis is to present the Korean Buddhist sculpture throughout the Korean history. The thesis presents Buddhist iconography at the beginning, focusing on the Korean art especially. Afterwards the main and most important Buddhist sculpture masterpieces are introduced. The sculptures represent certain period of Korean history. The work contains Korean Buddhist sculptures from the times of introducing Buddhism in Korea, i.e. Three Kingdoms period, and then presents the Buddhist sculpture from this time on, in Unified Silla, Koryŏ Kingdom and Chosŏn Kingdom. Key words: B

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Owen, Lisa Nadine. "Beyond buddhist and brahmanical activity: the place of the Jain Rock-Cut Excavations at Ellora." Thesis, 2006. http://hdl.handle.net/2152/2592.

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Fanelli, Kathryn. "The Passing Show." 2021. https://scholarworks.umass.edu/masters_theses_2/1011.

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The Passing Show, examines the interface between contemplative practices and the destabilizing effect of the carnivalesque. A repurposed early 20th century merry-go- round is reconfigured as a conceptual vehicle for renewing our attention to removing hindrances. The site-specific installation, titled Vimoksha, is viewed through the lens of the radical imaginary, investigating notions of karmic inheritance through a heuristic approach to material processes, personal history, kinetics and sound.

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