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Journal articles on the topic 'Buddhist style'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Wang, Weiqiao, and Yan Liu. "“Buddhist-Christian Style”: The Collaboration of Prip-Møller and Reichelt—From Longchang Si to Tao Fong Shan Christian Centre." Religions 15, no. 7 (2024): 801. http://dx.doi.org/10.3390/rel15070801.

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Buddhist architecture plays a crucial role in traditional Chinese architecture, representing the localized adaptation of Buddhism, a foreign religion, in China. Historically, abundant materials, including paintings, photographs, and texts, demonstrate the longstanding interest of visiting Christian missionaries in Chinese Buddhist architecture. As their understanding deepens, Buddhist architecture becomes a valuable reference for the Sinicization of Christian venues in China. Unlike the “Chinese Roof with Western walls style” or “mixed Easten and Western façade style”, Tao Fong Shan represents

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2

Zuo, Yun. "Study on the Composition of Inner Mongolia Wudangzhao Monastery Building Complex." Applied Mechanics and Materials 357-360 (August 2013): 141–44. http://dx.doi.org/10.4028/www.scientific.net/amm.357-360.141.

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Tibetan Buddhist monasteries embody almost all achievements of the Tibetan community in religious, scientific, cultural and artistic. The erection of Tibetan Buddhist monasteries are closely related to the history of Tibetan Buddhism in Inner Mongolia. As the Tibetan Buddhism had been spread to Inner Mongolia in different periods, Tibetan Buddhist monasteries presented different features in its architectural style. Wudangzhao Lamasery is the grandest integral monastery complex still remaining in Inner Mongolia.Its buildings have high value of art and characteristically Tibetan Buddhist Archite

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Shen, Hong. "On the evolution of the architectural style of Tao Fong Shan." International Journal of Arts and Humanities 1, no. 1 (2020): 28–35. http://dx.doi.org/10.25082/ijah.2020.01.006.

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The characteristic architectural style of Tao Fong Shan in Hong Kong is unique in the sense that this Christian institution looks exactly like a traditional Chinese Buddhist monastery. What kind of secret exists behind this seemingly uncoordinated appearance? The two names of Karl Ludvig Reichelt and Johannes Prip-Møller are closely connected with Tao Fong Shan buildings, but few people know how exactly the Norwegian founder of The Christian Church for China’s Buddhists met and cooperated with the Danish architect in designing these buildings. The present paper is an effort to retrace the init

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Ahn, Seungchul, and Hyungong Moon. "The Significance and Musical Features of Modern Korean Buddhist Hymns through Baek Yong-sung’s Buddhist Hymns." Religions 15, no. 4 (2024): 470. http://dx.doi.org/10.3390/rel15040470.

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Chan-bul-ga (찬불가, 讚佛歌), which in English means ‘songs in praise of the Buddha’, refers to a style of Korean Buddhist hymn that emerged during the modernization of Korean Buddhism. Buddhist hymns—which can be considered to be based on Christian hymns—are characterized by the fact that they can be easily learned by the general public so that they can easily participate in Buddhist rituals together, unlike the existing Korean Buddhist musical styles of ‘Beom-pae (범패, 梵唄)’ and ‘Hwa-cheong (화청, 和請)’. The monk Baek Yong-sung (1864–1940), who embraced the function and effectiveness of these new relig

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Bártová, Zuzana. "The Buddhist Style in Consumer Culture: From Aesthetics to Emotional Patterns." Journal of Religion in Europe 14, no. 1-2 (2021): 28–54. http://dx.doi.org/10.1163/18748929-20211488.

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Abstract This paper contributes to the sociological theorization of religious lifestyles in consumer culture, analyzing one of its most important identity markers: style. Based on a three-year comparative ethnographic research project into five convert Buddhist organizations in France and the Czech Republic, it finds that style is expressed through aesthetics with its adornment practices apparent in everyday life materializations of Buddhist symbols. The stylistic dimension is also found in practitioners’ attitudes towards Buddhism, as they may use the discourse of taste. Moreover, Buddhist st

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Pinnington, Noel J. "Buddhist Structures and Secular Themes in Zeami’s Narrative Style." Journal of Religion in Japan 2, no. 2-3 (2013): 195–221. http://dx.doi.org/10.1163/22118349-12341258.

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Abstract This study is a contribution to the question of the Buddhist character of medieval Nō drama. Previous studies have analyzed references to Buddhism or expressions of Buddhist practices in Nō plays. This study, however, focuses on the discourse through which plays tell their stories. It asks how the stereotypical structure for plays established by Zeami enabled the expression of voices conceived of within a Buddhist world-view. First, techniques used in some early plays to describe Buddhist ideas are considered. Next, the structural conventions developed by Zeami to portray similar subj

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Towfiq Rahmani, Mohammad. "The Artistic Characters and Applied Materials of Buddhist Temples in Kabul and Tapa Sardar (Sardar Hill) Ghazni of Afghanistan." Shanlax International Journal of Arts, Science and Humanities 7, no. 2 (2019): 1–10. http://dx.doi.org/10.34293/sijash.v7i2.815.

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Kabul and Ghazni Buddhist Temple expresses Kushani Buddhist civilization in Afghanistan and also reflexes Buddhist religion’s thoughts at the era with acquisitive moves. The aim of this article is introducing artistic characters of Kabul Buddhist temples and Tapa Sardar Hill of Ghazni Buddhist Temple in which shows abroad effects of Buddhist religion in Afghanistan history and the importance of this issue is to determine characters of temple style with applied materials. The results of this research can present character of Buddhist Temples in Afghanistan, thoughts of establishment and artific

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Liu, Yifeng. "From “Sangha Forest” (叢林 Conglin) to “Buddhist Academy”: The Influence of Western Knowledge Paradigm on the Chinese Sangha Education in Modern Times". Religions 14, № 8 (2023): 1068. http://dx.doi.org/10.3390/rel14081068.

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Drawing on Foucault’s theoretical framework of “space and power”, this paper examines the discursive construction of “knowledge” in the context of Chinese Buddhist education. It traces the historical transformation of Chinese Buddhist education from the traditional “Sangha Forest”(the monastic community; 叢林 Conglin) style education to the Buddhist Academy, and analyzes how modern Buddhism reshaped its social image and function from a faith-based to a knowledge-based culture. Furthermore, this paper explores the reasons why modern Buddhism requires “knowledge” as a bridge between its worldly an

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Watini, Watini. "LIVING IN HARMONY BETWEEN MUSLIM AND BUDDHIST: Comparative Study: Indonesia and Southeast Asia." Aceh Anthropological Journal 2, no. 1 (2018): 1. http://dx.doi.org/10.29103/aaj.v2i1.1145.

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This article attempts to describe connection between Indonesia and Southeast Asia also India. First part, it describes Islam Nusantara as one of Islam Indonesian style. Islam Indonesia is very close with tradition, for example Islam Aboge, Islam Ammatoa and Islam Java/Islam Kejawen. Islam Indonesia have relationship with tradition that some scholars perceived it as indigenous religion. So, after that part it is followed by Buddhism Nusantara style because particularly Islam Java have strong encounter with Buddhist tradition. The study is descriptive and qualitative research. This research look

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Syrtypova, S. Kh D. "Toward a Methodology for the Study of Buddhist Fine Art: (using an example of Zanabazar’s works)." Orientalistica 6, no. 3-4 (2023): 534–47. http://dx.doi.org/10.31696/2618-7043-2023-6-3-4-534-547.

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The article provides a comparative analysis of different approaches to the study of Buddhist iconography and objects of religious art: scientific academic and traditional Buddhist. Their main goals and objectives, understanding of the fine art style in art history and the Buddhist tradition are considered. The possibility and necessity of using diverse sources of research, or rather, the complex and multidisciplinary principle of working with cult images of Buddhas, bodhisattvas and deities for the most profound and adequate understanding of them, as well as exhibiting them in a museum or othe

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Ju, Wanying. "The Research on the Origin and Communication of Blue and Green Colors in Chinese Blue and Green Landscape Painting." Journal of Education, Humanities and Social Sciences 5 (November 23, 2022): 119–25. http://dx.doi.org/10.54097/ehss.v5i.2891.

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Blue and Green landscape painting is an important component of Chinese landscape painting. The purpose of this paper is to explore the origins of blue and green colors in blue and green landscape painting and search for the reasons for the establishment of the blue and green landscape painting's style. Today's many researchers identify the murals of the Dunhuang Mogao Caves as the original form of Chinese Blue and Green Landscape Painting, and the Mogao Caves' painting style was significantly influenced by Indian Buddhist art. This paper employs a research approach that compares the stylistic

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Kim, Dae-won. "A Study of the Background in 〈Lady Seol’s Kwonsonmun(薛氏夫人勸善文)〉". Korean Society of Calligraphy 41 (30 вересня 2022): 5–28. http://dx.doi.org/10.19077/tsoc.2022.41.01.

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"The Precept for Human Rights of the Seol Clan" by Sun Chang-seol (1429-1508), a government official, is the oldest promotion of virtue text of Joseon left by an individual, and is very meaningful. Soon Chang-seol, a government official, was the first female writer, painter, and calligrapher in Joseon dinasity, 75 years before Sin Saimdang was born. This promotion of virtue text is a valuable artifact of Mrs. Seol's achievements in calligraphy and painting, as well as a measurement and standard of Buddhist culture at that time. Since Joseon was a country where Confucianism was establishe

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Lee, Seo-hyun. "From the late Silla to the Goryeo Dynasty Stone Pagoda characteristic and Significance in Cheongyang region." Bukak History Academy 19 (January 31, 2024): 89–128. http://dx.doi.org/10.37288/bukak.2024.19.1.89.

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Buddhist stone art in the Cheongyang region remains in relatively diverse types, including stone pedestals, stone pagodas, stone Buddhas, and stone lanterns. It is presumed that the stone pedestal at Janggoksa Temple was created in the late Silla Dynasty, the earliest period, and most other stone art was created during the Goryeo Dynasty. The art historical significance of Buddhist stone art in the Cheongyang region was examined in two major ways. First, the traditional style of Unified Silla is strongly reflected. The stone pedestal of Janggoksa Temple inherits the style of the square t

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Lee, Seo-hyun. "From the late Silla to the Goryeo Dynasty Stone Pagoda characteristic and Significance in Cheongyang region." Bukak History Academy 19 (January 31, 2024): 89–128. http://dx.doi.org/10.37288/bukak.2024.19.3.89.

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Buddhist stone art in the Cheongyang region remains in relatively diverse types, including stone pedestals, stone pagodas, stone Buddhas, and stone lanterns. It is presumed that the stone pedestal at Janggoksa Temple was created in the late Silla Dynasty, the earliest period, and most other stone art was created during the Goryeo Dynasty. The art historical significance of Buddhist stone art in the Cheongyang region was examined in two major ways. First, the traditional style of Unified Silla is strongly reflected. The stone pedestal of Janggoksa Temple inherits the style of the square t

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Wei, Lian. "Buddhist Architecture Exchanges between China and Pakistan." Pacific International Journal 6, no. 3 (2023): 43–49. http://dx.doi.org/10.55014/pij.v6i3.397.

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This study explores the friendly exchanges in Buddhist architecture between China and Pakistan from a geographical perspective. It probes mainly into the exchanges occurring from the 1st to the 10th century AD between ancient China and ancient Pakistan (the region where Pakistan is presently located). With the channels for exchanges between China and South Asia opening up and the Silk Road being established, the large-scale eastward spread of Buddhism became possible, creating opportunities for Buddhism communication between people of the two nations. The design and construction of Chinese Bud

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16

Guan, Guifa. "Features of “Sculpture” and “Painting” in Buddhist Statue Art." Education Reform and Development 6, no. 6 (2024): 255–60. http://dx.doi.org/10.26689/erd.v6i6.7631.

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The solemn radiance of the Buddha, coupled with delicate brushwork, vibrant colors and exquisite craftsmanship, captivates and dominates the art of painted Buddhist statues. This art form, characterized by a unique style of representation, integrates the elements of sculpture, painting, engraving and drawing, enhancing the charm and spirituality of Buddhist statue art. Artists leverage their imagination and masterful skills, incorporating the essence of Tibetan Buddhism to depict the spiritual beliefs of mythical worlds vividly.

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Tian, Siyan. "Buddhist thought in Ryunosuke Akutagawa’s “Tozichun”." Journal of Education, Humanities and Social Sciences 42 (December 9, 2024): 141–44. https://doi.org/10.54097/0yxnys05.

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Ryunosuke Akutagawa is one of the representative writers of the “New Trend of Thought” in the Taisho literary circle. He shows humanity from multiple angles and aspects with a rational attitude, which makes the “New Trend of Thought” become one of the important literary schools and makes the Japanese literary circle full of vitality again. In addition, Akutagawa Ryunosuke’s works are deeply influenced by Buddhist thought. Most of his historical novels are based on Chinese and Japanese classical novels with rich Buddhist elements, which are reprocessed and re-created with originality, presentin

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18

De Silva, Gihani. "Umandawa: Buddhist Transformation in Modern Sri Lanka." Religions 14, no. 1 (2023): 118. http://dx.doi.org/10.3390/rel14010118.

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Charismatic Buddhist monks are instrumental in modernising Buddhism as they have been entrusted with an important role of resurrecting religion and Sinhala society throughout the course of Sri Lankan history. Ven. Pitaduwe Siridhamma, later known as Siri Samanthabhadra Arahat Thero, is known as a cosmopolitan modernist monk figure who envisions a modernised form of Buddhism in recent times, which is derived creatively from the discourses and practical ideals in traditional Buddhism. He went further by founding his style initiatives to address Buddhist transformations in modern Sri Lanka. Saman

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19

Leksukhum, Santi. "Buddhism in Thai Architecture: Stupa." MANUSYA 4, no. 1 (2001): 68–77. http://dx.doi.org/10.1163/26659077-00401006.

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Buddhist stupas have existed in Thailand for more than a thousand years. They have evolved their own distinctive styles in each period, and todayʼs style consists of modifying the styles of the past so as to create a new style for today.

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20

Liu, Xiaodan, Huiwen Xia, Tao Ma, and Qi Dang. "The evolution and spread of the image of "Nagas Bathing Siddhartha" in Buddhism Art." Trans/Form/Ação 46, spe (2023): 263–84. http://dx.doi.org/10.1590/0101-3173.2023.v46esp.p263.

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Abstract: The image of the “Nagas Bathing Siddhartha”, an important theme in Buddhist art, was produced in India and has appeared successively in Xinjiang, Gansu, Qinghai, Shanxi, Shaanxi, Henan, Shandong, Jiangsu, Sichuan, Tibet and other places in China during the process of Buddhism spreading to the east. However, its forms and contents differ in different regions and different periods. Therefore, it is conducive to understand the sinicization process of Indian Buddhist art and can deepen the understanding of the specific contents of Buddhist art exchanges to study the differences. The inno

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Sharaeva, Tatyana I. "Особенности иконографии в калмыцкой вышивке: традиционные и современные практики". Oriental Studies 14, № 2 (2021): 314–36. http://dx.doi.org/10.22162/2619-0990-2021-54-2-314-336.

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Introduction. The Kalmyks are a Mongolic Buddhist people that arrived in the Volga region in the 17th century. The specific ethnic features of Buddhism professed by the Kalmyks took shape over centuries of Russian suzerainty and were determined by various historical factors, including prolonged remoteness from Buddhist centers, the total eradication of Buddhist monasteries and centuries-long ban on spiritual guidance experienced in the 20th century, and the official Buddhist restoration by the early 21st century. Goals. The work aims at identifying and comparing traditional and contemporary Bu

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Murti, Ventiana, Juni Suryanadi, Sandjaja Dharmatanna, et al. "A Study on the Effect of Teachers' Technological Teaching Styles on Students' Learning Behavior: A Case Study in Buddhist Sunday School." International Journal of Science and Applied Science: Conference Series 8, no. 2 (2024): 131. https://doi.org/10.20961/ijsascs.v8i2.95121.

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<span lang="EN-US">Teaching style is the most essential factor in the implementation of learning. Learning is not merely a transfer of knowledge but also a process of shaping individuals to think critically, independently, and responsibly. This study aims to examine the influence of technological teaching styles of Buddhist Sunday school teachers on the learning behaviour of Sunday school students. The research was conducted at Buddhist Sunday schools in Pringsewu Regency. This study uses a quantitative approach with a survey method, and data processing is done using SPSS 16. The populat

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Lee, Yeon-Seo, and Yeon-A. Kim. "Application of Pictorial Elements in Body Art: Focusing on the Buddha expressed in Buddhist art in the Unified Silla Period." Korean Society of Beauty and Art 21, no. 3 (2020): 311–24. http://dx.doi.org/10.18693/jksba.2020.21.3.311.

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In modern society, with its coexistence of diverse culture, it is a process of genuine cultural development to remember the beauty of the traditions in our cultural heritage and allow it to continue to evolve through art and cultural exchange and creative work. The truth and concept of religion are invisible in our daily lives. To expose it, help from art is needed. Buddhism, in which people realize truth on their own, samsara, and the redemption of all people are recognized as the highest values, has long been entwined with the history of the Republic of Korea. During the era of the Unified S

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Gong, Yan. "The Image Transformation and Literary Writing of Buddhist Temples in Northern Wei Luoyang." Religions 16, no. 3 (2025): 287. https://doi.org/10.3390/rel16030287.

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This article examines the functional transformation of Buddhist temples from religious edifices to elements of the political landscape in Northern Wei Luoyang, in order to elucidate the grandiose portrayal of these temples in geographical records. The proliferation of Buddhism significantly altered the spatial configuration of the capital city, previously dominated by imperial architectural complexes. Buddhist temples emerged as emblematic structures of Luoyang, surpassing palaces in prominence due to their extensive occupation of urban space, enhancement of the empire’s international standing

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Xie, Yifeng. "From Pagoda to Pavilion: The Transition of Spatial Logic and Visual Experience of Multi-Story Buddhist Buildings in Medieval China." Religions 15, no. 3 (2024): 371. http://dx.doi.org/10.3390/rel15030371.

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Pagodas and pavilions (ge 閣) are the most popular and representative multi-story buildings since Buddhism was introduced to China. While providing visitors with a new visual experience, they have also largely reshaped the urban space and skyline in medieval China. The former originated from India and Central Asia and was transformed in China, developing a unique style; The latter originated more from the creation of Chinese architects and became a model of typical Chinese-style Buddhist architecture. Briefly, the pagoda matured earlier than the pavilion, and continuously developed while mainta

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Skonicki, Douglas. "A Buddhist Response to Ancient-style Learning: Qisong's Conception of Political Order." T'oung Pao 97, no. 1-3 (2011): 1–36. http://dx.doi.org/10.1163/156853211x592570.

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AbstractThis article focuses on the political thought of the Song-dynasty Chan monk Qisong (1007-1072). In opposition to earlier studies, which have tended to view Qisong's political theorizing simply as an offshoot of his philosophical syncretism, it is contended here that his political arguments played an important role in his refutation of the Ancient-style Learning movement's attacks against Buddhism. As is well known, several Song-dynasty proponents of Ancient-style Learning impugned Buddhism for the negative impact it exerted on Chinese social and political culture. Qisong responded to t

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Kukuh, Ravi, and Rahadhian P. Herwindo. "STUDI PENJAJARAN ARSITEKTUR CANDI BUDDHA DI SUMATERA DAN JAWA DALAM KONTEKS MAHAYANA VAJRAYANA DITINJAU DARI TATA MASSA, TATA RUANG, SOSOK, DAN ORNAMENTASI." Riset Arsitektur (RISA) 8, no. 04 (2024): 423–41. https://doi.org/10.26593/risa.v8i04.8588.423-441.

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Abstract - Buddhist architecture in Sumatra and Java still needs to be studied further in relation to the study of relations because Buddhist architecture does not have books or buildings that serve as guidelines for Buddhist architecture in Indonesia. The Buddhist schools that have spread in Indonesia, namely Mahayana and Vajrayana, have long ago had roots in Hindu teachings which can be seen again from the spread of architecture that occurred in Indonesia. This research was conducted to determine the relationship between Buddhist temples in Sumatra and Buddhist temples in Java. Analysis rega

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Shu, Xindi. "A Study on the Multicultural Presentation in the Yungang Grottoes Sculptures." Communications in Humanities Research 53, no. 1 (2025): 81–87. https://doi.org/10.54254/2753-7064/2025.21768.

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This paper explores the themes, forms, and content of Buddhist sculptures in the Yungang Grottoes from a multicultural perspective, revealing the cultural intersections and integrations reflected in the dissemination and localization of Buddhist art. Situated in the Northern Wei Dynasty, the Yungang Grottoes serve as a significant testament to the collision of Eastern and Western cultures. With the opening of the Silk Road, Buddhism was introduced to China and gradually integrated with indigenous Chinese culture, resulting in the remarkable artistic achievements exemplified by the sculptures i

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Gentry, James Duncan. "Arguing over the Buddhist Pedigree of Tibetan Medicine: A Case Study of Empirical Observation and Traditional Learning in 16th- and 17th-Century Tibet." Religions 10, no. 9 (2019): 530. http://dx.doi.org/10.3390/rel10090530.

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This article examines the relationship between the practice and theory of medicine and Buddhism in premodern Tibet. It considers a polemical text composed by the 16th–17th-century Tibetan physician and tantric Buddhist expert Sokdokpa Lodrö Gyeltsen, intending to prove the Buddhist canonical status of the Four Medical Tantras, the foundational text of the Tibetan medical tradition. While presenting and analyzing Sokdokpa’s polemical writing in the context of the broader debate over the Buddhist pedigree of the Four Tantras that took place during his time, this discussion situates Sokdokpa’s re

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Kim, Jahyun. "New Iconography in Court-Sponsored Buddhist Prints of the Early Joseon Dynasty—Focusing on Record of the Manifestation of Avalokitesvara." Religions 13, no. 11 (2022): 1008. http://dx.doi.org/10.3390/rel13111008.

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Many recent studies show that during the early Joseon dynasty, even kings who externally appeared strongly anti-Buddhist defended or condoned royal relatives who sponsored Buddhist works. Extant sutras produced under court sponsorship attest to this fact. An analysis of the production of court Buddhist prints, focusing on the King Sejo era when a particularly large number of Buddhist projects were completed, yields diverse information such as changes in the style of Buddhist prints and their causes, as well as the intentions of the sponsors. This article examines the creation of new iconograph

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OBER, DOUGLAS F. "From Buddha Bones to Bo Trees: Nehruvian India, Buddhism, and the poetics of power, 1947–1956." Modern Asian Studies 53, no. 04 (2019): 1312–50. http://dx.doi.org/10.1017/s0026749x17000907.

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AbstractIn the first decade after Indian independence in 1947, the secular Indian state projected a vision of itself as being guided by universal ethics rooted in the nation's ancient Buddhist past. From the circulation of Buddhist relics in distant lands to the reinvention and incorporation of Buddhist symbols in contemporary state regalia, the government sponsored a wide variety of programmes in the name of world peace, Pan-Asian unity, and enlightened democratic values that promoted Buddhism both within India and across Asia. This more than decades-long effort was entirely the outcome of th

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He, Wenqi. "Gandhara Art’s Influence on Buddhist Art in Xinjiang, China." BCP Social Sciences & Humanities 14 (December 17, 2021): 172–78. http://dx.doi.org/10.54691/bcpssh.v14i.189.

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The Gandhara region of India was the origin of Buddhist art, and, due to its unique geographical location, it was a place where European and Asian civilizations mingled. The original Gandhara Buddhist art style was largely influenced by the style of Classical Greek sculpture. With the gradual development, its sculpture art and Buddhist stories entered a prosperous period and began to spread eastward, exerting a profound impact on the development of Buddhist art in the early stage of western Regions and later in Xinjiang.

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Thao, Nguyen Van. "The Comparison of Using Words between Enlightenment Online and Vietnamese Buddhist Temple." IJECA (International Journal of Education and Curriculum Application) 1, no. 2 (2018): 19. http://dx.doi.org/10.31764/ijeca.v1i2.2132.

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Vietnamese vocabulary is divided by different criteria, such as: word classes by origin; according to the scope of use; by using style and by positive and negative criteria, specifically, the native word class is the core class in Vietnamese vocabulary, which is a prop and plays a controlling role, controlling the activities of other word classes. Identifying a word as a native word is no easy task. Because Vietnamese has a common origin with Mon - Khmer languages. Therefore, there are words that still share common words. Finding the exact origin is extremely difficult, even for linguistic his

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Shi, Haoyang. "The Evolution of Worship Space in the Yungang Grottoes under the Influence of the Silk Road." Lecture Notes in Education Psychology and Public Media 61, no. 1 (2024): 124–30. http://dx.doi.org/10.54254/2753-7048/61/20240500.

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With the spread of Buddhism, cave temples, originated from India, were introduced to Central Asia via the Silk Road, and then to mainland China. This foreign religious architecture took root in China and completed the process of gradual Sinicisation. The worship space defines the core of the cave temples architectural space. This article takes the Yungang Grottoes as an example to explore the evolution of Buddhist worship spaces. Indian Buddhist architecture has produced two most basic forms of worship spaceright-hand space and prostration spacewhereas in Central Asia, Buddhist architecture ha

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Zhang, Jannie Qimo. "A Comparison Between Buddhist Temple Architecture in The Tang Dynasty and In Japan." Journal of Education, Humanities and Social Sciences 42 (December 10, 2024): 479–85. https://doi.org/10.54097/jx6efg35.

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This paper discusses the similarities and differences between Tang Dynasty and Japanese Buddhist architecture by comparing the architectural features of the East Hall of Foguang Temple, a Buddhist temple in the Tang Dynasty in China, and the Golden Hall of Toshodaiji Temple, a Buddhist temple in the Nara period in Japan. First, the two buildings are very similar in structure. Both adopt the mortise and tenon structure and the beam, column, and bracket transmission system of Tang Dynasty architecture, reflecting the simple and majestic style of Tang Dynasty architecture. However, the two buildi

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Subrahmaniam Saitya, Ida Bagus, and Hari Harsananda. "Pura Dalem Sakenan: A Manifestation of Siwa-Buddha Syncretism." International Journal of Interreligious and Intercultural Studies 7, no. 1 (2024): 45–54. http://dx.doi.org/10.32795/ijiis.vol7.iss1.2024.5415.

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The teachings of Shiva-Buddhism are a beautiful fusion of Hinduism and Buddhism, not just a legacy of the past, but a living religion that is practiced by many Balinese people. Pura Dalem Sakenan is an example of this syncretism. The temple's main shrine, called the candi or gedong sekar kancing gelung, stands as a symbol of syncretism. It is a combination of the padmasana, a Hindu altar, with a Buddhist-style temple structure. Pura Dalem Sakenan is not just a holy place. It is a center of spiritual life, where ?iwa-Buddha rituals and practices take place. The faithful gather to pray, make off

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WANG, Shiru, and Ion SANDU. "THE INFLUENCE OF POLITICAL EVENTS AND IDEOLOGY ON THE FORMATION OF THE PICTURE CONCEPT OF DUNHUANG CAVES FRESCOS." International Journal of Conservation Science 14, no. 4 (2023): 1443–62. http://dx.doi.org/10.36868/ijcs.2023.04.13.

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The article is devoted to an analysis of the figurative concepts of the Dunhuang cave wall paintings. It was determined that, despite the fact that the Dunhuang wall painting is an example of Buddhist art, it represents a syncretism of Buddhism and local beliefs—Taoism and Confucianism—which manifested itself in the depiction of characters from Buddhism and Taoism in one plot. Dunhuang cave murals are not uniform in style and execution techniques. Its genesis testifies that in the early stages it was a literal borrowing of the ancient Indian traditions of Buddhist mural painting; instead, ther

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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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Kwak, Mira, and boyoun Lim. "The aspect and meaning of Chinese poetry included in the Buddhist magazine 『Joseonbulgyowolbo』 in the 1910s." Daedong Hanmun Association 82 (April 30, 2025): 259–87. https://doi.org/10.21794/ddhm.2025.82.259.

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Joseonbulgyowolbo is the first comprehensive magazine of modern Korean Buddhism in existence, and contains a wide range of articles, historical records, translations, and literature, and is especially noteworthy in that it contains over 300 original Chinese poems. This means that the magazine played an important role in embodying Buddhist thought in literature beyond the function of conveying information and missionary work, but little research has been done on this to date. Therefore, this study examined what Buddhist magazines actively used the Chinese poetry style in the modern changes of K

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Tiwari, Akanksha, and Alok Shrotriya. "Divine Expressions in Pala Art: Sculptures of Transcendence with special reference to Buddhist minor Deities." RESEARCH REVIEW International Journal of Multidisciplinary 8, no. 11 (2023): 155–69. http://dx.doi.org/10.31305/rrijm.2023.v08.n11.024.

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The art and iconography of the sculptures from the Pala period (8th to 12th centuries CE) in India represent a significant phase in the evolution of Buddhist and Hindu art. The Pala dynasty, which ruled over parts of present-day India and Bangladesh, was a patron of both Buddhist and Brahmanical traditions, and their art reflects a fusion of influences. This paper attempts to explore the key features and themes of sculptures from the Pala period with special reference to Buddhist minor deities. Pala period sculptures are known for their graceful and fluid style, characterized by soft contours

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Jain, Akshaya, and Raka Chakravarty. "Indian-style buddhist temple in luoyang, china." Material Religion 6, no. 3 (2010): 387–89. http://dx.doi.org/10.2752/175183410x12862096297161.

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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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Scherer, Burkhard. "Macho Buddhism: Gender and Sexualities in the Diamond Way." Religion and Gender 1, no. 1 (2011): 85–103. http://dx.doi.org/10.1163/18785417-00101005.

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Western Tibetan Buddhist movements have been described as bourgeois and puritanical in previous scholarship. In contrast, Ole Nydahl’s convert lay Karma Kagyu Buddhist movement, the Diamond Way, has drawn attention for its apparently hedonistic style. This article addresses the wider issues of continuity and change during the transition of Tibetan Buddhism from Asia to the West. It analyses views on and performances of gender, sexual ethics and sexualities both diachronically through textual-historical source and discourse analysis and synchronically through qualitative ethnography. In this wa

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Zhu, Sun, and Li Chen. "The Analysis of Architecture Image of Anande Temple - The Value and Protection of Gude Temple in Wuhan City." Applied Mechanics and Materials 71-78 (July 2011): 171–74. http://dx.doi.org/10.4028/www.scientific.net/amm.71-78.171.

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Anande Temple originated from Myanmar, which belongs to Theravada Buddhism. Anande was the son of the Sakyamuni’s uncle, Hufan, and he finally became one of the Ten Great Disciples of Sakyamuni. Dedicated to the Buddhist temple, AnandeTemple is the most important Theravada Buddhist temple. According to literature, this kind of architectural style has only two buildings: one is AnandeTemple in Myanmar, the other is Gude Temple in Wuhan.This article mainly discusses the idea of restoration programming system of Gude Temple, one of the four jungles in Wuhan city. From the different characteristic

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Koch, Rolf Heinrich. "Entwicklungen in der Darstellung Buddhistischer Erzählstoffe in Sri Lanka." Asiatische Studien - Études Asiatiques 72, no. 2 (2018): 363–74. http://dx.doi.org/10.1515/asia-2017-0086.

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Abstract With this article I would like to draw attention to Buddhist murals in the southwest of Sri Lanka where a spirited artistic scene has developed during the revival of Buddhism (18th century). The artists produced mainly murals which depict the Life of Gautama Buddha (Buddhacarita) and his previous lifes (Jātaka). The construction of these paintings changed dramatically at the end of the 19th century, when the traditional continuing and two-dimensional style was displaced by a central perspective and single framed mode of painting. As an example I introduce an episode from the Ummagga-J

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Deepti Agarwal. "Literature as the Route of Transmission of Buddhism into Britain." Creative Launcher 5, no. 2 (2020): 30–42. http://dx.doi.org/10.53032/tcl.2020.5.2.03.

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Literary transmission of a subject has been a perennial phenomenon through the mode of literature because literary works are not produced in vacuum. Authors transpire the spirit of an age by creative amalgamation of their external influences, which they absorb from their social consciousness, and their internal influences to create fictional literary images, style, themes and motifs for a work. In this manner, an author’s influence from a preceding text or social consciousness exports to the successive literary works incessantly across the temporal and spatial dimensions. To determine literatu

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Liu, Sicong, and Xiaoqi Yang. "The Architectural Style of Ancient Buddhist Temples between China and Thailand: The Baima Temple in Luoyang, China, and the Temple of the Emerald Buddha in Krung Thep Maha Nakhon, Thailand." Communications in Humanities Research 4, no. 1 (2023): 459–64. http://dx.doi.org/10.54254/2753-7064/4/20220687.

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Baima Temple is the earliest one which was established after the time of the first introduction of Buddhism. It transforms and integrates Tianzhu Buddhist thought into Chinese traditional characteristics. It is known as ' the first ancient temple in China '. As one of Thailand's three national treasures, the Temple of the Emerald Buddha shows the unique artistic characteristics of Thailand's ancient architecture and is known as the artistic treasure of Thailand's Buddhist architecture, sculpture, and painting. Starting from the influencing factors of the two temples, this paper takes color as

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Ryzhkova, Anna V. "TRANSFORMATION OF CHAN-BUDDHIST MOTIFS IN MONASTERY POETRY OF THE SONG DYNASTY (GENDER ASPECT)." Alfred Nobel University Journal of Philology 1, no. 23 (2022): 107–17. http://dx.doi.org/10.32342/2523-4463-2022-1-23-10.

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There are phenomena of Chan Buddhism as philosophical and religious dogma and embodiment of its rules in the center of the article. Study object is poetry of monks and nuns written during Song dynasty (lyrics of Dumu Jingang, Zhenru, Daoqian and Daoqiang). The study is based on the works of the Chinese (Hu Shih), Ukrainian (N. S. Isaieva), Russian (M.I. Vorobyova-Desyatovskaya, M.S. Ulanov), French (H.Ciхоus, C. Clement), Germany (S. Weigel) and American (N. Miller) researchers. However, in the same time we have noticed lack of the works addressed to analysis of the Chan poetry, its’ themes, i

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Batyreva, K. P., and S. G. Batyreva. "KALMYK ART: LOCAL STYLE OF THE BUDDHIST ICONOGRAFY." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 34 (June 2019): 110–17. http://dx.doi.org/10.17223/22220836/34/10.

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Wang, Ching-Ling. "True Identity." Rijksmuseum Bulletin 66, no. 2 (2018): 100–119. http://dx.doi.org/10.52476/trb.9750.

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In the Rijksmuseum collection there is a painting depicting the Buddhist deity Water-Moon Avalokite´svara. The identification and dating of this painting are complex. It had long been considered to be a Chinese work of the Song Dynasty and dated to the twelfth century; later it was regarded as a Chinese work from the Yuan Dynasty and dated to the fourteenth century; more recently opinion shifted and it was seen as a Korean Buddhist painting from the Goryeo Dynasty and dated to the first half of the fourteenth century. This essay aims to serve as a fundamental research by examining the iconogra

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