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Academic literature on the topic 'Buddhist wood sculpture'
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Journal articles on the topic "Buddhist wood sculpture"
1
Xiao, Wei. "The Technique of Creating Buddhist Polychrome Sculpture." Scientific and analytical journal Burganov House. The space of culture 15, no. 3 (September 10, 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 protection. The first comprehensive and detailed analysis of the technology for creating Chinese traditional Buddhist polychrome sculpture is presented in the article.The subject-matter of the artworks, the characteristics of the material used to create them, and the sculpting methods are fully analyzed through the method of a thorough study of the current state of the preserved polychrome sculpture in the Shuanglin Monastery. Two thousand and fifty-four statues of polychrome sculpture, the main of which are Buddha (佛祖), Bodhisattva (菩萨), Heavenly Kings (天王) and Arhat (罗汉) are preserved in the monastery. They are divided into two large groups: circular form sculptures and bas-reliefs. Clay, wood, water, straw, and mineral pigments are the main materials used for the creation of Buddhist polychrome sculptures. Modeling and polychrome painting are two main technologies in the process of making sculptures. Modeling consisted of creating a frame, applying coarse clay and sculpting a large-scale figure, applying medium density clay, applying thin layers of clay and creating details, whitening, bas-relief painting with the chalk-glue mixture, gilding, painting, etc. From the point of view of form, the ancient Chinese Buddhist polychrome sculpture as a work of religious art had to correspond to Buddhist canons. Before starting the process of creating a statue, a craftsman had to make a sketch. During modeling, an artist was guided by the secrets of the craft passed down orally from a teacher to his student and summarized as a technical guide by his predecessors. Statue of Skanda. Dynasty Min. Shuanglin Buddhist polychrome sculpture as a form of fine art with an elaborated form and rich spiritual content perfectly combines technology and artistry.
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Kuśnierz-Krupa, Dominika, and Oleksandr Ivashko. "TRANSFORMATION OF BORROWED PHENOMENA: THE BUDDHIST FRESCO IN DUNGHUAN AND THE ARCHITECTURE OF THE MOSQUES OF SHAANXI PROVINCE IN CHINA." Spatial development, no. 6 (December 26, 2023): 53–62. http://dx.doi.org/10.32347/2786-7269.2023.6.53-62.
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The purpose of the article is to analyze the phenomenon of borrowing without being limited by a specific style, and on the basis of this to argue at which hierarchical level the transformation took place: at the level of composition, form or decor.
The relevance of the research topic is determined by the need to analyze how local cultural and artistic traditions influenced the transformation of borrowed styles and what exactly the phenomenon of transformation consisted of, whether it was the same for several borrowed styles.
As a result of the study of wall paintings in different periods, it was established that, according to the figurative concept of Dunhuang, the transformation was as follows:
– a departure from the original Indian frescoes by complicating the compositions in the direction of three-dimensionality and polymorphism, diversifying polychromy, anatomical perfection, detailing and giving the image a national color through portrait images of founders in Chinese clothes, scenes from their lives, landscape images;
– therefore, in the Dunhuang frescoes, the transformation was focused on the planar images of the fresco (the role of ritual sculpture in the Dunhuang sanctuaries was much smaller).
Despite the fact that Islam never competed with Buddhism, Taoism and Confucianism in terms of the number of believers in China, the rulers were friendly towards the construction of mosques. However, they are clearly dominated by Chinese traditions:
– there are much more courtyards than in traditional mosques, and they are landscaped according to Chinese landscape design and have ponds with fish (this is a purely Chinese tradition);
– the appearance of the pavilions and gates is purely Chinese: pavilions with a traditional Chinese silhouette, curved roofs with tiled roofs, complex multi-level eaves, open galleries on pillars, the use of traditional Chinese building materials (stone, brick, wood, tiles), bright polychromy, small detailing.
So, in the case of mosques as well, Chinese culture radically changed their appearance, giving them maximum similarity with the temples of traditional religions.
Thus, the transformation took place equally at all levels – planning, landscape design, three-dimensional form, plane with wall paintings and carvings.
Later, this style manifested itself in the transformation of European Art Nouveau, which was also superimposed on local traditions.
3
Бороноева, Т. А. "From the dynasty of blacksmiths-darkhans: about the work of the Buryat sculptor Geser Zodboev." Iskusstvo Evrazii [The Art of Eurasia], no. 3(30) (September 30, 2023): 46–57. http://dx.doi.org/10.46748/arteuras.2023.03.004.
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Статья посвящена творчеству бурятского скульптора Гэсэра Зодбоева (1963–2007), потомственного кузнеца-дархана. Его дальний родственник — выдающийся буддийский скульптор, художник и философ Санжи-Цыбик Цыбиков, который стоял у истоков уникальной школы «оронгойских» мастеров. Семья Гэсэра Зодбоева — продолжатели народных традиций и профессиональные художники: отец, Батор Гармаевич, и дядя были резчиками по дереву. Его творчество глубоко национально и восходит в своей стилистике к древним истокам. Исследование с использованием метода сравнительного искусствоведческого анализа показало, что образы Гэсэра Зодбоева тесно связаны с автохтонными художественными традициями центральноазиатских и бурятских кузнецов, плотников, ремесленников. Культурное наследие кочевников Великой Степи сохраняет код древнего искусства в орнаментальных узорах и рисунках начиная со времен петроглифов. Г. Зодбоев — художник цельный и в своем творчестве воплотил лучшие традиции бурятского народного искусства. The article presents an analysis of the work of the Buryat sculptor Geser Zodboev (1963–2007), a hereditary darkhan-blacksmith. His distant relative is the outstanding Buddhist sculptor, artist and philosopher Sanzhi-Tsybik Tsybikov, who stood at the origins of the unique school of “Orongoy” masters. Gesar Zodboev's family is creative: his father, Bator Garmaevich Zodboev, and his uncle were artists — wood carvers. His work is deeply national and goes back in its style to ancient origins. The images of Geser Zodboev are closely connected with the autochthonous artistic traditions of Central Asian and Buryat blacksmiths, carpenters, and artisans. The cultural heritage of the nomads of the Great Steppe preserves the code of ancient art in ornamental patterns and drawings, starting from the time of petroglyphs. G. Zodboev is an integral artist and in his work he embodied the best traditions of the Buryat folk art. The study is based on the method of comparative art history analysis.
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Morawski, Krzysztof. "O roli krisów w kulturze Indonezji i teoriach dotyczących ich powstania." Art of the Orient 1, no. 1 (2012): 181–200. http://dx.doi.org/10.15804/aoto201211.
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As the dagger kris is bound with many beliefs, myths, rituals and customs that are typical of Nusantara (Indonesia, Malaysia and the Philippines), it belongs to the symbols of the region. The kris is present on the majority of bigger islands of the Malay Archipelago and has many regional versions. It has a double-edged blade, straight or wavy, and dissymmetrical in the upper part. On both flats of the blade there is a bright, decorative pattern called the pamor (it contains some nickel), which is produced in a process similar to damascening. The hilt is figural or geometrical or sometimes of plant form and is often decorated with a relief. The hilts and sheaths are made of lacquered wood, and now and then of other materials (e.g. ivory or bone). Additionally, there are covers and rings of precious metals or alloys that are often set with precious stones or glass. It was believed that magical forces (ascribed to the kris) are sealed within in it during the ceremony of consecration by the smith empu. Also, the process of making the kris is treated as a sacred act. Believing in the magical powers of the kris originates from animism, i.e. from the epoch former to the Indic influence (from about the 4th century AD), which brought Buddhism and Hinduism to Indonesia. Elements of the animistic belief has remained there despite the coming of Islam to Java by the 16th century. The kris used to be transferred from father to son and it has belonged to the pusaka (Javanese: “heritage”) along with other weaponry, instruments of the traditional orchestra gamelan (gongs included), jewelry, textiles, old sculptures and porcelain. Apart from its role as a weapon (this role disappeared first), the kris has been a symbol of social status, an element of a man’s ceremonial costume, a talisman, and a ritual subject. It has existed in its fully developed form at least since the 14th century, and in the 2nd half of that century it spread to nearly all the Malaya Archipelago. It was supposed that the kris came from Java, or - according to other versions - China, Southeast Asia or India. There were theories that it had developed from a ray’s sting or from a spearhead. Nowadays one accepts the G.C. Woolley theory from 1947 that the kris traces its origin back to the small kris-talisman called sajen or Majapahit kris. Next, according to the new theory by A. Maisey (from the 1990ies), it was a big war-kris called buda that gave rise to the contemporary kris. Nevertheless, there is an idea that the kris may have originated as a fusion of both types, because it unites their features within itself.
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Tazuru, Suyako, Mechtild Mertz, Takao Itoh, and Junji Sugiyama. "Wood identification of Japanese and Chinese wooden statues owned by the Museum of Fine Arts, Boston, USA." Journal of Wood Science 68, no. 1 (March 3, 2022). http://dx.doi.org/10.1186/s10086-022-02020-x.
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AbstractPrecious cultural assets of East Asia are found worldwide and hold many important art-historical meanings, for example Buddhist statues. In this study, we conducted wood identification of Japanese and Chinese statues owned by the Museum of Fine Arts, Boston, USA. From the eight Japanese wood sculptures and one Chinese sculpture, 15 samples were collected. The anatomical features of these 15 samples were scrutinized using synchrotron X-ray microtomography or conventional optical microscopy. The results showed that the eight Japanese statues were made from Chamaecyparis obtusa, except for the base of one Japanese statue that was made from Cryptomeria japonica. Both species are important conifers in Japan. In contrast, the Chinese statue was made from hardwood, Paulownia sp.
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Zhong, Bochao, Chengquan Qiao, Dongyoung Yoo, Decai Gong, and Yuxuan Gong. "Analysis of the materials and processes of hanging sculptures in Guanyin Hall." Heritage Science 12, no. 1 (January 2, 2024). http://dx.doi.org/10.1186/s40494-023-01112-1.
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AbstractChangzhi Guanyin Hall, a folk temple from the Ming Dynasty, embodies the essence of the ‘unity of the three religions’ philosophy, centred around Guanyin Bodhisattva. Over 500 sculptures reside within a modest 70 m2 space, encompassing representations from Confucianism, Buddhism and Taoism. Ranging from a towering 2 m to a mere 10 cm, these sculptures depict an array of characters and mythological scenes, bestowing considerable importance upon the painted sculptures of Guanyin Hall. Varying degrees of deterioration have affected these sculptures due to the passage of time and suboptimal preservation conditions, highlighting the imperative need for meticulous restoration efforts. However, the absence of comprehensive analyses pertaining to the production process of Guanyin Hall sculptures has hindered the restoration groundwork. This study focuses on fallen hanging sculptures and debris, encompassing intact sculptures, clay fragments, wooden sticks, plant fibres, wires and pigments. Employing a series of techniques, including X-ray photography, microscopic analysis, mineral analysis (MLA), laser particle size testing, ion chromatography, X-ray fluorescence spectroscopy (XRF), X-ray diffractometer (XRD) and energy dispersive spectrometer (SEM–EDS) analysis, this research characterises the constituent materials used in crafting these artifacts. Instead of a full-body skeleton, the findings reveal that the small hanging sculpture is supported by delicate wires that hold specific areas, such as the arms and the gown hems. The hanging sculptures are made from a single type of clay and are reinforced with either mulberry bast or wheat straw fibres. A Pinaceae wood stick affixes the head to the body, and the sculpture is then suspended on the wall through nails inserted into the feet. The moulded clay undergoes a sequence of carving, drying and polishing and is coated with a white ash layer before receiving intricate painting. Mineral pigments, including cinnabar, red lead, iron red, cerussite, atacamite, brochantite and azurite, adorn the surface of the sculptures, with gold foil embellishing the golden elements. The intricate artisanry and multifaceted material composition of Guanyin Hall’s painted sculptures render them unparalleled artistic treasures, not solely within Shanxi but across the entire nation. Furthermore, this study establishes a dependable foundation for conservation and restoration endeavours.
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Батырева, Светлана Гарриевна. "Buddhist image in the folk traditions of female crafts." Искусство Евразии, no. 4(11) (December 27, 2018). http://dx.doi.org/10.25712/astu.2518-7767.2018.04.007.
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Статья посвящена локальному своеобразию калмыцкого женского рукоделия – произведений буддийского искусства, выполненных в технике аппликации и лицевого шитья. Автор отмечает особенности этой синкретичной формы искусства, ее культурный потенциал, художественно-прикладное и культовое значение. Отмечена специфика калмыцкой вышивки цветной шерстяной нитью, комбинированной техники шелковой аппликации и стачивания цветных шнуров, тесьмы и позументов, кантов и подкладного фона вышивки. Автор подчеркивает параллели живописных, скульптурных, аппликативных и вышитых произведений с архитектоникой храмов, создающие целостный художественный ансамбль. The article is devoted to the local originality of Kalmyk women's needlework – works of Buddhist art, made in the technique of application and facial embroidery. The author notes the features of this syncretic art form, its cultural potential, artistic, applied and cult significance. The specificity of the Kalmyk embroidery with colored wool thread, the combination of silk application technique and the stitching of colored cords, braid and braids, edgings and backing embroidery background are noted. The author emphasizes the parallels of pictorial, sculptural, applicative and embroidered works with the architectonics of temples, creating a holistic artistic ensemble.
Books on the topic "Buddhist wood sculpture"
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Pančhaphan, Nǣngnō̜i. The soul of Isan wood carving. Bangkok, Thailand: Rerngrom Pub. Co., 1993.
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Pančhaphan, Nǣngnō̜i. The charm of Lanna wood carving. Bangkok: Rerngrom Pub. Co., 1994.
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Moilanen, Irene. Last of the great masters?: Woodcarving traditions in Myanmar-- past and present. Jyväskylä: University of Jyväskylä, 1995.
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5
Japan) Shinpojūmu "Butsuzō to Ki no Kōryū" (2015 Tokyo. Seijō Gakuen sōritsu 100-shūnen kinen Shinpojūmu hōkokusho, butsuzō no jushu kara kangaeru kodai ichiboku chōzō no nazo. Tōkyō: Tōkyō Bijutsu, 2015.
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6
1931-, Ōkubo Kenji, Kojima Teiji, and Kōbe Shinbunsha, eds. Mokujiki: Shomin shinkō no mishōbutsu : seitan 290-nen. Ōsaka-shi: Tōhō Shuppan, 2008.
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Hakubutsukan, Nagoya-shi, Sendai-shi Hakubutsukan, and Hokkaidōritsu Kindai Bijutsukan, eds. Enkū-san. [Nagoya-shi: Chūnichi Shinbunsha?], 2005.
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8
Enkū. Tōkyō Kokuritsu Hakubutsukan 140-shūnen, Tokubetsuten, Hida no Enkū: Senkōji to sono shūhen no sokuseki = Enku's Buddhas : sculptures from Senkoji Temple and the Hida Region. [Tokyo]: Yomiuri Shinbunsha, 2013.
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1967-, Lamers Jeroen Pieter, Etnografisch Museum (Antwerp Belgium), and Antwerpen Open, eds. Enkū, 1632-1695: Timeless images from 17th century Japan : Etnografisch Museum Antwerpen, 5 May-29 August 1999. Antwerpen: Etnografisch Museum, 1999.
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