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1

Twist, Rebecca L. "Images of the Crowned Buddha along the Silk Road: Iconography and Ideology." Humanities 7, no. 4 (2018): 92. http://dx.doi.org/10.3390/h7040092.

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The interpretation of early Buddha images with a crown has long been a source of debate. Many scholars have concluded that the iconography of the crown is intended to denote Śākyamuni as a cakravartin or universal Buddha. A few have suggested it represents a sambhogakāya Buddha in Mahāyāna Buddhism. This art historical and Buddhological study examines the visual record of early crowned Buddhas along the Silk Road, focusing on the iconographic signifiers of the crown, silk items, and ornaments, and interprets them within a broader framework of Buddhist theoretical principals and practice. Not o
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Soe, Soe Lwin. "A Study of Mudrās of Buddha Images from Philosophical Point of view." Dagon University Research Journal Vol.4, no. 2012 (2019): Pg.39–45. https://doi.org/10.5281/zenodo.3542374.

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This paper is an attempt to show that the Mudrās of Buddha Images in Myanmar are not only religious symbols but also philosophical symbol. Mudrā is a hand style of Buddha image or gesture of Buddha image. It can be regarded as symbols of Buddhist art that convey knowledge about the teaching and life of Buddha. This paper is used descriptive and evaluate method to explain and evaluate the meanings of some Mudrās of Buddha images. This paper contributes to understanding of Myanmar Philosophical symbol and thought.
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Lin, Pei-ying. "The Chinshō Yasha-hō 鎮將夜叉法 and the Adaptation of Tendai Esoteric Ritual". Religions 14, № 8 (2023): 1060. http://dx.doi.org/10.3390/rel14081060.

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This study aims to investigate the ritual of a peculiar scripture entitled Chinshō yasha-hō 鎮將夜叉法 (Ch. Zhenjiang yecha fa. “Tantric Ritual of Chinshō Yakṣa”). The Japanese deity Chinshō Yakṣa is a Tendai variation of Vaiśravaṇa (Ch. Pishamen/Jp. Bishamon 毘沙門), a heavenly king who vowed to protect Buddhism. The ritual of Chinshō Yakṣa is a major ritual in Tendai Esotericism. It has been traditionally accepted that this scripture was transmitted from China. Modern scholarship, however, suspects that this ritual is Saichō’s 最澄 (767–822) invention. This study examines the contents and characters i
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Demenova, Victoria V. "Symbolic and Imaginative Source of Mudra and Asana in Buddhist Art." Izvestia of the Ural federal university. Series 2. Humanities and Arts 27, no. 2 (2025): 224–37. https://doi.org/10.15826/izv2.2025.27.2.033.

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This article reveals the meaning of one of the key elements of Buddhist iconography, i.e. the phenomenon of mudra (folding of fingers) and asana (body posture). The author analyses the terminological diversity of the designation of mudra and associated meanings in research literature, as well as the history of this phenomenon in the culture of India as a source of formation of the principles of Buddhist iconography and imagery. Based on the etymological analysis given by D. Todaro and the history of the development of the phenomenon of mudra and asana in the art of Buddhism, these only externa
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Harriyadi, Harriyadi. "Studi Pendahuluan Bentuk Simbol Penyatuan dalam Tradisi India Kuno yang Ditemukan di Indonesia." AMERTA 39, no. 2 (2021): 113–28. http://dx.doi.org/10.24832/amt.v39i2.113-128.

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Abstract. Preliminary Study Of Unification Symbols Form From Ancient India Tradition Found In Indonesia. Humans and symbols have a bond that cannot be separated from each other because they always appear in a community group. During the Hindu-Buddhist period in Indonesia, various signs related to religion appeared. One of the religious practices that developed is the worship of the union of life. This study aims to identify the form of symbols and the meaning of the worship of the unification of life for the Hindu-Buddhist period. This study was conducted by collecting data on the worship of t
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Lung-Tan, Lu. "Preliminary Exploration of Dharma Mudra and Social Entrepreneurship for Humanistic Buddhism." International Journal of Social Science and Human Research 05, no. 04 (2022): 1236–39. https://doi.org/10.5281/zenodo.6411097.

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Dharma Mudra includes: (1) All phenomena are impermanent; (2) all Dharma are not-self, and (3) the eternity is Nirvana. The purpose of social entrepreneurs is to transform the society, not to make profits. Their spirit is to solve social issues in the way of commercial power and business operation. Venerable Master Hsing Yun spared no effort in promoting Buddhism throughout his life and is a successful social entrepreneur in our views. He believes that the “Buddhism of freeing from desire" may be practiced by a small number of practitioners and monks. On the other hand, the majority
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7

Чандра, Л. "Махадева". Iskusstvo Evrazii [The Art of Eurasia], № 4(35) (25 грудня 2024): 330–35. https://doi.org/10.46748/arteuras.2024.04.020.

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Статья посвящена иконографии Махадевы в девяти значениях этого термина и имени в буддийском искусстве. В статье рассматриваются особенности изображения Махадевы в буддийских сутрах, на колонне Академии искусств Гонолулу, в храме Харити на горе Гопучча (Непал), на главной стене второй галереи Боробудура (Индонезия), в сочинениях «Собрание изображений мудр в Мантраяне», «Пятьдесят пять паломничеств Дзэндзай Додзи», «Изображения и восхваления странствий Судханы в соответствии с наставлениями Манчжушри», научных трудах XX века. Иконографические описания, выполненные на материале многочисленных стр
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Sentot, Santacitto, Uun Triya Tribuce, and Aryanto Firnadi. "The Meaning of Buddhist Statue Symbols In Borobudur, Mendut And Plaosan Temples Based on Buddhist Literature." Eduvest - Journal of Universal Studies 3, no. 1 (2023): 18–33. http://dx.doi.org/10.36418/eduvest.v3i1.715.

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Borobudur, Mendut, and Plaosan temples are representative temples in Buddhist temple architecture in Indonesia. These three temples were built with different backgrounds in their time but have a common function as places of worship. One of the main characteristics in the building of this temple is the presence of Buddha statues with their spiritual function in the religious activities of Buddhists. This research uses qualitative research methods with a phenomenological approach. Data is processed and analyzed with several stages, namely data condensation, data presentation, and drawing conclus
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Sentot, Santacitto, Uun Triya Tribuce, and Aryanto Firnadi. "The Meaning of Buddhist Statue Symbols In Borobudur, Mendut And Plaosan Temples Based on Buddhist Literature." Eduvest - Journal of Universal Studies 3, no. 1 (2023): 18–33. http://dx.doi.org/10.59188/eduvest.v3i1.715.

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Borobudur, Mendut, and Plaosan temples are representative temples in Buddhist temple architecture in Indonesia. These three temples were built with different backgrounds in their time but have a common function as places of worship. One of the main characteristics in the building of this temple is the presence of Buddha statues with their spiritual function in the religious activities of Buddhists. This research uses qualitative research methods with a phenomenological approach. Data is processed and analyzed with several stages, namely data condensation, data presentation, and drawing conclus
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10

Munira, Shahid Rajput. "THE SOURCE, MEANINGS AND USE OF "MUDRA" ACROSS RELIGIONS." International Journal of Interdisciplinary Research in Arts and Humanities 1, no. 1 (2016): 37–42. https://doi.org/10.5281/zenodo.155343.

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This paper traces the origin of the word ‘Mudra’, explains the meaning and focuses on its trans-religious use around the globe. Generally it is believed that the word ‘Mudra’ is associated with Hinduism, Buddhism and Jainism and that it has no meaning for other religions or it is known outside the subcontinent. This research, however, has found that Mudras present in almost all the known religions including Islam.
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11

Bagchi, Tista. "The Signing System of Mudra in Traditional Indian Dance." Paragrana 19, no. 1 (2010): 259–66. http://dx.doi.org/10.1524/para.2010.0017.

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AbstractBody language involving manual gestures of a highly stylized nature is used in traditional Indian dance forms. Termed “Mudras”, such gestures are related to but distinct from “Mudras” in Buddhist and/or Tantric iconography and in Carnatic music of Southern India. The Mudra signs in dance occur in families or classes, which often cut across the basic dichotomy between “combined-hand” and “separate-hand” gestures, and which reflect linguistic and sociolinguistic classes of words and signs, such as question expressions and hierarchically differentiated pronouns, used in the domain of lang
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12

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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13

Kukanova, Viktoria V. "Астрономическая терминология монгольских языков: материалы к этимологическому словарю". Oriental studies 13, № 6 (2020): 1652–66. http://dx.doi.org/10.22162/2619-0990-2020-52-6-1652-1666.

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Introduction. The system of astronomical terms in Mongolic languages is structurally complicated due to multiple layers of both pre-Buddhist and Buddhist beliefs adopted by proto-Mongols. The latter had tended to revere celestial bodies and elaborated a number of cults still traceable in spiritual and material culture of descending nations. Goals. The work aims at identifying Mongolic astronomical terms and provides preliminary analyses of their semantics and etymologies. Materials and methods. The paper focuses on dictionaries of Mongolic languages, examines etymological studies and Turkic di
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14

Yang, Young Sun. "A Study on the Khecarī Mudrā in the Meditation theory of Early Buddhism." Studies of Seon Culture 28 (June 30, 2020): 133–76. http://dx.doi.org/10.24956/ssc.28.4.

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15

Grunin, Igor V. "Trinakirana mudra in Buddhist iconography of Myanmar and Thailand." Orientalistica 1, no. 3-4 (2018): 371–93. http://dx.doi.org/10.31696/2618-7043-2018-1-3-4-371-393.

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16

Dybo, Anna V., Viktoria V. Kukanova, Saglara V. Mirzaeva, Evgeny V. Bembeev, Vladimir N. Mushaev та Vyacheslav N. Khoninov. "Названия неба в монгольских языках: этимология и семантика". Oriental Studies 15, № 6 (2022): 1333–51. http://dx.doi.org/10.22162/2619-0990-2022-64-6-1333-1351.

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Introduction. The articles examines etymologies and semantics of Mongolic words denoting the sky. The system of astronomical terms in Mongolic languages is structurally complicated due to multiple layers of pre-Buddhist, Buddhist and other beliefs adopted by proto-Mongols. Goals. The work aims to identify etymological and semantic dominants characterizing this thematic group within the common Mongolic vocabulary. The concept of sky clusters with most basic ones, and lexemes to denote it are to be found in each and every language. Materials and methods. The study examines dictionaries of Mongol
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17

Reedy, Chandra L., and Terry J. Reedy. "Statistical Analysis in Iconographic Interpretation: The Function of Mudras at Tapho, a Tibetan Buddhist Monastery." American Anthropologist 89, no. 3 (1987): 635–49. http://dx.doi.org/10.1525/aa.1987.89.3.02a00060.

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18

Sinarsari, Ni Made, and I. Wayan Nerta. "MISTISISME MUDRA: RAGAM GERAKAN SPRITUALITAS DALAM DUNIA KESEHATAN." Sanjiwani: Jurnal Filsafat 13, no. 1 (2022): 104–10. http://dx.doi.org/10.25078/sanjiwani.v13i1.1009.

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Mudra sebagai sikap mistik, ritual atau simbolis yang dipraktikkan dari zaman yang sangat tua dalam Buddhisme, Hindu dan budaya timur lainnya. Mudra panggilan untuk keterlibatn seluruh tubuh dilakukan dengan menggunakan jari – jari kedua tangan dan tangan. Setiap jari dihubungkan dengan makna yang khusus dan energi. Jari – jari terdapat lima unsur yaitu udara, air, api, bumi, langit. Mudra memfasilitasi harmonisasi dari lima elemen dalam tubuh manusia. Mudra meningkatkan jiwa manusia dan mendorong individu untukmenggunakan kekuatan ilahi. Mudra dalam polarisasi gerakan spritual sebagai sikap e
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Bhaumik, Gopa, and Mahesh Chandra Govil. "Recognition of Hasta Mudra Using Star Skeleton—Preservation of Buddhist Heritage." Pattern Recognition and Image Analysis 31, no. 2 (2021): 251–60. http://dx.doi.org/10.1134/s1054661821020048.

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Norris, Jennifer. "Tracing the Royal, Romantic and Demonic Roots of the Nio Warrior Guardian." GLOBAL PERSPECTIVES ON JAPAN, no. 4 (March 31, 2021): 92–121. http://dx.doi.org/10.62231/gp4.160001a04.

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The Nio (or Kongo Rikishi 金剛力士) door guardian or dvarapala symbolic figures that guard the famed Todaiji Temple of Nara, trace an ancient history from primitive roots in the narrative figure of the Vajrapani, attendant of the Buddha Shakyamuni across Asia, and even further back. The origins of this figure remain relatively vaguely defined in comparison to the intrigue caused by contemporary and medieval applications of the figure, and this research clarifies some apparent historic connections evidenced through visual symbolism to connect the vajrapani to royalty through the vajra, through dvar
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Joo, Soowan. "The Function of Early Period’s Buddhist Icon and the Advent of Bhumisparsha Mudra Statue -In the focus of the relationship between offering and statue." Art History Journal 50 (June 15, 2018): 203–26. http://dx.doi.org/10.24828/ahj.50.203.226.

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Xing, Wang. "Chinese Esoteric Buddhism (Tang Tantrism)." Database of Religious History, June 27, 2024. https://doi.org/10.5281/zenodo.12572314.

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Before mid-Tang, numerous texts containing Buddhist tantric practices and mantra had arrived in China and they were translated into Chinese. But the systematic and more particular version Esoteric Buddhism did not appear until Emperor Xuanzong's reign. Three Indian Tantric masters Śubhakarasiṃha (善無畏), Vajrabodhi (金剛智) and Amoghavajra (不空), brought the Esoteric Buddhist (later known in Japan as Zhenyan 真言, "true word", "mantra") tradition from 716 to 720 during the reign of Emperor Xuanzong. Tantra/Esoteric Buddhism that has spread in Tang China and was transmitted to Japan during the same per
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Xing, Wang. "Chinese Esoteric Buddhism (Tang Tantrism)." Database of Religious History, June 27, 2024. https://doi.org/10.5281/zenodo.12573450.

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Before mid-Tang, numerous texts containing Buddhist tantric practices and mantra had arrived in China and they were translated into Chinese. But the systematic and more particular version Esoteric Buddhism did not appear until Emperor Xuanzong's reign. Three Indian Tantric masters Śubhakarasiṃha (善無畏), Vajrabodhi (金剛智) and Amoghavajra (不空), brought the Esoteric Buddhist (later known in Japan as Zhenyan 真言, "true word", "mantra") tradition from 716 to 720 during the reign of Emperor Xuanzong. Tantra/Esoteric Buddhism that has spread in Tang China and was transmitted to Japan during the same per
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Lu, Lung-Tan. "Preliminary Exploration of Dharma Mudra and Social Entrepreneurship for Humanistic Buddhism." International Journal of Social Science and Human Research 05, no. 04 (2022). http://dx.doi.org/10.47191/ijsshr/v5-i4-06.

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Dharma Mudra includes: (1) All phenomena are impermanent; (2) all Dharma are not-self, and (3) the eternity is Nirvana. The purpose of social entrepreneurs is to transform the society, not to make profits. Their spirit is to solve social issues in the way of commercial power and business operation. Venerable Master Hsing Yun spared no effort in promoting Buddhism throughout his life and is a successful social entrepreneur in our views. He believes that the “Buddhism of freeing from desire" may be practiced by a small number of practitioners and monks. On the other hand, the majority of sentien
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Chantana, Insra. "Buddha Images in Mudras Representing Days of a Week: Tactile Texture Design for the Blind." July 4, 2016. https://doi.org/10.5281/zenodo.1126107.

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The research “Buddha Images in Mudras Representing Days of a Week: Tactile Texture Design for the Blind” aims to provide original tactile format to institutions for the blind, as supplementary textbooks, to accumulate Buddhist knowledge, so that it could be extracurricular learning. The research studied on 33 students with both total and partial blindness, the latter with the ability to read Braille’s signs, of elementary 4 – 6, who are pursuing their studies on the second semester of the academic year 2013 at Bangkok School for the Blind. The researcher opted samples s
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Zhou, Guangrong. "试论梵语声字在般若经典中的形态与功能 On the Form and Function of Sanskrit Akṣara in Prajñā-pāramitā-Sūtras and Śāstras". Acta Orientalia 80 (7 січня 2022). http://dx.doi.org/10.5617/ao.9397.

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内容提要梵语“阿剎罗”(akṣara)一词在印度古代文化背景中具有哲 学、语言学两个方面的意义。从哲学层面言之,akṣara 一词具有不灭、不朽之义,因而用来指称常住不灭的终极存在;就语言 学层面而言,其义项为不可分析、不可拆分之义,通常指音节、字母,即梵语言文字最根本的拼读、书写单位。在汉译佛 典中,“阿剎罗”通常被译作声字、字、字本、字母,以陀罗尼、真言、明、咒、秘密语等形式,在以《般若经》为代表的大乘 佛教经典中有广泛应用。《般若经》是出现最早的大乘佛典,是大乘佛教成立的标 志;自公元前后起般若类经典一直在不断地增广,到十三世纪 前后仍有相应的新经典产生,堪为大乘佛教发展演变的活化 石。在早期般若经典中,声字是以陀罗尼的形式出现的。其中 最根本、最典型的陀罗尼,即是被称为陀罗尼门的四十二字 门。从其语言学属性来看,四十二字是犍陀罗语的根本字母或 字母表,这种字母最初是用佉卢文来书写的;从义理层面来 看,四十二字门诠表的法义是初期大乘佛教义的浓缩与集粹。六、七世纪以后,随着秘密佛教的兴起,梵语声字在新出现的 般若类经典中应用的更为普遍,其形态也更为多样,其功能也 越来越丰富。在初期的密教经典《金刚大道场经》中,编纂者 将此期依据般若类经典发展出的印咒法门都为一集。伴随着佛 教秘密化倾向的加剧,七、八世纪出现了依般若经成立的秘密 经法,如理趣经法、仁王经法等。在理趣经法中,梵语声
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Sparavigna, Amelia Carolina. "The Ruins of the Buddhist Temples in the Progo Valley, Borobudur, Mendut and Pawon, Described by Isaac Groneman in his Book of 1912." PHILICA, ISSN 1751-3030 2017, no. 1204 (2017). https://doi.org/10.5281/zenodo.4985284.

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Here we discuss the book entitled Ruins of Buddhistic Temples in Praga Talley: Tyandis Barabudur, Mendut and Pawon (available at archive.org/details/ ruinsofbuddhisti00gronrich), written by Isaac Groneman and published by H.A. Benjamins, Semarang, in 1912. We discuss in particular the Groneman s observations concerning the orientation of the temples, in reference to the path of the sun, and the descriptions of the statues, in particular those concerning the mudras of Buddha. As a reader can easily see, the Groneman s book is an outstanding report about the temples of Mendut, Pawon and Borobudu
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Agarwal, Rimpy. "SIGNIFICANCE AND ASPIRATION OF POSTURES AND GESTURES IN INDIAN ICONOGRAPHY." ShodhKosh: Journal of Visual and Performing Arts 5, no. 1 (2024). http://dx.doi.org/10.29121/shodhkosh.v5.i1.2024.1564.

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The inception of Indian art has been inextricably linked to religious expression. The ancient cave temples and sculptures of India offer a glimpse into the country's rich artistic heritage, featuring a wide range of gods, goddesses, and yogis depicted in various forms and styles. In India, yoga has long been revered as the premier means of achieving meditation and spiritual connection. The representation of Buddha in Indian sculpture predominantly features yogic iconography, a trend also observed in the depiction of Hindu deities such as Shiva, Vishnu, and Jain Tirthamkara. Legend has it that
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