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Relevant bibliographies by topics / Painting, Buddhist

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Journal articles
Dissertations / Theses
Books
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Academic literature on the topic 'Painting, Buddhist'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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Journal articles on the topic "Painting, Buddhist"

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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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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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Ilangasingha, I. M. T. "Literary Association in the Subject of Painting the Maya Dream: A Study of Literary Documents and Wall Paintings." Vidyodaya Journal of Humanities and Social Sciences 08, no. 01 (2022): 80–92. http://dx.doi.org/10.31357/fhss/vjhss.v08i01.06.

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After Buddha's parinirvana, the Buddha's teachings were written down in Pali. Buddhist literature has emerged from the fusion of the early Buddhist period, contemporary Brahmanism and post- Buddhist sects that later spread. The prominent subjects of Buddhist literature are the character of Buddha, Buddhist history and Jataka stories. After the Mahindagamana, Sri Lankan literary art and Wall painting were formally established with the support of the state. Buddhism was a leading proposition for the classical literature of the Anuradhapura and Polonnaru periods. Artists inspired by that literatu

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Jeong, Myounghee. "The Representation of Women in Kamnodo of the Chosŏn Dynasty and Its Significance." Korean Journal of Art History 323 (September 30, 2024): 37–68. http://dx.doi.org/10.31065/kjah.323.202409.002.

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In the Buddhist paintings known as Nectar Ritual Painting (Kamnodo 甘露圖), which depicts the ritual of food offering (sesik 施食) for hungry ghosts (agwi 餓鬼), there are various representations of women, including nuns and laywomen, engaged in different roles. Although Chosŏn society was built upon Neo-Confucian ideals that imposed restrictions on women's religious activities, Buddhism, which promote religious practice without gender discrimination, offered female practitioners a sense of equality, fulfillment in their vows, and liberation. Of the seventy known works of Kamnodo, around forty featur

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Jung, Yu Ra. "A Study on Buddhist Paintings of Iksan in Mordern Era." RESEARCH INSTITUTE FOR THE MAHAN-BAEKJE CULTURE 44 (December 31, 2024): 170–203. https://doi.org/10.34265/mbmh.2024.44.170.

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This paper aims to identify the current state of Buddhist paintings in the Iksan region with a particular focus on temples as well as introduce a variety of works. Additionally, it examines the hwaseung (monk painters) who participated in the creation of these Buddhist paintings through the analysis of hwagi (painting inscriptions) recorded on the artworks. Although there is a relatively small number of extant Buddhist paintings in the Iksan area, with 20 works across eight sites, this study attempts to address gaps in previous research by exploring the connection between the number of works a

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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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Cai, Zong-Qi, and Stephen Roddy. "The Philosophical Proposition “A Piercing Glance Elevates the Mind” and the Buddhist Thought in Zong Bing's “Preface to the Painting of Landscape”." Journal of Chinese Literature and Culture 10, no. 2 (2023): 297–335. http://dx.doi.org/10.1215/23290048-10767961.

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Abstract “A Piercing Glance Elevates the Mind” is a philosophical proposition offered by Zhou Yong (?–493) in his debate with Zhang Rong (444–497) over the similarities and differences between Daoism and Buddhism. The appearance of this previously unknown proposition shows that as early as the Liu-Song dynasty (420–479) writers already went beyond the limitations of the native Chinese conception of “image” (xiang) and consciously applied Buddhist concepts to come to new understandings of the objects, methods, and effects of the visual sense and to probe their transcendental religious significa

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Bertschinger, Dolores Zoé. "Die Lebenslegende Milarepas als „Wimmelbild“." Asiatische Studien - Études Asiatiques 78, no. 2 (2024): 267–310. http://dx.doi.org/10.1515/asia-2024-0003.

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Abstract In this article I present a systematic approach to the study of traditional Tibetan Buddhist murals painted in the second half of the 20th century. For more than 20 years there have been calls in Tibetan studies and Tibetan art history to research contemporary Tibetan Buddhist art. Although there have been a number of contributions on modern Tibetan art, where and how today traditional Tibetan Buddhist paintings are produced and received in monastic contexts is far less the subject of research. I therefore present the example of a mural in a Tibetan Buddhist monastery in Kathmandu pai

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Kim, A.-Reum. "The Buddhist Temple and Buddhist Painting of Bogwangsa Temple in Paju in 1898." RESEARCH INSTITUTE FOR THE MAHAN-BAEKJE CULTURE 39 (June 30, 2022): 302–31. http://dx.doi.org/10.34265/mbmh.2022.39.302.

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Bogwangsa temple (普光寺) located at the foot of Goryeongsan mountain, Paju city, Gyeonggi province is well-known as the temple dedicated to Soryeongwon(昭寧園), the tomb of Sukbin Ms Choi (淑嬪崔氏, 1670-1718), mother of King Yeongjo(英祖, r. 1724-1776) in late Joseon Dynasty. At the same time, the temple had long been closely related with the royal family of Joseon Dynasty, serving as the temple for royal family members. The year 1898 was one of the important occasions when constructions and repairs of the structures of the temple had been made throughout the history. In 1896, Inpa Yeonghyeon(仁坡英

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Saso, Michael, Ishida Hisatoyo, and E. Dale Saunders. "Esoteric Buddhist Painting." Buddhist-Christian Studies 10 (1990): 302. http://dx.doi.org/10.2307/1390226.

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Dissertations / Theses on the topic "Painting, Buddhist"

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Bayle, Beatrice. "Conserving mural paintings in Thailand and Sri Lanka : conservation policies and restoration practice in social and historical context /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7144.

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Green, Alexandra Raissa. "Buddhist narrative in Burmese murals." Thesis, SOAS, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367563.

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Tsai, Hsing-li. "Ch'en Hung-shou's "Elegant Gathering" a late-Ming pictorial manifesto of Pure Land Buddhism /." online access from Digital dissertation consortium, 1997. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9827494.

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Maudsley, Catherine Ruth. "Ritual meanings of "water and land" : a study of Buddhist cermonial paintngs [sic] of the Song and Yuan dynasties /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19882166.

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Suwannakudt, Phaptawan. "The Elephant and the Journey: A Mural in Progress." Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/1101.

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The Elephant and the Journey is about what and how people see in the land and how this is expressed through art forms. The dissertation consists of three main parts. The first in the introduction explains the use of the narrative figuration form in Thai temple mural painting in my practice, and how I used it to apply to the contemporary context in Australia. The second concerns three main groups of work including Australian landscape paintings in the nineteenth century, aboriginal art works and Thai mural painting, which apply to the topic of landscape. The second part in Chapters I and II

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Suwannakudt, Phaptawan. "The Elephant and the Journey: A Mural in Progress." University of Sydney, 2005. http://hdl.handle.net/2123/1101.

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Master of Visual Arts<br>The Elephant and the Journey is about what and how people see in the land and how this is expressed through art forms. The dissertation consists of three main parts. The first in the introduction explains the use of the narrative figuration form in Thai temple mural painting in my practice, and how I used it to apply to the contemporary context in Australia. The second concerns three main groups of work including Australian landscape paintings in the nineteenth century, aboriginal art works and Thai mural painting, which apply to the topic of landscape. The second

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Wu, Ming-Kuo. "The Jataka tales of the Mogao Caves, China in anthropological perspective." Online access for everyone, 2008. http://www.dissertations.wsu.edu/Dissertations/Spring2008/m_wu_041808.pdf.

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Lin, Fan 1972. "Visual images of Vimalakīrti in the Mogao caves (581-1036)." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98553.

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This thesis examines the visual images of Vimalakirti, an ancient Indian lay Buddhist, painted on the walls of the Buddhist cave complex at Dunhuang, Gansu province, between 581 and 1036. The sixty-nine Vimalakirti, paintings preserved at Dunhuang are a valuable source for the exploration of historical, religious, and artistic dimensions of wall paintings and sutras. These visual images, together with other textual sources such as sutras, commentaries, and inscriptions, suggest a variety of interesting questions: Why was this theme repeatedly represented? Do the images all have the same protot

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Ker, Yin. "Figurer, voir et lire l’insaisissable : la peinture manaw maheikdi dat de Bagyi Aung Soe (1923/24–1990)." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040144.

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Héritier de l’universalisme humaniste de Rabindranath Tagore par sa formation à Śāntiniketan en Inde, le ditpère de l’art moderne birman Bagyi Aung Soe (1923/24–1990) se consacra à figurer les réalités ultimes enfonction des enseignements bouddhiques. Pour ce faire, il mit au point un langage pictural qu’il baptisa lapeinture « manaw maheikdi dat » qui signifie la création artistique par la culture mentale. Ses référencesvisuelles, variant de la physique à l’ésotérisme bouddhique, de la culture populaire à la poésie, comprennent toutce qui fut à sa portée intellectuelle et spirituelle dans la

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Prostak, Michaela Leah. "Monstrous Maternity: Folkloric Expressions of the Feminine in Images of the Ubume." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3714.

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The ubume is a ghost of Japanese folklore, once a living woman, who died during either pregnancy or childbirth. This thesis explores how the religious and secular developments of the ubume and related figures create a dichotomy of ideologies that both condemn and liberate women in their roles as mothers. Examples of literary and visual narratives of the ubume as well as the religious practices that were employed for maternity-related concerns are explored within their historical contexts in order to best understand what meaning they held for people at a given time and if that meaning has chang

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Books on the topic "Painting, Buddhist"

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Chakraverty, Anjan. Sacred Buddhist painting. Tiger Books, 1998.

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Chakraverty, Anjan. Sacred Buddhist painting. Lustre Press, 1998.

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Chakraverty, Anjan. Sacred Buddhist painting. Lustre Press, 1998.

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Khan, M. Nasim. Buddhist paintings in Gandhara. M. Nasim Khan, 2000.

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Yem, Sothon, ed. Buddhist painting in Cambodia. River Books, 2009.

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1940-, Jayasinghe Gamini, ed. The Buddha and his teachings. Lever Brothers Cultural Conservation Trust, 1987.

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Jayasinghe, Gamini. The grandeur of Sinhala Buddhist art. Sarvodaya Vishva Lekha, 2003.

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Lyons, Elizabeth. Thai traditional painting. 4th ed. Promotion and Public Relations Sub-Division, Fine Arts Dept., 1990.

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Hwang, Pyŏng-jin. Hanʾguk Purhwa tobon. Hwang Pyŏng-jin, 1993.

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Hwang, Pyŏng-jin. Hanʼguk Purhwa tobon. Hwang Pyŏng-jin, 1993.

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Book chapters on the topic "Painting, Buddhist"

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Lee, Hwa Soo, You Na Song, Gyu Seong Han, and Kyeong Soon Han. "Analysis and Diagnosis of the Buddhist Wall Paintings in the Josadang Shrine, Buseoksa Temple, Korea." In Conservation and Painting Techniques of Wall Paintings on the Ancient Silk Road. Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4161-6_15.

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Compareti, Matteo. "The Representation of Non-Buddhist Deities in Khotanese Paintings and Some Related Problems." In Silk Road Research Series. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7602-7_7.

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Taniguchi, Yoko. "Cultural Identity and the Revival of Values After the Demolishment of Bamiyan’s Buddhist Wall Paintings." In The Future of the Bamiyan Buddha Statues. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51316-0_4.

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Gu, Yanran. "The Story within the Paintings of Kadikawa Temple: A Study of Buddhist Filial Piety Culture." In Advances in Social Science, Education and Humanities Research. Atlantis Press SARL, 2025. https://doi.org/10.2991/978-2-38476-384-9_95.

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Bayerová, Tanja. "Wall paintings in the Buddhist temple complex at Nako, North India: two years of environmental monitoring." In Konservierungswissenschaften und Restaurierung heute. Böhlau Verlag, 2010. http://dx.doi.org/10.7767/boehlau.9783205790648.279.

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Colombo, Fabio, and Elisa Pannunzio. "The Archaeological Sites of Bamiyan Valley—Conditions and Possible Interventions from a Conservative Perspective." In Research for Development. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-54816-1_4.

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AbstractThe following paper contains a detailed condition assessment of the main Bamiyan Valley’s archaeological sites that have been visited from February 19th to 22nd, 2023, on behalf of UNESCO and of the Japan Archaeological Mission in Afghanistan. The survey involved all the main archaeological sites of the Bamiyan Valley: the main cliff with the giant Buddhas and many caves, the Kakrak and Folladi Valleys, Shahr-e Gholghola and Shahr-e Zohak. The purpose was to assess their current condition and to define priorities for immediate response actions, to prevent vandalic actions, the collapse

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Egel, Ellen, Stefan Simon, Toralf Gabsch, and Ina Reiche. "A Summary on Material Research on Buddhist Mural Paintings from the Northern Silk Road – Pigment Degradation and Laboratory Simulation of their Alteration Mechanisms." In Archaeology and Conservation along the Silk Road. Böhlau Verlag, 2018. http://dx.doi.org/10.7767/9783205200468.109.

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Gyatso, Janet. "Reading Paintings, Painting the Medical, Medicalizing the State." In Being Human in a Buddhist World. Columbia University Press, 2015. http://dx.doi.org/10.7312/columbia/9780231164962.003.0001.

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"1. READING PAINTINGS, PAINTING THE MEDICAL, MEDICALIZING THE STATE." In Being Human in a Buddhist World. Columbia University Press, 2015. http://dx.doi.org/10.7312/gyat16496-005.

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"Chapter One. Longmian Chan and the foundation of LI Gonglin’s buddhist learning." In Painting Faith. BRILL, 2007. http://dx.doi.org/10.1163/ej.9789004160613.i-438.9.

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Conference papers on the topic "Painting, Buddhist"

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FANG, Qin. "Interpretation of the Artistic Spirit of Buddhist Painting of Xia Jingshan." In 2022 International Conference on Social Sciences and Humanities and Arts (SSHA 2022). Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220401.128.

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Jia, Ruo. "Cloud as an Alternative Architecture." In 109th ACSA Annual Meeting Proceedings. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.am.109.45.

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In A Theory of /Cloud/ (1972), the cloud, or rather, the graph of cloud, served as the entry point of the French art historian and theorist Hubert Damisch (1928-2017) in his understanding of the limits of Western art and art history as framed since the Renaissance. Here he initiated another possibility of painting—a “theory” of painting, which he simultaneously termed “a history of painting”—by concluding the book with an examination of Chinese landscape painting. Participating in the sinophelia of French intellectuals that accompanied the Chinese Cultural Revolution launched by Mao, Damisch’s

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Voytishek, E. E., A. V. Zinchenko, and Yao Song. "“Ten virtues of incense” in Buddhist Tradition of China and Japan." In IV Международный научный форум "Наследие". SB RAS, 2023. http://dx.doi.org/10.25205/978-5-6049863-7-0-10-30.

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This article is based on the text known as “Ten Virtues of Incense” (香十德 Xiang shí de) written during the Song dynasty (960–1279). In this text, the fundamental functions of incense, manifesting in everyday life and Buddhist ceremonies, are listed in a metaphorical form. This short text, consisting only of 40 Chinese characters, over time, has become one of the fundamental works of traditional Chinese and Japanese culture, exerting its influence on the Chan and Zen practices of Buddhist masters, as well as on the arts of tea and incense. The question of authorship adds extra intrigue to the ph

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Ferrari, Edoardo Paolo. "Of Earth, Stone and Wood: The Restoration and Conservation of a Buddhist Temple in Ladakh, Indian Himalayas." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.14377.

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The Dukhang Yokma is a small Buddhist temple part of the Ensa monastery in the Nubra river valley in Ladakh. The Dukhang was severely damaged by water infiltration soon after its construction at the be- ginning of the 20th century. Water seepage through its stone and mud mortar plinth caused a gradual bulging of the foundations which was followed by a steady shift of the whole structure. In the course of several decades this shift became irreversible and gradually damaged most of the masonry structure. The building had been neglected for several years before an active interest in its preservat

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Shi, Ying. "The Influence of Buddhism on Qigong’s Paintings." In Proceedings of the International Conference on Contemporary Education, Social Sciences and Ecological Studies (CESSES 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/cesses-18.2018.97.

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M., KUDINOVA, KOMISSAROV S., and SOLOVIEV A. "THE CULTURE OF NORTHERN QI (550-577) IN THE CONTEXT OF CROSS-CULTURAL CONTACTS IN THE EAST PART OF EURASIA (BASED ON THE MATERIALS FROM ELITE FUNERAL COMPLEXES)." In MODERN SOLUTIONS TO CURRENT PROBLEMS OF EURASIAN ARCHEOLOGY. Altai State Univercity, 2023. http://dx.doi.org/10.14258/msapea.2023.3.35.

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The article examines materials of the burial complexes belonging to representatives of the highest aristocracy of Northern Qi (550-577). The design, burial inventory, plots and style of wall paintings in these burials are uniform, which indicates the strict regulation of the funeral rites. All the materials reflect the polyethnicity of the Chinese-Xianbi population of the Northern Qi (and in particular, the elites) and its intensive external contacts (with Turks, Rouran, Sogdians). The art presented in the tombs discussed demonstrates a fusion of ideas and images, originated from the Hun tradi

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