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Dissertations / Theses on the topic 'Painting, Buddhist'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

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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3

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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Paula, Christa. "Miran and the paintings from shrines M.III and M.V." Thesis, SOAS, University of London, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363481.

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Yen, Chih-hung. "Bhaiṣajyaguru at Dunhuang." London : University of London, 1997. http://catalog.hathitrust.org/api/volumes/oclc/68914537.html.

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Wang, Chain Khiang. "Using autobiographical figuration in painting as a vehicle for conveying my understanding of Buddhism." Thesis, New School of Arts, University of Ballarat Mt. Helen, Vic. :, 2002. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/68573.

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Bunyasakseri, Thirawut. "Timeless Stories: Investigating Contemporary Approaches to Hindu and Buddhist Art." Thesis, Griffith University, 2020. http://hdl.handle.net/10072/392408.

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Art has been a form of communication used to convey religious lessons in Thailand (formerly the Kingdom of Siam) since ancient times. While present-day Thais are still intensely committed to religious practices, many understand less and less of the precise information embedded in this art form. Moreover, religious artworks in Thailand do not reflect current society and do not have much in common with contemporary art. Therefore, this research investigates the potential causes that have disconnected religious art from Thai society and explores possible ways to utilise elements from the Thai rel

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

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

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Guéret, Danielle. "Le décor peint des monastères bouddhiques du Cambodge, fin du XIXe siècle ‒ troisième quart du XXe siècle." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040222.

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Les sanctuaires, ou vihāra, des monastères bouddhiques – ou vat - ont joué de tout temps un rôle essentiel dans la société cambodgienne. Lieux de rassemblement, de prière et d’enseignement auprès de la grande statue du Buddha, leurs murs puis leurs plafonds, ont reçu un décor peint racontant ses Vies antérieures et sa Vie historique. Ces témoignages ne figurent sur aucune liste des Archives Nationales de Phnom Penh et n’ont jamais fait l’objet d’une étude approfondie, et encore moins d’un recensement. Les plus anciennes peintures ne sont pas antérieures à la fin du XIXe siècle et les plus réce

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Zeng, Xi. "Zen aesthetic: development and influence in culture and contemporary painting of China, Japan and USA = La estética Zen: desarrollo e influencia en la cultura y la pintura contemporánea de China, Japón y EE. UU." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/463011.

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No other form of Oriental philosophy has had such a widespread, positive effect on culture and international contemporary painting as Zen Aesthetic. Owing to the birth of Zen Buddhism in China, its extraordinary boom and influence is evident in all aspects of society and Chinese culture. Especially painting with brush-tipped ink, it led to the development of a particular spirit or aesthetic, known worldwide as Zen, which has not stopped propagating since Zen Buddhism in the 16th century crossed the sea to reach Japan. Once there, it fecundated the native culture and motivated the development o

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Edelholm, Nike. "Exploring Spaces of Not Knowing : an Artist View." Thesis, Konstfack, IBIS - Institutionen för bild- och slöjdpedagogik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7000.

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The understanding, I draw from this inquiry has come through a muddy, and complex entangledprocess. I have been re-turning like a "Baradian" earthworm, to experiences of being, in spacesof not-knowing. Digesting the mud, moving it, once more, like worms do, through the body.By doing an agential cut, into two spaces, eventually three strong agents unfold: Risk,Vulnerability, and Trust. Out of this result, an ethical and pedagogical question arise: How totake account of Vulnerability and Trust when encouraging our students to Risk?Entering a space of not knowing is at the foundation of my art pr

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Grazziano, Gustavo. "Códice: o tempo em suspensão." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-01062017-161736/.

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Refletindo sobre uma sensação de leveza e dilatação da passagem temporal, a pesquisa elabora a expressão \"tempo suspenso\" e analisa de que maneira essa singular percepção pode ser transmutada em códices. Para sua compreensão, dialoga sobretudo com duas produções artísticas: Em busca do tempo perdido (1908-1922), de Marcel Proust, e A última tempestade (1991), de Peter Greenaway. A primeira foi escolhida por discutir uma sensação como estopim para a elaboração de uma poética. A segunda, por colocar o códice artesanal como receptáculo de um assunto. O campo formado pelas duas referências aglu

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Tayac, Sébastien. "La commande des peintures bouddhiques dans les monastères de la province de Chiang Mai." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030132.

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Cette étude, conçue comme un état des lieux des peintures murales dans les monastères de six districts de la province de Chiang Mai, a permis d’une part d’étudier les différents acteurs de la commande artistique [commanditaires, donateurs, artistes] et d’autre part de définir ces peintures en quatre groupes selon une classification à la fois chronologique et stylistique. Les multiples facteurs susceptibles d’influencer la présence ou l’absence de peintures dans les temples ont été également examinés. Une comparaison de l’iconographie présentée dans ces temples entre les quatre groupes retrouvé

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

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"敦煌《彌勒經變畫》的硏究". 1985. http://library.cuhk.edu.hk/record=b5887622.

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王静芬.<br>Thesis (M.A.)--香港中文大學硏究院藝術學部.<br>Reprint (c. 2-3).<br>Includes bibliographical references (leaves 376-411).<br>Wang Jingfen.<br>Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan yi shu xue bu.<br>前言 --- p.i<br>圖版目錄 --- p.v<br>Chapter 第一部份： --- 彌勒信仰及《彌勒經變》通論 --- p.1<br>Chapter 第一章 --- 彌勒信仰 --- p.2<br>Chapter 一 --- 彌勒信仰的內容<br>Chapter 二 --- 中國彌勒信仰的特質<br>Chapter 第二章 --- 《彌勒變》的源流 --- p.53<br>Chapter 第三章 --- 有關《彌勒變》的文獻資料 --- p.99<br>Chapter 一 --- 《彌勒變》的成立年代<br>Chapter 二 --- 《彌勒變》的文獻記載<br>Chapter 第二部份： --- 敦煌的《彌勒經變畫》 --- p.132<br>Chapter 第四章 --- 隋代的《彌勒變》 --- p.136<br>Chapter 第五章

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Wu, Suzhen, and 吳素真. "The study of the Buddhist on wall Painting of Kizil Grotto in Kucha." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/13310025319530716344.

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碩士<br>華梵大學<br>東方人文思想研究所<br>99<br>ABSTRACT The excavation of Grotto civilization was originated in India was constructed as a one of Buddhist monastery. Later on Grotto was expanded progressively with having carved Buddha statues and wall paintings which were respected by the people and also members of the Sangha community who were staying in Grotto. Kucha is a one of old state in the western aria. Buddhism was flourish and vigorous for a short period in Kucha. Kizil Grotto is a model that represents the Kucha’s Grotto. The pattern of the Kucha Grotto has achieved the constituting of the Kiz

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McIntire, Jennifer Noering. "Visions of paradise Sui and Tang Buddhist pure land representations at Dunhuang /." 2000. http://catalog.hathitrust.org/api/volumes/oclc/46938113.html.

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Shu, Pei-Rong, and 樹姵蓉. "A Study of the Business Opportunities Derived from the Cross-Strait Buddhist Art Exchange of Painting Exhibitions - Jewelry and the art of painting and calligraphy combine with marketing." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/z7n76g.

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碩士<br>國立臺灣師範大學<br>國際時尚高階管理碩士在職專班<br>106<br>The main purpose of this research report is to investigate the feasibility of creatively combine jewelry and calligraphy/painting artworks in marketing. This research adopts methods including literature review, innovative strategies and case studies, and describes systematically the following three main points: First, the origin and development of the Chinese calligraphy/painting art. Second, the changes and progress of the commercialization of calligraphy/painting art. Third, a summary of Buddhist art and cultural exchanges across the Taiwan Strait.

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Chen, Yun-Ru, and 陳韻如. "Wu Bin's Buddhist Figure Paintings." Thesis, 1996. http://ndltd.ncl.edu.tw/handle/31773276624723610555.

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Yu, Yow-Shyan, and 余宥嫻. "The study of Ting Yun-peng’s Buddhist paintings." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/03959384692636032693.

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碩士<br>中國文化大學<br>藝術研究所美術組碩士在職專班<br>92<br>The purpose of this essay is researching into the Buddhist painting master －Ting Yun-peng and his Buddhist painting during the Late Ming dynasty。 The research methods are equally emphasis on literature materials and analysis of pictures，also take related painting histories and painters as an assist to be contrasted 。From literature’s point of view to explore deeply， and take Ting Yun-peng’s existent painting trace to integrate the research of pictures，also operate with the religion belief in meanwhile to feel out Ting Yun-peng’s Buddhist paint

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Shen, Yiwen. "The Female Body, Motherhood, and Old Age: Representations of Women in Hell in Sixteenth and Seventeenth Century Japan." Thesis, 2021. https://doi.org/10.7916/d8-eb4v-jh61.

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My dissertation, The Female Body, Motherhood, and Old Age: Representations of Women in Hell in Sixteenth and Seventeenth Century Japan, examines the literary and visual representations of women in hell in late medieval and early modern Japan, with particular attention to the female body, motherhood, and old age. My focus is the late Muromachi and early Edo periods, when a constellation of new hells began to be conceptualized that had serious ramifications for representation of women. I examine a group of otogizōshi texts and hell paintings of the sixteenth and seventeenth centuries, which were

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Ling, Chen Chao, and 陳昭伶. "A Study of Buddhist Monastic Poetries on Guanyin Paintings of Song Dynasty." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/2sre46.

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博士<br>玄奘大學<br>中國語文學系碩博士班<br>103<br>A Study of Buddhist Monastic Poetries on Guanyin Paintings of Song Dynasty Abstract Chan Buddhism teaches a "special transmission outside scriptures" which "does not dependent on words and letters". Chan Buddhism aims at “direct pointing at human mind; seeing into the nature to attain Buddhahood”. For Chan moanstics, the image of Guanyin serves a meditative purpose rather than a ritualistic aspect. Meditating on Guanyin paintings, Chan monastics look deeply into themselves, attempting to attain a reflective, purified and mindful state. Analyzing Buddhist mon

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Liu, Su-hsin, and 劉素杏. "The analysis of Taoism and Buddhism paintings from the Palace Museum." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/54266432037267969277.

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碩士<br>東吳大學<br>音樂學系<br>93<br>The main concern of this thesis is the analysis of Taoism and Buddhism paintings, which were collected by the Palace Museum. The 6,000 celebrated paintings from Tang to Qing Dynasty were preserved in the Palace Museum. The seven percent of these paintings, about 400, has the musical subject matters. Then I sifted 21 paintings related to the theme of “Taoism” and “Buddhism” from these musical subject matters paintings. In terms of figures and leading gods, the “Taoism” paintings were divided into three chapters, Zhongkui, Xiwangmu and Baxian, the “Buddhims” were divi

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Ya-wen, Yang, and 楊雅雯. "A Study of Buddhist Kalavinka in Tang Dynasty-Dun-huang Wall-paintings、underground palaces、tombs." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/46v6yk.

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碩士<br>國立臺北藝術大學<br>美術史研究所<br>100<br>A Study of Buddhist Kalavinka in Tang Dynasty In this thesis, I investigate the development of Buddhist Kalavinka in Tang Dynasty by a whole and wide perspective. Kalavinka, the bird, which had new composition and meanings when it was spread to China, mentioned in the Sanghata Sutra. First of all, my proposition is to elaborate how people of Tang dynasty recognized and interpreted Buddhist Kalavinka. Besides, Kalavinka, which was widely found in Buddhist narrative paintings and underground palace, was distinguished from all other birds because of its image be

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Chen, Tzu-miao, and 陳姿妙. "The Research of Paintings in Ming Dynasty at Baoning Temple, Shanxi－Based on Buddhist Images." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/76024891054063998810.

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碩士<br>中國文化大學<br>藝術研究所<br>95<br>Water-land Rituals are the biggest and the most important Buddhist activities in Buddhist temples. People gather around to experience the spirit of Buddhism: help all creatures and save all the life in the world. Water-land paintings are the art works which are hung up when a “Water-land Ritual” is held. The contents of the paintings are mainly Buddha, Bodhisattva, Arhan, and Deva-Loka; the general public is also portrayed in the paintings. The paintings show all the life on earth in the universal view in Buddhism. It is a great pity that even though there are la

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Ho, Ka-yi, and 何嘉誼. "The Study of Tai Chin''s Daoism and Buddhism Painting-Focusing on the Six Patriarch of Ch''an." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/upjnfb.

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碩士<br>國立中央大學<br>藝術學研究所<br>96<br>Tai Chin (1388-1462) was one of the leading painters of the Che School. In art history, Tai Chin was proficient in paintings of landscapes, figures, birds and flowers, bamboo and rocks, etc. However, according to earlier Tai Chin studies, we can merely establish the fact that Tai Chin was good at landscape painting and clarify the style used by Tai Chin in his landscape paintings. Furthermore, those earlier studies still did not provide a clear interpretation of Tai Chin’s painting background and did not explain the reason why Tai Chin had been to the nation’s c

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LU, HUI-MEI, and 盧慧玫. "Metaphor and Interpretation: Explore the Representation of Zen in Ink Painting Based on the “Emptiness and Form”in Buddhism." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/6sh2kk.

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碩士<br>國立臺南大學<br>視覺藝術與設計學系視覺藝術教學碩士班<br>104<br>The concept of metaphor has been used in this work to explore the taste of Zen based on the Buddhism “emptiness and form” thought. Owing to the introduction of the void, some empty spaces were always left in the Chinese landscape painting and Zen painting to build the false of true artistic conception. The purpose was to express the “emptiness” concept of the Buddhism. The landscape, snow scene, village, isolated boat, etc, were the common topics in the Zen painting to illustrate the beauty of detachment, silence, and nature. Nevertheless, it reveal

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Yandell, Ariana. "WARP/WEFT: AGNES MARTIN, TEXTILES, AND THE LINEAR EXPERIENCE." 2017. http://scholarworks.gsu.edu/art_design_theses/214.

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This essay is a study of Agnes Martin (1912-2004), a Canadian-born and American-based contemporary artist, and her earlier painting practice including, but not limited, to her work Falling Blue of 1963. The exploration of this piece and others frames Martin’s early work as a process of material exploration analogous to weaving and fiber art. This framing is enhanced by the friendship and professional exchange between Martin and artist Lenore Tawney (1907-2007). The textile lens, as explored in this paper, has been undeveloped compared to other approaches to Martin’s early work and practice.

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Gyaltso, Lenka. "Thangky - tibetské obrazy s příběhem." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-311310.

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Thangkas are Tibetan paintings which can be explained in many different points of view. Their meaning is different for Buddhist practitioners, painters, collecters, arts historians or researchers. This thesis should introduce the variaty of perspectives. The composition of the painting is given by the patron, artist or follows the Buddhist sacred scripts. Preparing the base, drawing, using colour pigments, outlining and doing final details belong to the process done by the master himself or partially by his students or monk or layman helpers. For impowering the thangka for the Buddhist praxis

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Du, Xiaohan. "On A Snowy Night: Yishan Yining (1247-1317) and the Development of Zen Calligraphy in Medieval Japan." Thesis, 2021. https://doi.org/10.7916/d8-gcqq-m715.

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This dissertation is the first monographic study of the monk-calligrapher Yishan Yining (1247-1317), who was sent to Japan in 1299 as an imperial envoy by Emperor Chengzong (Temur, 1265-1307. r. 1294-1307), and achieved unprecedented success there. Through careful visual analysis of his extant oeuvre, this study situates Yishan’s calligraphy synchronically in the context of Chinese and Japanese calligraphy at the turn of the 14th century and diachronically in the history of the relationship between calligraphy and Buddhism. This study also examines Yishan’s prolific inscriptional practice, i

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Liu, Chiu-chin, and 劉秋琴. "A Study on the Works of the Buddhistic Temples'' Paintings by Artisian Han-ching Li." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/36442116838655244552.

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碩士<br>國立雲林科技大學<br>空間設計系碩士班<br>90<br>Abstract In Taiwan, temples play important roles in the livelihood. The paintings on the temples are considered not only for fortunes, education, and self-expression, but also to express Chinese culture and esthetic values. They recorded people’s intensions on everyday livings at that time. Unfortunately, those paintings were not preserved very well because of reconstruction or remodeling. Also, we are losing a lot of skillful artisans of painting and few people want to learn such traditional skills. It is the main purpose of this thesis to r

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Hsiu-Hsiang, Liang, and 梁秀香. "Benevolent Faces of Buddhism Figures Tell the Vitality of Life - A study of Color and Ink Figure Paintings." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/82456532937635729466.

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碩士<br>國立臺灣師範大學<br>美術系在職進修碩士學位班<br>91<br>Abstract This thesis discusses the evolution and transformation of Chinese traditional figure paintings, particularly Buddhism figure paintings, in design, structure, essence and aesthetics. A comparative study is conducted by close observation and in-depth analysis to assess the differences between figure paintings from the Han Dynasty to the twenty-first century. The thesis also aims to illustrate the characteristics and uniqueness of Chinese figure portraits through the author’s own paintings and the interpretations of them.

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Lo, Huei-Chen, and 羅慧珍. "From The "Void" In Buddhism To The "Blank" In The Creation Of Art - Lo Huei-Chen The Creative Ideal And Style In Glue-Pigment Painting." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/64256497783971104888.

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WANG, MING TSONG, and 王明聰. "Practicing Art with Benevolence and Combining Art with Buddhism ― A Preliminary Exploration on the Artistic Conception Philosophical Thinking of Master Hiu-wan's Ch’an Paintings." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/cg2q7r.

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碩士<br>華梵大學<br>哲學系碩士班<br>107<br>Chinese culture has been passed down for more than 5,000 years, and Chinese artistic development has been significantly affected by the Prajñā (wisdom) thinking of “emptiness” and “existence” of Buddhist Ch′an. In particular, the subsequent literati paintings excel in improving the artistic conception and aesthetics of emptiness. Master Hiu-wan was the founder of Huafan University, as well as a Prajñā (wisdom) practitioner combining literature with education, art, philosophical thinking, and religion. She devoted herself to promoting the “education of perception”

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

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

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CHAN, CHIH-HUNG, and 詹志宏. "The Development of Mid-and-late Tang Period Painting Art of Buddhism & Taoism after the Rebellion of An Lu-shan and Shih Sze-ming.－Research Subject on «Record of Famous Painters of Successive Dynasty» and «Shiuan-Hoh Commentaries on Pain." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/77008963276025757247.

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碩士<br>臺北市立師範學院<br>視覺藝術研究所<br>89<br>Abstract Figure painting is the earliest and thoroughly developed subject with respect to painting in the Chinese painting history. It has been constituted far earlier than any other painting subjects, such as the painting of cattle and animals, flowers and birds, landscape, and so on, whatever in the aspect of technique (or skill), content, and theory. In the mean time, the representative painting of Buddhism and Taoism derived from figure painting was overwhelmingly stimulated and well-rounded developed following by the flourishing popularity o

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Wang, Fei. "Of master Hongyi's last calligraphic work." Thèse, 2013. http://hdl.handle.net/1866/10436.

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Hongyi (1860-1942) est le maître de l’école bouddhiste appelée « Terre Pure » en Chine moderne. Dans l'histoire du bouddhisme chinois, il est le seul maître bouddhiste qui peut se classer parmi les plus grands calligraphes chinois. Dans l'histoire de la calligraphie chinoise, il est le premier moine-calligraphe qui allie sa foi bouddhiste avec son art calligraphique tout en appliquant des principes de la peinture occidentale à son travail de calligraphie. Son art serve bien sa croyance religieuse et n’est pas indépendent de celle-ci, ce qui est extraordinaire dans l’histoire calligraphique. Il

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