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Journal articles on the topic 'Painting, Buddhist'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

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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3

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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Saso, Michael, Hisatoyo Ishida, and E. Dale Saunders. "Esoteric Buddhist Painting." Monumenta Nipponica 43, no. 4 (1988): 500. http://dx.doi.org/10.2307/2384811.

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Kachru, Sonam. "The Translation of Life: Thinking of Painting in Indian Buddhist Literature." Religions 11, no. 9 (2020): 467. http://dx.doi.org/10.3390/rel11090467.

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What are paintings? Is there a distinctive mode of experience paintings enable? What is the value of such experience? This essay explores such questions, confining attention for the most part to a few distinctive moments in Indian Buddhist texts. In particular, I focus on invocations of painting in figures of speech, particularly when paintings are invoked to make sense of events or experiences of particular importance. The aim is not to be exhaustive, but to suggest a meta-poetic orientation: On the basis of moments where authors think with figurations of painting, I want to suggest that in B

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Nurova, Gerlya V. "К истории cоздания росписей центрального буддийского храма Калмыкии (2016–2019 гг.)". Desertum Magnum: studia historica Великая степь: исторические исследования, № 2 (30 грудня 2020): 179–91. http://dx.doi.org/10.22162/2712-8431-2020-10-2-179-191.

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The article discusses the history of the creation thangka paintings in the Central Buddhist Temple (khurul) of the Republic of Kalmykia which was opened in 2005. The article attempts at giving analysis of the formation of sacral art environment of the Elista Buddhist Temple in the context of the development of Tibetan-Kalmyk Buddhist relationships. The article describes the stages, peculiarities and complexity of the painting process that was done by the Tibetan artists who came from India and are masters of the traditional thangka painting. The author gives the documental facts about the work

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

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

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Kim, Seok-Gon. "A Study on the Buddhist Painting Pulse and Style of Painting in Wondeokmun, Wolju, a Buddhist Monk who paints Buddhist Paintings." Journal of Buddhist Art 34 (October 30, 2022): 199–230. http://dx.doi.org/10.36620/bms.2022.34.7.

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Yueling, Wu. "SPECIFICITY OF POLYCHROMY OF ANCIENT FRESCO WALL PAINTING OF CHINA." Spatial development, no. 10 (November 29, 2024): 196–204. https://doi.org/10.32347/2786-7269.2024.10.196-204.

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The topic of the research is related to the peculiarities of the coloring of Chinese wall paintings in ancient tombs. The specific role of colors in the scenes of frescoes of ancient burials and their symbolic meaning are analyzed. On the example of an ancient funerary wall painting, changes in colors, the symbolic role of colors in the depiction of sacred figures, mythical creatures, and secular subjects are traced. Thus, it is argued that in the ritual fresco wall painting, specific coloristics were used along with specific figurative means and composition. The analysis of ritual and secular

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17

Ma, Zhouyi. "Characteristics of Qinghai Traditional Painting Art-Literature Analysis." Highlights in Art and Design 7, no. 2 (2024): 57–61. http://dx.doi.org/10.54097/e7r5aq95.

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Qinghai’s traditional painting art, influenced by its diverse ethnic cultures and religious practices, is a unique fusion of Tibetan, Han, and Mongolian elements. Originating from ancient rock art, Qinghai painting has evolved into a complex system characterized by realism, symbolic representation, and vibrant colors. Tibetan Buddhism plays a significant role in shaping the themes and styles of Qinghai’s art, particularly in Thangka and mural paintings. These art forms, rich in religious symbolism, are not only visual representations of spiritual teachings but also educational tools that pass

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18

JEOUNG, Ian, and Youngok SIM. "A Study on the Buddhist and Taoist Icons in Chang Ucchin’s Ink Paintings." Society for Art Education of Korea 88 (December 1, 2023): 319–40. http://dx.doi.org/10.25297/aer.2023.88.319.

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The purpose of this study is to examine the Buddhist and Taoist Icons, which repeatedly appears in ink paintings that Chang Ucchin(張旭鎭, 1917-1990), a representative artist of modern Korean art, began pro-ducing in the late 1970s. Chang Ucchin’s ink painting is not as well-known as the artist’s main works, oil painting, and although the number of works is small, the religious and Laozi·Zhuangzi’s taoist icons are well revealed. An icon is a person or image that appears in religious, mythological, or other works of art with a specific meaning. Therefore, the viewer can grasp the intrinsic and ae

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19

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

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

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20

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

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

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21

Lee, Hewon. "Scrolls of Poem-Paintings by Buddhist Monks of the Late Goryeo and Early Joseon : Records of the “Scrolls of Poems” on the Studio Name and Their Significance." Korean Journal of Art History 315 (September 30, 2022): 39–74. http://dx.doi.org/10.31065/kjah.315.202209.002.

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This article examines written records of the now-lost poem-painting scrolls created by Buddhist monks who were active in the late Goryeo and early Joseon (the fourteenth through fifteenth centuries) in order to reconstruct their artistic exercises and reassess their significance in the history of East Asian art. The literati painters of Yuan China reserved pictorial space in landscape painting for narrative or descriptive purposes. In contrast, the Buddhist monk-painters of the late Goryeo and early Joseon depicted natural features in their landscape paintings, accompanied by poems, as encrypt

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22

Zhu, Tianshu. "Reshaping the J?taka Stories: from J?takas to Avad?nas and Pra?idh?nas in Paintings at Kucha and Turfan." Buddhist Studies Review 29, no. 1 (2012): 57–83. http://dx.doi.org/10.1558/bsrv.v29i1.57.

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Kucha was the major Buddhist center on the Northern Route of the Silk Road, and well known for being dominated by the Sarv?stiv?da school for most of its history. Replacing the j?taka story, the avad?na story (story of causation) became the major theme depicted on the ceiling of the central-pillar caves in this area (fifth–seventh centuries). Turfan is another important cultural center in Central Asia where Buddhism once flourished. The pra?idh?na (or ‘vow’) painting, which was based on the Bhai?ajyavastu, a vinaya text of the Mulasarv?stiv?da school, was a unique subject normally appearing on

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Suter, Rafael. "“Pre-Buddhist” Conceptions of Vision and Visuality in China and Their Traces in Early Reflections on Painting." Asiatische Studien - Études Asiatiques 74, no. 4 (2020): 1013–79. http://dx.doi.org/10.1515/asia-2020-0022.

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Abstract This paper attempts to delineate the relation of early Chinese views on vision and visuality to nascent reflections on painting arising in the Early Medieval period. Ever since that time, pictorial creativity has been associated with Buddhist ideas of spiritual perfection. Likewise, the Early Medieval concern for the visualization of spiritual journeys to exceptional humans (and superhumans) through imaginary landscapes seems to be of Buddhist origin. The first part of this paper gives a short sketch of the intellectual landscape in which theorizing on painting since the 5th century C

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Ji, Yaxuan. "The Buddhist Philosophy Embodied in Hong Ren’s Huangshan Album." Art Frontier 2, no. 4 (2025): 117–27. https://doi.org/10.64212/ewzi3080.

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As the foremost among the Four Monks of the Early Qing Dynasty, the founder of the Xin’an School, and one of the Three Titans of Huangshan, Hong Ren played a pivotal role in the history of Chinese landscape painting. Among the few albums passed down from him, the Huangshan Album stands as a significant representation of his early sketching of Huangshan landscapes and a testament to the maturation of his artistic style. His paintings, characterized by their simplicity, elegance, and ethereal quality, feature innovative compositions that, while informed by ancient masters, are not confined by tr

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Shi, Xiang, Xiaogang Lin, Yu Lei, Jinyu Wu, Xiao Lv, and Yong Zhou. "A Study on Pigment Composition of Buddhist Cave Paintings Based on Hyperspectral Technology." Materials 17, no. 21 (2024): 5147. http://dx.doi.org/10.3390/ma17215147.

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The value of the Buddhist cave lies not only in the Buddha statues but also in the surface painting. Hyperspectral imaging technology, as an emerging and effective method for component identification, offers a non-contact and non-destructive approach to the preservation and restoration of oil paintings. This study employed hyperspectral cameras to capture common pigments on the surfaces of Buddhist caves. Then, the results were processed and used as a database to identify the paintings. Additionally, a series of experiments were conducted to examine the impact of binder, substrate types, and p

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

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

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Russell-Smith, Lilla. "Stars and Planets in Chinese and Central Asian Buddhist Art in the Ninth to Fifteenth Centuries." Culture and Cosmos 10, no. 1 and 2 (2006): 99–124. http://dx.doi.org/10.46472/cc.01210.0213.

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This essay introduces the earliest known representations of planets and other stellar deities in East and Central Asian Buddhist art, especially in China. The five biggest planets, Venus, Mars, Jupiter, Saturn and Mercury, were observed and named at an early stage in China. However, their anthropomorphic representations became popular only after the arrival of Buddhism. It is likely that Western traditions regarding their appearance were transmitted through India. In Buddhist sutras the planets are often described as paying homage to the Buddha and listening to his teachings, and this is how m

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Yu, Yeong Gyeong, and Hwa Soo Lee. "Manufacturing Technique of the Buddhist Monk Bodhidharma Mural Painting in Geungnakjeon Hall, Daewonsa Temple, Boseong." Journal of Conservation Science 39, no. 1 (2023): 81–91. http://dx.doi.org/10.12654/jcs.2023.39.1.07.

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The manufacturing technique was studied through the structure and material characteristics of the Buddhist Monk Bodhidharma mural painting in Geungnakjeon Hall, Daewonsa Temple. The mural is painted connected to the earthen wall and the Joongkit. The earthen wall consists of an first layer, a middle layer, a finishing layer, and a painting layer. It was come to light that the first layer had a high content of loess below silt, and the finishing layer had a high content of fine sand. The painting layer was colored after preparing a ground layer using a soil mineral pigment. It was come to light

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Sharma, Yam Prasad. "Nepali Paintings: A Departure From Religious Contents to Secular Subject Matters." Tribhuvan University Journal 36, no. 01 (2021): 85–95. http://dx.doi.org/10.3126/tuj.v36i01.43582.

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Traditional Nepali paintings are religious since they are based on Hindu and Buddhist myths. Manuscript illuminations and paubhas, the examples of religious paintings, have magical and mystical contents. Characters of myths have been portrayed and mythical stories have been narrated in visual form. There are a series of changes from traditional Nepali paintings to contemporary works. In painting, secular elements are introduced through didactic visual narratives from Hitopadesha manuscript. The moral lessons are taught through animal fables. Early paubhas are fully religious but later paubhas

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

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

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Mahobia, Usha. "COLOR COMBINATION IN MUGHAL PAINTING." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3667.

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The history of Indian painting has been very rich and detailed since ancient times. Prior to Muslim aggression, Jain, Buddhist and Hindus donated their yoga in the field of painting. Ajanta painting is famous in the world, and these paintings were made in the Gupta period on which naturally made colors have been used.Significant changes took place in painting in the medieval period, Iranian influence is seen in the painting of the Sultanate period. Vibrant colors were used in paintings of courtly paintings, veena, sitar, dress, ornaments etc. With which the pictures appear to be lively, lively

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Dunaeva, Ekaterina. "The History of One Personal Copy: Esper E. Ukhtomsky (1861–1821) — His life, His Buddhist Collection, and the Study of Buddhism in Russia." Oriental Courier, no. 4 (2022): 91. http://dx.doi.org/10.18254/s268684310023804-2.

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The article focuses on the contribution of Esper E. Ukhtomsky, an outstanding collector of Buddhist sculpture and painting in pre-revolutionary Russia, to the study of Buddhist art. In addition to the main episodes of the biography, little covered earlier in research, the author examines how Ukhtomsky, who had the largest private Buddhist collection in the Russian Empire, contributed to the study of Buddhist art and collaborated with Albert Grunwedel, to whom he provided part of his collection, resulting in the famous Grunwedel’s work “The Mythology of Buddhism in Tibet and Mongolia”. Ukhtomsk

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Lee, Na Ra, Yeong Gyeong Yu, and Hwa Soo Lee. "Study on the Characteristics of Materials and Manufacturing Techniques for the Mural Paintings in Daeunjeon at Ssanggyesa Temple, Jindo." Journal of Conservation Science 37, no. 6 (2021): 701–11. http://dx.doi.org/10.12654/jcs.2021.37.6.09.

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This study identifies the structure and material characteristics of the mural paintings in Daeungjeon at Ssanggyesa temple in Jindo by conducting scientific research and analysis including microscope examination, SEM-EDS, XRD, particle size analysis, and others. According to the analyses, the murals were considered to be of a typical soil mural style for Korean Buddhist murals, given that the walls were made of sand and soil and the murals had layers consisting of wall layers and a finishing layer. However, some finishing layer used calcite, while some ground layer used zinc white beneath the

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Youm, Jung-Seop. "Buddhist Anthropology and Chinese Painting Art." Korean Society for Science of Eastern Art, no. 32 (August 30, 2016): 187–214. http://dx.doi.org/10.19078/ea.2016.32.8.

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Bermant, Gordon. "Finger, Text, and Moon: Dennis Hirota and Iwasaki Tsuneo." Open Theology 4, no. 1 (2018): 342–54. http://dx.doi.org/10.1515/opth-2018-0026.

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Abstract Dennis Hirota is a modern master of Shin Buddhism who for several decades has explicated the role of natural language in fostering Buddhist awakening. At the core of his oeuvre is the claim that Shin Buddhism’s founder, Shinran Shonin (1173-1263), accepted the earlier Mahayana teaching of nondual awareness as a necessary condition for awakening. Shinran’s unique contribution was to insist that ordinary persons were, as a matter of historical circumstance, incapable of the disciplines required to arrive at non-dual awareness. It was just this circumstance that the historical Buddha for

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김승희. "Fantasy in Korean Buddhist Painting: Images of Preta in Amrita Paintings." Korean Bulletin of Art History ll, no. 50 (2018): 7–31. http://dx.doi.org/10.15819/rah.2018..50.7.

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Lippit, Yukio. "Puppy Love: The Legacy of Yi Am’s Paintings in Edo-Period Japan." Korean Journal of Art History 313 (March 31, 2022): 35–57. http://dx.doi.org/10.31065/kjah.313.202203.002.

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This essay examines the Japanese reception of the Korean painter Yi Am 李巌(b. 1499), and by extension considers the relationship between ink painting technique and pictorial meaning. In particular, it examines how Yi Am’s unique approach to the painting of puppies with blended washes of ink opened up new interpretive possibilities among Japanese viewers. Although Yi Am’s puppy paintings appear to have been circulating in Japan as early as the seventeenth century, they were misattributed to Chinese painters such as Mao Yi, and Yi Am’s seal was mistaken as belonging to a Japanese monk-painter of

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Im, Mi-Hyun. "In Contemplation of Hyewon Sin Yun-bok’s Hyewonhawcheop(蕙園畫帖)". Korea Association of World History and Culture 68 (30 вересня 2023): 5–31. http://dx.doi.org/10.32961/jwhc.2023.09.68.5.

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Hyewonhawcheop(蕙園畫帖) by Hyewon Sin Yun-bok(申潤福, 1758?-1817 or later) is a collection of paintings in a literary artist’s style mainly focusing on landscape painting with figures. This collection of paintings contains two pages of HaengSeo(a semi-cursive style of writing) and six pages of paintings with a variety of genres, including letters, Sagunja(Four Gracious Plant Painting), landscape painting with figures, and paintings of Taoist immortals and Buddhist Saints and Arhats. These works of art help enhance insight also on his preference for literary arts that had not received much attention

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Andrei, Talia J. "The Elderly Nun, the Rain-Treasure Child, and the Wish-Fulfilling Jewel: Visualizing Buddhist Networks at the Grand Shrine of Ise." Religions 13, no. 7 (2022): 585. http://dx.doi.org/10.3390/rel13070585.

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The nunnery Keikōin was a powerful Buddhist institution, famous in late-medieval Japanese history for its vigorous and successful fundraising campaigns on behalf of the Grand Shrine of Ise. Much is known about the nuns’ fundraising activities, but very little is known about their religious practice. A recently discovered painting, I believe, sheds some light on this long-standing question. It depicts an elderly nun invoking the deity Uhō Dōji in the form enshrined at Kongōshōji, a temple situated at the top of Asama Mountain, to the east of Ise’s Inner Shrine. Based on several of the iconograp

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Belova, Darya Nikolaevna. "Manifestation of female image in iconography of the Tibetan thangka and orthodox icon." Культура и искусство, no. 5 (May 2020): 1–17. http://dx.doi.org/10.7256/2454-0625.2020.5.32764.

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This article analyzes the female beginning reflected in the Buddhist art of thangka, and emphasizes its specificity in comparison with the Orthodox icon. The author examines symbolism of the key visual elements that form iconography of female characters and their color solution, as well as analyzes the symbolism of light in thangka painting and painting of icons. In drawing parallels between light symbolism of a female image in both types of religious paintings, the author determines their definite similarity in perception of light as a divine beginning of enlightened mind. The subject of this

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Raina, Asif Rashid, and Anoop Singh. "Impact of Buddhist thoughts on Cultural Nationalism of India." Sprin Journal of Arts, Humanities and Social Sciences 2, no. 01 (2023): 01–07. http://dx.doi.org/10.55559/sjahss.v2i01.73.

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The colonized nations saw a rise in nationalistic feelings during the height of colonialism in the middle of the 19th century, putting special stress on the concept of shared ancestry, culture, and language. It is important to note that this idea has strong roots in India, where there is a plethora of ancient literature that emphasizes on cultural nationalism, whether it is Vedic, Jain, or Buddhist. In most regions of the continent, Buddhism has had a major geographic and historical presence often for very long times. Additionally, it has had a significant impact on the creation of particular

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Chou, Wen-shing. "Reimagining the Buddhist Universe: Pilgrimage and Cosmography in the Court of the Thirteenth Dalai Lama (1876–1933)." Journal of Asian Studies 73, no. 2 (2014): 419–45. http://dx.doi.org/10.1017/s0021911813002441.

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During his exiles from Lhasa in the 1910s, the Thirteenth Dalai Lama visited the holy places of Wutai Shan in China and Bodh Gaya in India. After his return, he commissioned paintings of these two places in cosmological mural programs of his palaces. While conforming to earlier iconographic traditions, these paintings employed empirical modes of representation unprecedented in Tibetan Buddhist paintings, revealing a close connection to the Dalai Lama's prior travels. This essay traces how these “modernized” renditions were incorporated into an existing pictorial template, and examines the deft

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Linrothe, Rob. "Hidden in Plain Sight." Archives of Asian Art 70, no. 2 (2020): 225–44. http://dx.doi.org/10.1215/00666637-8620384.

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Abstract This is a review article of Janet Gyatso's 2015 award-winning book, Being Human in a Buddhist World: An Intellectual History of Medicine in Early Modern Tibet. The art-historical aspects of the book—mainly confined to the first chapter, “Reading Paintings, Painting the Medical, Medicalizing the State” and based on a perceptive art-historical reading of a set of medical paintings and its copies—had yet to be reviewed by an academically-trained art historian. This review underscores the fine art-historical insights deserving the attention of art historians working in parallel contexts o

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

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

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Kyawt, Hmu Aung. "Buddhist Art of Temple No. 1152 at Bagan (Late Bagan Period )." Dagon University Research Journal Vol.6, no. 2014 (2019): Pg.181–188. https://doi.org/10.5281/zenodo.3547193.

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Temple No. 1152 is a kind of small single-storey temple. It is situated at the east of Kyauk-myet-hmow-Zedi-gyi (No. 1158), south of Myinkaba, coordinates– N: 44.265, E: 5.860. Its plan has square central shrine, 2.25 2.32 m. Vestibule and porch on north face, Niches on east, south and west foreparts were found. At the exterior of temple, stucco mouldings were found such as ornate cornice and pediments, friezes with triangle, plasters, urn-profiled base, and tasseled friezes with pointed obovals on north forepart. The interior decoration of this small temple consisted of wall paintings o

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Korotkov, M. V. "Restoration and storage of Buddhist painting from the Khara-Khoto collections of XII–XIV centuries." Vestnik of Saint Petersburg State University of Culture, no. 3 (44) (September 2020): 57–62. http://dx.doi.org/10.30725/2619-0303-2020-3-57-62.

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The paper is devoted to the conservation and early stages of maintenance and storage of the unique collection of Buddhist painting that was gathered by P. K. Kozlov in Mongolia in 1907–1909, 1926 and now belongs to the State Hermitage museum. History of its primary conservation is reconstructed using previously unexplored archival data. Of special interest are conditions of maintenance and actions taken to protect the monuments before they were given to the Hermitage. The article also analyses reasons why damage was caused to them. All this information is essential for fi guring out modern met

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Tripathi, Shubha, and Beena Jain. "PORTRAYAL OF WOMAN IN THE CAVE PAINTINGS OF AJANTA." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 135–40. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3722.

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The thirty rock cut cave temples of Ajanta located near a village named “Ajistha” in Aurangabad district of Maharashtra state. The caves are carved in a half crescent shape overlooking the Waghora river. The caves are located at a picturesque location having beautiful natural surroundings. Because of this peace and godly environment Buddhist monks might have chosen this place for their artistic endeavour. The caves possess well carved sculptures, pillars, entrances and walls are embellished with beautiful paintings. The art of Ajanta flourished from 1st century BC to 7th century AD. The Ajanta

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Zhang, Fan. "Chinese-Buddhist Encounter." Asian Studies 7, no. 2 (2019): 87–111. http://dx.doi.org/10.4312/as.2019.7.2.87-111.

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The standard pictorial formula of Fuxi and Nüwa, a pair of indigenous Chinese deities, started to absorb new motifs from Buddhist art during the early medieval period when Buddhism became more prominent in China. In this paper, I focus on the juxtaposition of Fuxi-Nüwa and cintamani, a magic Buddhist jewel, depicted on the ceiling of the corridor in the tomb of Lady Poduoluo, Pingcheng, Shanxi (435 CE). Through a detailed visual analysis, I explain the multiple meanings embedded in the combination of the Chinese mythological figures with the Buddhist symbol in the funerary space, thus challeng

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Yan, Lifang. "Study on the Thin Flesh Sculptures of Northern Zhou Dynasty in Maijishan Grottoes." Highlights in Art and Design 4, no. 2 (2023): 71–75. http://dx.doi.org/10.54097/hiaad.v4i2.13204.

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The thin flesh sculpture of the Flying Sky mural in the Seven Buddha Pavilion of the fourth cave of Maijishan was created in the Northern Zhou Dynasty, which is the product of the fusion of Buddhist art and traditional Chinese culture. Among them, the mural uses the method of combining painting and sculpture, which is rare and novel, which not only fully reflects the intelligence and extraordinary creativity of ancient artists in China, but also has high artistic value for Buddhist sculpture art in China. Taking "thin meat sculpture" as the research object, this paper analyzes and elaborates o

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Sienaert, M. "Zen-Boeddhistiese selfloosheid as sentrale interteks van die Breytenbach-oeuvre." Literator 14, no. 1 (1993): 25–46. http://dx.doi.org/10.4102/lit.v14i1.688.

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The aim of this article is twofold:• To postulate the Buddhist notion of selflessness as central to the art and writing of Breyten Breytenbach.• To provide an overview of the philosophy this implies and of the way in which it offers a reading of the Breytenbach-oeuvre.The Buddhist concept of selflessness as expressed in the work of Breytenbach is by way of contrast firstly set against the background of the more familiar Western philosophical tradition, and then analysed within the context of Buddhist experiences such as Sunyata, Satori, Zazen and the Taoist principle of relativity to which it

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