Relevant bibliographies by topics / Temple du Buddha d'Émeraude

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  2. Dissertations / Theses
  3. Books
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Academic literature on the topic 'Temple du Buddha d'Émeraude'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Temple du Buddha d'Émeraude"

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Raka Dewantara, Anak Agung Gede, I. Wayan Srijaya, and Ida Bagus Sapta Jaya. "Kajian Ikonografi dan Fungsi Arca Hindu-Buddha di Pura Agung Batan Bingin Pejeng Kawan." Humanis 24, no. 3 (August 28, 2020): 266. http://dx.doi.org/10.24843/jh.2020.v24.i03.p05.

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Period Hindu-Buddha in Indonesian, Leaving behind a variety of archaeological heights. Research to investigate the definition statue Hindu-Buddha at Agung Batan Bingin Temple, Pejeng Kawan Village. The purpose of this study is to reconstruct the history of Balinese culture in the past especially its aspect of religment. The writer apply this method for accumulation file like library study, observasion, interview as well as analysis, iconography. The theory used to help analysis is the functional theory. Based on the results of the research Found that there is an iconography mark in the statues of Hindu-Buddha on Agung Batan Bingin Temple. Iconography mark show the variety of jewelry, clothing, art, and posture depiction. Statue Hindu-Buddha on Bingin Temple including to ancient Balinese periodic. Statue Hindu-Buddha on Agung Batan Bingin Temple untill now still being used as an instrument of veneration by the people of Bali performing religious ceremonies, the Balinese people used to call it "Penyungsung Pura". Statue Hindu-Buddha the, believed in society pejeng kawan village as a means of begging for protection, safety, and plants fertility in society Pejeng Kawan Village.
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Murdihastomo, Ashar. "Dua Tipe Ornamentasi Candi Perwara di Kompleks Candi Sewu." KALPATARU 27, no. 2 (November 24, 2018): 66. http://dx.doi.org/10.24832/kpt.v27i2.462.

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AbstractSewu Temple, located in Prambanan, is one of the Buddhist temple complex that have lots of uniqueness. One of the uniqueness can be seen on Perwara Temple that have two ornamentations. But, many scholars never make the research about it. Therefore, in this article, I want to describe the background of the two ornamentations on perwara temple. The research is carried out by observation and literature study. From the research, I find out that the two ornamentations on perwara temple in Sewu Temple complex have relation with the religion conception.Keywords: Buddha, Sewu Temple, perwara temple, ornamentation.AbstrakCandi Sewu, yang terletak di daerah Prambanan, merupakan salah satu kompleks percandian agama Buddha yang masih menyimpan banyak keunikan. Salah satu keunikannya adalah dua corak ornamentasi yang terdapat pada candi perwaranya. Keberadaan kedua ornamentasi ini belum pernah dibahas detail oleh peneliti mana pun. Oleh karena itu, pada kesempatan ini penulis berusaha untuk mengkaji dua corak ornamentasi itu dengan tujuan memberikan gambaran terkait dua corak ornamen tersebut serta mencoba untuk mengetahui latar belakang perbedaan tersebut. Penelitian dilakukan melalui pengamatan langsung dan analisis dengan bantuan studi pustaka. Berdasarkan hasil analisis diketahui bahwa kedua corak ornamentasi pada candi perwara tersebut terkait dengan konsep keagamaan.Kata kunci: Buddha, Candi Sewu, candi perwara, ornamentasi.
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Soedewo, Ery. "Prasasti Padang Candi: Tinjauan Epigrafis Temuan Data Tertulis dari Situs Padang Candi, Kabupaten Kuantan Singingi, Provinsi Riau." Berkala Arkeologi Sangkhakala 16, no. 1 (January 5, 2018): 16. http://dx.doi.org/10.24832/bas.v16i1.112.

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AbstractPadang temple inscription is one of the few written records of the ancient Indian culture in Indonesia. The written record unfortunately still fails to provide a data of the period and background. This paper uses an inductive reasoning that comprises such processes of data collection, detailing, analysis, interpretation, and conclusion. This gold plate inscription containing the Buddha formula ye te mantra may relatively be from between the 9th and 10th centuries A.D. The content of the inscription suggests that the Padang temple site may be the remains of a Buddha temple complex.AbstrakPrasasti Padang Candi adalah salah satu data tertulis dari masa pengaruh kebudayaan India di Nusantara yang tidak banyak jumlahnya. Prasasti yang ditulis di atas lembaran emas ini secara relatif berasal dari abad ke-9 hingga ke-10 M, yang memuat mantra Buddha formula ye te mantra. Berdasarkan muatan prasasti ini, sisa-sisa bangunan bata di Situs Padang Candi diperkirakan adalah sisa-sisa kompleks suatu percandian yang berlatar belakang agama Buddha.
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Harriyadi, Harriyadi. "MAKNA RAGAM HIAS ŚAṄKHA BERSAYAP PADA CANDI HINDU DAN BUDDHA." PURBAWIDYA: Jurnal Penelitian dan Pengembangan Arkeologi 9, no. 2 (December 10, 2020): 113–30. http://dx.doi.org/10.24164/pw.v9i2.377.

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A temple is a religious building that used by Hindu and Buddhist devotees to do religious practices. The architectural form of temple is made to resemble a mountain as symbol of the gods’ house. Each decorative ornament carved in a temple represents the natural environment of heaven and it has meaning which was related with religious aspect. One of the most interesting decorative ornament carved in temple is the winged śaṅkha which usually was used as an attribute of deity. The goal of this research is to explain the meaning of winged śaṅkha ornament in temple. This research was conducted by collecting winged śaṅkha ornaments in Hindu and Buddhist temples. Data will be described and analysis will be conducted by comparing the winged śaṅkha ornaments with its mythology in Indian culture. The results showed that the winged śaṅkha have correlation with water element which could bring fertility. Therefore, the winged śaṅkha, as a symbol of water, can bring fertility and welfare to communities of surrounding temple.
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Schrimpf, Monika. "Children of Buddha, or Caretakers of Women?" Journal of Religion in Japan 4, no. 2-3 (2015): 184–211. http://dx.doi.org/10.1163/22118349-00402009.

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This paper deals with the self-understandings of ordained Buddhist women (nisō 尼僧, ama 尼) in contemporary Japan. Their situation is characterized by discrimination and limited access to clerical positions on the one hand and, with the exception of monastic nuns, by their lack of a clearly defined role on the other. Although the training required to attain the status of a fully ordained cleric is firmly regulated by each Buddhist school, ordained women’s subsequent way of life is not. They may be married and have their own families. They may be the head priestess of a temple, the wife of a temple priest, or work in a temple. They may live according to Buddhist precepts in private, or have secular jobs. Under these conditions, ordained women have found ways of empowering themselves by interpreting their role in accordance with their social contexts and by re-evaluating conservative conceptions of gender.
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Bopearachchi, Osmund. "Brahmā at the Ajapāla Banyan Tree: Re-Examining Paintings at the Sulamani Temple, Bagan." Religions 11, no. 4 (April 5, 2020): 171. http://dx.doi.org/10.3390/rel11040171.

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This article examines how the literary evidence corroborates with the visual evidence for the unusual presence of Brahmā with the Buddha at the Ajapāla banyan tree of the goatherd symbolizing the Fifth of the Seven Weeks after the Enlightenment of the Buddha in the paintings of the recessed chamber in the east corridor of the Sulamani temple in Bagan in Burma. The presence of Brahmā at the Ajapāla banyan tree is puzzling, because most of the mural paintings in Burma and Sri Lanka follow the chronological order given in the Nidānakathā, and, as a result, the intervention of Brahmā pleading with the Buddha to reconsider his decision not to expound the doctrine takes place in the Eighth Week. The painting of the encounter of Brahmā and the Buddha at the banyan tree in the Sulamani temple in the Fifth Week is thus a notable exception. It is argued that the visual artist of the Sulamani temple who introduced Brahmā in an earlier than normal context knew the narratives in the Pāli Mahāvagga and in the Nidānakathā well and, to shorten a long story, selected quite wisely the Ajapāla banyan tree of the goatherd where both events took place, meaning the Fifth and Eighth Weeks.
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Kim, Kiyoung, Yeoungsun Min, and Sunggon Kang. "Symbolism of Unjusa Temple and Thousand Buddha and Stupa." Journal of Namdo folklore 36 (June 30, 2018): 31–65. http://dx.doi.org/10.46247/nf.36.2.

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Schalk, Peter. "The Vallipuram Buddha Image "Rediscovered"." Scripta Instituti Donneriani Aboensis 16 (January 1, 1996): 295–312. http://dx.doi.org/10.30674/scripta.67235.

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When, at the end of the 19th century, the Visnu kovil in Vallipuram, in Vatamaracci, in northern Ilam (Lanka) was (re)built, a Buddha statue was unearthed close to this temple, 50 yardsnortheast of it. It remained in the lumber room of this temple until 1902, when it was set up in Old Park at Yalppanam under a bo-tree. In 1906, the Vallipuram Buddha image was presented by Governor Sir Henry Blake to the King of Siam, who was particularly anxious to have it, as it was supposed to be of an archaic type. This event together with the statue, was forgotten for almost 90 years. All Tamilar and Sinhalese born after 1906 have never seen the Vallipuram Buddha image, provided they have not gone to and found it in Thailand. The study of the religious significance per se, in its historical setting, of the statue is important. The Vallipuram Buddha image is a typical creation of Amaravati art, the spread of which documents the spread of Buddhism to Ilam, where it exercised a decisive influence on the first period of the development of Buddhist art in the Anuratapuram school. We get then a geographical triangle of a cultural encounter between Amaravati, Anuratapuram in its first phase, and Vallipuram. This happened at a time when Buddhism was still not identified as Sinhala Buddhism, but just as Buddhism. The study of the Vallipuram statue is thus a way of transcending or at least suspending for some time polarising ethnic identities, not ethnic identities as such.
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Luekveerawattana, Rumpapak, and Yothin Sawangdee. "Path analysis of the revisit potential of an iconic tourism destination." E3S Web of Conferences 258 (2021): 06042. http://dx.doi.org/10.1051/e3sconf/202125806042.

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This study aims to investigate factors that affect the revisit potential of a historic destination. This study has a conceptual framework that is based on theory and literature review of the sustainable tourism management. This is a quantitative study that collected data from 800 international visitors who visited two famous religious tourism sites in Bangkok, namely the reclining Buddha temple and the emerald Buddha temple. These visitors were selected through the accidental sampling method. The data were analyzed using path analysis. The study showed that interpretation positively affects revisit potential, local people negatively influence revisit potential, and process positively affects revisit potential. Interpretation, local people, and process have both direct and indirect influences on revisit potential.
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Zhang, K., and M. j. Li. "3D Reconstruction of Irregular Buildings and Buddha Statues." ISPRS Annals of Photogrammetry, Remote Sensing and Spatial Information Sciences II-4 (April 23, 2014): 91–94. http://dx.doi.org/10.5194/isprsannals-ii-4-91-2014.

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Three-dimensional laser scanning could acquire object’s surface data quickly and accurately. However, the post-processing of point cloud is not perfect and could be improved. Based on the study of 3D laser scanning technology, this paper describes the details of solutions to modelling irregular ancient buildings and Buddha statues in Jinshan Temple, which aiming at data acquisition, modelling and texture mapping, etc. In order to modelling irregular ancient buildings effectively, the structure of each building is extracted manually by point cloud and the textures are mapped by the software of 3ds Max. The methods clearly combine 3D laser scanning technology with traditional modelling methods, and greatly improves the efficiency and accuracy of the ancient buildings restored. On the other hand, the main idea of modelling statues is regarded as modelling objects in reverse engineering. The digital model of statues obtained is not just vivid, but also accurate in the field of surveying and mapping. On this basis, a 3D scene of Jinshan Temple is reconstructed, which proves the validity of the solutions.
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Dissertations / Theses on the topic "Temple du Buddha d'Émeraude"

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Asavaplungkul, Saisingha Monruedee. "Le Râmâyana dans les peintures du temple du Buddha d'Émeraude (Wat Phra Kèo) à Bangkok : sources, contexte, prolongements." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040049.

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Le Râmakîen est une des œuvres littéraires les plus importantes du royaume thaïlandais. Reprenant l’épopée indienne de Vâlmîki, le Râmâyana, il revêt une grande importance à la cour royale et sa popularité est considérable dans toute l’Asie du Sud-Est. Au Wat Phra Kèo, ses épisodes ont été intégralement illustrés sur le mur de la galerie. La thèse ne prend en compte que les parties figurant les dix incarnations de Viṣṇu et la naissance des dieux hindous et des personnages de l’épopée. Ces épisodes nous amènent au prélude du Râmakîen et l’étude s’arrête au moment du retour du roi Jânaka à Mithilâ. Il nous a fallu opérer des rapprochements entre ces peintures et le Tamrâ Thewarûp, les albums d’iconographie brahmanique, ainsi que le Tamrâ Thewapâng, recueil de légendes sur la naissance des dieux et les incarnations de Viṣṇu. Ces rapprochements étaient nécessaires car tous les épisodes représentés à Wat Phra Kèo ne sont pas racontés dans le Râmakîen tel que le relate la version du roi Râma I. L’omniprésence des scènes empruntées à l’épopée, en particulier celles des dix incarnations de Viṣṇu et des dieux hindous dans les temples importants de Bangkok fondés par les rois ou par leurs proches au début de la période de Ratanakosin, s’explique par la grande importance accordée par ces souverains à l’incarnation de Viṣṇu en Râma. Le royaume thaïlandais adopta par ailleurs les rites brahmaniques pratiqués à la cour khmère. Une récapitulation des témoignages iconographiques sur l’épopée au Cambodge, au Laos et au Myanmar complète notre étude
The Râmakîen is one of the most important literary works in Thailand. Derived from the Indian epic of Vâlmîki, it became very important at the royal Thai court, and is one of the most popular texts in South-East Asia. At Wat Phra Kèo its episodes are represented on the four sides of the gallery. This thesis aims to study the parts illustrating the ten incarnations of Viṣṇu, the birth of the Hindu Gods and the main characters of the Indian epic. These episodes lead us through the Râmakîen’s prelude and our study stops at the moment of King Jânaka’s return to Mithilâ, his kingdom. The comparison between the paintings, the Tamrâ Thewarûp, the iconographic albums of Hindu Gods and the Tamrâ Thewapâng (the book of legends containing the god’s creation and the ten incarnations of Viṣṇu) proved necessary to understand some of the painted scenes which do not relate to the Râmakîen, as told in the version composed by King Râma I. The omnipresence of a number of scenes borrowed from the epic (particularly the ten incarnation scenes of Viṣṇu and the Hindu God images) in the temples founded by the kings or their families around Bangkok’s Grand Palace can be explained by the great importance attributed by the sovereigns to the Râma avatâra of Viṣṇu. Besides, the Thai Kingdom borrowed from the Khmer court their Hindu rituals. A review of the Râmâyana images in Cambodia, Laos and Myanmar completes our study
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Choi, Hyejeong. "Mireuksa, A Baekje Period Temple of the Future Buddha Maitreya." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1431044236.

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LUO, JING-YI, and 羅靜怡. "A Comparison on the Annual Return Journey of the Buddha between Tzu Lin Temple in NanTou and Bi Yun Temple in Tainan." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/96247993074234499839.

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碩士
佛光大學
佛教學系
105
Jiuling Temple, a long - historic traditional Buddhist temple, surrounded with quiet and beautiful environment. It is also one of the oldest century cloisters in Puli Guanyin Mountain. It is said that the original site, surrounded by two streams and located in a vital part , is used to be a fort on the 34th year of Emperor Guangxu in the Qing Dynasty (1908). Therefore, the local residents called here Guanyin Mountain, which is also known as Sheng Fan Ding Jiuling Temple was named “ Jiuling Hall ”of the Longhua religious sect. However, it is renamed a“ Jiuling Temple ”to present. This paper mainly discusses the different types of the activities between “ Buddha's ancestral return” at Jiuling Temple in Nantou and “ Dongshan Ying Buddha ” at Biyun Temple in Tainan. Jiuling Temple's ancestral return activity is originated about 1949. In order to place a Buddhist statue at Shen Temple in Qishenfen Miaoli, they looked for the statue around. However, the descendant of Tian Shen Temple, Tian- Mei Chen who lived in the Guoxing county, told the staffs of the temple that there were some Buddhist statues could be requested. That’s the origin of the “ Buddha's ancestral return ”. Besides, this activity also combined with Bathing Buddha Ceremony held at Jiuling Temple and Due to these origins, they inspire the author to write this paper. First, we can preserve the historical origin of the Jiuling Temple. We also can retain the significance of the “ Buddha's ancestral return ”. Jiuling Temple’s “ Buddha's ancestral return ” is not only to help incense contribution of Tian Shen Temple in Qishenfen Miaoli but also the tendency of folk religious beliefs and exploring its worth. The research results of this paper are helpful to understand the historical origin of the“ Jiuling Temple ” and the background of the Buddhism environment at that time. Through the different types of Dongshan Ying Buddha ”（ Welcome the Buddha at Dongshan） at Biyun Temple in Tainan, it is clearer that the Jiuling Temple has different meanings and values of “ Buddha's ancestral return” and its development of the whole history.
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WU, PEI-YI, and 吳佩怡. "A Comparative Study on the Exhibition of Buddhist Culture in Cross Strait Museums: A Case Study of Famen Temple Museum and Fo Guang Shan Buddha Museum." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/m9j3mp.

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碩士
國立臺北大學
民俗藝術與文化資產研究所
105
Museums as multi-functional cultural carriers become bridges between countries across the strait and record their own cultural memories in the gesture of third sectors. The display of the museum allows the local Buddhist culture to be rationally narrated and promoted in front of the public and thus makes the possibility for the discussion of developments in many perspectives of Buddhist culture after decades of the political division between both sides across the strait. The main purpose of this paper is to discuss these two dimensions: 1. Explore the characteristics of the display of Buddhist culture in museums from both sides and their similarities and differences. 2. Analyze the cases of Buddhist culture museums across the strait to detect the similarities and differences between them and the effect of museum’s characteristics conveying the main value of concept in display. This paper explores the history and current situation of the museums of Buddhist Culture in China and Taiwan, discriminates cultural propaganda museums from historical ones, and analyzes the nature and operation of these cultural-function museums. In order to realize the significance and unique characteristics of Buddhist culture museums in their displays, they are divided into tangible and intangible ones for discussions, intending to perform the embodiment of the display of Buddhist culture. The author selected the Famen Temple Museum and Fo Guang Shan Buddha Museum as cases for analyzing. The discussion is based on the planning of theme establishments and conveyance of the concept of Buddhism culture and these two subjects are also taken as comparison standards between two cases in the meantime. The discussion will contain both conceptual and substantive ways in the displays of Buddhist culture. This study draws the following conclusions: Based on the comparison of Buddhism Culture Exhibitions between Famen Temple Museum and Fo Guang Shan Buddha Museum, the former is built with cultural relics and its historical value; the later mainly promotes the concept of Buddhist by showing the visitors their ideas and expecting to receive validation of their belief from the public. These two cases are both valuable for their contents and scales in Buddhist culture museums. Besides, they absorb different cultural concepts from other regions to create a compatible Buddhist culture atmosphere in the display and help the Buddhist culture to develop various functions such as collections, researches, exhibitions, and educations.
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Books on the topic "Temple du Buddha d'Émeraude"

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Buddha Gaya through the ages. Delhi, India: Sri Satguru Publications, 1994.

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The Mahabodhi temple at Bodh Gaya. New Delhi: Motilal Banarsidass Publishers, 2014.

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Mark, Long, and Burnama Fitra Jaya, eds. Borobudur: Pyramid of the cosmic Buddha. New Delhi: D.K. Printworld, 2008.

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Bodhgaya Temple Management Committee. Mahabodhi (Mahavihara) Temple: A world heritage property : guide book. New Delhi: Bodhgaya Temple Management Committee, 2011.

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Clare, Rosenfield, Bailey Dorothy, and Wray Joe D, eds. Ten Lives of the Buddha: Siamese temple painting and Jataka tales. New York: Weatherhill, 1996.

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Kittimā. Mahābodhuppatti kathā: Rheʺ hoṅʻʺ kyokʻ cā myāʺ chuiṅʻ rā ʼa cuiʺ ra ruṃʺ toʻ mha cā khyvanʻ toʻ myāʺ, dhātʻ puṃ myāʺ ʼa cuṃ ʼa laṅʻ pā saññʻ. Ranʻ kunʻ: Sāsanā reʺ Vanʻ krīʺ Ṭhāna, Sāsanā reʺ Ūʺ cīʺ Ṭhāna, 2006.

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Ngoeun, Chum. Guide to Wat Preah Keo Morokat (the temple of the Emerald Buddha). Phnom Penh: Royal Palace, Department of Conservation, 1996.

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P'yesaji esŏŭi palgyŏn, yŏrae rŭl p'umta: Discovery in a ruined temple, the harbor Buddha. Pusan Kwangyŏksi: Malgŭn Sori Malgŭn Nara, 2010.

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Wat Phra Sī Rattanasātsadārām læ Phrabō̜rommahārātchawang =: The temple of the Emerald Buddha and the Grand Palace. Krung Thēp: Sǣngdǣt Phư̄an Dek, 2003.

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Chum Ngoeun = Juṃ Ṅẏan. Guide to Wat Preah Keo Morokat (The temple of the Emerald Buddha) =: Magguddesk V̊att Braḥ Kaev Marakat. Phnom Penh: The Royal Palace, Department of Conservation, 1996.

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Book chapters on the topic "Temple du Buddha d'Émeraude"

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"CHAPTER 2. MEETING THE BUDDHA: TEMPLE, IMAGE, AND RELIC." In Becoming the Buddha, 31–45. Princeton University Press, 2004. http://dx.doi.org/10.1515/9780691216027-006.

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Sew, June Sung, and Eric Deleglise. "THE MAKING OF BUDDHA TOOTH RELIC TEMPLE AND MUSEUM VIRTUAL TEMPLE." In Digital Heritage and Culture, 107–17. WORLD SCIENTIFIC, 2014. http://dx.doi.org/10.1142/9789814522984_0008.

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"The Buddha-vita in the White Temple of Tsaparang." In Tibetan Inscriptions, 43–106. BRILL, 2013. http://dx.doi.org/10.1163/9789004252417_003.

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Green, Alexandra. "A Formula to Honor the Buddha." In Buddhist Visual Cultures, Rhetoric, and Narrative in Late Burmese Wall Paintings, 25–59. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390885.003.0002.

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This chapter establishes the standardization of the wall paintings in terms of painting style, subject matter, and detail, and determine the major social, political, and religious ideas that contributed to the production of the wall paintings and provided a rationale for the standardized format. The murals evince exceptional consistency in choice of subject matter, representation of imagery, and arrangement within an architectural space across the central zone from the late seventeenth to early nineteenth centuries. Each temple contains variations in style, modes of representation, and design, yet all sites draw upon an established group of structures and material so that the differences reveal continuities in subject matter and organization diachronically and synchronically. Although the subject matter of the wall paintings appears to comprise an extensive body of material, the focus upon a specific repertoire for more than a century and the fact that it falls within narrow thematic parameters – the centrality of Gotama, how to worship him, and the power that emanates from spiritual awakening – demonstrates the religious and social constraints placed upon it.
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Green, Alexandra. "Presence and Memory." In Buddhist Visual Cultures, Rhetoric, and Narrative in Late Burmese Wall Paintings, 60–107. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390885.003.0003.

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Chapter Two examines the depicted events and scenes as expressions of religious commemoration and as promoting particular social, political, and religious hierarchies. The relationships between the main, usually sculpted, Buddha image and the painted walls created a narrative structure that encompassed the temple interior as a whole and made the Buddha present within the space and in the contemporary moment. The mural sites created a place to remember and honor the Buddha, with the sculpted and painted biographical narratives making him available to contemporary Burmese. The wall paintings illustrated what was culturally praiseworthy to the Burmese, reinforced the relevance of these things socially, and inspired people to participate in the dominant cultural discourse. In the process of doing so, the commemorative imagery demonstrated the field of merit surrounding Gotama Buddha. It memorialized his great achievement and the awakenings of the Buddhas before him, presenting them to the current audience and preserving them for future ones. However, it is the structure of the paintings within the temple layout - the disposition of the images and the selection of stories - that integrated the representations of the Buddhas into a complete unit.
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Kopf, Gereon. "Does AI Have Buddha-Nature? Reflections on the Metaphysical, Soteriological, and Ethical Dimensions of Including Humanoid Robots in Religious Rituals from one Mahāyāna Buddhist Perspective." In Frontiers in Artificial Intelligence and Applications. IOS Press, 2020. http://dx.doi.org/10.3233/faia200965.

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The temple Kōdaij made history when its priest enshrined the robot Mindar as a personification of Kannon Bodhisattva. Since Mahāyāna Buddhist texts typically reject any form of dualism between the divine and the secular implied by monotheism and even claim that “insentient beings are buddha-nature” and “insentient beings become buddhas”, Gabriele Trovato’s term “theomorphic” may not apply in this case. This paper will explore if humanoid robots can be thought of as conscious, deserving of person rights, and even divine in a Buddhist context. What are the practical and ethical implications of the possible Buddhist claim “all humanoids have Buddha-nature”?
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"22. The Buddha and the Bath Water: How the Bodhisattva Gyoki Founded Koya Temple." In Buddhism and Medicine, 219–21. Columbia University Press, 2017. http://dx.doi.org/10.7312/salg17994-024.

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Green, Alexandra. "Art as Action." In Buddhist Visual Cultures, Rhetoric, and Narrative in Late Burmese Wall Paintings, 108–60. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390885.003.0004.

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Chapter Three addresses how the structure of the murals created a performative ritual space. The murals presented paths of action for the viewer, ranging from scenes of homage to the installation of protective devices within the temple. The murals also represented and encoded models to encourage viewers to participate in particular religious activities, and specifically demonstrated the potential future benefits of giving to sustain the sāsana. Yet, they moved beyond representing religious ideas by commemorating the Buddha and exhorting specific forms of ritual action. The wall paintings and the buildings in which they were housed addressed the devotee’s body, not just his or her mind. Entering and being enclosed within the Buddha’s life stories and hence his community, as well as being surrounded by luxury goods and potential benefits, protective diagrams and chants, and normative religious activities was part of the process of devotion and reification of the concepts expressed by the structure as a whole. The envelopment was a performative action, ritually invoking and honoring the Buddha and pulling practitioners into these multiple potential experiences.
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Green, Alexandra. "Introduction." In Buddhist Visual Cultures, Rhetoric, and Narrative in Late Burmese Wall Paintings, 1–24. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390885.003.0001.

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Step into a Burmese temple from the seventeenth, eighteenth, and early nineteenth centuries and you are surrounded by a riot of color and imagery. The interior walls and ceilings are completely covered with paintings. You see bright reds and greens if you are in the seventeenth and eighteenth centuries, and reds and a brilliant turquoise from the late eighteenth and into the early nineteenth century. The imagery ranges from guardian figures, protective diagrams, and scenes of hell to textile patterns and representations of Buddhist biography. Large-scale deities and ogres, numerous registers filled with figures, landscape scenery, and buildings, and floral-geometric patterning occupy the space around a Buddha image or images that face east or are set around a central pillar....
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"10. The lame priest enters the belly of the Buddha in the Burial Mound Temple. Ren, Wu, and Zhang dream they receive Yong’er’s magical art." In The Three Sui Quash the Demons' Revolt, 83–94. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824860707-013.

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Conference papers on the topic "Temple du Buddha d'Émeraude"

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Ji, Zhonghua. "Analysis of Characteristics of Buddha Statues in Xumi Temple." In Proceedings of the 4th International Conference on Humanities Science, Management and Education Technology (HSMET 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/hsmet-19.2019.111.

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