Journal articles: '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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Lee Heui Jin. "Stone Buddha Statue at Yeolamgok Temple Site, Namsan of Gyeongju." KOREAN JOURNAL OF ART HISTORY 299, no. 299 (September 2018): 163–98. http://dx.doi.org/10.31065/ahak.299.299.201809.007.

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Lim, Young-ae. "The Rock-carved Standing Buddha Statue at the Memorial Temple(願堂), Deokjusa Temple in Jecheon." Sogang Journal of Early Korean History 33 (December 31, 2019): 483–518. http://dx.doi.org/10.35160/sjekh.2019.12.33.483.

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Lim, Young-ae. "Buddhist Ritual and the Bronze Buddha Mold Excavated from the Western Five-Story Stone Pagoda of Hwaŏm Temple, Korea." Religions 11, no. 3 (March 19, 2020): 141. http://dx.doi.org/10.3390/rel11030141.

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This paper examines the bronze Buddha mold that was excavated from the western pagoda of Hwaŏm temple 華嚴寺. The research centers on the mold’s date of production, its function, and the reason it was enshrined in the Hwaŏmsa pagoda. The pagoda itself was constructed in the ninth century and is considered to be a Dharani pagoda because Wugoujingguang datuoluonijing (無垢淨光大陀羅尼經, The Great Dharani Sūtra) is enshrined within the structure. The act of placing the Buddhist scriptures in the pagoda was to benefit the structure’s benefactors by absolving them of their sins and granting blessings in their afterlives for their meritorious deeds. Of all the dhāraṇī, Wugoujingguang datuoluonijing is the most detailed and particularly emphasizes the act of repetition. The clarity and simplicity of its instructions made it especially popular in eighth-to-ninth-century Korea. The Hwaŏmsa Buddha mold was one of the tools used in the ritual described by Wugoujingguang datuoluonijing. Considering the sūtra’s insistence on repetition and replication, the mold was a very suitable implement. The use of inexpensive clay also allowed for the mass production of Buddha images that any individual could commission at little cost. Furthermore, this method of producing Buddha images made it easy for the temple to attract followers and thus raise funding for the construction of the pagoda. The clay Buddhas themselves were small, making it possible for one to keep the image on his person and carry it wherever he went. Ultimately, these actions were meant to bring the individuals closer to Buddha and his world.

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Prasetyo, Lery. "THE SPIRITUAL AND CULTURAL SYMBOLS IN A MAHAYANA BUDDHIST TEMPLE ‘VIHARA LOTUS’ SURAKARTA." Analisa: Journal of Social Science and Religion 4, no. 01 (August 1, 2019): 59–78. http://dx.doi.org/10.18784/analisa.v4i01.788.

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The symbols contained in a vihara is intentionally used to remind the people to something that is believed, both cultural and spiritual values. This article aims to analyze the meaning and value of spiritual and cultural symbols in Vihara Lotus Surakarta. This is a qualitative research. This article shows that (1) The meaning and value of spiritual symbols in Vihara Lotus can be found on the category of altar and statue which consist of ancestor altar, Amitabha Buddha Altar, Avalokitesvara Altar, Three Buddhas Alta, Si Mien Fo Altar, Maitreya Buddha, Si Da Tian Wang Statues, And Earth Gods. Then in category of Prayer tools consist of Ching/Gong, Muk Ie, He Che, and Tan Che. Those spiritual symbols have meaning and value in term of the Buddha teaching such as the Sigalovada sutta, sukhavati realm, reflection of Buddhas nature, concept of Tri Kaya, affection state, four nobles qualities, dharma wheel turning, awareness, equanimity concept, introspection, and catumaharajika realm. (2) Meaning and Value of Cultural Symbols in Vihara Lotus can be found on the category of altar and statue consists of Thian Kong Altar, Chinese Generals, Earth gods, and Horse statues. Then in plant and food category consist of soy bean, Candy and Cookie, cigarette, wine, Chinese evergreen, and pineapple. Those cultural symbols have meaning and value in term of Chinese tradition and habit, such as Tradition of Sky Praising, merits appreciation, Chinese mythology, traditional food, hope of better life, special service to idol, and hope of sustenance.

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Simpson, Emily B. "Sacred Mother Bodhisattva, Buddha and Cakravartin." Journal of Religion in Japan 6, no. 2 (2017): 107–27. http://dx.doi.org/10.1163/22118349-00602005.

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Empress Jingū 神功 appears in the eighth century Japanese chronicles as a ruling empress and a shaman. Her supposed conquest of the Korean peninsula was accomplished by the divine assistance of the various kami (gods) she invokes. Centuries later, with the growing influence of Buddhism and the development of honji suijaku 本地垂迹 theory in medieval Japan, Jingū’s story was reimagined with the addition of various Buddhist elements. Here, I explore how the Hachiman gudōkun 八幡愚童訓 (kō text, 1308–1318), the origin narrative of shrine-temple complex Iwashimizu Hachimangū, reinvents this early legend along Buddhist lines. The Gūdokun presents Empress Jingū as the Sacred Mother Bodhisattva, a manifestation of Amida Buddha, and a cakravartin. By altering the roles of Empress Jingū, as well as employing a Buddhist worldview, the text recast the whole story as one of Buddhist salvation and contributed to Jingū’s growing image as a goddess of childbirth.

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GONKATSANG, TSERING, and MICHAEL WILLIS. "The Ra Mo Che Temple, Lhasa, and the Image of Mi bsKyod rDo rJe: The Narrative of Ri ‘Bur sPrul sKu." Journal of the Royal Asiatic Society of Great Britain & Ireland 19, no. 1 (January 2009): 41–57. http://dx.doi.org/10.1017/s1356186308009097.

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Although practicing Buddhists and historians of Tibet are well aware of the Ra Mo Che Temple in Lhasa, very little about the building and its history has been published. Situated a short distance north-west of the more-famous Ra Sa gTsug Lag Khang or Jo Khang, the temple received, according to the dBa' bZhed, the Buddha image brought to Tibet in the time of the Tang princess Ong Jo. Early in the reign of Khri Srong lDe bTsan, while the king was still in his minority, anti-Buddhist factions led by Zhang Ma Zham Khrom Pa sKyes circumscribed royal power and murdered the pro-Buddhist minister Zhang sNa Nam Khri Thong rJe Thang la ‘Bar. They also arranged for the image at Ra Mo Che to be removed from the temple. The plan was to return the Buddha to China, along with the head priest and his entourage. The statue's great weight, however, thwarted the scheme. After being dragged a short distance, the Buddha was left half-buried in the earth. The state of affairs in those days is indicated by dBa' bZhed which reports that the Lhasa vihāra was turned into a workshop with sheep carcasses hung from the arms of the principal holy images and entrails wound round their necks! After Buddhism was reinstated, the Ra Mo Che was returned to worship. Subject to campaigns of refurbishment and additions through the centuries, it was the centre of a number of important developments, notably becoming the seat of the upper Tantric college (rGyud sTod) established by rJe bTsun Kun dGa' Don Drub in 1474.

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Setianingsih, Rita Margaretha. "Candi dan Taman, Dahulu dan Sekarang." Berkala Arkeologi Sangkhakala 10, no. 19 (January 11, 2018): 73–86. http://dx.doi.org/10.24832/bas.v10i19.271.

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AbstractTemple attributed to all building of omission of culture Hindu-Buddha, especially religious holy building. As for garden, farm cultivated by the flower, making people feel the ruthless and freshness, return to think clear and free from the mind disquiet so that do not surprise if garden become the important shares of building complex. Not merely complex temple of a period of Hindu-Buddha in just Nusantara, but later also at palace complex (kraton) in Nusantara, latter and also church. Now even also most observance building equipped by the garden arranged natty. Certain birch planted, beside because its practical function also because symbolic role and function.

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이희진. "A Study on the Seated Stone Buddha in Yongjang Temple Site, Gyeongju." Korean Studies Quarterly 37, no. 2 (June 2014): 8–34. http://dx.doi.org/10.25024/ksq.37.2.201406.8.

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진정환. "A Study of Dosoram Rock-carved Buddha of Seonunsa Temple in Gochang." Dongak Art History ll, no. 17 (June 2015): 289–311. http://dx.doi.org/10.17300/jodah.2015..17.011.

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Eunryung Choi. "The Wooden Amitabha Buddha in Busan Sunamsa Temple and Its Votive Documents." Journal of Seokdang Academy ll, no. 48 (November 2010): 89–123. http://dx.doi.org/10.17842/jsa.2010..48.89.

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Lim Young-ae. "The Stone Seated Vairoçana Buddha and Wooden Mandorla in Chukseosa Temple, Bonghwa." EWHA SAHAK YEONGU ll, no. 55 (December 2017): 41–75. http://dx.doi.org/10.37091/ewhist.2017..55.002.

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Jung, Dong-lak. "Zen Buddhism Temple and Iron Buddha in the Late Period of Silla." Sogang Journal of Early Korean History 27 (December 31, 2017): 57–102. http://dx.doi.org/10.35160/sjekh.2017.12.27.57.

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Choe, Song-Eun. "Study on the Iron Vairocana Buddha at the Eunjeoksa Temple at Haenam." Centre for Namdo Culture 42 (April 30, 2021): 167–209. http://dx.doi.org/10.31929/namdo.2021.42.167.

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Trevithick, Alan. "British Archaeologists, Hindu Abbots, and Burmese Buddhists: The Mahabodhi Temple at Bodh Gaya, 1811–1877." Modern Asian Studies 33, no. 3 (July 1999): 635–56. http://dx.doi.org/10.1017/s0026749x99003406.

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The Mahabodhi Temple at Bodh Gaya represented to the British, in the nineteenth century, a conveniently ruined Indian past which could be protected, recovered and restored as both a duty and a validation of legitimacy. However, for the temple's Hindu proprietors, the shrine—aside from being a valuable estate in purely financial terms—functioned as a symbol of the triumph of ‘orthodox’ Hinduism over ‘heterodox’ Buddhism. Finally, for the Burmese Buddhists who undertook their own ‘restoration’ mission in 1874, the Mahabodhi Temple marked the site where, according to Buddhist tradition, Gautama Buddha first achieved enlightenment and thereby began the career of the religion that bears his name.

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Restiyadi, Andri. "Jejak Teknik Pemahatan Relife di Biara Mangaledang, Kabupaten Padang Lawas Utara, Provinsi Sumatera Utara." Berkala Arkeologi Sangkhakala 15, no. 1 (January 5, 2018): 1. http://dx.doi.org/10.24832/bas.v15i1.133.

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AbstractPadang Lawas is the largest Hindu-Buddha complex site in North Sumatra that includes Padang Lawas and North Padang Lawas districts. Biara Mangaledang, an exciting site in Padang Lawas, indicates the traces of stone relief work. The inductive frame of thought will reveal an answer to the subject matter by comparing it to a similar finding of Karmawibangga relief of Borobudur Temple, Central Java.AbstrakPadang Lawas merupakan kompleks situs bercorak Hindu-Buddha terbesar di Sumatera Utara yang wilayahnya meliputi Kabupaten Padang Lawas dan Padang Lawas Utara. Salah satu situs menarik di Padang Lawas adalah Biara Mangaledang berkaitan dengan adanya indikasi jejak pengerjaan relief pada batu. Melalui kerangka pikir induktif akan diungkapkan jawaban atas permasalahan tersebut dengan membandingkan temuan serupa di relief Karmawibangga di Candi Borobudur, Jawa Tengah.

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정성권. "A Study on the Stone Buddha Triad of Bongnyeong temple in Suwon city." Dongak Art History ll, no. 17 (June 2015): 313–41. http://dx.doi.org/10.17300/jodah.2015..17.012.

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Park, SeongYun. "The Principal Sponsor and Background of Iron Seated Vairocana Buddha of Borimsa Temple." Art History 40 (August 31, 2020): 7–31. http://dx.doi.org/10.14769/jkaahe.2020.08.40.7.

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Choi, Sun Il, and Yo-Jung Kim. "A Study on 〈Terracotta Buddha Triad〉 Enshrined in Muidang of Sudeoksa Temple, Yesan." BUL GYO HAK BO 87 (June 30, 2019): 159–88. http://dx.doi.org/10.18587/bh.2019.6.87.159.

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Cahyawan; Yuswadi Saliya, Meidy Charista. "SIMILARITIES AND DIFFERENCES IN THE SPATIAL PATTERN AND FORM OF BUDDHIST BUILDINGS OF WORSHIP ON BALI." Riset Arsitektur (RISA) 1, no. 04 (October 18, 2017): 413–26. http://dx.doi.org/10.26593/risa.v1i04.2758.413-426.

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Abstract- In addition to Hinduism, Balinese people are familiar with Buddhism that entered the region at almost the same time as Hinduism during Dharmaudayana’s reign. Unfortunately, due to the large number of sects and religions developed at that time, there was religious simplification by Mpu Kuturan. Syncretism occurred between Shivaism, Buddhism (Mahayana), as well as original Balinese local religion merging into Shiva-Buddhism that developed into Balinese Hinduism that has been prominent until the present. After independence, the school of Buddhism that had not been influenced by the conditions and local denominations was resurrected and had Vihara temples built. Hence, the existence of Buddhist buildings of worship on the island of Bali from the IX-XI century called Candi (Vihara). Based on this phenomenon, the need arose for identifying similarities (in terms of continuity) and differences (discontinuity) of spatial and formal patterns in the Buddhist buildings of worship in Bali within the typo-morphological context, namely Goa Gajah (Elephant Cave), Candi Pegulingan (Pegulingan Temple), Candi Kalibukbuk (Kalibukbuk Temple), Brahma Vihara Arama (Brahma Arama Temple), and Vihara Buddha Sakyamuni(Buddha Sakyamuni Temple). The descriptive qualitative method was used through field observation of individual research objects which was subsequently identified and analyzed to discover the similarities and differences as well as mutual relations in accordance with variables determined by theoretical analysis concerning typo-morphology and Buddhist buildings of worship. There are similarities and differences in each research object. The similarities and differences exist due to the strong beliefs and closely guarded simbols of Buddhism although there is also the influence of local and traditional elements on the Balinese order of life. These, in turn caused the existence of numerous patterns of each object. The new patterns are the reflection of the various forms of assimilation that occur on Bali. Keywords: Buildings of Worship, Candi, Vihara, Bali, Typo-morphology

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Widyargo ; Rahadhian P. Herwindo, Nathanael. "PERSISTENCY OF USE OF BOROBUDUR-PRAMBANANSEWU ARCHITECTURE (JAWA ERA CENTRAL CLASS) ON BAYON TEMPLE IN KAMBOJA." Riset Arsitektur (RISA) 2, no. 02 (June 4, 2018): 129–51. http://dx.doi.org/10.26593/risa.v2i02.2921.129-151.

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Abstract - Indonesia was in its heyday back then In the time of middle classic era of Hindu and Buddha. It isproved by many construction of big Temple such as Borobudur, Prambanan, and Sewu Temple. In AngkorKingdom which was younger age was found alleged resemblance to the figure of Angkor temple andPrambanan Borobudur, and Sewu temple. It is also supported by the fact that in the 8th century, KingJayawarman II who built Angkor, returned from Java.The Cambodian temple research object this time is BayonTemple which is the last civilization of Angkor Kingdom with Prambanan, Borobudur and Sewu temples as acomparative object that represents Middle Classic era of the Javanese temple architecture. The purpose of thisresearch is to know the persistence of architectural elements (massing, plan, figure, and ornamentation) ofBorobudur, Sewu and Prambanan temple (Javanese temple of Middle Classic era) at Bayon temple viewed fromsimilarities and differences of these elements.The research method used in this research is semiquantitative-qualitative method by observing, collectingtemple data of research object, then linking data with related theory so that it becomes processed data. Datathat have been processed with the theory of each temple then compared each other to get a descriptive analysisof the similarities and differences of its elements. That data was recalculated then to find the amount ofsimilarities of the study object with the object of comparison can be found. From the analysis can be concludedthat at Bayon temple there are similarities of element found with Javanese Middle Classic era of architecture,but similarities are only found on the principle of designing the mass, plan, and the figure only, while inornaments there were found ornaments with the same type exist but not similar or not in the same place.Key Words : persistent, comparation, essential elements of the temple, Javanese Middle Classic era ofArchitecture, Bayon Temple, acculturation.

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Nastiti, Dr Titi Surti. "Re-interpretasi Nama Borobudur." AMERTA 36, no. 1 (September 30, 2018): 11. http://dx.doi.org/10.24832/amt.v36i1.326.

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AbstrakCandi Borobudur merupakan candi Buddha Māhāyana terbesar di Indonesia yang dibangun pada abad ke-8. Mengingat bahwa nama sampai sekarang nama Borobudur masih menjadi bahan perdebatan, maka dirasakan perlu untuk mengkaji kembali mengenai asal-usul nama Borobudur. Banyak sarjana Belanda maupun Indonesia yang telah membuat hipotesa mengenai nama Borobudur. Beberapa sarjana mengartikan kata boro dengan biara, sedangkan kara budur masih belum ada kesepahaman. Ada yang mengartikannya besar, buddha, bukit, sehingga Borobudur bisa diartikan biara yang agung, kota Buddha, dan biara di atas bukit. Namun J.G. de Casparis yang mempunyai asumsi yang berbeda yang menyebutkan bahwa Borobudur berasal dari kata bhūmisambhārabūdhara yang artinya “bukit himpunan kebajikan sepuluh tingkatan Boddhisattwa”. Sementara itu, dalam data tekstual diketahui bahwa budur adalah nama pohon sejenis palem dan nama tuak yang dibuat dari pohon budur. Mengingat bahwa banyak nama-nama tempat di Jawa yang memakai nama pohon, seperti jombang, gebang, kampung rambutan, kebon nanas, maka kemungkinan besar bahwa budur adalah nama tumbuhan yang menjadi nama tempat. Dalam penelusuran nama Borobudur dipakai metode komparatif dengan pendekatan etimologi. Dari kajian ini diketahui bahwa nama Borobudur berasal dari dua kata, yaitu boro dan budur. Boro adalah biara dan budur adalah nama desa yang diambil dari nama tumbuhan. Dengan demikian arti Borobudur adalah nama biara yang terletak di Desa Budur. Kata kunci: Candi Borobudur, Buddha Mahāyana, boro, buḍur AbstractBorobudur temple is the largest Mahāyana Buddhist temple in Indonesia built in the 8th century. The origin of the name Borobudur is still debated until today, thereforeit is necessary to review the origin of Borobudur. Thera are plenty of scholars from Indonesia and the Netherlands that hypothesised around the origin of the name. A few scholars thought the name originated from the word boro which means monastery and there is no agreement yet on the definitation of the word budur. There are those who defined budur as big, buddha, or hill. According to J.G. de Casparis, he theorised that Borobudur came from the word bhūmisambhārabūdhara which means "hill of the accumulation of virtues on the ten stages of Boddhisattva". If we look at it from the textual context budur is a name for a kind of palm tree and tuak (a kind of wine) is also made from buḍur tree. There many places in Java that originated from the name of a tree such as Jombang, Gebang, Kampung Rambutan, Kebon Nanas, so it can also be theorised that budur is derived from the name of a tree that was made into a name of place. This research used comparative methods with etymology approach. From this research we conclude that Borobudur originated from two words boro and budur. Boro is monastery and budur is the name of the village that was derived from a name of a tree. Therefore Borobudur is name for a monastery located in Budur Village. Keywords: Borobudur temple, Mahāyana Buddhist, boro, buḍur

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Li, Xin, Piiilei Ma, and Xiuyao Ma. "The Reconstruction of Buddhist Landscape Planning of Kagyu Samye Ling Monastery in Scotland." MATEC Web of Conferences 175 (2018): 04011. http://dx.doi.org/10.1051/matecconf/201817504011.

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By comparing the differences in the Buddhist landscape between Scottish Kagyu Samye Ling Monastery and the Samye Ling Temple in Tibet, the article points out the former has three problems such as an inadequate Buddha-Hall, unbalanced distribution of Buddhist landscapes and incomplete Mandala landscape pattern. It is proposed that to enlarge Buddha-Hall and build out corridors for more circumambulations, and to construct new landscape in four directions to form a complete Buddhist pattern including Dvipa and Eight Small Continents. The conclusion is the reconstruction of Kagyu Samye Ling Monastery in Scotland brings new spatial distinction, which will enhance its influence and sustainable development.So the modernity method of Tibetan Buddhist temples overseas is based on the inheriting the traditional Tibetan Mandala Buddhist pattern, and then to develop the Five-Holy style Buddhist landscape pattern which inculturation with the native site situation.

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Rahrig, M., and A. Luib. "Sri Dalada Maligawa – 3D-Scanning and Documentation of the Temple of the Sacred Tooth Relic at Kandy, Sri Lanka." ISPRS Annals of Photogrammetry, Remote Sensing and Spatial Information Sciences IV-2/W2 (August 17, 2017): 229–36. http://dx.doi.org/10.5194/isprs-annals-iv-2-w2-229-2017.

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Sri Dalada Maligawa – the Temple of the Sacred Tooth Relic – is one of the most important pilgrim sites in Buddhist culture. It is the main part of the UNESCO World Heritage Site Sacred City of Kandy. Since the end of the 17th century the temple has been keeping the sacred tooth of the Buddha. Until now an accurate documentation of the temple with all its rich decorations is missing. The Temple is built in an area vulnerable to environmental factors like earthquakes or monsoon rains and was the target of terrorist attacks. To help preserving this important cultural heritage a research project was carried out. Main part of the project was a 3D-documentation of the entire temple by using Terrestrial-Laser-Scanning (TLS) and the creating of CAD-Plans. In addition to the documentation of the architecture several details were taken in high resolution by Structured-Light-Scanning (SLS). All data will be part of the digital archive of the temple and were used as a base for a general site monitoring, especially to observe cracks. Next to the mere documentation a transfer of knowledge was another aim of the project. In future most of the analysis of the scan data can be done by local specialists.

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Sim, Yeonok. "Study on Patterned Silk Textiles from the Seated Wooden Amitabha Buddha in Suguksa Temple." Journal of Korean Traditional Costume 21, no. 4 (December 31, 2018): 109–26. http://dx.doi.org/10.16885/jktc.2018.12.21.4.109.

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Yun, Beom-mo. "The Buddha Statue in Mireukjeon (Mytreya Hall) of Geumsansa Temple and Kim Bok-jin." Journal of Korean Association for Buddhist Studies 88 (November 30, 2018): 55–92. http://dx.doi.org/10.22255/jkabs.88.3.

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Lee, Jong-su. "The Creation of the Thousand Buddha Statues in Haenam Daeheung Temple and the Donors." Art History Journal 43 (December 15, 2014): 99–132. http://dx.doi.org/10.24828/ahj.43.99.132.

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Suzuki, Yui. "Temple as Museum, Buddha as Art: Hōryūji's "Kudara Kannon" and Its Great Treasure Repository." Res: Anthropology and aesthetics 52 (September 2007): 128–40. http://dx.doi.org/10.1086/resv52n1ms20167748.

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Zhang, Xue, Xie, Zhang, and Lu. "Structural Monitoring and Safety Assessment during Translocation of Mahavira Hall of Jade Buddha Temple." Sustainability 11, no. 19 (October 2, 2019): 5477. http://dx.doi.org/10.3390/su11195477.

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The Mahavira Hall of the Jade Buddha Temple in Shanghai, China is a century-old traditional timber structure with a post-and-lintel construction. To improve the temple’s architectural layout and enhance the lintel structural integrity, the Mahavira Hall was moved 30.66 m and then elevated 1.05 m in September 2017. To assist in the structural translocation and uplift, the authors designed a monitoring system to continuously measure the relative displacement and inclination of the overall structure, individual components, and inside statues to ensure the integrity of the hall and its contents. This article presents and summarizes the priority issues and principles of monitoring the ancient Chinese timber structure. The time series of monitored data are decimated in order to minimize the fluctuation of data. The structural integrity of the Mahavira Hall was evaluated based on the inclination angle of its vital members. Finally, combined with the limit value regulated by code and the predicted early warning threshold values, which are based on extreme value theory, the effect of the translocation on the structural performance was obtained using fuzzy logic.

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kim, kyungmi. "A study on Geumgokdang Yeonghwan`s Painting of Bhaiṣajya-guru buddha at Bongwonsa temple." Journal of Korean Studies 75 (December 31, 2020): 43–77. http://dx.doi.org/10.17790/kors.2020.12.75.43.

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Sadzali, Asyhadi Mufsi. "IDENTIFIKASI ARKEOLOGI SARANA DAN PRASARANA MAHAVIHARA MUARAJAMBI SEBAGAI PUSAT PENDIDIKAN DI ASIA TENGGARA PADA MASA MELAYU KUNO ABAD VII-XII." Jurnal Penelitian Arkeologi Papua dan Papua Barat 12, no. 2 (January 21, 2021): 133–52. http://dx.doi.org/10.24832/papua.v12i2.281.

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An Identification of Archeology Mahavihara Muarajambi Facilities and Infrastructures As a Central Education In Southeast Asia In Malay Ancient Time Of The VII-XII CenturyBy;Asyhadi Mufsi Sadzali, Yundi Fitrah Abstract: The development of Buddhism in Sumatra, especially in Jambi, has been going on since at least the 7th century, as evidenced by archaeological remains in the form of the distribution of temple structures in an area of ??3,900 hectares. Reconstruction efforts have been carried out since 1975, until now, but the interpretation of the functions of the buildings in the MuaraJambi temple area has not been studied much, so it is always associated with religious worship buildings. These assumptions will be expressed through two research questions; 1. What were the kinds of archaeological data supporting the MuaraJambi temple as an educational centre 2. How were the educational support facilities found in the Muarajambi Temple in the 7th-12th century AD. Disclosure of research questions using archaeological methods, through systematic stages including; collecting data, processing data in the form of identification and classification, and interpreting data. In the final section, it would discuss the function of each temple building and other supporting structures, namely as a means of educational infrastructure in Southeast Asia1in VII-XII AD century.Keywords: Mahavihara, Temple, Muarajambi IDENTIFIKASI ARKEOLOGI SARANA DAN PRASARANA MAHAVIHARA MUARAJAMBI SEBAGAI PUSAT PENDIDIKAN DI ASIA TENGGARA PADA MASA MELAYU KUNO ABAD VII-XII Oleh; Asyhadi Mufsi Sadzali, Yundi Fitrah abstrak: perkembangan ajaran Buddha di Sumatera, khususnya di Jambi telah berlangsung setidaknya sejak abad ke-7, dibuktikan dengan tinggalan arkeologi berupa sebaran struktur candi di kawasan Percandian Muarajambi seluas 3.900 Ha. Upaya rekonstruksi telah dilakukan sejak tahun 1975, namun interpretasi fungsi bangunan belum banyak diteliti, sehingga hanya dikaitkan dengan bangunan peribadatan agama Buddha. Akantetapi perkembangan data penelitian menunjukkan hal berbeda, ada kemungkinan fungsi lain, yakni sebagai pusat pendidikan. Asumsi tersebut diungkapkan melalui dua pertanyaan penelitian; Apa saja ragam data arkeologi pendukung percandian Muarajambi sebagai pusat pendidikan? Bagaimana sarana-prasarana pendukung pendidikan di Percandian Muarajambi pada abad ke-7 -12 M? Untuk menjawab pertanyaan penelitian digunakan metode arkeologi, melalui tahapan sistimatis meliputi; pengumpulan data, pengolahan data dalam betuk identifikasi dan klasifikasi, serta interpretasi data. Pada bagian ahir diambil kesimpulan terkait fungsi masing-masing bangunan candi serta struktur pendukung lain sebagai sarana prasarana pendidikan di Asia Tenggara pada abad ke-7 – 12 M. Kata kunci: Mahavihara, Candi, Muarajambi

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Huang, Yi Yun, Ling Zhang, and Xiao Hong Han. "Application on the Stratified Air Conditioning System with Low Velocity in the Main Hall of the Temple." Advanced Materials Research 280 (July 2011): 141–46. http://dx.doi.org/10.4028/www.scientific.net/amr.280.141.

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This paper presents a design scheme of the stratified air conditioning system, in accordance with the temple hall’s large space and function characteristics. The indoor stratified air conditioning environment is formed by the low velocity air supply of fan coil units embedded below the Buddha statue. The interface of stratified air is only 1.7m high, because the large amount of air unavoidably penetrates the room due to the prohibition of closing the door. From the tested results, the design not only meet the temple hall’s operational requirements for decoration and the open front door, but also greatly reduces the energy consumption of the air conditioning at the cost of the comfortable feeling of air conditioning. In this work, some suggestions are also given in order to further improve the comfort and lower the energy use.

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Song, Yan, Linlin Zhou, Yunpeng Wang, Fangzhi Liu, Juwen Guo, Ruixia Wang, and Austin Nevin. "Technical Study of the Paint Layers from Buddhist Sculptures Unearthed from the Longxing Temple Site in Qingzhou, China." Heritage 4, no. 4 (September 22, 2021): 2599–622. http://dx.doi.org/10.3390/heritage4040147.

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In 1996, more than four hundred Buddhist statues were excavated from the Hoard of Longxing Temple site in Qingzhou, Shandong Province, China. They are of great significance in the study of Buddhism history during the Northern and Southern Dynasties of China, and have attracted widespread attention since they were unearthed. In this paper, the paint layers from 14 of the Buddhist statues unearthed from the Longxing Temple site were analyzed using portable 3D microscopy, Raman spectroscopy and X-ray fluorescence spectroscopy was used to determine the materials used in their production. Several microscopic samples were analyzed in the laboratory using scanning electron microscopy/energy dispersive spectrometer, X-ray diffraction and micro-Raman spectroscopy. The combined results from the field and laboratory analyses materials used in painting layers of these statues were identified, and the technique for the production of the sculptures was studied. After the stone sculpture of Buddha was finished, a priming layer of lead white was applied over the stone body as a ground, over which pigments were applied. These include mineral pigments (cinnabar, malachite, lapis lazuli and cerussite), Chinese ink (carbon black) and gold leaf. Cinnabar was used for the outer garments, the halos and ornaments of Buddha and Bodhisattva statues; malachite, was found primarily on the Monk’s clothing; the blue pigment, lapis lazuli, was mainly used for the Buddha’s bun, halo and outer garment edges; carbon black ink was employed for drafting and sketching clothing and decorative patterns.

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지강이. "A Study on the “Gilt-Bronze Standing Buddha” from the Bori-sa Temple Site, Uiryeong." KOREAN JOURNAL OF ART HISTORY 292, no. 292 (December 2016): 5–27. http://dx.doi.org/10.31065/ahak.292.292.201612.001.

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김광희. "Clay Seated Sakyamuni Buddha Triad and Four Standing Bodhisattvas in Daeungjeon Hall of Gapsa Temple." KOREAN JOURNAL OF ART HISTORY 300, no. 300 (December 2018): 167–95. http://dx.doi.org/10.31065/ahak.300.300.201812.006.

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Eunwoo Jeong. "Wooden Three Buddha Statues and Sculptor Monk Named Gakmin in Main Shrine of Donhaksa-temple." Korean Studies Quarterly 35, no. 4 (December 2012): 241–65. http://dx.doi.org/10.25024/ksq.35.4.201212.241.

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Shim, Joo-Wan. "A Study on the Statue of Wooden Amita Buddha and Mahasibamaprata Bodhisattva in Heungcheonsa Temple." Art History Journal 53 (December 31, 2019): 41–70. http://dx.doi.org/10.24828/ahj.53.41.70.

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Park, Kwang-Youn. "A Review of the inscription of the Stone Buddha Statue in Gwallyongsa Temple in Changnyeong." Journal of Korean Ancient History 101 (March 31, 2021): 143–66. http://dx.doi.org/10.37331/jkah.2021.03.101.143.

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Roose, Eric R. "Dargāh or Buddha? The Politics of Building a Sufi Sanctuary for Hazrat Inayat Khan in the West." Journal of Sufi Studies 1, no. 2 (2012): 193–223. http://dx.doi.org/10.1163/22105956-12341239.

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Abstract Recent studies of the dissemination of Islamic architecture in the West have argued that newly devised Islamic buildings would not have attempted to materialise a generalised Islamic identity towards a generalised non-Islamic antagonist. Instead, patrons were shown to have recombined elements from venerated prototypes into whole new iconographies that closely followed internal theological rivalries. In the Dutch dunes near Katwijk a Sufi temple was built in commemoration of the Chishti sage Inayat Khan (d. 1927), a monument which serves as a clarifying case study of the seemingly confusing phenomenon where a shared example from Islamic architectural history, in this instance the Taj Mahal, may be transformed in the modern western landscape in such a manner that neither the prototypical origin nor the contemporary connection between the end results would be recognizable to anyone but a very small number of insiders. Based on a complete chronological reconstruction of the design process of the Katwijk temple, it appears that major shifts in the iconography of this ‘Universel’ occurred even in mid-construction, alternating with competing successors to Inayat Khan and their divergent interpretations of their master’s theological legacy as either Islamic or universal.

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Febriani, Meli. "Learning History Of Hindu-Buddha Removal To Invest In The Value Of Local Authenticity In The Middle School Students." Social, Humanities, and Educational Studies (SHEs): Conference Series 3, no. 2 (December 1, 2020): 169. http://dx.doi.org/10.20961/shes.v3i2.46237.

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Cultural relics in the Hindu-Buddhist era in the form of temples are part of local history that can provide positive values for students. The temple, which contains artifacts in the form of souvenirs, provides interesting local history material when it is explained with great inspiration by an innovative and creative teacher. This research was studied using a qualitative approach. The data collection process was carried out by means of observation, interviews, and document study. This research is aimed at seeing the importance of the legacy of a civilization, namely the temple, to be put forward in local history learning materials. This is a means for the formation of national identity through historical awareness and cultural awareness, as well as a teacher or teacher approach to introducing students to local wisdoms that exist around them. Learning like this will make students understand the history of themselves or their environment.

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Li, Chun Ling, and Yan Zhou. "Temple’s Life in City-Heterogeneous System." Advanced Materials Research 250-253 (May 2011): 2777–81. http://dx.doi.org/10.4028/www.scientific.net/amr.250-253.2777.

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Temples usually are located beside cities as means to leading to a saintly and calm life in china for more than 500 years ago. But in these fast developing years in china, the peaceful temples are encircled by the fast growing cities, and as tourism become an important activity, it also encroaches into temples because of its inimitable character. The temple now is a heterogeneous system now is faced with the changes of value, judgment and moreover, it is thence critical as the spirits of the bonzes may be put out of balance and thirst for unreligious life a cause for lure. In this kind of situation, this article discusses how to keep the balance within the spirits of the bonzes even within our noisy earthliness and also provide for worship in order to glorify the power of Buddha within the same temple space by measure of physical planning. From record analysis of the Guiyuan Buddhist temple in Wuhan China, it can be established that temples still can be a saintly and calm place for all the bonzes, and for providing comfort for the anguished and confused public who come to visit.

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

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