Relevant bibliographies by topics / Tibetan Buddhist art

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Tibetan Buddhist art'

Author: Grafiati
Published: 19 February 2023
Last updated: 20 February 2023

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Journal articles on the topic "Tibetan Buddhist art"

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Zuo, Yun. "Study on the Composition of Inner Mongolia Wudangzhao Monastery Building Complex." Applied Mechanics and Materials 357-360 (August 2013): 141–44. http://dx.doi.org/10.4028/www.scientific.net/amm.357-360.141.

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Tibetan Buddhist monasteries embody almost all achievements of the Tibetan community in religious, scientific, cultural and artistic. The erection of Tibetan Buddhist monasteries are closely related to the history of Tibetan Buddhism in Inner Mongolia. As the Tibetan Buddhism had been spread to Inner Mongolia in different periods, Tibetan Buddhist monasteries presented different features in its architectural style. Wudangzhao Lamasery is the grandest integral monastery complex still remaining in Inner Mongolia.Its buildings have high value of art and characteristically Tibetan Buddhist Architectural style on monasterys arrangement and style. Different types of the building gathered together form a Tibetan monastery, buildings complex reflected the intact standard of Tibetan Architecture. They express the Tibetan traditional mountain worship idea, and Buddhist the Mandala Cosmology and Three Realms idea.
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Yan, Zhilong, and Aixin Zhang. "“Ritual and Magic” in Buddhist Visual Culture from the Bird Totem." Religions 13, no. 8 (August 8, 2022): 719. http://dx.doi.org/10.3390/rel13080719.

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Despite numerous research findings related to medieval Chinese Buddhism, the witchcraft role of bird totems in Buddhist history has not received sufficient attention. In order to fill this gap, this paper analyzes how Buddhist monks in medieval China developed a close relationship with bird-totem worship. This relationship has been documented in Buddhist scriptures, rituals, oral traditions, biographies, and mural art. Although bird-totem worship was practiced in many regions of medieval China, this paper specifically examines the visual culture of bird totems in Tibetan and Chinese Buddhism. Furthermore, some details of this culture were recorded in Buddhist texts and images. According to these works, various bird-totem patterns and symbols are believed to be effective ritual arts used by Tibetan and Chinese Buddhist monks to influence nature and the supernatural through ritual and magic.
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Morehart, Mary J., Liu Lizhong, and Ralph Kiggell. "Buddhist Art of the Tibetan Plateau." Pacific Affairs 62, no. 3 (1989): 423. http://dx.doi.org/10.2307/2760658.

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Wang, Xiaoyong. "Between the Religious Act and Art Commodity." Re:Locations - Journal of the Asia-Pacific World 2, no. 1 (May 15, 2019): 1–22. http://dx.doi.org/10.33137/relocations.v2i1.31674.

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Rebgong, located in Huangnan Tibetan Autonomous Prefecture in Qinghai, China, has become one of the most productive areas of Tibetan Thangka painting since the 1980s. Why has Rebgong, a place outside the Tibet Autonomous Region (TAR), become the stronghold of Thangka commercialization? How have Thangka Buddhist painters reacted to the commercialization of their work? I chose to focus on the changes in the past decades in the transmission and commercialization models of Rebgong Thangka. Based on my analysis of both Chinese and English textual sources as well as three weeks of fieldwork conducted in Rebgong, consisting of observation and interviews with key players such as local Thangka masters, students, government officials and dealers, I argue that the models of technique transmission and commercialization have both drastically changed over the past decades, despite the continuation of some features of traditional master-disciple transmission. To justify these changes and compensate for the traditions they betrayed, the key players employed several moral strategies and negotiated with the Buddhist community to maintain a balance between Thangka as a religious object and as a pure commodity. Meanwhile, the sales of Thangka are essentially dependent on its religious meaning. The project attempts to contribute to our understanding of the transformation of religious art alongside modernization, especially the marketization of the economy, and problematize the dichotomy of its religious function and commodity nature. Equally intriguing in this case is how changes in the realm of religious art fundamentally reshaped a specific place and the associated social relations of particular religious and ethnic natures in modern China.
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Demenova, Victoria V. "Sino-Tibetan Style of Buddhist Sculpture: Articulation of the Attribution Problem." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 2 (2022): 272–86. http://dx.doi.org/10.15826/izv2.2022.24.2.039.

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This article is devoted to the concept of “style” and the possibility of its application in the attribution of works of Buddhist metal sculpture. This aspect, which, as a rule, is peripheral for classical Oriental studies, Buddhology, and history, where it is interpreted quite freely, is one of the key ones for art history and museum attribution activities. The author notes the terminological and factual diversity of the designation of the “Sino-Tibetan style” in the circle of researchers of the art of Buddhism. The author poses the question of what exactly the concept of “Sino-Tibetan style” means and whether it is an indication of the body of technical and plastic features of sculptures, or just a designation of the geography of the origin of Buddhist sculptures of the eighteenth and nineteenth centuries made in the western provinces of China. The author refers to three sculptures which are the most controversial ones from the point of view of attribution (Maitreya Buddha from the private collection of A. V. Glazyrin (Ekaterinburg), Shakyamuni Buddha, and Begtse from the collection of the Sverdlovsk Regional Museum of Local Lore), which have several similar stylistic features, and which could presumably be attributed to the “Sino-Tibetan style” of the eighteenth century. Also, the article presents the results of the study of the metal composition of these sculptures using an X-ray fluorescence analyser (spectrometer). Based on the data obtained on the content of substances in the alloy and considering the general artistic and stylistic features of metal images, the author makes a conclusion as to when the attribution designation “Tibeto-Chinese style” is the most accurate one and when it can be applied to Buddhist gilded sculptures created on the territory of China (Manchu Qin dynasty) between the eighteenth and nineteenth centuries.
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Daugherty, Jay. "Our Land, Our People: A Reflection of Tibetan Buddhist Space in Contemporary Art." HIMALAYA 40, no. 2 (November 15, 2021): 50–58. http://dx.doi.org/10.2218/himalaya.2021.6589.

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This article illustrates how a contemporary Tibetan artist disrupts expectations in the creation of his political art. Utilizing Robert Smithson’s dialogic of site and non-site, Tenzing Rigdol’s 2011 site-specific installation Our Land, Our People is interpreted as a reenactment of a culturally specific historical practice of moving space. This approach shares important similarities to historical cases in which physical spaces were relocated to and within Tibet, allowing for the application of 20th century theories arising in the spatial turn to contemporary Tibetan art.
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Grela, Joanna. "Avalokiteśvara in Tibetan Buddhist Art of the Later Spread (Tib. phyi dar) of the Dharma. Image Classification Proposal, Part 2." Polish Journal of the Arts and Culture New Series, no. 13 (1/2021) (2021): 37–50. http://dx.doi.org/10.4467/24506249pj.21.002.13729.

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According to traditional Buddhist narratives and popular beliefs, Tibetans are a people chosen by Avalokiteśvara. Therefore, his worship and multitude, as well as diversity of his images, are quite common both in temples and public areas. Unlike the widespread analyses where the Bodhisattva has been treated as a peaceful tutelary deity, and classifications of its images have been based on morphological features, or artistic styles and techniques, this paper proposes another approach by grounding images in Tantric Buddhism models used locally, e.g. outer, inner and secret forms of the Three Jewels or the Three Refuges, popular in Tantric Buddhism. The second part of this paper focuses on images of Avalokiteśvara as a meditational deity and a Dharma protector, which corresponds to the last two out of the three inner aspects of the Three Jewels. Using the method developed by Erwin Panofsky and the analysis of primary Tibetan text are partly used as convenient tools for the description and exegesis of images.
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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, no. 2 (December 30, 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 organization and process that lasted almost three years. The article gives information about thangka painters, well-known nowadays: their biographies, characteristics and the information about their further life. By creation the paintings of the Central Khurul, these painters contributed to the development of the spiritual culture in Kalmykia.
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Haoribao, Enke, Yoshinori Natsume, and Shinichi Hamada. "Arrangement Plan of Inner Mongolia Buddhist Temple." ATHENS JOURNAL OF ARCHITECTURE 8, no. 1 (December 17, 2022): 67–90. http://dx.doi.org/10.30958/aja.8-1-4.

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Since BC, the construction of cities has been started in the Mongolian Plateau with the establishment of dynasties, but many were turned into ruins. However, the Tibetan Buddhist temples built after the 16th century, which are an indispensable element in the process of settling the Mongolians from nomadic life, have been relatively well preserved in Inner Mongolia. These temples have been thought to be the epitome of the Mongolian economy, culture, art, and construction technology. Therefore, it has a great significance to research them systematically. Interestingly, these temples in Mongolia were originated from Inner Mongolia, which is located on the south side of Mongolia. The architectural design of these temples has been primarily influenced by Chinese and Tibetan temple architecture, suggesting that the temples appear to be considered a vital sample for studying temple architecture in Mongolia or East Asia. So far, there is still no study systematically on temple architecture in Inner Mongolia. Therefore, this research aims to study the arrangement plan of Inner Mongolian Tibetan Buddhist temples, which is the most important factor to consider in the first stage of temple construction.
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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 study is the Tibetan thangka and the Orthodox icon, viewed in the context of evolution of the female divine image within the chronological framework of the XV – XVII centuries. The relevance is substantiated by the growing interest of various experts to the religious painting thangka. In examination of sacred images of Buddhist thangkas and Orthodox icons were applied the comparative-historical and iconographic methods that lean on philosophical, culturological and art scientific materials. The novelty consists in the fact that based comparative analysis of the material of Tibetan thangkas and Orthodox icons, the author explores the traditions of depicting light manifestations of sacred images of women. Iconographic plot traces the formation of light and its role in creation of the female guise of wisdom. The conclusion is made that for assessing the Tibetan Buddhist art of thangka and Orthodox icon it is necessary to grasp the essence of female beginning and significance of the symbolism of light that indicates the aspect of wisdom and love on the path of spiritual growth. 
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Dissertations / Theses on the topic "Tibetan Buddhist art"

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Zhang, Lan. "The hidden path : an elementary view of the symbols in the Kālachakra Mandala." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/372977.

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The overall goal of this research project and associated creative work is to assist the general public in reading the Kālachakra mandala. A prominent type of Tibetan Buddhist art, it has been employed by the Fourteenth Dalai Lama as a means of promoting Tibetan culture. Understanding the Kālachakra mandala is a means of understanding Tibetan Buddhism, which can assist in transmitting and preserving the related culture. Despite years of disseminating the Kālachakra mandala, a lack of understanding still surrounds it, which is due to three main reasons: the complexity of related academic resources; occasional incorrect information given on the mandala; and commonly held misconceptions in the West. These factors have not only prevented people from gaining a correct understanding of the Kālachakra mandala but also generated negative influences on the transmission of Tibetan Buddhism and its associated culture. Therefore, I use the concept of the five elements (earth, water, fire, air, and the void) to provide an interpretive ‘bridge’ or ‘path’ towards a better understanding of the Kālachakra mandala. In this way, the symbols are no longer perceived individually, as in most books on maṇḍalas; instead, they are perceived in the organised context of the five elements. The posters are stylised with a secular twist; they are used as ‘visual texts’ in the wall charts so that a wider range of viewers (from both Western and Eastern backgrounds) will be able to identify these esoteric symbols. Consequently, the integration of the above processes not only reveals the relationship between every single symbol that can lead to an accessible understanding, but also ensures the correct reading of the Kālachakra maṇḍala within a Tibetan context. This method can be extended to the reading of other types of maṇḍalas as well as the interpretation of wider range of Tibetan Buddhist artworks.
Thesis (PhD Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Kloos, Stephan. "Tibetan medicine among the buddhist dards of Ladakh /." Wien : Arbeitskreis für Tibetische und Buddhistische Studien, Universität Wien, 2004. http://catalogue.bnf.fr/ark:/12148/cb39210090z.

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Peng, J. "An exploration of Tibetan Tantric Buddhism and its art : a potential resource for contemporary spiritual and art practice." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1417088/.

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Tibetan Tantric Buddhism is today considered one of the most important and controversial forms of Asian culture, using a rich and somewhat complicated range of methods and materials. The perception of the ‘mystical’ nature of Tibetan Tantric Buddhist art in the world beyond Tibet has changed and evolved significantly and profoundly over the last three decades. However, contemporary Tibetan artists feel confused about how to develop a Tibetan art tradition within the context of a globalised world. 　　Against this background I am interested in exploring the mysterious nature of Tibetan Tantric Buddhism and its art through grasping its religious values, historical context, and artistic qualities. In so doing I try to investigate questions concerning the cross-cultural analysis and utility of images in Tibetan Tantric Buddhist art, as opposed to political conflicts that often arise in the media now. 　　As an exploration of Tibetan Tantric Buddhist art and its contemporary significance, this research seeks to fulfill three important goals: first, to introduce Tibet’s mystical and magnificent art within its historical and religious contexts to those unfamiliar with either Tibet Buddhism or Tibetan Buddhist art and its cultural background; second, to examine the influences of Tibetan Tantric Buddhist art tradition on some contemporary Tibetan and non-Tibetan artists’ art practice; and third, to embark on combining theoretical research, methods of meditation and my own art practice as a way of exploring the trans-cultural translation of Tibetan Buddhist art in Chinese and Western contexts. The aim is to explore the potential of Tibetan Tantric Buddhist art as elucidating common ground between the meditative mind and the creative mind for engaging in an open conversation of faith, spirituality, religion, and aesthetic experiences in the contemporary period.
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Assis, Vinicius de [UNESP]. "Thangka: a pintura sagrada tibetana: tradição, história e método." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/141973.

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O presente estudo intenta apresentar os princípios básicos, históricos e processuais, da pintura tradicional tibetana, thangka. Tal objetivo se justifica pela escassez de estudos em língua portuguesa sobre o assunto. Ainda que seja perceptível nos tempos atuais uma expansão dos estudos asiáticos no Brasil, em confluência com uma crescente aproximação e interesse pela cultura oriental na contemporaneidade; esta pesquisa, por meio de estudo de campo, levantamento bibliográfico e histórico, busca a investigação e exposição do profundo e específico âmbito do simbólico, sagrado e tradicional na pintura tibetana. Acreditando que o reconhecimento das artes e teorias estéticas não eurocêntricas corroboram a cognição e produção da inestimável diversidade cultural humana.
The following study intends to present the basic, historical and procedural principles of the traditional Tibetan painting, thangka. This objective is justified by the lack of studies in Portuguese on the subject. Although it is noticeable nowadays an expansion of Asian studies in Brazil, in confluence with a growing approach and interest in Eastern culture in contemporary society; this dissertation, by field research, literature and history, wishes to investigate, explain and expose the deep and specific scope of the symbolic, sacred and traditional in Tibetan painting. Believing that the recognition of the arts and non eurocentric aesthetic theories corroborate the cognition and production of the invaluable human cultural diversity.
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McClure, Faith M. ""At the Still Point of the Turning World"." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/82.

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The history of landscape painting in the West has dictated and reiterated a phenomenological point-of-view derived from the Cartesian coordinate plane system. After having journeyed to northern India for eight months, I became influenced by other pictorial conceptions of space, namely the radial cosmological mandalas of Tibetan Buddhism and yantras of Hinduism. Unable to fully eliminate the coordinate plane system from the recess of my mind, I embarked upon a creative journey through consciousness in which my own studio practice provided the means to construct a new orientation, not only in terms of the perceivable, external world, but within the realm of my own embodied mind.
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Henrion-Dourcy, Isabelle. "Ache Lhamo : Jeux et enjeux d'une tradition théâtrale tibétaine." Doctoral thesis, Universite Libre de Bruxelles, 2004. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211111.

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L'objet de cette thèse est une monographie du théâtre traditionnel tibétain, ou ache lhamo, souvent appelé lhamo tout court, tel qu'il était joué à l'époque pré-moderne (antérieure à 1950) et tel qu'il est encore joué actuellement en Région Autonome du Tibet (République Populaire de Chine) et dans la diaspora tibétaine établie en Inde et au Népal. Comme la plupart des théâtres d'Asie, il est un genre composite :à la fois drame à thématique religieuse (issue du bouddhisme mahāyāna), satire mimée, et farce paysanne, il comprend de la récitation sur un mode parlé, du chant, des percussions, de la danse et des bouffonneries improvisées, ainsi qu'un usage de masques et de costumes flamboyants, qui tranchent avec la sobriété absolue des décors (la scène est vide) et de la mise en scène. Bien qu’il ait été encouragé et financé par le gouvernement des Dalai Lama, de grands monastères et des familles aristocratiques, c’est un théâtre avant tout populaire, et non pas réservé à une élite lettrée. Cette étude a circonscrit à la fois le contenu, le rôle social, le langage artistique et les implications politiques du théâtre dans la civilisation tibétaine.

La méthodologie a été composée en combinant les apports et réflexions critiques de trois disciplines :l'ethnologie, la tibétologie et les études théâtrales. L'approche est fondamentalement ethnologique, en ce que la production des données repose sur une immersion de plus de deux ans parmi des acteurs de théâtre de la Région Autonome du Tibet (1996-1998) et de près d'un an parmi ceux de la diaspora d'Asie du Sud (1998-2000). Elle l’est aussi en ce que l’intention a été de constituer une intelligibilité englobante pour l'ache lhamo, c'est-à-dire de mettre au jour l'intrication des dimensions culturelle, sociale, politique, économique, rituelle et symbolique de la pratique théâtrale. L’une des contributions principales du travail est d’étoffer l’ethnologie régionale du Tibet central, mais ses conclusions et son esprit critique le placent également dans la liste déjà importante des travaux consacrés à l'invention des traditions. La tibétologie a fourni le cadre interprétatif fondamental des données recueillies. Une importance très grande a été accordée à l'histoire du pays ainsi qu'à la philologie et aux terminologies vernaculaires particulières au théâtre. L’étude s’inscrit dans l’un des courants novateurs de la tibétologie, privilégiant les aspects non plus religieux et politiques de cette civilisation, mais sa partie « populaire » et anthropologique, mettant au premier plan l’analyse des pratiques et non celle des doctrines. Des sources écrites (textes pré-modernes et sources secondaires de folkloristes tibétains et chinois) ont été intégrées aux observations. En ce qui concerne la troisième approche méthodologique, cette étude ne s'inscrit ni dans le courant des « performance studies » de Richard Schechner, ni dans l'anthropologie théâtrale d’Eugenio Barba, ni dans l'ethnoscénologie telle qu'elle est défendue par Jean-Marie Pradier, mais plutôt dans l'anthropologie du théâtre, au sens d'étude interprétative et multidimensionnelle, utilisant les référents établis de l'anthropologie et les savoirs indigènes pour décrire une expression culturelle déterminée et reconnue comme un genre à part entière, le théâtre.

Les résultats sont présentés en trois parties, qui peuvent être résumées de manière lapidaire par trois adjectifs :culturelle, sociologique, artistique. La première partie, intitulée "Le cadre culturel du lhamo avant 1959", est consacrée au contexte (historique, religieux et littéraire) dans lequel le théâtre est inscrit, ainsi qu’aux textes (leur contenu, leurs modalités de composition et de transmission) qui révèlent l'imaginaire propre du théâtre. La deuxième partie est une analyse de "L'ancrage sociologique du lhamo". Les conditions matérielles des représentations y sont examinées :les divers types de troupes, leur organisation interne, le statut social des acteurs, l'inscription de la pratique du théâtre dans le système socio-économique pré-moderne, et les rapports d'obligations tissés entre acteurs et seigneurs, ainsi qu'entre acteurs et commanditaires des représentations. La dernière partie, "Art et savoirs des acteurs", jette un éclairage sur la matière vive du lhamo. Elle rend compte des conceptions, valeurs, plaisirs et difficultés de ceux qui pratiquent cette forme d'art. Les divers registres de leur discipline sont analysés en détail :costumes, masques, gestuelle, chant, accompagnement musical (percussions) et sentiments exprimés. L'appréciation qui en est faite par le public est aussi consignée. Au cœur de cette partie se trouve une réflexion sur la nature rituelle et non rituelle du lhamo, et sur les liens éventuels de ce dernier avec d'autres activités religieuses, telles la possession. Les dernières pages de la thèse constituent un épilogue, qui fait le point sur la situation contemporaine, donc les implications politiques, du théâtre des deux côtés de l'Himalaya.

L'image anthropologique du lhamo qui a pu être dégagée de ces trois volets d'analyse le fait apparaître comme essentiellement ambivalent :le lhamo est un théâtre de paradoxes. À l'image de la civilisation tibétaine, il est composite et cohérent à la fois. Sa cohérence réside dans son ambivalence :il traverse et relie des aspects contrastés de la culture. Il introduit du jeu entre les polarités que Tibétains et tibétologues établissent parfois un peu trop à la hâte entre culture savante et culture populaire, écriture et oralité, éléments exogènes et apports autochtones, bouddhisme et cultes qui ont précédé son implantation, aspiration religieuse et intérêts mondains, spécialistes rituels et bénéficiaires qui les rémunèrent. Combinant fonction pédagogique et fonction rituelle, sacré compassé du texte et irrévérence grivoise des improvisations, le lhamo correspond aussi très bien à la manière dont les théâtrologues appréhendent le théâtre :comme un objet curieux, créé par les hommes et qui pourtant ne cesse de les intriguer, comme s'il était venu d'ailleurs.
Doctorat en Sciences politiques et sociales
info:eu-repo/semantics/nonPublished

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Schmid, Eva, and n/a. "An Ecological Sense of Self as a Necessary Development for an Ecologically Sustainable Future: The Contributions of Three Spiritual or Wisdom Traditions to Constructions of Self and Other in Educational Contexts." University of Canberra. School of Professional & Community Education, 2006. http://erl.canberra.edu.au./public/adt-AUC20070706.094423.

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The core premise of the thesis is that our global environmental and social crises are of our own making and can only be transformed by us. Therefore it is imperative that humanity finds ways of protecting and sustaining the natural environment for our collective survival. This necessarily depends on human beings� ability to co-exist in harmony with other humans and species and to feel connected to and protect nature. This thesis examines three spiritual or wisdom traditions � Aboriginal spiritualities, the Goddess movement and Tibetan Buddhism, as they relate to Arne Naess�s concept of the �ecological self.� The ecological self is a psychological construct that suggests that human beings can evolve from a narrow egocentric way of being and relating to others, to one that is more open, inclusive of the �other� and where one sees all lives as important. One is ultimately able to embrace the whole earth community, so that nothing is excluded as �other�. This process of increasingly �wide identification� Naess defined to be the process of the development of the ecological self. There is much written about spirituality and the environment but little relevant research that specifically examines spiritual traditions as they relate to the ecological self. The insights of transpersonal psychology elucidate the maturation from ego consciousness to eco-consciousness � a process of progressively inclusive identification with �others�, including the environment. However, transpersonal psychology does not directly �converse� with Naess�s construct of an ecological self. This thesis examines the nexus between Arne Naess�s ecological self, transpersonal psychology and the three spiritual traditions. �Aboriginal spiritualities� refers to Australian Aboriginal spiritualities, unless other wise stated. The literature review covers relevant background to the ecological self in relation to Western science and thought; this includes constructions of self and �other� and story. Literature reviews of the three traditions informed in-depth interviews with five research participants who practise or identify with their particular spiritual tradition. I believe this research will enable the reader to gain an overview of the ecological wisdom of these three spiritual traditions, grounded in the lived experience of practitioners who embody these traditions. Each wisdom tradition has a long history of imparting psychological, social and ecological insights and understandings that are profoundly helpful and relevant to the current period of ecological crisis. The interviews are analysed under the broad conceptual themes of ecology, compassion and story. These traditions will be shown to encourage compassion, connectedness, interdependency and impart ecological wisdom - all vital to the realisation of the �ecological self�. Story, lifelong learning and the ecoeducational model are used as frameworks for examining the educational potential of the spiritual traditions involved. A choice must be made: will we continue to base our knowledges on Western science or will we examine alternate constructions of reality, such as those of the three spiritual traditions examined in this thesis? The three spiritual traditions provide a compassionate and non-violent view of human consciousness with the potential to transform into an ecologically sensitive creative force. This thesis argues that great wisdom is held by these three wisdom traditions in the context of education for sustainability. This thesis examines this context.
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Namgyal-lama, Kunsang. "Les tsha tsha du monde tibétain : études de la production, de l’iconographie et des styles des moulages et estampages bouddhiques." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040242.

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Objets très communs dans l’aire de culture tibétaine, les tsha tsha, fabriqués à l’aide de moules, sont des images en argile figurant des stūpa, des divinités bouddhiques, des personnages historiques, ainsi que des inscriptions. Leur fabrication est avant tout considérée comme une pratique religieuse visant à générer des mérites mais aussi à purifier les actions négatives. Réalisés en masse, ils constituent des témoignages fidèles et mésestimés des développements iconographiques et stylistiques qui ont marqués l’art bouddhique tibétain au fil des siècles. En l’absence d’études antérieures, un travail de recensement systématique des matériaux relatifs aux tsha tsha a fait apparaître une richesse documentaire insoupçonnée susceptible d’éclairer non seulement l’histoire de l’art tibétain, mais également certains aspects relevant de l’anthropologie religieuse, de la philologie, ou encore de la paléographie. Dans le cadre de notre thèse, nous avons privilégié une démarche globalisante prenant en considération l’ensemble des données disponibles en procédant conjointement à l’étude d’un très large corpus de pièces sélectionnées, à celle de la littérature afférente, et aux observations de terrain. Dans cette perspective, nous avons envisagé l’étude des tsha tsha sous divers angles: l’origine et l’histoire de la diffusion de cette pratique au Tibet, la terminologie relative à ces objets, les techniques de fabrication, les usages, l’iconographie, les styles et enfin les inscriptions présentes à leur surface ou introduites. Cette approche nous a permis de révéler finement l’ampleur et les développements que cette pratique bouddhique d’origine indienne a connu dans le monde tibétain
Very commonplace in the Tibetan world, tsha tshas are clay impressions produced from a mould depicting, either in relief or moulded in the round, stūpas, Buddhist deities, historical figures and inscriptions. Making them is essentially considered to be a religious practice intended to generate and accumulate merit but also to purify negative deeds and obscurations. Produced in mass and generally preserved inside sealed edifices, tsha tshas are true yet underrated evidence of the iconographic and stylistic developments that have marked Tibetan Buddhist art over the centuries. In the absence of any previous studies, the task of establishing a systematic inventory of sources related to tsha tshas revealed an unsuspected wealth of material for elucidating not only the history of Tibetan art, but also some aspects of religious anthropology, philology, or paleography. In this doctoral research, we favored a globalizing approach that takes into account all the available data by studying a very large corpus of selected pieces, of the literature related to the tsha tshas, as well as field observations. In this context, we considered the study of tsha tshas from different angles: the origin and history of how this practice spread through Tibet, the terminology for these objects, the techniques for making them, their uses, iconography, styles and finally the inscriptions that are found on their surface or inside them. This approach has allowed us to explain more accurately the true extent of this Buddhist practice of Indian origin and the developments it has undergone in the Tibetan world since its introduction in about the 8th-9th centuries to the present day
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9

"民族、宗教與藏傳佛教藝術品的買賣: 以成都"藏族街"為例." 2011. http://library.cuhk.edu.hk/record=b5894870.

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宋黎昀.
"2011年9月".
"2011 nian 9 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (p. 130-135).
Abstract in Chinese and English.
Song Liyun.
Chapter 第一章： --- 導論 --- p.1
Chapter 一. --- 論文之背景和目的 --- p.1
Chapter (一). --- 背景 --- p.1
Chapter (二). --- 研究目的 --- p.5
Chapter 二. --- 文獻回顧 --- p.7
Chapter (一). --- 民族性與商業 --- p.7
Chapter (二). --- 商品化與「本真性」 --- p.13
Chapter (三). --- 宗教與商業行為 --- p.18
Chapter 三. --- 田野地之選擇與研究方法 --- p.23
Chapter (一). --- 田野點的意義所在 --- p.23
Chapter (二). --- 研究方法 --- p.25
Chapter 四. --- 本論文之結構安排 --- p.29
Chapter 第二章： --- 「藏族街」在成都 --- p.31
Chapter 一. --- 成都的少數民族 --- p.31
Chapter 二. --- 成都的藏族 --- p.32
Chapter 三. --- 成都與藏區的地緣關係及往來淵源 --- p.33
Chapter 四. --- 「藏族街」生意的發展歷程 --- p.40
Chapter 五. --- 「藏族街」在成都 --- p.47
Chapter (一). --- 成都大眾眼中的「藏族街」 --- p.49
Chapter (二). --- 政府眼中的「敏感地帶」 --- p.50
Chapter (三). --- 當地社區漢人對「藏族街」藏人的看法 --- p.53
Chapter 六. --- 藏族商人之間的關係 --- p.59
Chapter 七. --- 城市的邊緣人 --- p.60
Chapter 八. --- 小結 --- p.63
Chapter 第三章： --- 佛教道德觀與藏族商人的商業行為 --- p.65
Chapter 一. --- 藏地經濟之變遷 --- p.66
Chapter (一). --- 80年代以前的藏族社會經濟 --- p.66
Chapter (二). --- 80年代以來市場經濟體系下的藏地經濟 --- p.69
Chapter 二. --- 藏傳佛教藝術品買賣當中的禁忌 --- p.76
Chapter (一). --- 對佛像生意的爭議 --- p.76
Chapter (二). --- 其他禁忌物品 --- p.81
Chapter 三. --- 佛教道德對商業觀念的影響 --- p.83
Chapter 四. --- 「積德」的行為 --- p.86
Chapter 五. --- 分析和小結 --- p.88
Chapter 第四章： --- 何為「正宗的」藏傳佛教藝術品 --- p.91
Chapter 一. --- 與尼泊爾的貿易網絡 --- p.91
Chapter 二. --- 藏族商人對其產品「正宗性」的建構 --- p.99
Chapter (一). --- 尼泊爾產品與藏地、 漢地產品的區分 --- p.100
Chapter (二). --- 藏式風格與漢式風格的區分 --- p.102
Chapter (三). --- 宗教用品與旅遊紀念品的區分 --- p.104
Chapter 三. --- 有區分的本真性概念 --- p.114
Chapter 四. --- 小結 --- p.120
Chapter 第五章： --- 結論 --- p.121
Chapter 一、 --- 族群性與商業之間的關係 --- p.121
Chapter 二、 --- 商品化和「本真性」的建構 --- p.125
Chapter 三、 --- 宗教對商業行為的影響 --- p.127
參考文獻 --- p.130
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Books on the topic "Tibetan Buddhist art"

1

Tibetan religious art. New York: Dover Publications, 2002.

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Tibetan art. New Delhi: Niyogi Books, 2008.

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Till, Barry. The Tibetan mandala and Tibet's sacred art. Victoria, B.C: Art Gallery of Greater Victoria, 2000.

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Museum, Newark, ed. Tibetan Buddhist altar. Newark, N.J: Newark Museum, 1991.

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Roerich, George Nicholas. Tibetan paintings. Delhi: Gian Pub. House, 1985.

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Tibetan paintings. Delhi: Gian Pub. House, 1985.

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Li, Jicheng. The realm of Tibetan Buddhism. Edited by Gu Shoukang, Kang Song, Xiao Shiling, and An Chunyang. Beijing: Foreign Languages Press, 1991.

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Shou-kʻang, Ku, and Kʻang Sung, eds. The realm of Tibetan Buddhism. Quarry Bay, Hong Kong: Commercial Press (Hong Kong Branch), 1985.

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Li, Chi-chʻeng. The realm of Tibetan Buddhism. Edited by Ku Shou-Kʻang, Kʻang Sung, Xiao Shiling, and An Chunyang. Beijing: Foreign Languages Press, 1992.

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Shou-Kʻang, Ku, Kʻang Sung, Xiao Shiling, and An Chunyang, eds. The realm of Tibetan Buddhism. New Delhi: UBS Publishers' Distributors, 1986.

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Book chapters on the topic "Tibetan Buddhist art"

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Behrendt, Kurt A. "Gandhāran imagery as remembered by Buddhist communities across Asia." In The Rediscovery and Reception of Gandhāran Art, 107–23. Archaeopress Archaeology, 2022. http://dx.doi.org/10.32028/9781803272337-5.

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Gandhāran art endured and shaped Buddhist visual culture long after the great monasteries in the Peshawar Basin had fallen into ruin. Naturally, this impact is especially pronounced between the first and early sixth centuries when these Gandhāran institutions were active and connected through trade to Afghanistan (Bactria), Central Asia, and China. Artworks created for monastic complexes in the small regional centre of Gandhāra had an outsized impact on the Buddhist world because of their perceived legitimacy. Narrative formats from this region were also embraced as they effectively crossed cultural barriers. More remarkable are the Gandhāran sculptural forms that remained relevant in later centuries in far-flung Buddhist communities across Asia. For Tibetan and East Asian audiences, Gandhāra came to be equated with the region of Udayāna (the Swat valley), which sits about 20 km north of Gandhāra proper. Udayāna takes on great importance as the place where the first sandalwood image of the Buddha was sculpted – setting up a long lineage of Udayāna Buddha images across East Asia. The great ascetic Padmasaṃbhava also hails from Udayāna to bring tantric teachings to Nepal, Tibet, and Bhutan. Bronzes cast in Gandhāra and Swat also find their way into Tibet, where they remained under veneration. Finally, in the nineteenth century, it should not be surprising that, with the discovery of Gandhāran archaeological remains, Buddhist communities across Asia once again embraced the imagery from this authoritative sculptural tradition.
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"The Buddhist Discourse On Gender In Tibetan Medical Iconography." In Proceedings of the Tenth Seminar of the IATS, 2003. Volume 13: Art in Tibet, 203–12. BRILL, 2011. http://dx.doi.org/10.1163/ej.9789004155190.1-348.88.

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Pang, Rachel H. "The Contemporary Tibetan Buddhism Rimé Response to Religious Diversity." In Buddhist Responses to Religious Diversity: Theravāda and Tibetan Perspectives, 115–28. Equinox Publishing, 2020. http://dx.doi.org/10.1558/equinox.38394.

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In a world where communities across the globe are becoming increasingly interconnected, encounters with diverse cultures and faiths is inevitable. How can diverse communities approach these encounters in a way that fosters dialogue rather than conflict, peace rather than war? Specifically, in the context of Buddhism, how should Buddhists relate to religious diversity in a way that simultaneously remains faithful to their own spiritual traditions while being open-minded and respectful towards the beliefs and practices of others? One of the most well-known Buddhist responses to religious diversity was the rimé movement in nineteenth-century eastern Tibet. While the term “rimé” (meaning “impartial” or “non-sectarian” in Tibetan) has become a catchphrase in contemporary Tibetan Buddhist contexts, there has been little sustained engagement with this topic by Buddhists and Buddhist studies scholars. This essay documents and contextualizes the contemporary uses of the term rimé (non-sectarianism) in Tibetan Buddhist communities and situates it within Tibetan Buddhist literature and history. I argue that it is essential for both Buddhists and Buddhist-studies scholars to devote significant attention to the concept of rimé and to engage in interfaith dialogue. For Buddhists, the very survival of their religion depends on it. For Buddhist-studies scholars, it contributes to the development of an accurate understanding of one of the most significant intellectual moments in modern Tibetan history. For humankind, it contributes to interfaith understanding, harmony, and peace.
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Duckworth, Douglas, Abraham Vélez de Cea, and Elizabeth J. Harris. "Introduction." In Buddhist Responses to Religious Diversity: Theravāda and Tibetan Perspectives, 1–4. Equinox Publishing, 2020. http://dx.doi.org/10.1558/equinox.38388.

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This volume discusses contemporary Buddhist responses to religious diversity from Theravādin and Tibetan Buddhist perspectives. Buddhist attitudes toward other religious traditions (and its own) are unquestionably diverse, and have undergone changes throughout historical eras and geographic spaces, as Buddhists, and traditions Buddhists have encountered, continue to change (after all, all conditioned things are impermanent). The present time is a particularly dynamic moment to take stock of Buddhist attitudes toward religious others, as Buddhist identities are being renegotiated in unprecedented ways in our increasingly globalized age. Is it true that Buddhists are tolerant of other religions? To what extent are Buddhists tolerant? Is nirvana held to be attainable through Buddhism alone? If so, through which Buddhist tradition? This volume approaches these questions and others from perspectives representing Theravādin and Tibetan traditions of Buddhism. The chapters herein bring together a spectrum of views that are not often found side-by-side in a single volume or in a meaningful dialogue with each other, needless to mention with other religions. This volume seeks to remedy this situation, and break new ground to enable further dialogue, understanding, and constructive encounters across Buddhist traditions and between other religious traditions and Buddhists.
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Larsson, Stefan. "Milarepa Sings Again: Tsangnyön Heruka’s ‘Songs with Parting Instructions’." In Songs on the Road: Wandering Religious Poets in India, Tibet, and Japan, 67–92. Stockholm University Press, 2021. http://dx.doi.org/10.16993/bbi.d.

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Although Tibetan Buddhism is often associated with monks and canonical texts, other types of Buddhist practitioners and other kinds of texts are also of importance. Before the 5th Dalai Lama came to power in 1642 and Tibetan Buddhism became increasingly systematized and monastically oriented, Tibetan charismatic yogins composed and printed religious poetry (mgur) and hagiographies (rnam thar) to promote a non-monastic ideal with remarkable success. They modelled their lifestyle upon Indian Tantric siddhas and on the Tibetan poet-saint Milarepa (c. 1040–1123). Like them, they adopted a wandering lifestyle and used religious poetry as a means for spreading their message. By expressing themselves through poetry, which they also composed, these yogins could present Buddhism in an innovative way, adapted to the needs of their audience. Taking the ‘songs with parting instructions’ (’gro chos kyi mgur) of the ‘crazy yogin’ (rnal ’byor smyon pa) Tsangnyön Heruka (1452–1507) as the point of departure, this chapter explores how these colourful figures attempted to vitalize Buddhism in Tibet by creating an alternative religious infrastructure outside of the monastery.
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Bareja-Starzyńska, Agata. "Siregetü Güüsi Čorǰi’s Treatise that Contains the Complete Meanings of the Most Important [Buddhist Concepts] To Be Used (The Last Chapter)." In Sources of Mongolian Buddhism, 6–40. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190900694.003.0002.

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This chapter presents the last part of the manual of Buddhism composed by Siregetü Güüsi Čorǰi entitled Čiqula kereglegči tegüs udq-a-tu šastir. It is a lexicon of Buddhist technical terms, which are sometimes accompanied by short explanations. Siregetü Güüsi Čorǰi’s work can be regarded as a pioneering attempt of rendering diverse Buddhist terms in the Mongolian language, before a full translation of the Tibetan Kanjur (T. bka’ ’gyur) into Mongolian was completed in 1629. Moreover, Mongolian Buddhist terminological dictionaries appeared much later in the eighteenth century. The manual was used by Siregetü Güüsi Čorǰi’s contemporaries and by the later generations of Mongolian Buddhists until modern times.
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"Ribba, The Story of an Early Buddhist Temple in Kinnaur." In Proceedings of the Ninth Seminar of the IATS, 2000. Volume 7: Buddhist Art and Tibetan Patronage Ninth to Fourteenth Centuries, 1–28. BRILL, 2002. http://dx.doi.org/10.1163/9789004483118_004.

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Majer, Zsuzsa. "Three Ritual Prayers by Öndör Gegeen Zanabazar." In Sources of Mongolian Buddhism, 329–58. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190900694.003.0016.

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This chapter covers three main works of Öndör Gegeen Zanabazar (1635–1723), who was the first head of Mongolian Buddhism. All three prayers translated in this chapter were composed in the Tibetan language. The first of them remains the most important prayer in the daily practice of Mongolian Buddhists, thus being the main prayer of Mongolian Buddhism in general, in which the texts of different Tibetan Buddhist traditions and lineages are otherwise used. The second translated prayer is a food offering text, often used in tantric rituals, and the third prayer is connected to a mantra recitation and the sādhana (“method of realization”) of Bodhisattva Avalokiteśvara. It contains a profound tantric doctrinal meaning and is closely related to the soyombo writing system created by Öndör Gegeen Zanabazar himself.
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"Did Atiśa Visit Zha Lu Monastery? Tracing Atiśa’s Influence on Tibetan Iconography." In Proceedings of the Ninth Seminar of the IATS, 2000. Volume 7: Buddhist Art and Tibetan Patronage Ninth to Fourteenth Centuries, 45–58. BRILL, 2002. http://dx.doi.org/10.1163/9789004483118_006.

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Falcone, Jessica Marie. "Community/SANGHA." In Battling the Buddha of Love, 19–43. Cornell University Press, 2018. http://dx.doi.org/10.7591/cornell/9781501723469.003.0003.

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In this chapter, I also introduce the readers to the particular transnational Tibetan Buddhist community working to build the Maitreya Statue. This chapter provides an overview of Global Buddhism today with special attention to issues of community and identity for FPMTers. In the literature on Global Buddhism, disparate communities of practice are often differentiated with imprecise or careless terminology: 1) for example, Jan Nattier’s use of “ethnic” vs. “elite,” which overstates racial and class factors; or, by using the term “convert,” which is anathema to some people labelled thusly. This chapter makes a substantive contribution to the issue of properly naming disparate practitioners, as I’ve posited a heritage spectrum of practitioners that more sensitively works to contextualize various Buddhists.
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Conference papers on the topic "Tibetan Buddhist art"

1

Yukongdi, Pakpadee. "Khao San Dam: The Archaeological Evidence of Burnt Rice Festival in Southern Thailand | ข้าวสารดำา: หลักฐานทางโบราณคดีเกี่ยวกับประเพณีการเผาข้าวในภาคใต้ของ ประเทศไทย." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-08.

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Recently in 2021the 11th office of the Fine Arts Department, Songkhla has reported their annual excavations in Trang Province that archaeologists have found some set of rice while excavation in process namely,1) Khao Kurum Archaeological Site, Huai Yod District and 2) Napala Archaeological Site, Muang District. The artifacts which were found associated with the rice grains on the habitation layer consisted of potsherds, animal bones, grindstone, beads, etc. The grains of rice are short and brown in colour which is examined as carbonized since the beginning at its first left. The primary examination by archaeologists has classified the rice of Napala Archaeological Site as short grain of probably Orysa sativa (Indica or Aus) rice. AMS Radiocarbon dating by Beta Analytic Testing Laboratory shows the AMS standard results and calibration dating of charred material measured radiocarbon age:1440±30BP. Because of their geographical location, both sites are incredibly located on one side of the hill slope, where they were suitable for habitat and plantation, especially tiny paddy fields and farms with sufficient water supply either small stream or well. The found rice, which now still grows uphill, probably called ‘Khao rai’ needs less water or no marsh. Comparative study of ethnographic “Atong” 1 of 12 sub-tribes of the “Garos” Tibeto-Burman in Meghalaya, India which originated slash-and-burnt socio-groups, have shown an interest in growing rice activity. According to their ritual ceremony for planting of paddy, other grain, and seeds takes place. There are many ritualistic offerings of rice such as (1) flattened rice by asking for permission to cultivate the land from the first harvested paddy in May. (2) After the harvesting in September or October, the 1st ceremony of the agricultural year is a thanksgiving ceremony to mark the end of a period of toil in the fields and harvesting of bumper crops, which is probably the most important festival of the Garos locally called “Maidan syla” meant to celebrate the after-harvested festival or burnt rice festival. Their 2nd ceremony is to revive the monsoon clouds. People throw cooked rice on the floor to symbolize hailstones. Noticing the rice, were probably the assemblage of “Khao San Dam” in many activities of these ceremonies, that is the archaeological evidence found in Khao Kurum and Napala Archaeological Sites. In the Southern part of Thailand, once the crops have already cultivated, people celebrate to welcome their outcrops most probably at the end of September to October and mark their end of plantation before the monsoon come. People prepare 4 main rice desserts put together with other necessity stuffs in the “hmrub” special large containers and donate to the ancestors through Buddhist ceremony. Though archaeological evidence shows that southern peninsular was where the migrants from the west especially India origins, who shared same habitat of hillslope, might brought their different traditions through both land trans-peninsular and sea routes then settled down inner western or eastern coast since prehistoric times. The beliefs in animism might belong to some other western migrants and with having “hmrub” is one of their unique cultural characteristic material and tradition remain. Once they settled down then converged to Buddhism, the ritual ceremony may be changed due to religion, but tradition remains the same today, that is, Bun Duean Sib on the 10th of the lunar month or September-October.
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