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Porcu, Elisabetta. "Pure Land Buddhism in modern Japanese culture /". Leiden : Brill, 2008. http://catalogue.bnf.fr/ark:/12148/cb413311546.
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Steinmetz, Mayumi Takanashi. "Artistic and Religious Aspects of Nosatsu (Senjafuda)". Thesis, University of Oregon, 1985. http://hdl.handle.net/1794/22962.
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195 pagesNosatsu is both a graphic art object and a religious object. Until very recently, scholars have ignored nosatsu because of its associations with superstition and low-class, uneducated hobbyists. Recently, however, a new interest in nosatsu has revived because of its connections to ukiyo-e. Early in its history, nosatsu was regarded as a means of showing devotion toward the bodhisattva Kannon. However, during the Edo period, producing artistic nosatsu was emphasized more than religious devotion. There was a revival of interest in nosatsu during the Meiji and Taisho periods, and its current popularity suggests a national Japanese nostalgia toward traditional Japan. Using the religious, anthropological, and art historical perspectives, this theses will examine nosatsu and the practices associated with it, discuss reasons for the changes from period to period, and explore the heritage and the changing values of the Japanese common people.
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Moran, Peter Kevin. "Buddhism observed : western travelers, Tibetan exiles, and the culture of Dharma in Kathmandu /". Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/6522.
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Lienau, Amanda Marie. "The role of community and culture in spiritual growth for individuals who are converts to Buddhism". Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1171895805.
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Samson, Alain. "Culture, religion and cognition : Buddhism and holistic versus analytic thought". Thesis, London School of Economics and Political Science (University of London), 2007. http://etheses.lse.ac.uk/2931/.
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Some cross-cultural psychologists have shown differences in cognition between Eastern and Western cultures, described as holistic versus analytic (H-A) systems of thought. It is widely assumed that Buddhism has contributed to holistic cognition. This thesis explores holistic thought among Western Buddhists by integrating methods and theories mainly from cross-cultural and social psychology, but also the cognitive anthropology of religion. H-A reasoning among Buddhists, Anglicans and Secular-Humanists in the UK is investigated in a main experiment, providing good backing for hypothesised H-A group differences. Moreover, it supports a hypothesis about the effect of meditation on the categorisation of visual stimuli and strength of holistic beliefs. However, only explicit H-A measures are subject to religious context effects, as evident in their association with religiosity, the religious self-concept and religious integration. Inducing a Buddhist context through religious priming does not result in a holism shift. A follow-up study (2) uses pictorial primes and shows an interaction effect between priming condition and strength of Buddhist self-concepts on holistic beliefs. Study 3 clarifies religious versus secular differences that were found for the grouping measure used in Study 1 in a correlational design with measures of independence- interdependence, religious identification as well as attraction to Buddhist and Secular- Humanist ideas. It indicates that both self-selection and learning effects may account for secular vs religious H-A differences. The last experiment (Study 4) further develops so-called 'tolerance of contradictions' (TC) as an aspect of H-A cognition and introduces the cognitive anthropological concept of counterintuitive (Cl) beliefs. As expected, results show that religious groups have a higher tolerance of Cl. Furthermore, compared to normal or bizarre concepts. Cl content reduces TC only among secular individuals, and to some degree Anglicans, but has no such effect on Buddhists. Implications for cross-cultural psychology, the psychology of religion as well as the interdisciplinary field of 'cognition and culture' are discussed.
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McDougal, Elizabeth Ann. "Coming Down the Mountain: Transformations of Contemplative Culture in Eastern Tibet". Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15077.
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Since Tibet’s abrupt meeting in the 1980s with the modernizing forces of capitalism, science and the Chinese government’s socialist policies on religion, Buddhist culture in Eastern Tibet is shifting towards a valuing of scholastic knowledge over yogic, experiential knowledge. This is evident in contemporary Tibetan discussions where practitioners are criticized who do not marry their meditation and yogic practices with in-depth textual study. It is also evident in a move of monastics from retreat centres to study centres. The shift is particularly apparent in Nang chen (Ch. Nangqian), a former kingdom in Khams, Eastern Tibet, where oral lineages that engaged in tantric sādhanā and yogas without extensive dialectical study used to fill the region’s many hermitages. This research takes Gad chags dGon pa1 in Nang chen as an example of Tibet’s earlier contemplative culture, and juxtaposes the nunnery’s determination to preserve its original practice traditions with the shift towards scholasticism taking place elsewhere in the region. The research investigates factors and influences behind the trend for increased scholasticism, while considering future pathways for Tibetan yogic culture and questions for further research.
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Chiu, Man-yee Angela. "Striking the buddhist chord in snowy regions contemporary Chinese poetry on Tibetan culture = Qiao xiang xue yu de fan yin : Zhongguo dang dai Zang wen hua Han yu xin shi yan jiu /". Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B41385251.
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Ravasco, Gerard G. "Towards a Christian pastoral approach to Cambodian culture". Theological Research Exchange Network (TREN) Access this title online, 2004. http://www.tren.com/search.cfm?p101-0002.
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Rattanakantadilok, Gritiya. "Translating 'The Tale of Khun Chang Khun Phaen' : representations of culture, gender and Buddhism". Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/16114/.
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A recent major work on Thai-English poetry translation is The Tale of Khun Chang Khun Phaen (2010/2012), the only complete translation into any language of the Thai-language epic poem Sepha rueang Khun Chang Khun Phaen (KCKP). Chris Baker and Pasuk Phongpaichit, the translators, mainly render their translation of the epic verse into prose. Their translation is an English version of the standard accounts as edited by Prince Damrong Rajanubhap in 1917–1918 with a slight revision in 1925 and older manuscripts, notably the Wat Ko edition. Baker and Pasuk’s intervention manifests itself at textual level for they restored a great number of passages excised by Damrong. The reinstated segments include censored female sexuality, monk clowning and the less violent account of the creation of Goldchild (กุมารทอง). In the standard edition, Damrong did not allow Siamese women to be sexually expressive and Buddhist monks to be clowns in the national literature he helped shape. The violent account of the Goldchild creation Damrong chose for his standard edition vilifies the leading male character, Khun Phaen. To identify approaches to translating a Thai epic poem into English, twenty-four segments rendered into verse passages, twenty key culturally specific items (CSIs) and four paratextual elements, which also represent the text as a whole, are analysed. This interdisciplinary study takes into account the socio-cultural contexts and aesthetic norms prevalent in the periods in which the source texts were written. The sociological approach in which the method of interview is employed is also adopted in this study. The translated text, paratext and responses from the interviews are analysed to identify translation strategies and procedures and whether the translators conformed to the ‘textual system’ of their time so that their translation of an unrecognised national literature would be admitted to the fellowship of world literature.
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Graf, Jaz. "Geographies of ancestral embodiment". Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6748.
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Throughout history, humankind has looked to the natural world for understanding the foundations of life and the essence of existence. Emphasizing states of sedimentary material, as physical and metaphorical reference to the cyclical complexion of life/death, growth/decay, transformation/stasis…I investigate the meaning of familial roots, reimagining humanity’s relationship to earth. The ways in which this connection can be understood are dependent on visual or symbolic representations and through experiential knowledge of sensing physicality and materiality.
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Pargell, Karlsson Micaela, e Elin Widén. "Cultural challenges in Thailand - An unchanged fact? : A minor field study abour cultural challenges among Swedish executives in Thailand". Thesis, Linnéuniversitetet, Institutionen för organisation och entreprenörskap (OE), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-76427.
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Today, all companies face a challenge to cope with the globalized market, where organizations continuously establish on new markets in new countries. Different cultures meet and must be able to collaborate in an organization. The increased economic growth as well as the explosive Swedish tourism in Thailand today attracts more and more Swedish companies to the Thai market. It is likely that this can lead to different cultural challenges where people from different cultures meet and are forced to adapt to each other's established norms and behaviors. Our study aims to investigate the cultural challenges experienced by Swedish executives in Thailand. Our purpose is to identify the largest cultural challenges experienced by Swedish executives and to understand why this may be perceived as a cultural challenge among the Swedish executives. A qualitative method and a semi-structured interview form have been used in the conduct of the survey. The result showed that the main cultural challenges experienced by the Swedish executives were hierarchy, view of a leader, crosscultural leadership and collectivism. The Buddhist religion, the strongly established norms of Thai culture and the executives own positive and adaptable attitude towards cultural challenges proved to be the reason why these cultural challenges were experienced by the Swedish executives.
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Chamchoy, Paveena. "The efficacies of trance-possession ritual performances in contemporary Thai Theravada Buddhism". Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/15758.
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This thesis is a study of the contemporary forms of trance-possession rituals performed in Thai Buddhism. It explores the way in which the trance-possession rituals are conceptualised by Thai Buddhist people as having therapeutic potentiality, through the examination of the ritual efficacy that is established through participants’ lived experience. My main research question focuses on how trance-possession rituals operate within a contemporary Thai cultural context and what are the contributory factors to participants’ expressing a sense of efficacy in the ritual. This thesis proposes that applied drama can be used as a ‘lens’ to examine the participants’ embodied experiences, particularly in relation to the ritual’s potential efficacy. In addition, the thesis also draws on discourses from anthropology, to enable a clearer understanding of the Thai socio-cultural aspects. I proceed to examine the efficacy of trance-possession ritual by focusing on the Parn Yak chanting ritual and rituals in sak yant, the spiritual tattoo tradition, as the two examples. Through the interdisciplinary study as mentioned above, these rituals are investigated and interpreted through several aspects. This study uses interviews with monks, participants and people involved with rituals as well as documentary and archival research. As part of my research, I also critically reflect upon my ethnographic experiences, between 2006-2012, of a variety of these rituals that are performed in temples around central Thailand. My attendance at the Parn Yak rituals in and around Bangkok involved both complete participation as well as observation. For the rituals of sak yant tattooing, I observed a tattoo master’s practices at Wat Bang Phra temple in Nakhon Pathom province. This thesis intends to offer an alternative approach to examine participants’ experiences of efficacy during and after the rituals. The research examines the therapeutic transformation of participants through the embodied process during rituals, and suggests that participants’ embodiment during lived experience in ritual together with their historical and sociocultural context influence the ways that they articulate their sense of efficacy in the ritual. The thesis offers insights and ideas for further exploration of Thai Buddhist rituals as culturally therapeutic performances.
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McAra, Sally. "A "stupendous attraction" : materialising a Tibetan Buddhist contact zone in rural Australia /". e-Thesis University of Auckland, 2009. http://hdl.handle.net/2292/5234.
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Sumegi, Angela. "Dreams of wonder, dreams of deception: Tension and resolution between Buddhism and shamanism in Tibetan culture". Thesis, University of Ottawa (Canada), 2003. http://hdl.handle.net/10393/28969.
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This study explores the nature of dreams and dreaming in shamanism and Buddhism. It focuses on the specific case of Tibet where the indigenous layer of religious beliefs and practices has been dominated by Buddhism but continues to emerge as a vital presence in the religious world-view of Tibet. The three major divisions in this study are concerned with (1) the shamanic world-view and attitude towards dream, (2) the ancient Indian world-view and the Buddhist approach to dream, and (3) the use and meaning of dreams and dreaming in Tibetan culture.
With regard to Tibetan attitudes to dream, it will be shown that conflicting statements and views expressing, on the one hand, the value of dream as a vehicle of prophecy and knowledge and, on the other, dismissing the world of dream as the ultra-illusions of an illusory world were present in the Indian Buddhist tradition that entered Tibet. However, in the Tibetan context, dream comes to play a heightened role in Buddhist religious life as a method of authenticating spiritual status and as a path to liberation. The Tibetan attitude toward dream is shown to encompass earlier contradictions, but also to involve an additional tension arising out of the Buddhist competition with, and eventual hegemony over, indigenous religious systems that also use dream to transmit and validate knowledge and religious power. These tensions are reflected in conflicting statements over dream that appear in Tibetan literature. Resolution and harmony, however, are possible because of a concept of interdependency and interconnectedness that is fundamental to both shamanism and Buddhism. I have proposed that the conflicting views on dream in Tibetan literature reflect a much more complex situation than is expressed in assigning the differing views to the categories of 'popular' and 'elite', and I have provided an alternate model for understanding the contradictory attitudes to dream in Tibetan Buddhism.
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Eiben, Emily [Verfasser], e Michael von [Akademischer Betreuer] Brück. "Representing Buddhism in British media and popular culture, 1875-1895 / Emily Eiben ; Betreuer: Michael von Brück". München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2017. http://d-nb.info/1151818453/34.
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Eiben, Emily Verfasser], e Michael von [Akademischer Betreuer] [Brück. "Representing Buddhism in British media and popular culture, 1875-1895 / Emily Eiben ; Betreuer: Michael von Brück". München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2017. http://nbn-resolving.de/urn:nbn:de:bvb:19-217187.
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Yamo, Pittaya. "Learner engagement in a collectivistic culture: A study of massive open online courses (MOOCs) in Thailand". Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/212451/1/Pittaya_Yamo_Thesis.pdf.
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This study examines MOOC learning environment situated within the Thai cultural context and Thai cultural dimensions (Hofstede, 1997). The study draws on connectivist theory to conduct a qualitative study to investigate the four dimensions of learner engagement: behavioural, cognitive, emotional, and social engagement in online MOOC learning. Data were collected from three selected Thai MOOCs through semi-structured interviews with three instructors and 30 students. Results indicate that while instructors excluded themselves from cultural engagement within the online learning environment, learners were considered objects to adapt to institutional culture and cultural engagement was a mere additive to the pedagogy.
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Sakashita, Jay. "Shinnyoen and the transmission of Japanese new religions abroad". Thesis, University of Stirling, 1998. http://hdl.handle.net/1893/2264.
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This study examines the ways and the extent to which Japanese new religions that seek to attain an international presence adapt and alter their techniques of proselytism in moving from one culture to another, and the ways in which their development varies in non-Japanese cultures. In particular I focus on Shinnyoen, one of the largest new religions in Japan, which has achieved a foothold in Hawaii and other areas with large Japanese immigrant populations, but which has also begun to develop in Europe and other parts of Asia. Currently, movements such as Shinnyoen are in their infancy in Britain, although they have already begun to establish a presence and have developed to some degree beyond the Japanese population. Accordingly, the activities of such religious groups and the ways in which they seek to appeal to and attract non-Japanese followers form a highly appropriate topic for research. This study will examine Shinnyoen and its proselytizing campaign in three diverse locations - the UK, Hawaii, and Singapore - in order to glean a clear account of the dynamics involved in the proselytizing activities of Japanese new religions overseas. The ethos of Japanese new religious movements and the conditions (social, organizational, cultural) conducive for dissemination abroad, especially among local populations, are issues explored in the process. The extent to which these patterns differ at the various locations will also be examined in order to determine whether Shinnyoen attracts, and targets, the same type of people in Britain as it does in Singapore and Hawaii. What will emerge at the conclusion of this study is a clearer picture of the challenges Japanese new religions face in their efforts to expand overseas and flourish in foreign soil and the necessary provisions they must possess in their praxis and organizational structure if they are to meet these challenges.
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Choi, Glen S. "Lotus Pond, Bicultural Ripples: The Psychological Orientations of Korean-Canadian Practitioners of Buddhism". Thèse, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/30977.
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This dissertation examines whether Buddhist beliefs and practices serve to reinforce and/or promote a Korean and/or Canadian cultural prism for next-generation Korean Buddhist practitioners in Toronto, Canada. I define Korean and Canadian cultural prisms based on the cross-cultural psychological framework of Individualism-Relational Collectivism (I-RC) and Analytical-Holistic (A-H) cognition. The aim of my research is to problematize culture in the construction of religious meaning and behaviour for relatively bicultural individuals. My research question can thus be summarized as follows: How is religious meaning and behaviour culturally constructed by next-generation Korean Buddhist practitioners in Canada? What role do individual cultural orientations and the different Buddhist cultural traditions play in this cultural construction and how does Buddhism compare to the other religions (namely Protestantism) practiced by younger-generation Korean-Canadians in this regard? By answering these questions, I ultimately hope to show whether the meaning system of Korean culture is preserved through religion among the younger generation of Korean Buddhist practitioners. I hypothesize that, due to the relatively non-authoritarian nature of Buddhism, the light of Buddhist beliefs and practices will predominantly be refracted through the a priori cultural prism of the individual in question, and the role of Buddhist doctrine and institutions in promoting a particular orientation (individualistic/relationally collectivistic and analytic/holistic) will be minimal and subordinate to the individual. The particular cultural orientation of this prism will, in turn, be dependent upon individual levels of monoculturalism (Korean or Canadian) or biculturalism (Korean and Canadian). In this way, Buddhism may serve to both preserve and undermine the Korean cultural meaning system. By comparison, I hypothesize that the relatively authoritarian nature of (Protestant) Christianity will likely encourage younger-generation Korean Christians to relate to their religion in a predominantly uniform way, regardless of the individual’s cultural orientation.
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Bridges, Sarah Ann. "Disability in the Mountains: Culture, Environment, and Experiences of Disability in Ladakh, India". Case Western Reserve University School of Graduate Studies / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=case1442843791.
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Bloom, Phillip Emmanual. "Descent of the Deities: The Water-Land Retreat and the Transformation of the Visual Culture of Song-Dynasty (960-1279) Buddhism". Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10948.
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This dissertation identifies a paradox at the heart of the visual culture of Song-dynasty (960-1279) Buddhism. On the one hand, as the celestial pantheon expanded, it was conceptualized in ever more bureaucratic ways, mirroring the growth of the terrestrial government itself. On the other hand, the boundary separating that supramundane realm from the human world became decidedly more permeable; ghosts and deities became an omnipresent part of daily life. How to treat these two contradictory phenomena--one pointing to rational orderliness, the other pointing to unpredictable unruliness--posed a distinct problem for Song visual artists, spurring the development of new strategies of pictorial representation and forcing reflection upon the nature of representation itself. Chinese Buddhist art was never to be the same again. I argue that the key to understanding these new forms of art lies in the Water-Land Retreat (Shuilu zhai), a massive, icon-filled ritual of decidedly cosmic pretensions. The patterns of practice and strategies of visual representation associated with this ritual constitute a system that radically broke with earlier Chinese tradition. Practitioners of the liturgy created an open ritual syntax that allowed it to take on myriad forms in accordance with its sponsors’ needs, while also allowing it to absorb deities and practices from non-Buddhist traditions. This dissertation examines these phenomena in three parts. Part 1 excavates the social place, methods of practice, and visual profile of the Water-Land Retreat in and around the Song. Relying extensively on paintings from the Jiangnan region, cliff carvings from Sichuan, and numerous liturgical manuscripts, I argue that image and practice are inextricably bound in this ritual. Part 2 focuses on the motif of the cloud in Water-Land-related images and texts. Through an examination of images of cloud-borne descending deities, I contend that this nebulous motif became the locus for reflection on the mediational nature of representation. Finally, Part 3 addresses the bureaucratization of ritual practice and pictorial production in Song Buddhism. I argue that practitioners of the Water-Land Retreat simultaneously embraced and transcended a bureaucratic idiom drawn from Daoism and contemporary government to create a new Buddhist vision of the cosmos.History of Art and Architecture
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Wongratanamajcha, Suriya. "Bridal imagery in Revelation 21-22 the contextualization of the book of Revelation in the context of Thailand /". Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.
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Zeng, Xi. "Zen aesthetic: development and influence in culture and contemporary painting of China, Japan and USA = La estética Zen: desarrollo e influencia en la cultura y la pintura contemporánea de China, Japón y EE. UU". Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/463011.
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No other form of Oriental philosophy has had such a widespread, positive effect on culture and international contemporary painting as Zen Aesthetic. Owing to the birth of Zen Buddhism in China, its extraordinary boom and influence is evident in all aspects of society and Chinese culture. Especially painting with brush-tipped ink, it led to the development of a particular spirit or aesthetic, known worldwide as Zen, which has not stopped propagating since Zen Buddhism in the 16th century crossed the sea to reach Japan. Once there, it fecundated the native culture and motivated the development of an aesthetic with distinct Zen peculiarities, to such an extent that it took root in everyday life and was projected in different spheres of cultural life and creativity.
This trend of Zen Aesthetic has long been recognized as the essence of Oriental aesthetics due to the fusion of Buddhism, Taoism and Confucianism, overcoming geographical limitations and cultural differences, becoming one of the most active and distinctive leading thought in the twentieth century. Once it was introduced to the United States by Soyen Shaku in Chicago in 1893, it soon became an admired and applied trend in the different cultural spheres of the country, and in particular it was followed closely by several painters, to such an extent that it was felt in contemporary painting both in the United States and in the same places of its origin. That is to say, China and Japan.
Despite its impact, the Zen Aesthetic phenomenon and in particular its influence in culture and contemporary painting has not been thoroughly investigated. Also, there are many gaps, which is why we have explored its thematic research.
The theme of typology required a panoramic approach or focus, for the simple reason that Zen Aesthetic can hardly be understood in contemporary painting without knowing its origins, cultural development and influence, as well as the geographic trajectory or international centers of propagation of Zen Aesthetic. In spite of its apparent amplitude, the author tried in the first place to compile as much documentation as possible or more understanding that explains the expansion of the Zen phenomenon at the intercontinental level, without forgetting their critical interrelations, to understand the extraordinary influence of this aesthetic movement and spirituality in Occidental contemporary painting. Also, within Oriental contemporary painting, such as any rebound effect or return to their places of origin. While the author has investigated as far as possible, the causes and their development from China to the United States, through Japan, the investigation has not forgotten the European continent. Indeed, in the thesis there are different European references, although their arrival in Europe came after the United States, through D. T. Suzuki around 1936, so it seemed convenient to leave this part of the research on the European continent for a new occasion due to its breadth, complexity, and stylistic derivations.
The real Zen can hardly be understood without entering into the direct experience or life of the world that revolves around the principles of Zazen. In this regard, the two research centers that have contributed significantly to the development of this study are the Dongshan Monastery and the Shatou Cultural Center. Firstly, the author has been allowed to perform a three-month immersion period in Zen Buddhism meditation. And then, it has been fundamental to consult the documentary sources of Zen Buddhism and its different practices, such as Taiji, calligraphy, and painting as a method of meditation that is engaged in research, with the aim of seeking inner peace without any other secular purpose.
The thesis is structured in twelve large sections with a series of chapters and sub-chapters within each. In the introduction, the research approach is presented, which is the specific typology of the panoramic thesis of critical compilation and the thematic justification, as well as the motivation of the thesis title. Although there are many publications on Zen Aesthetic, the author considers that the particular theme of seeking the motives of its cultural and pictorial influence in the contemporary world of the three countries China, Japan, and the United States is unprecedented. In addition to fundamentally exposing the different objectives and their diachronic, comparative, analytical, and critical methodology, the introduction ends with a large interrelated organization chart of the various parts of the configurator system of the influence of Zen aesthetics in contemporary painting from China, Japan and the United States.Ninguna otra forma de filosofía oriental ha tenido un efecto positivo tan extendido en la cultura y en la pintura contemporanea internacional como la estética Zen. Gracias al nacimiento del budismo Zen en China y su extraordinaria auge e influencia en todos los aspectos de la sociedad y la cultura china, en especial la pintura con tinta a punta de pincel, hizo que se desarrollara en paralelo un espíritu o estética particular, conocida mundialmente por Zen, que no ha parado de propagarse desde que, en el siglo XVI, el budismo Zen cruzara el mar para llegar a Japón. Una vez allí, fecundó la cultura autóctona y motivó el desarrollo de una estética con particularidades propiamente Zen, hasta tal punto que arraigó en la vida cotidiana y se proyectó en distintos ambitos de la vida cultural y de la creatividad. Esta corriente de estética Zen ha sido reconocida desde hace mucho tiempo como la esencia de la estética oriental debido a la fusión del budismo, el taoísmo y el confucianismo, llegando a superar las limitaciones regionales y las diferencias culturales, convirtiéndose en una de las más activas y distintivas, líder en el siglo XX, una vez ya introducida en EE.UU. de América por Soyen Shaku en 1893 en la ciudad de Chicago. Pronto se convertiría en una tendencia admirada y aplicada en los distintos ambitos culturales del país, y en particular seguida de cerca por varios pintores, hasta tal punto que se hizo sentir en la pintura contemporánea tanto de EE.UU, como en los mismos lugares de su origen, es decir de China y Japón. A pesar de su impacto, el fenómeno estético Zen y en particular su influencia cultural y en la pintura contemporánea, no ha sido investigada en profundidad, y existen bastantes lagunas, razón por la cual nos hemos planteado su investigación temática. Una temática de esta tipología requería un planteamiento o enfoque panorámico, por la sencilla razón de que difícilmente se puede entender la estética Zen en la pintura contemporánea, sin conocer sus orígenes, su desarrollo e influencia cultural, así como la trayectoria geográfica o centros internacionales de propagación de la estética Zen. A pesar de su aparente amplitud, intentamos en primer lugar compilar la mayor documentación posible o más destacada que explica la expansión del fenómeno Zen a nivel intercontinental, sin olvidarnos de sus interrelaciones de modo crítico, para entender la extraordinaria influencia de dicho movimiento estético y espiritual en la pintura contemporánea occidental y asimismo oriental, como efecto rebote o retorno a sus lugares de origen. Si bien hemos investigado en la medida de lo posible las causas y su desarrollo desde China hasta EE.UU, pasando por Japón, no nos hemos olvidado del continente europeo. Efectivamente, en el transcurso de la tesis aparecen distintas referencias y referentes europeos, aunque su llegada a Europa se produjo después de EE.UU, a través deD.T. Suzuki en torno de 1936, por lo que nos ha parecido conveniente dejar esta parte de la investigación del continente europeo para una nueva ocasión, dadas su amplitud, complejidad y derivaciones estilfsticas. Difícilmente se puede entender el verdadero Zen sin en- trar en la vivencia o experiencia directa del mundo que gira entorno de los principios del Zazen. En este sentido, caben destacar los dos centros de investigación que han contribuido sobremanera al desarrollo de esta investigación: el Monasterio de Dongshan y el Centro Cultural de Shatou. El primero, nos ha permitido efectuar un período de inmersión de tres meses en la meditación del budismo Zen. En cuanto al segundo, ha sido fundamental para consultar las fuentes documentales del budismo Zen y sus diferentes practicas, como el Taiji, la caligrafía y la pintura como un metodo de meditación que se ocupa en la investigación, con el objetivo de buscar la paz interior sin ningún otro propósito secular.
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Li, Min. "La contribution de la Culture Traditionnelle Chinoise à la communication sur le Développement Durable". Phd thesis, Toulon, 2011. http://tel.archives-ouvertes.fr/tel-00624573.
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Notre étude aborde les relations entre la culture traditionnelle chinoise portée par le confucianisme, le bouddhisme, le taoïsme, et les trois piliers du développement durable que sont le social, l'économie et l'environnement. La culture traditionnelle chinoise s'attache principalement à l'harmonie dans les relations interpersonnelles,dans les relations entre l'homme et la nature. Le développement durable cherche à créer pour le futur un état d'harmonie entre les êtres humains et entre l'homme et la nature. Notre question est la suivante : la culture traditionnelle chinoise ne pourrait elle pas apporter sa contribution au développement durable dans sa façon de communiquer au monde ? Les fondements de la culture traditionnelle chinoise définissent l'harmonie à partir de règles de vie : le confucianisme favorise la communication interpersonnelle, la relation entre l'homme et le social ; le taoïsme met l'accent sur la communication entre la nature et l'homme ; le bouddhisme quant à lui privilégie la communication entre l'esprit et le corps de l'homme. Nous tenterons de montrer à partir d'analyses de discours scientifiques, politiques et d'une enquête en Chine et en France, qu'une meilleure compréhension pour l'occident de la culture chinoise pourrait apporter une contribution significative au projet du développement durable. La réconciliation entre la tradition et la modernité, la combinaison des cultures occidentales et orientales sont les axes majeurs de ce projet.
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Bártová, Zuzana. "Le bouddhisme comme style de vie organisé pour les classes moyennes dans la culture de consommation : analyse de la religiosité des pratiquants bouddhistes en France et en République tchèque". Thesis, Strasbourg, 2019. http://www.theses.fr/2019STRAK005.
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S’inscrivant dans une perspective de sociologie des religions, notre étude porte sur les formes organisationnelles relevant du bouddhisme de convertis et la religiosité des personnes engagées dans leurs lieux de pratique en France et en République tchèque dans le contexte de la culture de consommation. C’est l’aspect culturel de cette forme de société qui nous intéresse, à savoir le style de vie comme modèle culturel qu’elle propose et l’importance accordée à la construction identitaire. Une enquête de terrain nous a permis d’analyser le style de vie bouddhiste distinctif des classes moyennes urbaines qui s’appuie sur un cadre organisationnel et tout un ensemble de pratiques, de représentations et de valeurs. Il s’agit de montrer comment les pratiquants se conforment aux expressions de la culture de consommation, bien qu’ils envisagent leur style de vie comme alternatif. Par ailleurs, il est proposé de comprendre le style de vie bouddhiste organisé comme un exemple de la recomposition et de l’individualisation du religieux contemporainAdopting the methods and approaches of sociology of religion, this study examines organisational forms of convert Buddhism and the religiosity of persons in their places of religious practice in France and in the Czech Republic in the context of consumer culture. Our focus is on the cultural aspects of this form of society, with lifestyle as its cultural model and its emphasis on identity construction.Fieldwork data are used to analyse the distinctive Buddhist lifestyle of middle-class city-dwellers. This lifestyle relies on organisational structures and is composed of several dimensions (practices, representations, values). This study seeks to show how these dimensions conform to expressions of consumer culture, despite practitioners’ preference for an alternative conception of their lifestyle. Moreover, we suggest viewing this organised lifestyle as an example of reshaping and of individualisation of contemporary religion
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Tran, Daniel Dao. "Basic biblical teachings in the context of three major religious worldviews in Viet Nam". Theological Research Exchange Network (TREN), 1999. http://www.tren.com.
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Li, Min. "La contribution de la Culture Traditionnelle Chinoise à la communication sur le Développement Durable". Electronic Thesis or Diss., Toulon, 2011. http://www.theses.fr/2011TOUL0002.
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Notre étude aborde les relations entre la culture traditionnelle chinoise portée par le confucianisme, le bouddhisme, le taoïsme, et les trois piliers du développement durable que sont le social, l’économie et l’environnement. La culture traditionnelle chinoise s’attache principalement à l'harmonie dans les relations interpersonnelles,dans les relations entre l’homme et la nature. Le développement durable cherche à créer pour le futur un état d’harmonie entre les êtres humains et entre l’homme et la nature. Notre question est la suivante : la culture traditionnelle chinoise ne pourrait elle pas apporter sa contribution au développement durable dans sa façon de communiquer au monde ? Les fondements de la culture traditionnelle chinoise définissent l’harmonie à partir de règles de vie : le confucianisme favorise la communication interpersonnelle, la relation entre l’homme et le social ; le taoïsme met l’accent sur la communication entre la nature et l’homme ; le bouddhisme quant à lui privilégie la communication entre l’esprit et le corps de l’homme. Nous tenterons de montrer à partir d’analyses de discours scientifiques, politiques et d’une enquête en Chine et en France, qu’une meilleure compréhension pour l’occident de la culture chinoise pourrait apporter une contribution significative au projet du développement durable. La réconciliation entre la tradition et la modernité, la combinaison des cultures occidentales et orientales sont les axes majeurs de ce projetOur study talks about the traditional chinese culture supported by Confucianism,buddhism,and Taoism as well as by the 3 pillars of social,economic and environmental sustainable development. The traditional chinese culture, puts an emphasis on harmonious human relations and the relations between humans and nature. Sustainable development tries to create an harmonious state between the people and the people and nature.The reconciliation between tradition and modernization ,the combination of oriental and western cultures are the axises of our study
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Jacob, François. "La beat generation : à la croisée des chemins de l'art et de la littérature (1944-1975)". Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10149.
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Cette étude explore les relations entre la "Beat Generation" et l'art. Elle se penche principalement sur les oeuvres plastiques de William S. Burroughs (1914-1997), Jack Kerouac (1922-1969) et Allen Ginsberg (1926-1997). La période choisie pour cette recherche débute en 1944 et se poursuit jusqu'en 1975, c'est-à-dire de la formation du groupe à la fin de l'idée de contre-culture. L'analyse ne se limite pas à la constatation d'un va-et-vient entre le mot et l'image, mais démontre que les écrivains de la "Beat Generation" sont en prise direct avec l'art de l'époque et vont explorer toutes les techniques plastiques pour exprimer en dehors de leur œuvre littéraire. En abordant l'aventure artistique, les trois "Beats" sont confrontés à la notion d'"ekphrasis": ils prolongent un long héritage à travers des disciplines artistiques différentes: la peinture, le croquis ou la technique du collageThis study exlpores the relationship between art and the "Beat Generation". It mainly focuses on the plastic works of William S. Burroughs (1914-1997), Jack Kerouac (1922-1969)and en Ginsberg (1926-1997). The field of research covers the period from 1944 to 1975, i.e. from the formation of the Group to the end of the idea of counterculture. The analysis does not limit itself to the description of the back and forth movements between literature and the arts. The "Beat Generation" writers were in fact directly connected to the art of their time and explored all kinds of plastic techniques to express themselves independently from their lierary works. In addressing the adventures of the artistic experience, the three "Beats" were confronted with the notion of "ekphrasis" and obviously prolonged an old legacy through different artistic disciplines like painting, drawing or collage
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Amarasinghe, Amala Dilani. "A comparative analysis of facework strategies of Australians and Sri Lankans working in Australia". Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/45763/1/Amala_Amarasinghe_Thesis.pdf.
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This study investigates facework (communicative) strategies of Sri Lankans working in Australia and compares them with strategies used by Australians of European origin working in Australia. The study also explores the values of those Sri Lankans as a reflection of their facework, and how Sri Lankans have adjusted their facework to the Australian culture. The study used a survey questionnaire and interviewed Sri Lankans working in Australia for this investigation. The survey questionnaire was used to understand the facework similarities and difference between the Sri Lankans and Australians as explained in Oetzel and Ting-Toomey’s Face Negotiation Model. The survey revealed that Sri Lankans are higher in interdependent self construal, self face concern and other face concern than the Australians. Nonetheless, Sri Lankans are similar to the Australians in other facework strategies. The interviews clarified that Sri Lankans do not change their values by living in Australia, yet they make some changes to how they do things.
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Gentry, James Duncan. "Substance and Sense| Objects of Power in the Life, Writings, and Legacy of the Tibetan Ritual Master Sog bzlog pa Blo gros rgyal mtshan". Thesis, Harvard University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3626633.
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This thesis is a reflection upon objects of power and their roles in the lives of people through the lens of a single case example: power objects as they appear throughout the narrative, philosophical, and ritual writings of the Tibetan Buddhist ritual specialist Sog bzlog pa Blo gros rgyal mtshan (1552-1624) and his milieu. This study explores their discourse on power objects specifically for what it reveals about how human interactions with certain kinds of objects encourage the flow of power and charisma between them, and what the implications of these person-object transitions were for issues of identity, agency, and authority on the personal, institutional, and state registers in sixteenth- and seventeenth-century Tibet.
My investigation of Sog bzlog pa's discourse on power objects shows how the genres of narrative, philosophy, and liturgy are related around such objects, each presenting them from a slightly different perspective. I illustrate how narratives depict power objects as central to the identity of Sog bzlog pa and his circle, mediating relations that are in turn social, political, religious, aesthetic, and economic in tone, and contributing to the authority of the persons involved. This flow of power between persons and objects, I demonstrate further, is connected to tensions over the sources of transformational power as rooted in either objects, or in the people instrumental in their ritual treatment or use. I show how this tension between objective and subjective power plays out in Sog bzlog pa's philosophical speculations about power objects and in his rituals featuring them. I also trace the persistence of this discourse after Sog bzlog pa's death in the seventeenth-century state-building activities of Tibet and Sikkim, and in the present day identity of Sikkim's Buddhist population. Power objects emerge as hybrid subject-object mediators, which variously embody, channel, and direct the flow of power and authority between persons, objects, communities, institutions, and the state, as they flow across boundaries and bind these in their tracks. Finally, I illustrate how this discourse of power objects both complicates and extends contemporary theoretical reflections on the relationships between objects, actions, persons, and meanings.
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Lama, Sudash. "FROM BON TO BUDDHISM - Social and Cultural Changes of the Tamangs". Thesis, University of North Bengal, 2013. http://ir.nbu.ac.in/handle/123456789/954.
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Mellor, Philip A. "The cultural translation of Buddhism : problems of theory and method arising in the study of Buddhism in England". Thesis, University of Manchester, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.291520.
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Brugh, Christopher Scott. "Theravāda “Missionary Activity”: Exploring the Secular Features of Socio-Politics and Ethics". TopSCHOLAR®, 2019. https://digitalcommons.wku.edu/theses/3119.
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The purpose of this thesis is to comprehensively explore Theravāda missionary activity. The philological, textual, theoretical, and ethnographic methods used to investigate the historical, sociopolitical, religious, and ethical aspects of early Theravāda, the U.S. Vipassanā (Insight) meditation movement, and modern Burmese Theravāda revealed nuanced meanings in the descriptions of these adherents’ endeavors with respect to proselytizing, converting, and the concept of missionary religions. By exploring the secular features that contributed to their religious appearances, a more developed contextualization of Theravāda “activity” reshapes understandings of the larger concept of missionary religions. I argue that what has been maintained in the establishment of early Theravāda, and continuance of Theravāda thereafter, is the preservation of a secular activity with respect to resolving diverse sociopolitical and ethical tensions through religious articulations and practices of tolerance and egalitarianism.
In brief, the first chapter is a philological study on the Pāli word “desetha” or “preach.” The word desetha, and thus its meaning, is traced to its Prākritic form—a contemporaneous language more likely spoken by Gotama Buddha—to posit a more accurate translation for this word. Next, a theoretical examination into early Theravāda’s sociopolitical, ethical, and religious environment demonstrates the larger secular, rather than religious, features that contributed to this ancient movement’s emergence. A contextual analysis comparing the emergence and establishment of the “secular” U.S. Vipassanā (Insight) meditation movement to that of early Theravāda follows, in order to explore how the former aligns with Theravāda missionizing. Lastly, an ethnographic study on Burmese Buddhist monastics is presented. In relation to missionary activity, the Abhidhamma, a Buddhist doctrinal system, not only provides Burmese Buddhist monastics with a system of applied ethics that shapes how they interact with Buddhists and non-Buddhists in America, but also helps to explain the larger concern of viewing such activity as strictly “religious.”
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Tarocco, Francesca. "Attuning the Dharma : the cultural practices of modern Chinese Buddhism". Thesis, SOAS, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411263.
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Neishi, Miwa. "The Formless Self". Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461685555.
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Wind, Steven. "Towards healing the trauma of torture in Buddhist settings". Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/278732.
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Trauma resulting from torture and other forms of organized violence has been recognized as a growing international public health problem. International NGOs have responded to this problem by initiating anti-torture information campaigns and by establishing collaborative torture rehabilitation and community mental health programs in more than 120 communities in refugee resettlement countries as well as in countries recovering from war-related violence and gross human rights violations. These programs have faced the challenge of recognizing and integrating the non-Western ethnomedical and ethnopsychiatric beliefs of the populations being served into programs founded on Western medical epistemology. The appropriateness of applying in such settings Western diagnostic criteria such as post-traumatic stress disorder has been called into question. Buddhist beliefs further problematize the idea of culturally sensitive treatment. This paper examines torture rehabilitation programs working with Khmer and Tibetan populations with particular attention to the potential contribution of indigenous healing modalities and religious beliefs and practices.
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Adler, Sarah Elizabeth. "The Influence of Burmese Buddhist Understandings of Suffering on the Subjective Experience and Social Perceptions of Schizophrenia". Case Western Reserve University School of Graduate Studies / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=case1192052314.
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Ravasco, Gerard. "Towards a Christian Pastoral Approach to Cambodian Culture". Thesis, South African Theological Seminary, 2004. http://hdl.handle.net/10919/71585.
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We live in a time of Globalization, where we find ourselves rubbing shoulders and working together in one place with all kinds of people belonging to different races and different creeds. We live in a world which now finds itself immersed in deep global conflicts (terrorism, suicide bombings, political retaliations) which many attribute to religious fanaticism. Thus we can only continue to live peacefully if we maintain that respect for each others beliefs. This is the global dimension this paper wishes to bring forth.In our present situation, if many of us expatriates (in Cambodia) live far from our own native land and we live with people of another culture, understanding their milieu will certainly help us understand the people of that place. And since religion is tied up to a particular language and culture, particularly here in Cambodia, it would be worthwhile to study the different religious influences brought about through the centuries upon Cambodian culture. Hence the social dimension of the paper.The third dimension would be a practical one. Understanding the differences between religions, we could focus more on the bridges that unite rather than the walls that separate us. In this way we realize that being different does not lessen our humanity but rather enriches it.The paper will present a historical overview of the religious history of Cambodia. The literary survey used in this paper will then attempt to list and describe some particular influences of each of these religions (Animism, Brahmanism, Buddhism) to the Cambodian way of living at the present. Then the paper will try to infer some insights on the observations made focusing on how to build bridges for dialogue between Christians and Khmer Buddhists. The paper searches into the intertwining of Animism, Brahmanism and Buddhism into what is now uniquely Cambodia’s national religion and how this would impact other religions now entering Cambodia specifically Christianity.
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Farrelly, Paul James. "Spiritual Revolutions: A History of New Age Religion in Taiwan". Phd thesis, Canberra, ACT : The Australian National University, 2017. http://hdl.handle.net/1885/136199.
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My thesis is a cultural history of New Age religion in Taiwan. I focus on C.C. Wang (1941-) and Terry Hu (1953-), the two earliest and most prolific sinophone proponents of a ‘Xinshidai [New Age]’. I consider their lives (as New Agers) and written works (as New Age figures), concentrating on the period to 2000. In this thesis I explore how Wang and Hu introduced New Age religion to Taiwan through analysis of their publicly available writings and translations. In chronologically examining their life experiences and the various ideologies that they gradually wove into their work, I demonstrate the agency of these two women as New Age innovators and show how they represented their own lives as evidence of the transformational efficacy of New Age religion for modern Taiwanese women. Raised in a family who escaped from China and then converted to Catholicism, Wang’s most important contributions are her translations of Jane Roberts’s Seth books (beginning in 1982). These continue to be popular with readers and have inspired a new generation of teachers and students. She also translated internationally popular texts such as Kahlil Gibran’s The Prophet (1970) and Neale Donald Walsch’s Conversations with God (1998). Viewing this work alongside her efforts in beginning the Fine Press’ New Age Series (1989-) and establishing the Chinese New Age Society (1992), her publisher described her as “the mother of the New Age in Taiwan” (2012). Wang began developing expertise on American culture when raising a family there in the mid 1960s and again for much of the 1970s. She used these domestic experiences as the basis of her burgeoning literary career. An important part of Wang’s oeuvre are the monthly columns she published pseudonymously in The Woman and China Ladies between 1969 and 1981. In these columns Wang not only established herself as a trans-Pacific expert of everyday life techniques (especially regarding relationships and parenting), she also articulated the psychological unease that she would later seek to remedy through spiritual exploration and, ultimately, in translating New Age books. Her early work is notable for both illustrating a particular type of modernity available to young urban females and for establishing the nurturing and inquisitive spirituality she would later disseminate widely. Already interested in the type of ideas discussed in the New Age, it was only after a life-altering encounter with a Seth book in a California library in 1976 that Wang began exploring the New Age more deeply. She eventually discovered Shirley MacLaine’s Out on a Limb (and later wrote the preface to the 1986 Mandarin translation), which she described as inspiring and “a book of enlightenment.” Hu was born to a politician father who also escaped from China. She learnt English as a child and developed a fascination with American culture. After a short stint in New York’s bohemian Greenwich Village in the early 1970s, she soon became a film star in Taiwan. She featured in several dozen movies and was briefly married to the author Li Ao (b.1935). She retired from acting in 1988 and devoted her energy to translating New Age texts, especially the work of Jiddu Krishnamurti (1895-1986) who she depicted as a “New Age Buddhist.” Throughout her careers as an actor and author Hu appeared as an archetype of the global, modern and, ultimately, spiritually sophisticated woman. Hu’s individual identity was strongly grounded in the social context of Taiwan’s elite, and she increasingly blended martial law-era Chineseness and her celebrity status with American post-hippie spiritual trends. Her multifaceted and evolving identity augments dominant identity and gender discourses in Taiwan and binds her into the New Age’s transnational web of religious innovation and personal transformation.
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Chatterjee, Sen Aparna. "Theravadi buddhists of Siliguri: study of socio- cultural distinctiveness and exchange". Thesis, University of North Bengal, 2020. http://ir.nbu.ac.in/handle/123456789/4324.
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Tanabe, Juichiro. "Buddhist philosophy and the epistemological foundations of conflict resolution". Thesis, University of Bradford, 2010. http://hdl.handle.net/10454/4910.
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The aim of this research is to expand the framework of contemporary conflict resolution by constructing a complementary relationship between Western epistemologies and a Buddhist epistemology. Despite its evolution and development through self-reflexivity and self-critique, contemporary conflict resolution established upon Western epistemologies has confined the understanding of human mind to social/cultural orientations and left a comprehensive and qualitative analysis of the potential of individual human mind underdeveloped. Buddhist epistemology, the central theme of which is to address human suffering that is mainly psychological and subjective, makes a critical analysis of human subjectivity in terms of how it can be become a root cause of suffering including conflict and how it can be addressed by gaining an insight into the social/cultural construction of human subjectivity. The argument of the thesis is that when a socially/culturally-oriented view of human mind and a deeper and more profound view of human mind are combined together, we can engage in a qualitatively richer and deeper analysis of the psychological and subjective dynamics of conflict resolution.
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Foster, Yolanda Margaret. "Sinhala Buddhist nationalism, from revivalism to militant political ideology : the struggle to shape public culture in Sri Lanka". Thesis, SOAS, University of London, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406759.
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Fitzgerald, Katherine Elizabeth. "No Pure Lands: The Contemporary Buddhism of Tibetan Lay Women". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1586599037356041.
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Vaughan, Cassandra N. "The Buddhist Worldview of Neon Genesis Evangelion: Positioning Neon Genesis Evangelion in a Japanese Cultural Context". The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1259592113.
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Pradittatsanee, Darin. "Spiritual quest, Orientalist discourse, and "assimilating power" : Emerson's dialogue with Indian religious thought in cultural context /". view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9978259.
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Thesis (Ph. D.)--University of Oregon, 2000.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 319-335). Also available for download via the World Wide Web; free to University of Oregon users.
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Lee, Hyunseok. "Representing Korean Buddhist art and architecture : a 3D animated documentary installation". Thesis, Loughborough University, 2011. https://dspace.lboro.ac.uk/2134/9420.
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This practice-led research One Mind - seeks to represent Korean Buddhist architectural aesthetics and Buddhist spiritual ideas using the animated documentary genre as a form of creative representation. It is intended that the piece be shown either as an installation in a gallery, or within a museum or cultural exhibition context. The key goal is to offer this digital artwork to European audiences, in a spirit of engendering the same feeling state as when present in the real monastery, encouraging an understanding of the sacred, and experiencing a form of transcendence. My art work in some ways functions as a digital restoration of sacred architecture outside its real environment and context, and seeks to document cultural heritage and knowledge. One Mind is different from a classic form of documentary, though, because it does not echo the idea of documentary based on live-action footage as a mode of non-fiction record and expression. I have particularly stressed the suggestiveness of the architectural aesthetics and the philosophic principles embedded in the environment. I have sought to bring my own subjective artistic interpretation to Korean Buddhism accordingly, resisting typical character animation and classical narrative, seeking instead, to encourage the viewer to be part of the environment. I focus on the meaning in Buddhist buildings and the landscape they are part of, and dramatise the environment, using the poetic tone of the voice over performance, the sound track of Buddhist chanting, and the visual effects and perspectives of computer generated imagery. This digital visualisation of the Buddhist s spiritual world is informed by a Buddhist s traditional way of life, but, most importantly, by my own past experience, feelings and memory of the Buddhist monastery compound, as a practising artist. My thesis is categorised into eight chapters. Chapter One offers an overview of the aims and objectives of my project. Chapter Two identifies my research questions and my intended methodology. Chapter Three focuses on important background knowledge about Korea s natural and cultural aspects and conditions. Chapter Four offers an analysis of the issue of the Korean cultural identity, suggesting that a more authentic image of Korea and Korean-ness is available in the philosophy and spiritual agenda of Buddhism. Chapter Five addresses the practical ways in which digital restoration of architecture has taken place, identifying three previous cases which both resemble and differ from my own project. Chapter Six looks at the specific characteristics of Korean Seon Buddhism and architecture, and engages with three theoretical approaches about the spatial composition of the monastery, and the ways it may help in constructing the monastery in a digital environment. Chapter Seven offers an evaluation and validation of my artwork, having adopted the approach of creating an animated spiritual documentary to reveal Buddhist philosophy and experience as a model of Korean cultural identity. Chapter Eight offers some conclusions about my intention, process and outcomes.
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Huang, Huai-Hsuan. "Distinguishing Patterns of Utopia and Dystopia, East and West". Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/7038.
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Before Sir Thomas More published Utopia and defined his ideal world with this fictional land, humans had been looking for their ideal society for centuries based on various religions and cultures. Yet, there are a few studies focusing on Utopia and Dystopia in cross-cultural contexts. This thesis will explore the two main questions: 1) can Utopia and Dystopia be separated? and 2) how does the utopian concept in the West involve in Eastern culture during the postwar period in postcolonial perspective?
Phoenix in Japan and THX 1138 in U.S. are two well-known works during the post-World War II period via their popular media: manga in Japan and film in U.S. Phoenix, a renowned Japanese manga created by Osamu Tezuka. Phoenix the manga not only reveals the rise and fall of human civilization but also shows the reincarnation of life with Buddhist ideas, which means one living being starts its new life in different physical form after it dies. This reincarnation of life also points out how utopian-dystopian system functions in the East. THX 1138, a famous American film directed by George Lucas, starts with a robot-dominated world. More's definition of Utopia reveals several features of ideal society: an isolated society, well-trained and well-ordered citizens, a democratic government, universal education, and loose religious limits. According to More's utopian features, the society in THX 1138 is quite familiar with the so-called utopian world. However, the method of dehumanization in this film brings the concept and features of Dystopia.
After the 16th century, the term Utopia, as a Western ideology, entered East Asian cultures. In Eastern perspective, Utopia and Dystopia are the continuous states of one society like a circulation system. In the West, utopian-dystopian works tend to focus on the specific period. By discussing Phoenix and THX 1138, I want to show this continuous social pattern in different cultural contexts.
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Tayac, Sébastien. "La commande des peintures bouddhiques dans les monastères de la province de Chiang Mai". Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030132.
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Cette étude, conçue comme un état des lieux des peintures murales dans les monastères de six districts de la province de Chiang Mai, a permis d’une part d’étudier les différents acteurs de la commande artistique [commanditaires, donateurs, artistes] et d’autre part de définir ces peintures en quatre groupes selon une classification à la fois chronologique et stylistique. Les multiples facteurs susceptibles d’influencer la présence ou l’absence de peintures dans les temples ont été également examinés. Une comparaison de l’iconographie présentée dans ces temples entre les quatre groupes retrouvés a été également entreprise afin d’affiner les caractéristiques de ces derniers. En parallèle, une attention toute particulière a été portée aux artistes travaillant dans les temples afin de mieux connaître ces individus méconnus et ignorés. Formations, milieux sociaux, place de la femme artiste, inspirations et influences, autant de thèmes évoqués au sein de cette étudeThis study, designed as an inventory of murals in the monasteries of six districts of the province of Chiang Mai made it possible on the one hand to study the various actors involved in an art order [sponsors, donors, artists] and on the other hand to classify these paintings into four groups according to their chronological and stylistic description. The multiple factors likely to influence the presence or the absence of paintings in the temples were also examined. A comparison of the iconography between the four groups found in these temples was also undertaken in order to refine their characteristics. In parallel, special attention was paid to the artists working in the temples in order to learn more about these unsung and ignored individuals. Training, social environments, place of the woman artist, inspirations and influences are topics discussed in this study
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Bridges, Alex Wallace. "Two Monasteries in Ladakh: Religiosity and the Social Environment in Tibetan Buddhism". Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1491502573183253.
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Brown, Kerry Lucinda. "Dīpaṅkara Buddha and the Patan Samyak Mahādāna in Nepal: Performing the Sacred in Newar Buddhist Art". VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3635.
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Every four years, in the middle of a cold winter night, devotees bearing images of 126 Buddhas, Bodhisattvas, and other important deities assemble in the Nepalese city of Patan for an elaborate gift giving festival known as Samyak Mahādāna (“The Perfect Great Gift”). Celebrated by Nepal’s Newar Buddhist community, Samyak honors one of the Buddhas of the historical past called Dīpaṅkara. Dīpaṅkara’s importance in Buddhism is rooted in ancient textual and visual narratives that promote the cultivation of generosity through religious acts of giving (Skt. dāna). During Samyak, large images of Dīpaṅkara Buddha ceremoniously walk in procession to the event site, aided by a man who climbs inside the wooden body to assume the legs of the Buddha. Once arranged at the event, Dīpaṅkara is honored with an array of offerings until dusk the following day.
This dissertation investigates how Newar Buddhists utilize art and ritual at Samyak to reenact and reinforce ancient Buddhist narratives in their contemporary lives. The study combines art historical methods of iconographic analysis with a contextual study of the ritual components of the Samyak Mahādāna to analyze the ways religious spectacle embeds core Buddhist values within in the multilayered components of art, ritual, and communal performance. Principally, Samyak reaffirms the foundational Buddhist belief in the cultivation of generosity (Skt. dāna pāramitā) through meritorious acts of giving (Skt. dāna). However, the synergy of image and ritual performance at Samyak provides a critical framework to examine the artistic, religious, and ritual continuities of past and present in the Newar Buddhist community of the Kathmandu Valley. An analysis of the underlying meta-narrative and conceptualization of Samyak suggests the construction of a dynamic visual narrative associated with sacred space, ritual cosmology, and religious authority. Moreover, this dissertation demonstrates the role of Samyak Mahādāna in constructing Buddhist identity in Nepal, as the festival provides an opportunity to examine how Newar Buddhists utilize art, ritual, and performance to reaffirm their ancient Buddhist heritage.