Buddhist Art Research Articles

Feasibility and Exception--The Grand Narrative Theory in the Myths of Buddhist Sculpture Art

This paper explores the grand narrative, especially in the context of Buddhist sculpture art. It portrays grand narratives as broad, non-falsifiable systems stemming from a collective story, often focusing on universality and macro theories. The paper also highlights the link between grand narratives and myth. The author examines how grand narrative theory applies to Buddhist art, evident in visual forms like Buddha statues, which function as both religious symbols and narrative components. This article mainly consists of two lines of analysis. One line examines the representation of grandeur and narrative in Buddhist sculptures, while the other line examines the changes in the grand narrative of Buddhist sculptures. The former involves the relationship between images and texts, while the latter involves the feasibility of the end of grand narrative as proposed by Jean-François Lyotard’s theory of grand narrative.

The Meaning of the Patriarch’s Coming from the West: A Study of Triptych of Three Zen Masters: Linji, Bodhidharma, and Deshan

In the mid-seventeenth century, Chinese Chan master Yinyuan Longqi 隱元隆琦 (Jp. Ingen Ryūki, 1592–1673), accompanied by several disciples, traveled to Japan and established Ōbaku Zen, a new sect of Zen Buddhism in Tokugawa Japan. Ōbaku art, particularly portrait paintings of Ōbaku abbots and their spiritual predecessors, became critical representations of the sect and greatly influenced later Japanese Buddhist art. While much of the existing scholarship focuses on the artistic and stylistic aspects of Ōbaku portraiture, this paper emphasizes its religious context and doctrinal dimensions. Building on Elizabeth Horton Sharf’s inquiry into the “meaning and function” of Ōbaku portrait painting, the paper investigates how Ōbaku doctrine is expressed through these images. Using the Triptych of Three Zen Masters: Linji, Bodhidharma, and Deshan as a case study, this paper explores the role of portraiture in visually conveying Ōbaku teachings and the religious aspirations of those Chinese immigrant monks. By examining the integration of image, inscription, and seal as a unified “pictorial trinity”, the paper argues that Ōbaku portraiture embodies the sect’s distinct doctrine, rooted in Ming-era Chan practices such as beating, shouting, and strict dharma transmission. Moreover, the prominence of Bodhidharma in Ōbaku portraits, as illustrated in the triptych, reflects these Chinese immigrant monks’ desire to emulate Bodhidharma in spreading the dharma and expanding their sect’s influence in a new land.

The Framework of Modeling Buddhist Head in 3D with Semantic Information

Abstract. Buddhist statues hold profound spiritual and cultural significance, yet their comprehensive analysis and identification remain largely reliant on manual annotation and expert scrutiny. Despite advancements in 3D modeling, the nuanced representation of these statues, essential for automated analysis, remains elusive. Integrating semantic information such as symbolic and cultural elements poses a further challenge. There currently exists no standardized method for modeling Buddhist heads in 3D with semantic information. This paper proposes a framework for the component-based analysis of Buddhist statues, particularly focusing on their heads, to bridge this gap. Drawing from diverse disciplines including archaeology, art history, and conservation, the framework leverages advancements in 3D reconstruction to provide a detailed depiction of intricate features. Building upon existing research outcomes, the framework facilitates the seamless integration of semantic information, capturing not only the physical attributes but also the cultural, historical, and spiritual dimensions of these sculptures. This approach aids in overcoming challenges in automated analysis and virtual restoration, providing a dynamic tool for exploration, preservation, and interpretation of cultural heritage. By enabling interdisciplinary synergy, the framework emerges as a dynamic tool for exploring, preserving, and interpreting the profound heritage of Buddhist art with unprecedented depth and clarity.

The wheel and the first sermon: a reflection on aniconism and Amaravati sculptures in The British Museum

The British Museum possesses one of the most significant collections of sculptures from Amaravati, India, in the world. By discussing four objects in its collection, this brief essay explores the relationship between the historical Buddha (Siddhartha Gautama) and aniconic representation. It scrutinises the iconography of the Buddha’s first sermon through the emblem of the wheel (chakra, or cakra) and critically discusses the representation of the wheel in the arguments of different scholars. This study reconsiders the meaning of the wheel and the representation of the first sermon to reflect more broadly on aniconism in Buddhist art.

‘Bodhisattva Bodies’: Early Twentieth Century Indian Influences on Modern Japanese Buddhist Art

The first decade of the twentieth century marked a turning point for Japanese Buddhism. With the introduction of Western academia, Buddhist scholars began to uncover the history of Buddhism, and through their efforts, they discovered India as the birthplace of Buddhism. As India began to grow in importance for Japanese Buddhist circles, one unexpected area to receive the most influence was Japanese Buddhist art, especially in the representation of human figures. Some artists began to insert Indian female figures into their art, not only to add a sense of exoticism but also to experiment with novel iconographies that might modernize Buddhist art. One example included the combination of Indian and Japanese female traits to create a culturally fluid figure that highlighted the cultural connection between Japan and India. Other artists were more attracted to “Indianizing” the Buddha in paintings to create more historically authentic art, drawing references from both Indian art and observations of local people. In this paper, I highlight how developments in Buddhist studies in Japan led to a re-establishment of Indo–Japanese relationships. Furthermore, I examine how the attraction towards India for Japanese artists motivated them to travel abroad and seek inspiration to modernize Buddhist art in Japan.

Maṇḍala or Sign? Re-Examining the Significance of the “Viśvavajra” in the Caisson Ceilings of Dunhuang Mogao Caves

This article delves into the exploration of a significant sign, the “viśvavajra”, found in the caisson ceilings of Buddhist esoteric art in Dunhuang’s Mogao Caves. These caissons, featuring the viśvavajra sign in the center, were prevalent from the mid-Tang period to the Western Xia dynasty (ninth to thirteenth centuries) and are recorded by The Overall Record of Dunhuang Mogao Grottoes under description as “Jiaochu Jingxin”. Similar caissons are also found in Western Buddhist Caves near Dunhuang, and Yulin Caves in Guazhou County, indicating a distinct regional character. Focusing on a well-preserved and intricately detailed example from Cave 361, this article aims to elucidate the specific tantric significance of the viśvavajra at the center of the caissons within the broader context of Buddhist art. Drawing from related tantras, the discussion explores how the sign and its surrounding compositions align with a particular homa (fire offering) maṇḍala, specifically the śāntika maṇḍala crucial to numerous Tantric Buddhist rituals. Furthermore, the article examines the evolution of caisson of this type of maṇḍala over time. By comparing the mid-Tang example from Cave 361 with the late Tang period’s Cave 14, a noticeable shift in format becomes apparent. The viśvavajra sign takes on new significance, embodying “the samaya of all Tathāgatas”. Ultimately, the article explores how the significance of the viśvavajra sign transforms into an allusion to Vairocana or Rocana under the Sino-Tibetan Esoteric Buddhist context in the Hexi Corridor during the early Northern Song and Western Xia dynasty.

Investigation and Research on the Statues of Northern Zhou Grottoes in the Longdong Area

The Longdong region, as a pivotal birthplace of Chinese cave art, holds a distinctive geographical position. Its collection of cave temples from the Northern Dynasties period is notably well-preserved, bearing significant academic value. Moreover, the cave temples from the late Northern Dynasties period constitute a crucial component of research on Chinese cave temples, marking the transitional phase between the Northern Wei and Tang dynasties, which represent two pinnacle epochs in the domain of Chinese cave art. The text primarily delves into the evolution of the Northern and Southern cave temples during the Northern Zhou Dynasty, exploring their impact on the regional Buddhist culture. Additionally, it thoroughly analyzes the influence of external cultures on the cave sculptures in the Longdong region during the Northern Zhou period, as well as their integration with local and ethnic minority cultures. The research reveals that the cave art in the Longdong region not only imitates the cave art of the Central Plains and the Western Regions but also embodies the unique regional cultural characteristics and spirit of innovation. Through a comprehensive examination of cave sculpture styles, clothing features, and other aspects, this study holds significant implications for understanding the developmental trajectory of Buddhist art in the Longdong region during the Northern Zhou period and regional cultural exchanges.

A Misidentified Image of Bhr̥kuṭī in the National Museum Bangkok

This study delves into the misidentification of a seated female figure in meditation, displayed at the National Museum Bangkok, now identified as Bhr̥kuṭī. The statuette, dating back to approximately 750–850 ce, showcases unique attributes, such as a distinctive stūpa on the deity’s hair topknot. Analyzing its iconography, the notice traces the evolution of Bhr̥kuṭī’s representation from South to Southeast Asia, highlighting her diverse forms and roles in Buddhist art history. The study challenges established norms, proposing a potential import hypothesis, and emphasizes the intricate interplay of regional influences, artistic diversity, and the evolving roles of Buddhist female deities.

Perspective from Literature and Art on Women's Social Status and Ancestral Role in Pre-Buddhist and Buddhist Era

Since women are an integral and prime part of society, their role has been of key importance in shaping society. Women have been discussed in various roles and positions in the Indo-Pak subcontinent's ancient times and were later depicted in art. Buddha thought that Women were considered equal to men in their contribution to society and could attain Nirvana to become a member of the sangha or bhikkhuni as well. Using descriptive research methods, this research analyses the ancient literary sources on Buddhist society and how it is intertwined with the Buddhist art of Gandhāra to identify women's various roles – pre-wedding and post-wedding familial standing. Based on academia's diverse opinions, this study explores Buddhist attitudes towards women in a historical context with a re-appraisal of discovered sources so that continuity can be traced. It is found that in the Buddhist period, the status of women improved educationally, religiously, and socially.

Hand of the 42-armed Avalokiteśvara Holding A Skull Rod.

The skull most commonly symbolizes death, mortality, and the unachievable nature of immortality. However, in Korean Buddhist art, skulls are rarely found. The aim of this study was to explore the image and meaning of the skull in the Joseon dynasty (1392 to 1910) of Korea. The terms [Buddhist] and [painting] and [Korea] were used to search Google (www.google.com), and the Research Information Sharing Service of Korea (https://www-riss-kr-ssl.openlink), was also searched for [Buddhism] () and [art] () and [skull] (). This study focused on paintings or statues of Avalokiteśvara because Avalokiteśvara was often depicted holding various items in the hands, especially the multiarmed Avalokiteśvara. The corresponding Buddhist texts were searched on "Archives of Buddhist Culture" (http://kabc.dongguk.edu). In the paintings and statues of the 42-armed Sahasra-bhuja Avalokiteśvara, one of the hands was holding a skull rod. In the royal version of the "Five Great Dhārāṇis Collection ()," which was published in 1458, a skull was found in a rod held by a 42-armed Avalokiteśvara. This corresponds to one of the verses of the "42-Hand Mantras" (Om dhuna vajra ha). The purpose of the mantra was to communicate with and manipulate ghosts. The meaning in the original Susiddhikara Sutra is quite different from the 42-Hand Mantras in the Joseon dynasty of Korea. The reason for this difference is thought to be the merger of esoteric Buddhism with the folk religions of China and Korea.

청양지역 신라 말~고려 불교 석조미술의 특징과 의의

Buddhist stone art in the Cheongyang region remains in relatively diverse types, including stone pedestals, stone pagodas, stone Buddhas, and stone lanterns. It is presumed that the stone pedestal at Janggoksa Temple was created in the late Silla Dynasty, the earliest period, and most other stone art was created during the Goryeo Dynasty.
 The art historical significance of Buddhist stone art in the Cheongyang region was examined in two major ways. First, the traditional style of Unified Silla is strongly reflected. The stone pedestal of Janggoksa Temple inherits the style of the square three-tiered Buddha statue pedestal of Silla, while showing new changes and inventions. In particular, it is significant in the history of Korean Buddhist art in that it is the only type of Buddhist pedestal that has a roof structure with pillars. The stone standing Buddha triad in Eupnae-ri, Cheongyang, also attracts attention as it strongly reflects the traditional style of the Unified Silla. The Chungcheongnam-do region is a place where temples were built by the royal family from the early days of the founding of the Goryeo Dynasty and stone art with a unique aesthetic of Goryeo, known as the Goryeo New Style, was created. This is significant in that it is almost the only one in the Chungcheongnam-do region, where Goryeo Silla Buddha statues were prevalent, that strongly follows the traditional style of Unified Silla.
 Next, due to the geographical characteristic of Cheongyang being located in the center of Chungcheongnam-do, the influence relationship between the surrounding area and the stone pagoda style was identified. Lastly, it was confirmed that Chilgapsan Mountain is the center of Buddhist art in the Cheongyang region, as temples and Buddhist art, such as Janggoksa Temple, Dorimsaji Temple, and Jeonghyesa Temple, are concentrated in Chilgapsan Mountain.

청양지역 신라 말~고려 불교 석조미술의 특징과 의의

Buddhist stone art in the Cheongyang region remains in relatively diverse types, including stone pedestals, stone pagodas, stone Buddhas, and stone lanterns. It is presumed that the stone pedestal at Janggoksa Temple was created in the late Silla Dynasty, the earliest period, and most other stone art was created during the Goryeo Dynasty.
 The art historical significance of Buddhist stone art in the Cheongyang region was examined in two major ways. First, the traditional style of Unified Silla is strongly reflected. The stone pedestal of Janggoksa Temple inherits the style of the square three-tiered Buddha statue pedestal of Silla, while showing new changes and inventions. In particular, it is significant in the history of Korean Buddhist art in that it is the only type of Buddhist pedestal that has a roof structure with pillars. The stone standing Buddha triad in Eupnae-ri, Cheongyang, also attracts attention as it strongly reflects the traditional style of the Unified Silla. The Chungcheongnam-do region is a place where temples were built by the royal family from the early days of the founding of the Goryeo Dynasty and stone art with a unique aesthetic of Goryeo, known as the Goryeo New Style, was created. This is significant in that it is almost the only one in the Chungcheongnam-do region, where Goryeo Silla Buddha statues were prevalent, that strongly follows the traditional style of Unified Silla.
 Next, due to the geographical characteristic of Cheongyang being located in the center of Chungcheongnam-do, the influence relationship between the surrounding area and the stone pagoda style was identified. Lastly, it was confirmed that Chilgapsan Mountain is the center of Buddhist art in the Cheongyang region, as temples and Buddhist art, such as Janggoksa Temple, Dorimsaji Temple, and Jeonghyesa Temple, are concentrated in Chilgapsan Mountain.

Lakṣacaitya paubhās. Pictorial representations of a Newar Buddhist ritual performance

This article deals with a ritual called “Lakṣacaitya” (literally “hundred thousand caityas”) performed by Newar Buddhists of the Kathmandu Valley in Nepal, during which a very large number of miniature caityas or stupas are made. Besides the interest of the ritual procedures as part of annual or occasional religious observances (Skt. vrata), the performance of the Lakṣacaitya ritual has been, for some devotees, the occasion to commission a scroll painting on cotton cloth (New. paubhā) commemorating its completion. In the Nepalese world, few religious practices have been the subject of such depictions. These paintings not only attest to the antiquity of this Buddhist practice in Nepal, but also constitute unique visual materials, especially regarding the paubhās of the 18th and 19th centuries, of which there is no equivalent in Indian or Tibetan Buddhist art.

Exploration the use of digital technology in the revitalisation design of Ming Dynasty’s Yingluo jewellery

Buddhist art originated with the emergence of Buddhism and has experienced continual innovation and development throughout history. Yingluo jewellery was introduced to China from India, with its form continuously incorporating ancient Chinese aesthetics in its inheritance and development. The designs of Ming Dynasty’s Yingluo jewellery exhibited a more secular and everyday trend. This article centres on the design of Ming Dynasty necklaces, using the Fahai Temple mural and the Yongxuan court statues as representative examples. The article summarises the distinct artistic features of Ming Dynasty necklaces and explores their aesthetics, focusing on three aspects: shape structure, colour matching, and pattern design. Additionally, 3D digital modelling is employed to revitalise and restore the necklaces’ beauty. Technical abbreviations will be explained upon first usage, and the text adheres to standard academic formatting and language conventions. The objective is to enhance national cultural confidence, bridge the gap between cultural heritage, appreciate the allure of traditional art treasures, and revive cultural artifacts. The infusion of rich cultural nuances into contemporary jewellery design, integration of traditional artistic components into modern aesthetics, and merging exceptional Ming Dynasty necklace works with contemporary aesthetic context, facilitates the seamless integration of outstanding culture into contemporary society.

SIGNIFICANCE OF THE IVOLGINSKY DATSAN IN PRESERVING THE TRADITIONS OF THE BUDDHIST ART OF BURYATIA

The article considers the role of the Ivolginskydatsan in the preserva-tion of the artistic traditions of the Buryat Buddhist art. The samples of the significant works of tanka, sculpture, decorative and applied crafts, found in the datsan, are given. The data collected during the practical training of the students of East Siberian state institute of culture engaged in painting decora-tive details of the main temple under construction are presented. The actuality of the search for new artistic solutions in creating the appearance of the main Buddhist Buryat temple; the perspectives of interaction of the religious insti-tions with those of secular education and different creative professional com-munities are noted.

Portable Faith: Toward a Non-Site-Specific History of Buddhist Art in Japan

From small-scale shrines to handheld icons and votive tablets, portability has long factored into the design and reception of Buddhist art. This article charts the uses and design of portable objects that are as instrumental and effective as their monumental counterparts in disseminating Buddhism in Japan. The article first examines the circulation of miniature icons that served as diplomatic gifts in the sixth and seventh centuries. It then turns to figurative plaques from Tang-dynasty China (618–907) that were modified for votive and architectural uses in early Japan. Lastly, the article examines the reasons underlying the enduring popularity of portable shrines in the archipelago. In sum, this article asks: What factors determined the size, scale, and materiality of Buddhist art? More importantly, how does the case of the portable speak to the discipline of Buddhist art that often preoccupies itself with the monumental and the site-specific?

THE INFLUENCE OF POLITICAL EVENTS AND IDEOLOGY ON THE FORMATION OF THE PICTURE CONCEPT OF DUNHUANG CAVES FRESCOS

The article is devoted to an analysis of the figurative concepts of the Dunhuang cave wall paintings. It was determined that, despite the fact that the Dunhuang wall painting is an example of Buddhist art, it represents a syncretism of Buddhism and local beliefs—Taoism and Confucianism—which manifested itself in the depiction of characters from Buddhism and Taoism in one plot. Dunhuang cave murals are not uniform in style and execution techniques. Its genesis testifies that in the early stages it was a literal borrowing of the ancient Indian traditions of Buddhist mural painting; instead, there was a gradual layering of local painting techniques from the Central Plains of China. This led to the diversification of cave wall paintings of later periods and eventually led to the formation of a specific stylistic direction of "Chinese secular Buddhism," in which realistic painting plays an important role—the portrait genre of benefactors and the landscape genre of "mountains and waters."

The Dunhuang Caves: Showcasing the Artistic Development and Social Interactions of Chinese Buddhism between the 4th and the 14th Centuries

The Dunhuang Caves, situated in China's Gansu Province, are renowned globally for their significant collection of murals, sculptures, architecture, and ancient Buddhist manuscripts. These caves, established along the historic Silk Road, encapsulate a rich tapestry of cultural exchange and artistic evolution spanning from the 4th to the 14th centuries. Comprising sites like the Mogao Caves and the Yulin Caves, they not only stand as reservoirs of ancient Buddhist art but also highlight intersections between Buddhism and neighboring Central Asian and Chinese cultures. The evolution of the Dunhuang Caves' art is segmented into periods mirroring Chinese dynasties, showcasing diverse influences from various regions, marking the journey from purely religious symbols to a more secularized and inclusive representation. Concurrently, the Caves mirror the secularization trajectory of Buddhism in China. Beyond their artistic merit, the Dunhuang Caves played a pivotal role socially, reflecting the intertwined relationships between Buddhism, society, and the Chinese ruling elite. As Buddhism assimilated into Chinese life, its representation in the Dunhuang Caves evolved, ultimately serving both spiritual and political purposes. This study delves into the artistic progression and the multifaceted social implications of the Dunhuang Caves' existence.

Divine Expressions in Pala Art: Sculptures of Transcendence with special reference to Buddhist minor Deities

The art and iconography of the sculptures from the Pala period (8th to 12th centuries CE) in India represent a significant phase in the evolution of Buddhist and Hindu art. The Pala dynasty, which ruled over parts of present-day India and Bangladesh, was a patron of both Buddhist and Brahmanical traditions, and their art reflects a fusion of influences. This paper attempts to explore the key features and themes of sculptures from the Pala period with special reference to Buddhist minor deities. Pala period sculptures are known for their graceful and fluid style, characterized by soft contours and sensuous curves. This style is often referred to as the "Pala-Sena" style. The sculptures exude a sense of serenity and elegance, whether depicting Buddhist or Hindu deities. Buddhist sculptures from this era frequently depict the Buddha in various postures and mudras (hand gestures). The Buddha is often shown in the Dharmachakra Pravartana mudra (teaching pose) or the Bhumisparsha mudra (earth-touching pose). Bodhisattvas, Avalokiteshvara, Tara, and Manjushri are common subjects in Pala Buddhist art. These figures are portrayed with distinctive attributes and symbols that represent their qualities and attributes. The sculptures often include intricate detailing of jewelry, garments, and hairstyle, reflecting the rich artistic sensibilities of the period.

Study on the Thin Flesh Sculptures of Northern Zhou Dynasty in Maijishan Grottoes

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