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Supported by Lumbini Development Trust, Durham University.
Supported by Lumbini Development Trust, Durham University.
Supported by Lumbini Development Trust, Durham University.
Supported by Lumbini Development Trust, Durham University.
Lumbini, the Birthplace of the Lord Buddha, was inscribed on the World Heritage list in 1997. It is situated in an area commonly referred to as the 'Sacred Garden'. Archaeological remains testify to the authenticity of the place, which has become a major pilgrimage site. Nevertheless over two and a half millennia, the understanding of Lumbini has changed and different perceptions exist of what Lumbini might have been like at the birth of Lord Buddha. For the long-term safeguarding of this World Heritage site, overall understanding of the property is essential. This publication will provide a means for the various stakeholders to come to an understanding of each other's historical, religious, environmental and touristic perspectives of Lumbini.
Supported by Lumbini Development Trust, Durham University.
This book presents up-to-date geoscience technologies for heritage investigations and conservation, covering various sub-disciplines of geophysics, geodesy, 3D laser scanning technology, hydrogeology, and rock mechanics applied to the exploration of new heritage sites, mapping and visualization, as well as hazard mitigation. The current shift toward interdisciplinary ways of thinking highlights the added value of merging arts with sciences and other disciplines for better management and preservation of cultural heritage. Featuring advanced scientific investigations in 40 case studies around the globe, the book demonstrates how a better understanding of natural processes coupled with conservation approaches, mainly based on sustainable practices such as the use of traditional knowledge in recovery techniques and building local capacities, can ensure effective conservation.
This volume cross-examines the stability of heritage as a concept. It interrogates the past which materialises through multi-layered narratives on monuments and other objects that sustain cultural diversity. It seeks to understand how interpretations of “monuments” as “texts” are affected at the local level of experience, even as institutions such as UNESCO work to globalise and fix constructs of stable and universal heritage. Shifting away from a largely Eurocentric concept associated with architecture and monumental archaeology, this book reassesses how local and regional heritage needs to be balanced with the global and transnational. It argues that material objects and monuments are not static embodiments of culture but are, rather, a medium through which identity, power and society are produced and reproduced. This is especially relevant in South and Southeast Asian contexts, where debates over heritage often have local, regional and national political implications and consequences. Reevaluating how traditional valuation of monuments and cultural landscapes could help aid sustainability and long-term preservation of the heritage, this book will be useful for scholars and researchers of South and Southeast Asian history, heritage studies, archaeology, cultural studies, tourism studies and political history as well.
Buddhism, often described as an austere religion that condemns desire, promotes denial, and idealizes the contemplative life, actually has a thriving leisure culture in Asia. Creative religious improvisations designed by Buddhists have been produced both within and outside of monasteries across the region—in Nepal, Japan, Korea, Macau, Hong Kong, Singapore, Laos, Thailand, and Vietnam. Justin McDaniel looks at the growth of Asia’s culture of Buddhist leisure—what he calls “socially disengaged Buddhism”—through a study of architects responsible for monuments, museums, amusement parks, and other sites. In conversation with noted theorists of material and visual culture and anthropologists of art, McDaniel argues that such sites highlight the importance of public, leisure, and spectacle culture from a Buddhist perspective and illustrate how “secular” and “religious,” “public” and “private,” are in many ways false binaries. Moreover, places like Lek Wiriyaphan’s Sanctuary of Truth in Thailand, Suối Tiên Amusement Park in Saigon, and Shi Fa Zhao’s multilevel museum/ritual space/tea house in Singapore reflect a growing Buddhist ecumenism built through repetitive affective encounters instead of didactic sermons and sectarian developments. They present different Buddhist traditions, images, and aesthetic expressions as united but not uniform, collected but not concise: Together they form a gathering, not a movement. Despite the ingenuity of lay and ordained visionaries like Wiriyaphan and Zhao and their colleagues Kenzo Tange, Chan-soo Park, Tadao Ando, and others discussed in this book, creators of Buddhist leisure sites often face problems along the way. Parks and museums are complex adaptive systems that are changed and influenced by budgets, available materials, local and global economic conditions, and visitors. Architects must often compromise and settle at local optima, and no matter what they intend, their buildings will develop lives of their own. Provocative and theoretically innovative, Architects of Buddhist Leisure asks readers to question the very category of “religious” architecture. It challenges current methodological approaches in religious studies and speaks to a broad audience interested in modern art, architecture, religion, anthropology, and material culture. An electronic version of this book is freely available thanks to the support of libraries working with Knowledge Unlatched, a collaborative initiative designed to make high-quality books open access for the public good. The open-access version of this book is licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0), which means that the work may be freely downloaded and shared for non-commercial purposes, provided credit is given to the author. Derivative works and commercial uses require permission from the publisher.