Download Free Buddhist Iconography And Ritual In Paintings And Line Drawings From Nepal Book in PDF and EPUB Free Download. You can read online Buddhist Iconography And Ritual In Paintings And Line Drawings From Nepal and write the review.

This book is divided into three sections. The first section introduces one specific tradition of Siddhas transmitted by artists from Nepal. This artistic legacy, which is related to a corpus of texts that go back through Srisena and Bu ston, includes two paintings and an incomplete set of line drawings. One of the paintings is an early-sixteenth-century paubha of Vajradhara surrounded by the eighty-four Siddhas (now preserved in the National Art Gallery, Bhaktapur). The set of line drawings of originally all eighty-four Siddhas (now in the Los Angeles County Museum of Art) goes back to the seventeenth century. On the basis of a comparison of the portraits of the eighty-four Siddhas in the painting from Bhaktapur (which provides the Siddhas' names) and the line drawing (which also label the Siddhas) it is suggested that the eighty-two Siddhas surrounding the Siddha Virupa in the other Nepalese painting, from the second quarter of the thirteenth century, which is now part of the Kronos Collections of S.M. Kossak, New York, are part of the same tradition. The Siddhas in this well-known and frequently reproduced painting have so far remained unidentified since their names are not inscribed in the painting. The second section of the book focuses on lesser known manifestations of (Cakra)samvara, a form of Heruka, and includes a discussion and reproduction of images of two groups of Samvaras. The first document is a painted scroll showing the group of sixty-four Samvaras with their consorts; the second one is a set of line drawings of what appears to be another group of Samvaras (thirty-six in number) with their consorts. The last section presents a set of line drawings which is based on a section of the parikramavidhi found in chapter 6 of Kuladatta's Kriyasamgraha(panjika). This text is an important Tantric manual which has been particularly influential in Nepal and whose author may even have been of Nepalese origin. The set of line drawings, which dates from approximately the eighteenth century, illustrates the ritual of walking around the site of a mandala. The line drawings are of great interest for the study of Buddhist ritual, since they illustrate a large number of stances, sitting postures and hand gestures described in the Kriyasamgraha(panjika) but whose names are nor recorded in standard reference works on iconography.
This book is divided into three sections. The first section introduces one specific tradition of Siddhas transmitted by artists from Nepal. This artistic legacy, which is related to a corpus of texts that go back through *Srisena and Bu ston, includes two paintings and an incomplete set of line drawings. One of the paintings is an early-sixteenth-century "paubha" of Vajradhara surrounded by the eighty-four Siddhas (now preserved in the National Art Gallery, Bhaktapur). The set of line drawings of originally all eighty-four Siddhas (now in the Los Angeles County Museum of Art) goes back to the seventeenth century. On the basis of a comparison of the portraits of the eighty-four Siddhas in the painting from Bhaktapur (which provides the Siddhas' names) and the line drawing (which also label the Siddhas) it is suggested that the eighty-two Siddhas surrounding the Siddha Virupa in the other Nepalese painting, from the second quarter of the thirteenth century, which is now part of the Kronos Collections of S.M. Kossak, New York, are part of the same tradition. The Siddhas in this well-known and frequently reproduced painting have so far remained unidentified since their names are not inscribed in the painting. The second section of the book focuses on lesser known manifestations of (Cakra)samvara, a form of Heruka, and includes a discussion and reproduction of images of two groups of Samvaras. The first document is a painted scroll showing the group of sixty-four Samvaras with their consorts; the second one is a set of line drawings of what appears to be another group of Samvaras (thirty-six in number) with their consorts. The last section presents a set of line drawings which is based on a section of the "parikramavidhi" found in chapter 6 of Kuladatta's Kriyasamgraha(panjika). This text is an important Tantric manual which has been particularly influential in Nepal and whose author may even have been of Nepalese origin. The set of line drawings, which dates from approximately the eighteenth century, illustrates the ritual of walking around the site of a mandala. The line drawings are of great interest for the study of Buddhist ritual, since they illustrate a large number of stances, sitting postures and hand gestures described in the Kriyasamgraha(panjika) but whose names are nor recorded in standard reference works on iconography.
Dharma and Puṇya explores the centrality of ritual practices and the agency of people in creating and amplifying the efficacy of Buddhist art. It presents paintings, illuminated texts, statues, and ritual implements from the Newar tradition in the Kathmandu Valley.
Have you ever thought about dependencies in Asian art and architecture? Most people would probably assume that the arts are free and that creativity and ingenuity function outside of such reliances. However, the 13 chapters provided by specialists in the fields of Asian art and architecture in this volume show, that those active in the visual arts and the built environment operate in an area of strict relations of often extreme dependences. Material artefacts and edifices are dependent on the climate in which they have been created, on the availability of resources for their production, on social and religious traditions, which may be oral or written down and on donors, patrons and the art market. Furthermore, gender and labour dependencies play a role in the creation of the arts as well. Despite these strong and in most instances asymmetrical dependencies, artists have at all times found freedoms in expressing their own imagination, vision and originality. This shows that dependencies and freedoms are not necessarily strictly separated binary opposites but that, at least in the area of the history of art and architecture in Asia, the two are interconnected in what are often complex and multifaceted layers.
This book describes, analyses and reproduce line drawings from two manuscripts and a related section from a third manuscript. These are:1. Manuscript M.82.169.2, preserved in the Los Angeles County Museum of Art (circa late 19th century)2. Manuscript 82.242-1-24, preserved in the Newark Museum (from the later part of the 20th century) and3. A section from manuscript 440 in the private collection of Ian Alsop, Santa Fe, New Mexico (early 20th century).The line drawings depict Hindu/Saiva and Buddhist deities and themes, but the Buddhist material is predominant, as one would expect in artists' sketchbooks from Patan. The sketchbooks are important for several reasons. They provide drawings of a large number of deities, including some groups rarely depicted elsewhere. Among them are the EIght Great Bodhisattvas, the Eight Siddhas, the Nine Serpents and - corresponding to the months of the year - twelve forms of Narayana and Lokesvara, and (associated with the ekadasi days of the months) twelve forms of Mahadeva. Many of the deities and legends are relevant to contemporary Newar Buddhism. The two narratives are of special interest. They deal with the life story of Sakyamuni Buddha and the legend of Sarvajnamitra(pada). The illustrated life story of the Buddha follows the Newar tradition, which incorporates the episodes of the sufferings of Yasodhara after Sarvarthasiddha's departure and of the Buddha's (return) journey to Lumbini (lumniniyatra). The book also contains a longer section on Srstikarta Lokesvara, a form of Avalokitesvara who emanates Brahmanical divinities from his body.
Buddhist Manuscript Cultures explores how religious and cultural practices in premodern Asia were shaped by literary and artistic traditions as well as by Buddhist material culture. This study of Buddhist texts focuses on the significance of their material forms rather than their doctrinal contents, and examines how and why they were made. Contributions are by reputed scholars in Buddhist Studies and represent diverse disciplinary approaches from religious studies, art history, anthropology, and history.
Published in conjunction with an exhibition held at the Ackland Art Museum, Feb. 25, 2001-spring 2003.
Theravada Buddhism has experienced a powerful and far-reaching revival in modern Nepal, especially among the Newar Buddhist laity, many of whom are reorganizing their lives according to its precepts, practices and ideals. This book documents these far-reaching social and personal transformations and links them to political, economic and cultural shifts associated with late modernity, and especially neoliberal globalization. Nepal has changed radically over the last century, particularly since the introduction of liberal democracy and an open-market economy in 1990. The rise of lay vipassana meditation has also dramatically impacted the Buddhist landscape. Drawing on recently revived understandings of ethics as embodied practices of self-formation, the author argues that the Theravada turn is best understood as an ethical movement that offers practitioners ways of engaging, and models for living in, a rapidly changing world. The book takes readers into the Buddhist reform from the perspectives of its diverse practitioners, detailing devotees' ritual and meditative practices, their often conflicted relations to Vajrayana Buddhism and Newar civil society, their struggles over identity in a formerly Hindu nation-state, and the political, cultural, institutional and moral reorientations that becoming a "pure Buddhist"—as Theravada devotees understand themselves—entails. Based on more than 20 years of anthropological fieldwork, this book is an important contribution to scholarly debates over modern Buddhism, ethical practices, and the anthropology of religion. It is of interest to students and scholars of Asian Religion, Anthropology, Buddhism and Philosophy.
This book celebrates in words and images the traditional metal crafts practised for over a thousand years by the creators of religious Buddhist statues in Nepal. The skills of these artisans are nurtured with deep respect for tradition, regarding religion, iconography and technology. Wax modellers, mould makers, casters, fire-gilders and chasers are among the specialists of the Newar ethnic group, whose work is characterised to this day by a melding of age-old technology, great skill, religious observance and contemplation. There are numerous books and exhibition catalogues dedicated to Buddhist art and iconography but little was available about the craft of the artists who turn the religious imagery into metal casts. This book fills this gap, with a thoroughly documented and historical account of the development of this "archaic" technology. The well-informed text and comprehensive photographic coverage constitute the only up-to-date account and full documentation of an art that is 1300 years old but dying out: the "ritual" production of Buddhist statues in the lost wax casting technique. The author, Dr. Alex Furger, is an archaeologist who has studied ancient metallurgy and metalworking techniques over the past four decades. He spent twenty-five years at the head of the Roman site of Augusta Raurica and lives in Basel (Switzerland). He is the author of over 130 articles in scientific journals and twelve books in the field of culture history. The fieldwork for this book led him repeatedly to Nepal, where he met and interviewed dozens of craftsmen in their workshops. This book is addressed to readers interested in culture history, travellers to Asia, collectors of statues of Buddha, (avocational) metalworkers, historians of technology, Buddhists, ethnologists, archaeologists, art historians, scholars of Asia and to libraries and museums.