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A stunning showcase of exceptional and rare works of Buddhist art, presented to the international community for the first time The practice of Buddhism in Myanmar (Burma) has resulted in the production of dazzling objects since the 5th century. This landmark publication presents the first overview of these magnificent works of art from major museums in Myanmar and collections in the United States, including sculptures, paintings, textiles, and religious implements created for temples and monasteries, or for personal devotion. Many of these pieces have never before been seen outside of Myanmar. Accompanied by brilliant color photography, essays by Sylvia Fraser-Lu, Donald M. Stadtner, and scholars from around the world synthesize the history of Myanmar from the ancient through colonial periods and discuss the critical links between religion, geography, governance, historiography, and artistic production. The authors examine the multiplicity of styles and techniques throughout the country, the ways Buddhist narratives have been conveyed through works of art, and the context in which the diverse objects were used. Certain to be the essential resource on the subject, Buddhist Art of Myanmar illuminates two millennia of rarely seen masterpieces.
Over 150 color photographs from temples, museums, historical sites, and private collections enhance this attractive survey of the Buddhist art of India, Central Asia, China, Korea, Japan, Nepal, Tibet, Sri Lanka, Burma (Myanmar), Indonesia, Cambodia, Thailand, and Vietnam. It presents the life story and teachings of Sakyamuni Buddha, founder of Buddhism, as shown in paintings, sculptures, and other works of art, and explores the major schools of Buddhism--Theravada, Mahayana, Vajrayana, Zen--and the styles and characteristics of the Buddhas, bodhisattvas, deities, and other images seen in their art. Everyone interested in Buddhist art and its enduring significance will find this volume a useful reference for the study and appreciation of the various gestures, poses, and artistic elements seen in Buddhist art though the ages.
"A concise, accessible primer to the intricate world of Buddhist art." Publishers Weekly"
Intended to inspire the devout and provide a focus for religious practice, Buddhist artworks stand at the center of a great religious tradition that swept across Asia during the first millennia. How to Read Buddhist Art assembles fifty-four masterpieces from The Met collection to explore how images of the Buddha crossed linguistic and cultural barriers, and how they took on different (yet remarkably consistent) characteristics in India, Pakistan, Afghanistan, the Himalayas, China, Korea, Japan, Sri Lanka, Thailand, Cambodia, and Indonesia. Works highlighted in this rich, concise overview include reliquaries, images of the Buddha that attempt to capture his transcendence, diverse bodhisattvas who protect and help the devout on their personal path, and representations of important teachers. The book offers the essential iconographic frameworks needed to understand Buddhist art and practice, helping the reader to appreciate how artists gave form to subtle aspects of the teachings, especially in the sublime expression of the Buddha himself.
This collection of essays on later Chinese Buddhism takes us beyond the bedrock subjects of traditional Buddhist historiography - scriptures and commentaries, sectarian developments, lives of notable monks - to examine a wide range of extracanonical materials that illuminate cultural manifestations of Buddhism from the Song dynasty (960-1279) through the modern period. Straying from well-trodden paths, the authors often transgress the boundaries of their own disciplines: historians address architecture; art historians look to politics; a specialist in literature treats poetry that offers gendered insights into Buddhist lives. The broad-based cultural orientation of this volume is predicated on the recognition that art and religion are not closed systems requiring only minimal cross-indexing with other social or aesthetic phenomena but constituent elements in interlocking networks of practice and belief.
Illustrations: 50 B/w Illustrations Description: The present work is an analysis of Buddhist symbolism in historical perspective. In author's view Buddhist symbolism, in art or religion, is but a part of the main current of Indian religion and art and has to be studied in that context. Early Indian art is, thus, essentially the continuation of a mainly aniconic Vedic style and the compositions are comprehensible only with reference to Vedic notions. The present work studies the fundamental elements of Buddhist symbolism which predominate in the early aniconic art and are never dispensed with in the later imagery, though they are subordinated to the human icon. The present study is divided into two parts: in Part 1, the Tree of Life, Earth-Lotus and World-Wheel (and other cognate symbols) have been analyzed; Part II deals with the place of the lotus-throne. A study of these reveals that they represent a universal Indian symbolism and set of theological concepts.
Accompanies the exhibition presented at the Santa Barbara Museum of Art, Santa Barbara, California, April 17-July 31, 2016.
Buddhism had a profound effect not only on Chinese philosophy and ritual, but also on the material culture of China. Examining the impact of books, bridges, sugar, tea and the chair, amongst other things, this text looks at how attitudes to such novelties affected the history of Chinese Buddhism.
This book journeys through time, themes and the grand structures of Buddhism to portray a unique world. In doing so, Buddhist Art is nothings less than a pictorial chronicle of an awe-inspiring artistic tradition.
Introduction, Part 1. Tree of Life, Earth Lotus and Word Wheel; Part II: The Place of the Lotus-Throne; Notes, Plates