This essay draws on Kenneth George's ethnographic study of the Indonesian painter Abdul Djalil Pirous and his art, as well as Pirous's own characterizations of his paintings as “spiritual notes,” to theorize and examine how paintings serve as ethical media. The essay offers a provisional definition of and methodology for “visual ethics” and considers how pictures and language can function quite differently as sites for ethical reflection. The particular painting analyzed here is a large temple mural of the (...) death of the Buddha located at Wat Unnalom, a prominent Buddhist monastery in Phnom Penh, painted in the 1980s by Cambodian artist Sum Pon. After discussing the lifeworld of Pon's Mahāparinibbāna and varied Khmer Buddhist interpretations of the painting, I suggest that the painting's rendering of “moral vision” helps us understand Buddhist ways of seeing more generally. I conclude by returning to George's question about how our understanding of ethics would change if we took pictures as the “fulcrum of moral relationships,” arguing that pictures can embody certain kinds of tensions or paradoxes that are difficult to explain and grasp discursively, such as paradoxes that arise from the inevitability and yet inexplicability of death as well as the tensions between Buddhist aims of cultivating “boundless” love and the particularities of our own individual experiences of love. (shrink)

The wall paintings in the Crusader church in Abu Gosh were conserved and restored in two different operations in the last thirty years. While the conservation revealed new iconographies of the original wall paintings, the restoration added and changed details. The discernment between the two allows us once again to discuss the meaning of the original Crusader decoration program as a whole. This article argues that the frescoes decorating the church reference a set of prominent sacred places in the (...) Holy Land, and suggests an interpretation of the murals in regard to the holy place to which it is linked and to the edifice it adorns. (shrink)

This last part of the study of materials and techniques used in Minoan wall-painting discusses the execution of the actual decoration itself. After a brief reminder of our knowledge of the status of the artist and his principal tools, the main stages of the process of execution are described. It thus appears that the number and connection of these différent phases, as well as the painting techniques themselves, depend on the nature of medium used: chalk or cernent. (...) For the identification of the latter, the author proposes a new method, combining macro- and microscopic observations, and using physico-chemical characterisation analyses. (shrink)

Dunhuang is the world's largest, longest-lasting, and most valuable cultural and artistic treasure of ancient murals and an important component of grotto art. The clothing and costumes of the Dunhuang murals reflect the process of Sinicization of Buddhism over the time. In order to save the costumes of these murals from deterioration and age-related factors, digital technology is used, which can not only save the precious cultural relics but also ensure their permanent and authentic preservation. This study takes the vestment (...) on the imperial mural of the Vimala Kirti Sutra of Cave No. 220 in the Mogao Grottoes of Dunhuang, China, as the research object. Firstly, it studied the detailed components, materials, colors, heraldic symbols, meanings, and aesthetic characteristics of mural vestments from the perspective of clothing history. Then, it restored the clothing patterns in the murals using digital technology, established the three-dimensional clothing model on the CLO 3D platform, and carried out the 3D digital restoration of the research object. In order to verify the accuracy of the restoration results, the analytic hierarchy process and the entropy method were comprehensively used to determine the subjective and objective weights of the indexes, and the comprehensive weights were corrected based on the idea of game theory. Finally, fuzzy comprehensive evaluation was used for the restoration results. According to the final calculation result of fuzzy comprehensive evaluation, the restoration result was considered “good” with an overall evaluation score of 80.35. One of the greatest challenges of this project revolved around recovering the dilapidated mural paintings using digital technology. The high precision of the digital restoration of the vestment showcases the three-dimensional dynamic appearance of the Tang Dynasty emperors. This not only facilitates the education and propagation of traditional costume culture but also offers a novel approach to the sustainable display of mural cultural heritage. (shrink)

One of the most extensive ensembles of twelfth-century mural painting still extant in France has recently been reconstituted in the Church of Saint-Silvain at Chalivoy-Milon , a small village located about forty kilometers southwest of Bourges. During the late 1970s and 1980s, conservation work carried out under the auspices of Monuments Historiques recovered the entire chevet program , a portion of which was first discovered in February 1868. The stunning exposure of a complex, predominantly Christological cycle at Chalivoy-Milon (...) sparked my interest in nineteenth-century reports of painted decoration once visible in the nave. That lost painting is the focus of the present study. (shrink)

Stoicism was one of the new philosophical movements of the Hellenistic period. The name derives from the porch (stoa poikilê) in the Agora at Athens decorated with mural paintings, where the members of the school congregated, and their lectures were held. Unlike ‘epicurean,’ the sense of the English adjective ‘stoical’ is not utterly misleading with regard to its philosophical origins. The Stoics did, in fact, hold that emotions like fear or envy (or impassioned sexual attachments, or passionate love of (...) anything whatsoever) either were, or arose from, false judgements and that the sage—a person who had attained moral and intellectual perfection—would not undergo them. The later Stoics of Roman Imperial times, Seneca and Epictetus, emphasise the doctrines (already central to the early Stoics' teachings) that the sage is utterly immune to misfortune and that virtue is sufficient for happiness. Our phrase ‘stoic calm’ perhaps encapsulates the general drift of these claims. It does not, however, hint at the even more radical ethical views which the Stoics defended, e.g. that only the sage is free while all others are slaves, or that all those who are morally vicious are equally so. Though it seems clear that some Stoics took a kind of perverse joy in advocating views which seem so at odds with common sense, they did not do so simply to shock. Stoic ethics achieves a certain plausibility within the context of their physical theory and psychology, and within the framework of Greek ethical theory as that was handed down to them from Plato and Aristotle. It seems that they were well aware of the mutually interdependent nature of their philosophical views, likening philosophy itself to a living animal in which logic is bones and sinews; ethics and physics, the flesh and the soul respectively (another version reverses this assignment, making ethics the.. (shrink)

The lavra of Ot’kht’a Eklesia and its twin monastery at Parkhali are located in an isolated, mountainous area of present-day north-east Turkey, which, in the ninth-tenth century, gradually emerged as the politically de facto independent kingdom of Tao-Klarjet’i and as a stronghold of Georgian culture. Both lavras were established on the steep slopes of valleys carved by the tributaries of the Çoruh (Č’orox’i) river by Georgian monks seeking for those “deserts” that, in their opinion, God had reserved to them since (...) the Creation of the world. Thanks to the support of David iii the Curopalates, the churches of Ot’kht’a and Parkhali erected in monumental dimensions and lavishly decorated with a complex, almost identical program of mural paintings in the apses. The present paper aims to show to what extent images could reflect the monastic view of their relationship with the natural world in terms of Biblical allegorism. In particular, it lays emphasis on the multi-layered symbolism associated with the “Holy Zion” - notion and the different ritual, performative, and visual strategies whereby site-bound holiness came to be materially evoked. (shrink)

Existem perto de 140 monumentos portugueses que ainda conservam pintura mural realizada entre os finais do século XV e os meados do século XVI. Por vicissitudes históricas diversas, a distribuição destes monumentos pelo território nacional é muito desigual, verificando-se uma concentração em templos rurais situados sobretudo no território de Entre-Douro-e- -Minho (c. 30%), em Trás-os-Montes (c. 25%) e na Beira Interior (c. 20%).A análise da iconografia destas pinturas permite tirar várias conclusões a respeito das principais devoções da época. Verifica-se (...) que São Sebastião era o santo mais representado, seguido por Santo António (de Pádua), Santa Catarina, São Pedro, São Miguel, São João Baptista e São Tiago, ao mesmo tempo que apenas a Anunciação e o Calvário têm uma representatividade equiparável à dos santos mencionados. Também é possível concluir que a preferência pelos santos referidos não estava dependente da invocação dos templos. Conclui-se, igualmente, que existe uma nítida diferenciação entre as imagens sacras representadas na zona dos templos cujo cuidado pertencia aos fregueses, a nave, e a zona sob a responsabilidade dos padroeiros, a cabeceira. Nesta comunicação pretende-se explicar quais os motivos que justificam a preeminência da representação de determinadas figuras do hagiológio cristão durante o período em causa, bem como a ausência de outras cuja presença seria expectável. Pretende-se explicar também as razões que ditam a diferenciação entre a iconografia das cabeceiras e a iconografia das paredes da nave. A análise conjugada destes dados permite trazer alguma luz sobre os motivos que justificam as principais devoções dos portugueses da época, sobretudo os que viviam em ambientes rurais. (shrink)

This dissertation investigates how art, truth, and politics are tightly integrated in Raphael's historical narratives in the Stanza d'Eliodoro. ;The first chapter argues for the importance of paying careful attention to pictorial structure--that close analysis of painting can make a strong contribution to the social history of art. The second chapter begins this interpretive path. It first describes the room's decorative ensemble as a whole and how the histories are located within its complex figurative scheme. Then, drawing upon Martin (...) Heidegger's analysis of postmedieval processes of Vorstellung, it defines the pictorial narratives themselves as representations and concludes that as pictorial representations these narratives appear unable to ground the truth of sacred history. ;Chapter 3 focuses on the Expulsion of Heliodorus, a mural replete with self-referential models of both its own mode of authorship and mode of reception. These self-referential cues help define what it means for the Heliodorus to be not only a pictorial representation but more extensively a work of art. It is Raphael's art of representation that shows forth and validates the metaphysical truth of papal history. ;The latter part of Chapter 3 and all of Chapter 4 offer readings of the Heliodorus as well as the three other histories--the Liberation of St. Peter, Mass at Bolsena, and Repulse of Attila--construing them as theologico-political narratives of the divinity of papal power. All four histories express at the level of narrative form the dilemma of the papacy's contemporary political trajectory only for this predicament to find imaginative "resolution" through the movement of the narrative action. This chapter expounds upon the configurations of historical time in the decorative scheme and how this projects the political unconscious of papal desire. Yet the fifth and final chapter concludes that the Eliodoro narratives are not simply collective wishfulfillments but more properly public symbols that rhetorically address a beholder so to persuade him to accept as true the papacy's desired self-image of its own historical mission. Raphael's art of representation was essential towards this end. (shrink)

This paper attempts to delineate the relation of early Chinese views on vision and visuality to nascent reflections on painting arising in the Early Medieval period. Ever since that time, pictorial creativity has been associated with Buddhist ideas of spiritual perfection. Likewise, the Early Medieval concern for the visualization of spiritual journeys to exceptional humans (and superhumans) through imaginary landscapes seems to be of Buddhist origin. The first part of this paper gives a short sketch of the (...) intellectual landscape in which theorizing on painting since the 5th century CE first arose. The main body of the study, consisting of parts two through five, close readings of pre-Buddhist texts on vision and imagination. From these exploratory investigations it emerges that the very terms that are key in early reflections on painting such as ‘spirit’ (shen神), ‘perspicacity’ (ming明), but also ‘imagination’ (xiang想) and ‘symbol’ (xiang象) are closely related to a specific conception of seeing and visuality which is manifest in these texts. A final part sketches the possible relevance of these observations in early and pre-imperial sources for the interpretation of Chinese theories on painting. It emerges that while the rising interest in imagination since the Eastern Jin period is indeed an innovation inspired by Buddhism, the extraordinary role of the notion of ‘spirit’ in reflections about painting is closely related to earlier autochthonous traditions. The appeal to specifically Buddhist notions such as thesamādhiof free play in texts on pictorial production and contemplation appears to be of a secondary character. It seems to be mediated by the inclusion of the very word ‘spirit’ (shen) into Chinese renderings of technical Buddhist terms related to meditation, which resulted in the implicit association of this specialist vocabulary with inherited conceptions of spirit as a luminous force animating, inspiring and enlightening things, in both quite a literal and in a rather metaphorical sense. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Courtesans and Tantric Consorts: Sexualities in Buddhist Narrative, Iconograhy, and RitualRita M. GrossCourtesans and Tantric Consorts: Sexualities in Buddhist Narrative, Iconograhy, and Ritual. By Serinity Young. New York and London: Routledge, 2004. 256 pp.This book is a welcome addition to the growing literature on Buddhism and gender. It presents information and explores issues on this topic in new and innovative ways. It is also well researched (...) and well written. Part of Young's innovation is her use of Buddhist art and iconography, which she takes as seriously as textual sources are usually taken in Buddhist studies. Many of her most interesting suggestions and conclusions result from the seriousness with which she takes Buddhist art as resource for understanding Buddhism more accurately and completely. The other foci are clear from her subtitle: narrative and ritual. There is much less attention to the canonical and philosophical texts of Buddhism that are so often invoked in studies of Buddhism and gender.Studies of sexuality or gender often end up primarily discussing new information about women and new ways of understanding women's participation in or exclusion from religion. This study is no exception, which is not in any way to fault the book. Young's analyses center on ways that women have been both included in the Buddhist world and excluded from that world. Among the many varieties of Buddhism, Young primarily focuses on early Indian Buddhism and Tantric Buddhism, which have the most provocative teachings about gender and sexuality. In Young's analyses, we see how women participated in early Buddhism in ways that have not been recognized in most earlier scholarship and ways in which they are excluded from Tantric Buddhism and most later forms of Buddhism that have not always been acknowledged.Young's interpretations of the traditional life stories of the Buddha are extremely innovative and interesting. She argues that the future Buddha's rejection of women when he left his home and family must be balanced with his reintegration into the world of women before and during his enlightenment experience. She argues that this reintegration is evidenced especially in his acceptance of food from Sujata and in the help he received from the Earth Goddess during his trials with Mara. Young argues that many Buddhists throughout the ages have focused on episodes in his life that deal with rejection of women but have not fully taken in the implications of the stories in which women become important allies in the mission of the Buddha.The sources for early Indian Buddhism most invoked by Western scholars of Buddhism are textual. These textual sources present a very mixed picture of women's lot in early Indian Buddhism. On the one hand, the Therigatha and some stories from the life of the Buddha present a relatively optimistic picture of women's possibilities and their acceptance in the early Buddhist community. On the other hand, texts present a constant message of the importance of renunciation, and much of the recommended renunciation involves women. Texts written by and for monks frequently conflate women with sexuality and hold women responsible for wayward monks' sexual temptations. Against this widely known material, Young calls upon the evidence of early Indian Buddhist art to argue that the monks' anti-women texts [End Page 174] do not tell the whole story about women in early Indian Buddhism. The art work, which was much more important for tutoring largely illiterate Buddhist laypeople, consistently portrays women voluptuously and positively. This contrast between text and art is so great that recently, during a slide show in a class I taught on ancient Indian Buddhism, a student asked point blank how monks could possibly sanction the voluptuous portrayals of women common in early Indian Buddhist sanctuaries. I didn't remember Young's cogent analysis at first, but eventually did reply, using her analysis. The monastic establishment controlled the discourse that eventually became the texts of early Buddhism, but the lay donors controlled the visual representations that decorated the sites where Buddhism was preserved. The lay donors were more than happy to represent the fecundity and beauty of women, without whom there would be no future donors or... (shrink)

Buddhist Painting in Cambodia by Vittorio Roveda and Sothon Yem. Bangkok: River Books, 2009. 328pp., 630 colour illustrations. Hb. £38.00/US$80.00, ISBN-13: 9789749863527. Past Lives of the Buddha Wat Si Chum: Art, Architecture and Inscriptions. Edited by Peter Skilling, with contributions from Pattaratorn Chirapravati, Pierre Pichard, Propad Assavavvirulhakarn, Santi Pakdeekham, Peter Skilling. Bangkok: River Books, 2008. 296pp., 390 colour images and 30 plans and maps. Hb. £29.75/US$75.00, ISBN-13: 9789749863459.

This study explores the religious dimensions of Thai Buddhism through the interplay between ritual and art, and its impact on Thai identity. It investigates how art underpins Thai Buddhist rituals by examining the nature and role of prominent ritual and religious practices. The research focuses on temple art and artistic elements such as murals, statues, and other features that transform ritual spaces into sacred zones during significant festivals like Visakha Bucha and Makha Bucha. Additionally, it includes an analysis of (...) sand mandalas, which symbolize temporality and engage participants in their creation and observation. The study also addresses the ethnoreligious aspects of Thai folk music (Luk Thung) and dance-drama (Khon), highlighting their roles in reinforcing Buddhist institutions and societal cohesion. By examining case studies such as Loy Krathong and the Phuket Vegetarian Festival, the study demonstrates how religious and cultural performances shape Thai identity. Ultimately, the research asserts that Thai Buddhist art functions as both a symbol of religious principles and an active medium for religious representation and performance, thereby affirming and enacting Thai national and sacred identity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist Women and Interfaith Work in the United StatesKate DuganWomen from a wide array of backgrounds and interest areas continue to shape the face of Buddhism in the United States—from women who encountered Buddhism during the women's movement in the 1960s to ordained women founding temples for large immigrant populations; from women carving out a space for Buddhism in colleges and universities to Buddhist women engaged in (...) interfaith dialogue and working in interreligious settings. As Buddhist scholar Rita Gross notes, the experiences of women in Buddhism in the United States are wide and varied.1Increasingly, whether they are ordained Buddhist nuns or are Buddhist activists, women in the United States are engaging with questions of interfaith conversations within this multireligious nation. Around the country, Buddhist nuns dialogue with their Catholic counterparts. In local communities, Buddhist women assume leadership roles in interfaith groups. Behind prison walls, women offer Buddhist meditation instruction. Some women introduce tenets of Buddhism to their communities, while others promote justice with people from various faith traditions. On college campuses, Buddhist women work as chaplains and women Buddhologists integrate Buddhism and interfaith dialogue into their academic interests. This article aims to explore several snapshots of Buddhist women engaged in interfaith dialogue and working as Buddhists in interreligious settings; it is not intended to provide all-inclusive coverage of the many and diverse women in Buddhism in the United States engaged with an increasingly religiously diverse country.2Historical Glance: Buddhist Women and Interfaith Dialogue in the United StatesRita Gross suggests that women in the United States began practicing Buddhism in the 1960s and 1970s because "the basic teachings [of Buddhism] were gender-free and gender-neutral, and many found the practice of meditation... intensely liberating."3 Yet, the history of Buddhism is dominated by patriarchal structures and male-centered liturgical and ordination practices. As Buddhism [End Page 31] grew American roots, women found that "deeper explorations into the traditional texts revealed misogynistic passages as well as a strong overall tendency to favor men over women in matters of study and practice."4 No longer certain that Buddhism was any less fettered by patriarchy than other traditions, uneasiness bubbled within the experiences of Buddhist women.In the early 1980s, Cambridge Buddhist Association member Suzie Bowman noted the similarities among women's experiences of American Buddhism—including struggles of motherhood in a tradition that emphasizes the quiet of meditation halls and an alarming number of stories about abusive male teachers. In 1983, Bowman and the Providence Zen Center hosted a conference called "The Feminine in Buddhism"; seventy women attended. A two-day conference, with 120 participants, followed in 1984. In 1985, they hosted a three-day gathering.5These inspired budding Buddhist Sandy Boucher to take to the road to understand Buddhism in women's lives. She interviewed more than one hundred Buddhist women in their homes, workplaces, sangha. In Turning the Wheel: American Women Creating the New Buddhism, Boucher paints portraits of women in Buddhism in the United States in the mid 1980s—immigrant women from Asia who transplanted their Buddhism, white women who discovered Buddhism in tandem with feminism, women of color who encountered a white-dominated Buddhism. In these women's experiences, she suggests, is American Buddhism with "the possibility for the creation of a religion fully inclusive of women's realities."6Against this background, Rita Gross was blazing a trail for Buddhist women in interfaith dialogue. In 1980, an eager Gross attended the first International Buddhist-Christian Dialogue conference. She presented ideas that, twenty years later she says, encompassed "everything to which I have devoted my scholarly attention:... feminism, non-Christian religions, accurate information about world religions, Buddhism, Buddhism and feminism, interreligious interchange, even theology of religion."7 After this first splash, Rita Gross attended the 1984 International Buddhist-Christian Theological Encounter—the only woman in attendance.8 The organizers were eager to have more women participate; so was Gross. After that conference, she made her further involvement contingent upon more women's involvement. Because of this insistence, members did, and continue to, work toward equal gender representation.9 In 1992, Gross explained, from a personal perspective, the potential... (shrink)

중국회화의 南北宗論은 禪宗의 南頓·北漸 分宗에 의거하여 明代 董其昌에 의해서 繪畵史에 畵派적인 구분을 시도한 것이다. 그리고 이러한 동기창의 견해는 300여년에 걸쳐 동북아 회화문화에 있어서 실로 지배적인 역할을 해왔다. 그러나 이러한 남북종론의 유사성에도 불구하고 학문적 연구의 분리로 인하여 남북분종의 同·異에 관한 고찰은 아직까지도 심도 있는 연구가 이루어지지 못하고 있는 실정이다. 본 고찰은 선종과 회화의 남북종론의 同·異를 파악하여 그 영향관계에 대한 선을 분명히 함으로서 회화 남북종론의 의의를 보다 명확하게 해 보기 위한 것이다. 이를 위해서 먼저 중국문화에 있어서의 남방과 북방의 문화권적인 차이를 바탕으로 중국에 (...) 남북의 대립적 가치가 선제함을 언급하고, 이를 통하여 선종의 남북분종에 대한 보다 타당성 있는 이해를 수립해 보고자 하였다. 그리고는 이를 바탕으로 회화적인 남북종론이 동기창에 의해서 제기될 수 있는 개연성에 관해서 모색해 보았다. 그러한 연후에 선종과 회화의 남북종론에 대한 同·異를 고찰하여 회화의 남북종론이 비단 선종의 체계만을 모방한 것에서 그치는 것이 아니라 시대적 요청에 의해서 선종을 중심으로 하는 新儒學적 가치들을 그 자체로 含攝하고 있다는 점을 분명히 하여 보고자 하였다. 이상의 연구를 통해서 우리는 선종 남북종론의 필연적 전개와 아울러 회화의 남북종론이 동기창의 개인적 특성에 의한 것이라기보다는 시대적 요청에 의한 것이라는 점에 대해서 보다 분명한 견해를 획득할 수 있게 된다. 그리고 이를 통해서 회화사의 남북종론은 자체적인 문제를 내포하고 있음에도 불구하고 수 세기에 걸쳐 동북아의 회화문화를 지배할 수 있었던 의의에 관해서 보다 타당성 있는 이해를 도출해 낼 수가 있게 된다고 하겠다. (shrink)

Wallace-Hadrill's reading of spatial hierarchy does not address the representation of gender in mythological paintings. However, a rough survey indicates that the majority are erotic and/or violent. Erotic depictions common on household items suggest that the Romans were sensitive to this content; the likely use of pattern books in selecting programs for domestic decoration suggests a synoptic awareness of it. This points to the applicability of contemporary theories of representation and power, and Mulvey's model of visual pleasure in narrative (...) film is adapted for this paper. According to Mulvey, film offers two pleasures: scopophilia, which presents the woman as aesthetic-erotic fragments, suggesting but concealing her difference ; sadistic voyeurism, which assumes difference and then investigates, punishes, or forgives it. Both are illustrated in paintings of Ariadne abandoned and rediscovered, and in other paintings which portray either the gaze or erotic violence . While these paintings seem to confirm in relation to gender what the rest of the house says about class and status, some paintings confuse the issue. The male body is often fetishized , and attacked ; gender and role are sometimes deliberately ambiguous . Such transgressions of the boundaries of the male body are not a part of Mulvey's theory, and they suggest the use of gender to complicate as well as confirm the class/status message of the house; two different negotiations of this use are found in the House of the Vettii and the House of the Ara Maxima. One can compare reversals and reassertions of gender, class and status in other evidence, in literature, pantomime and the games. (shrink)

In 1233 a certain R. Joseph bar Moses of Würzburg commissioned an illuminated copy of Rashi's Bible commentary, now in Munich. After the text was finished, the task of illuminating was put into the hands of a Christian painter, apparently a man named Heinrich, who kept a lay workshop in Würzburg . Three years later a giant Bible, now in Milan, was commissioned perhaps by the same patron, but not necessarily in the same city . It, too, was illuminated; this (...) time, however, it cannot be excluded that the paintings were made by Jewish artists. Both manuscripts are richly decorated with narrative scenes involving human figures. In the following decades it became more and more customary for wealthy Jews of Germany and northern France to have their Bibles, prayer books, and other texts adorned with figural miniatures. Yet there is no evidence that during the Middle Ages human figures were painted in any form in a Jewish context before the 1230s. A few textual references from the twelfth century indicate wall paintings and stained-glass windows in synagogues with images of animals and dragons, but none have survived. Some decades after the first illuminated books made their appearance, the most outstanding authority on religious law of his time, R. Meir ben Barukh of Rothenburg , was asked his opinion of this phenomenon. R. Meir was worried, as his reply shows, but not for reasons of religious law; his concern was that images in painted books would distract believers from their pious concentration during prayer. (shrink)

The advent of digital technology has revolutionized the way we interact with and interpret cultural heritage. This paper explores the profound philosophical implications of these technological advancements on the reinterpretation of ancient Dunhuang murals, a UNESCO World Heritage site known for its rich Buddhist iconography and historical narratives. By employing digital reconstruction and analysis techniques, scholars and practitioners are able to delve deeper into the textual and visual narratives, revealing previously obscured details and contexts. This study critically examines how (...) digital tools not only enhance visual accessibility but also challenge traditional interpretative paradigms, potentially reshaping our understanding of these murals' religious and philosophical significances. Through a synthesis of empirical research and philosophical inquiry, this paper discusses the transformative potential of digital technology in bridging the past with the present, thereby contributing to a renewed dialogue between ancient wisdom and contemporary philosophical thought. (shrink)

This paper examines the dialogical relationship between painting and mindfulness. This premise is explored with reference to the aesthetics of Mikel Dufrenne. Dufrenne’s arguments make use of a number of features that characterise mindful practice and reflect mindfulness philosophy. Dufrenne’s phenomenology of aesthetic experience centres on being present, focused, non-judgemental and attentive to the aesthetic object in order to realise its signification. These concepts are also given primary importance in Buddhist philosophy of mindfulness. Dufrenne’s theory lends itself ideally (...) to understanding aesthetic experience in relation to mindfulness as well as how these experiences complement one another. Although Dufrenne does not prioritise painting, the present paper will explore painting in particular due to its embodied, gestural nature, which utilises the notion of style, reflecting the artist’s mode of being-in- the-world. Dufrenne’s ideas allow both mindfulness and painting to be understood in more comprehensive terms than that of their meanings considered individually. (shrink)

The very name of Bihar, a district in the eastern part of India, evokes images of anarchy, banditry, and disarray. Already traversed by distinct cultural zones - Bhojpuri, Mithila, Magadha, and the tribal zone of Jharkhand - Bihari society is characterized by bloody clan conflict over territorial rights. The doggedness with which the region's protagonists form militias is a perpetual source of front-page news. Pitted against the Brahmans and Bhumihar Rajputs, the large landowners, are the herding and soldier castes such (...) as the livestock-herding Yadavas, the farming Kurmis, and the former saltpeter miners, the Noniyas, whose economic, social, and political growth has given them real power. And although Magadha's rich Buddhist past attracts pilgrims and tourists, and Mithila's beautiful painted murals and villages draw art connoisseurs, Bihar ranks as one of the least safe regions of India. The rate of banditry and other crime reaches surprising levels. (shrink)

This study delves into the porcelain calligraphy and painting of the Ming and Qing dynasties, aiming to uncover the spiritual and cultural narratives encapsulated in these artistic expressions. During these eras, marked by the zenith of Chinese porcelain artistry, the incorporation of religious motifs was not merely decorative but a profound reflection of the prevailing religious beliefs, cultural norms, and aesthetic inclinations of the time. This paper conducts a deep analysis of the religious elements manifested in Ming and Qing (...) dynasty porcelain artworks, exploring how these elements articulate religious devotion, mirror cultural practices, and influence artistic transformations. Through detailed appreciation and interpretation of three exemplary cases—Yongle blue and white entwined flowers, Jiajing blue and white road Fu Yunhe large plate, and a blue and white seawater river cliff pattern three-legged furnace—this study reveals how these works serve as conduits for spiritual reflection and cultural transmission. Each piece not only embodies the religious and philosophical zeitgeist of its era but also highlights the dynamic interplay between art and societal evolution, thus underscoring the multifaceted roles ancient religious art plays in perpetuating cultural heritage, enchanting viewers with its artistic allure, and reflecting broader social transformations. (shrink)

The Japanese dry landscape garden has long attracted—and long baffled—viewers from the West. While museums across the United States are replicating these "Zen rock gardens" in their courtyards and miniature versions of the gardens are now office decorations, they remain enigmatic, their philosophical and aesthetic significance obscured. _Reading Zen in the Rocks_, the classic essay on the _karesansui_ garden by French art historian François Berthier, has now been translated by Graham Parkes, giving English-speaking readers a concise, thorough, and beautifully illustrated (...) history of these gardens. Berthier's guided tour of the famous garden of Ryoanji in Kyoto leads him into an exposition of the genre, focusing on its Chinese antecedents and affiliations with Taoist ideas and Chinese landscape painting. He traces the roles of Shinto and Zen Buddhism in the evolution of the garden and also considers how manual laborers from the lowest classes in Japan had a hand in creating some of its highest examples. Parkes contributes an equally original and substantive essay which delves into the philosophical importance of rocks and their "language of stone," delineating the difference between Chinese and Japanese rock gardens and their relationship to Buddhism. Together, the two essays compose one of the most comprehensive and elegantly written studies of this haunting garden form. _Reading Zen in the Rocks_ is fully illustrated with photographs of all the major gardens discussed, making it a handsome addition to the library of anyone interested in gardening, Eastern philosophy, and the combination of the two that the _karesansui_ so superbly represents. Praise for the French edition: "A small book of rare depth, remarkably illustrated, on one of the most celebrated and beautiful rock gardens of the monasteries of Kyoto."—_L'Humanité_ "Through _Le Jardin de Ryoanji_, Berthier teaches us to read the zen in the rocks, to discover the language offered by the garden at Ryoanji. Enigmatic, poetic, and disconcerting, an enriching journey through a work of art of surprising modernity, _Le Jardin de Ryoanji_ is a work that will interest all the amateurs of Japanese art and Eastern philosophy."—_Lien Horticole_. (shrink)

Deleuze’s philosophy of painting can be seen to pose certain challenges to a phenomenological approach to philosophy. While a phenomenological response to Deleuze’s philosophy is clearly needed, I show in this article how an approach taken in a recent paper by Christian Lotz proves inadequate. Lotz argues that through Deleuze’s refusal to accept the place of representation in art, he is unable to distinguish art from decoration, or to give a coherent account of how the content of art (...) can be represented. I show that this criticism emerges from a misreading of the place of representation in Deleuze’s philosophy. I will argue that by failing to take account of some of the key features of Deleuze’s wider ontology, such as the importance of both the virtual and the actual for his analysis of objects, Lotz’s critique proves unsuccessful. In particular, I want to show that Lotz’s criticisms rest on a failure to attend to the systematic nature of Deleuze’s philosophy, and in particular, the place of Deleuze’s analysis of Bacon within the system as a whole. I will further show that Lotz’s phenomenological defence commits the fallacy of petitio principii, assuming the validity of the phenomenological method in order to justify the phenomenological approach. (shrink)

Buddhist maṇḍala that are made of colored sand or are painted on cloth have been well represented in Asian art circles in the West. Discussions of the role that they can play in stimulating religious contemplation or even as sacred icons charged with power have also appeared in English scholarship. The metaphorical meaning of the term maṇḍala, however, is less commonly referenced. This paper discusses how the founder of the Japanese school of Shingon Buddhism, the Buddhist monk Kūkai (...) of the ninth century, uses this term in a metaphorical sense to convey the transformed nature of awareness that is the ultimate goal of Buddhist practice. Emphasis is also placed on the importance of metaphorical thinking to the religious path of transformation itself. (shrink)

Comparative study of wall paintings in churches dedicated to St Clement in Stará Boleslav and Rome reveals the wide international networking of contemporary agents in artistic transfer. The importance of late twelfth-century wall paintings in St Clement’s in Stará Boleslav – among Bohemia’s foremost medieval monuments – is underscored by their close proximity to the place of the martyrdom and the center of the cult of the country’s patron, St Wenceslas. The Bohemian church’s consecration echoes the Cyril and Methodius mission, (...) resonating with the transfer of St Clement’s relics from the Crimea to Central Europe, then to the Basilica of San Clemente in Rome. The frescoes in the Roman basilica’s lower church have been recognized as an important source for the concept of the paintings. The extensive, and iconographically exceptional, image cycle of St Clement’s life was commissioned by a high-ranking cleric, possibly the Salzburg archbishop, Adalbert of the Přemyslid family. The recent fresco restoration survey has yielded insights into the painting technique and will become the basis for the future rescue and rehabilitation of the Romanesque church’s wall decoration. (shrink)

In the first centuries BCE and CE, Roman wall painters frequently placed representations of works of art, especially panel paintings, within their own mural compositions. Nathaniel B. Jones argues that the depiction of panel painting within mural ensembles functioned as a meta-pictorial reflection on the practice and status of painting itself. This phenomenon provides crucial visual evidence for both the reception of Greek culture and the interconnected ethical and aesthetic values of art in the Roman world. (...) Roman meta-pictures, this book reveals, not only navigated social debates on the production and consumption of art, but also created space on the Roman wall for new modes of expression relating to pictorial genres, the role of medium in artistic practice, and the history of painting. Richly illustrated, the volume will be important for anyone interested in the social, ethical, and aesthetic dimensions of artworks, in the ancient Mediterranean and beyond. (shrink)

Fragments of painted plaster found in the destruction layer of three first floor rooms in the House of Seals and of one first floor room of the House of the Sword had broken from the ceiling. They allow the restoration of the schema in the room of the House of the Sword and of two of the rooms in the House of Seals, the latter in colour. Composed of bands surrounding a quadrangular field, these décorations, evoking carpets stretched on the (...) ceiling, are richer (costly pigments, gold leaf) and more complex (some fifteen motifs) than those in tombs of the same period, which adopted the same « carpet » composition and which borrowed from the same repertoire, often confirmed by the textiles. Since we know of no other ceiling decoration in habitation rooms, it is unwise to contrast the exuberance of these ceilings with the tomb ceilings. The room that could not be restored had moreover a much more perfunctory decoration. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Zen Pathways: An Introduction to the Philosophy and Practice of Zen Buddhism (禅道の千路) by Bret W. Davis (review)Steve G. LoftsBret W. Davis, Zen Pathways: An Introduction to the Philosophy and Practice of Zen Buddhism (禅道の千路)There is no shortage of books on Zen from almost every imaginable angle. And so, what makes Zen Pathways: An Introduction to the Philosophy and Practice of Zen Buddhism (禅道の千路) by Bret W. Davis unique (...) enough to take up and read, and even re-read? And who should read it? The answers to these questions depend on who you are and what you are looking for. If you are simply curious about what Zen philosophy and practice is or is not, a student, a professor looking for a textbook on Zen Buddhism for your course, or a practitioner seeking to deepen your understanding of what it is that you are practicing, then you will almost certainly enjoy and profit greatly from this book. Davis brings to the page over thirty years of active engagement with Zen Buddhism as a practitioner, teacher of philosophy and Zen Buddhism, and scholar. Davis provides his reader with an accessible, comprehensive, and well-documented introduction to the teachings and practices of Zen Buddhism. What makes this introduction stand out and be particularly effective is that Davis provides us with a scholarly and philosophical account of Zen Buddhism that is animated by his personal experience as a long-term practitioner in Japan at the Rinzai Zen monastery of Shōkokuji and as a teacher and director of the Heart of Zen Meditation Group at Loyola University Maryland. However, as the Japanese subtitle of this work, 禅道の千路, makes clear, there are “a thousand paths of the way of Zen,” and Davis is careful to show us the paths he has traveled while leaving it to the reader to find their own paths along the way.In the course of the book’s twenty-four chapters, Davis provides his reader with a clear account and philosophical interpretation of [End Page 159] the core teachings of Buddhism (the four noble truths, impermanence, the no-self doctrine, co-origination and interconnection of the one and the many, nirvana and samsara, the great death, and so on), always relating his theoretical explanations to the concrete perspective of the practice of Zen Buddhism. His account of Zen Buddhism situates it in the historical tradition of Buddhism as it was transplanted from India to China, from China to Japan, and today from Japan to other places in the world. Davis connects these teachings to the practice of Zen, providing readers with a concrete and firsthand introduction to such Zen practices as zazen (seated meditation), kinhin (walking meditation), sanzen (interviews with a teacher), koān work, and samu (meditative work), and to the Zen practice of cultivating naturalness (jinen) in and through such art forms as karate and flower arrangement (ikebana), the Japanese aesthetics of “cut-continuance” and wabi-sabi, as well as Zen-inspired gardens, painting, and music. The book also explores a number of classical and contemporary philosophical issues from the standpoint of Zen Buddhism: the problem of the one and the many, the ethical relation to the other, the problem of evil, the nature of love, freedom and determinacy, what is God, our relation to nature, and so on. Finally, the presentation of the core teachings of Zen Buddhism and the discussion of philosophical issues is undertaken in and through an intercultural and interreligious dialogue in which the similarities and dissimilarities between different cultural and faith traditions are explored and used to help illustrate the unique standpoint of Zen Buddhism. One can mention here Chapter 12 titled “Dying to Live: Zen, Pure Land Buddhism, and Christianity.” This synoptic view of Zen Buddhism is presented in an elegant, personal style that is clear, concise, and expresses a genuine passion and spirit of openness. In copious endnotes, Davis has also provided the reader with a wealth of material for further study that has been judiciously selected from good English translations of readings in the classical works as well as contemporary scholarship. Finally, with an eye to the use of this text in a classroom or in study groups, Davis has... (shrink)

This chapter presents the text of a lecture on Buddhist archaeology in Republican China given at the British Academy's 2008 Elsley Zeitlyn Lecture on Chinese Archaeology and Culture. This texxt explains that Chinese archaeologists have transformed the notion of the nation and its artistic history with a series of dramatic discoveries during the Republican Period. It evaluates the impact of archaeological copies painted by Zhang Daqian and Wang Ziyun and explores how they rediscovered and popularised the history of early (...) figure painting and pottery for a Republican audience. (shrink)

This paper is situated in the broader context of an examination of the relationship between East and West from the particular perspective of our experience of the body. It is therefore based on two specific traditions, one belonging to the East - a particular strand of Tibetan Buddhism - the other to the West - the Orthodox tradition of the heart prayer - in order to try to show the similarities and differences in their approach to the body and attempt (...) to compare them in the light of their respective ‘phenomenology’. In this sense phenomenology, as a western philosophical discipline, plays a pivotal role in this comparison and hopefully helps to bring new light to bear on this investigation. The early Eastern church evokes the concrete experience of the body as a holy body and sees it as an exemplary route to deification via the mystical practice of the ‘heart prayer’ (hesychasm). As regards Tibetan Buddhism, it advocates the gradual experience of the body as a rainbow body, defined as a path towards illumination, by means of ‘sitting meditation’ which brings liberation in bardo. In order to carry out this analysis, I shall refer to two recent books that are authorities in both these fields, Corps de mort et de gloire, Petite introduction à une théopoétique du corps by O. Clément and Rainbow Painting: A Collection of Miscellaneous Aspects of Development and Completion by Tulku Urguyen Rinpoché. (shrink)

In 2008, the Musée des Beaux-Arts de Lyon acquired a painting called The Flight into Egypt which was attributed to the French artist Nicolas Poussin. Thought to have been painted in 1657, the painting had gone missing for more than three centuries. Several versions were rediscovered in the 1980s and one was passed from hand to hand, from a family who had no idea of its value to gallery owners and eventually to the museum. A painting that (...) had been sold as a decorative object in 1986 for around 12,000 euros was acquired two decades later by the Musée des Beaux-Arts de Lyon for 17 million euros. What does this remarkable story tell us about the nature of art and the way that it is valued? How is it that what seemed to be just an ordinary canvas could be transformed into a masterpiece, that a decorative object could become a national treasure? This is a story permeated by social magic the social alchemy that transforms lead into gold, the ordinary into the extraordinary, the profane into the sacred. Focusing on this extraordinary case, Bernard Lahire lays bare the beliefs and social processes that underpin the creation of a masterpiece. Like a detective piecing together the clues in an unsolved mystery he carefully reconstructs the steps that led from the same material object being treated as a copy of insignificant value to being endowed with the status of a highly-prized painting commanding a record-breaking price. He thereby shows that a painting is never just a painting, and is always more than a piece of stretched canvass to which brush strokes of paint have been applied: this object, and the value we attach to it, is also the product of a complex array of social processes – with its distinctive institutions and experts – that lies behind it. And through the history of this painting, Lahire uncovers some of the fundamental structures of our social world. For the social magic that can transform a painting from a simple copy into a masterpiece is similar to the social magic that is present throughout our societies, in economics and politics as much as art and religion, a magic that results from the spell cast by power on those who tacitly recognize its authority. By following the trail of a single work of art, Lahire interrogates the foundations on which our perceptions of value and our belief in institutions rest and exposes the forms of domination which lie hidden behind our admiration of works of art. (shrink)

This article gives an overview of Buddhist-oriented meditation techniques that were integrated with art projects for four and five year old kindergarten children at Dong Guk Kindergarten, Gyeongju City, South Korea. The article assesses the effect of this program on the creatvitiy levels of the children.

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 3. © 2015 by Feminist Studies, Inc. 689 Susannah Bartlow White Fear in Universities: The Story of an Assata Shakur Mural No one is going to give you the education you need to overthrow them. No one will teach you your true history, teach you your true heroes if they know that knowledge will set you free. Theory without practice is just as incomplete (...) as practice without theory. The two have to go together. —Assata Shakur, quoted on a mural at Marquette University What does it mean to whitewash? To terminate? I have been tasting and retasting these words on my tongue after a mural of Assata Shakur at Marquette University was whitewashed, and I was fired—terminated —for having supported the mural, ending a fourteen-year career in feminist academia. As the founding director of the Gender and Sexuality Resource Center (GSRC), my job was to build an academic support office for women’s, gender, and LGBTQ+ education and empowerment. In the center’s third year, Amanda Smith (a Marquette senior) and Jeanette Martín (a community artist and program assistant at the center) envisioned, planned, and executed the Assata Shakur mural project as a way to invite greater community interest. In my role as director of the center, I supported the project, communicated it to senior leaders, and spread the word about the community-painting day in late March 2015. The mural was on display for six weeks at the GSRC before a storm of  Students fill in detail of the Assata Shakur mural at Marquette University’s Gender and Sexuality Resource Center. Photograph by Amanda T. Smith. News and Views 691 media coverage in mid-May prompted the university to cover the mural in white paint and fire me for my support of the project. My experience of this process was as rapid as it sounds: I received a few phone calls alerting me that the whitewashing of the mural was imminent and that there was a formal review of my leadership decisions, and I was fired twenty-four hours later. The idiomatic usage of “whitewash” tells us that something is shameful and that it has been, or ought to be, covered up. Whose cover-up was it—and whose shame? Over the six weeks it was on display at the center, the mural invited people into a quiet space off a hallway, and it had sparked discussion among staff, faculty, and students who used the space. The mural was one of very few images of a black woman anywhere on Marquette’s campus, and it contributed to a sense among many students of color that the GSRC was a space in which they were welcomed and safe and where they could be comfortable. Yet in the distortions of white supremacy, the mural looked like a threat, rather than an intellectual and community representation central to the university itself. Other recent cases of faculty repression, from Steven Salaita to Saida Grundy and Zandria Robinson, demonstrate how concerns about liability, finances, and public perception guide administrators ’ decisions about representation on campuses. Far from being liberal utopias, or even spaces that respect speech, universities remain testing grounds when students’ or educators’ actions present direct antiracist critique. What more clear or direct example of antiracist critique than the quotes we chose for the mural: Assata Shakur’s own words asserting the importance of street smarts and intellectual prowess, naming the power invested in knowledge systems and the importance of claiming that power for ourselves? Universities are, in our time, particularly responsive to pressure from the right. Private, nonprofit, advocacy organizations troll university websites looking for evidence of liberal bias; conservative media outlets publish student bloggers who feed the fantasy that the facts of United States history, presented without whitewashing, do not belong in classrooms. In particular, those who study the lives and knowledges of historically marginalized populations are in the crosshairs of right-wing attacks. In the case of the mural—and in each of the other cases cited above— it was either a right-wing news source or a powerful donor or decision 692 News and Views maker who raised concerns about leftist bias, civility, or... (shrink)

In recent years, a trend has emerged in the field of art conservation, the aim of which is to protect street art objects. Attempts to conserve murals face many problems. This is due to various factors – lack of time distance to this type of objects, difficulties in assessing their artistic value, frequent lack of interest of artists in the conservation of their works, material impermanence of murals, their often-occasional nature; also, the fact that most of these objects are not (...) legally protected. The paper discusses the problems faced by an art restorer who wants to save murals. Examples of murals are presented, the conservation of which is not possible, among others, due to the fact that the houses on which they were painted are intended for demolition. There are also examples of murals whose rescue from destruction gained public approval and the conservation of which was carried out. The paintings are in a very poor condition. This is a feature of most murals, which are usually made on old, unrepaired plasters with low-quality paints. Their maintenance is a very difficult task. The presentation shows the various stages of conservation of works lacated in Warsow. The conservation of the murals is carried out in order to preserve street art facilities. Apart from the involvement of art conservators, social support for this type of activity is also important. However, one should be aware that most of murals have no chance of becoming a permanent part of the city landscape. Their fate will be determined by chance. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Dialogue:Looking Back, Looking Ahead, and Listening Ever More DeeplySallie B. KingI was asked to give a brief overview of the subject of the Buddhist-Christian dialogue, looking back over its history and looking ahead to its future. I begin with two caveats. First, of necessity, this account will be very general and I will paint with a very broad brush. I cannot speak to the many variations (...) and exceptions to many, if not all, of the general statements that I make. Second, inevitably, this account will also be very subjective. It will especially be colored by my visits in recent years to Sri Lanka, Thailand, and Taiwan.the dialogue on religious thoughtLooking back over the history of the Buddhist-Christian dialogue, one notices a pattern that is regularly remarked upon: Christians show a lot more interest in dialogue with Buddhists than Buddhists show in dialogue with Christians. This is especially the case with respect to dialogue regarding each other’s religious thought.1 Sometimes Christians observe this fact with dismay, or with the implication that there is something wrong with the Buddhist side because of this lack of interest. There is a sense among some Christians that Buddhists should be more interested in learning from Christianity on the level of religious thought. I would like to address this idea that Buddhists should be more interested in learning from Christianity on the level of religious thought.First, several people have noted that the place and function of religious thought in Buddhism are rather different than their place and function in Christianity. For example, as Rita Gross has pointed out, some forms of Buddhist meditation have no reference to Buddhist thought at all—especially some Theravada practices such as mindfulness and choiceless awareness—whereas neither she (at least, at that time) nor I can think of any Christian meditation that doesn’t reference God or Jesus.2Again, Rita Gross has stated that for Christians to take at least some Buddhist thoughts and practices seriously, they needn’t give up necessarily any of their own fundamental doctrinal commitments, whereas the reverse is not the case.3 That is, a [End Page 7] Buddhist who wanted to take Christian thought seriously would almost immediately come face-to-face with Christianity’s theism. They likely would be unable to proceed, since accepting theism would require them to forego the whole edifice of Buddhist thought.Here I must demur. It is true that Christianity’s theism and Buddhism’s nontheism give fundamentally different foundations to their respective worldviews. But surely there are some elements of Christian thought and practice that Buddhists could absorb from Christianity without a fundamental reorientation. Some examples of ideas in Christianity that seem unthreatening to the foundations of Buddhism, yet potentially growth-inspiring for Buddhism in dialogue, come readily to mind. For example, as the relative place of laypeople shifts within modernizing Buddhism, a great deal might be learned from Christian thought on church and community. Again, Christian thought that contemplates realization of the Kingdom of God here and now might be of interest to those Taiwanese Buddhists who speak of a “Pure Land on Earth.” Even in the (semi-)ontological area, Christian thought on Spirit or pneuma might make for a potentially enriching dialogical partner for Buddhists, with their ideas on Buddha nature, Tathagatagarbha and Dharmakaya. The two sets of thinking on Natural Law could be a place of mutual learning. And many of the parables of Jesus have the power to cause people to see things in a new way, regardless of world-view. There is much that Buddhists could absorb from Christians while maintaining their basic worldview. Yet it remains true that it is hard to see much evidence of Buddhists absorbing anything substantial from Christian religious thought.I think that at this point in the Buddhist-Christian dialogue, we can say that the Buddhists have voted with their feet. Buddhist dialoguers are not ignorant of Christian religious thought. There have been some rather deep Buddhist studies, for example, of Jesus and of Christian mystics.4 However, it seems clear that they haven’t, as a rule, found anything there that has... (shrink)