DOCSLIB.ORG

182. BUDDHAS of BAMIYAN Bamiyan, Afghanistan Gand

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
182. BUDDHAS of BAMIYAN Bamiyan, Afghanistan Gand 1. IDENTIFICATION: (Artist,title, date, size, country of 2. FORM: (use of design elements/ principles: 3. MATERIALS AND TECHNIQUE: (art making origin, period/style) color, shape, value, texture, line, space; balance, processes) contrast, emphasis, movement, etc.) 182. BUDDHAS OF BAMIYAN Cut rock with plaster and polychrome paint Bamiyan, Afghanistan Gandharan, c.400-800 CE- destroyed 2001 2 images- before and after destruction 4. CONTENT: (subject & genre: iconography, 5. ORIGINAL CONTEXT/ SITE/ INTENDED symbolism, the story) FUNCTION OF THE WORK: (Overlap to #6) 6. INTENDED PURPOSE & MOTIVATION (why was it 7. INNOVATION/ CHANGE(S): 8. THEME(S): made?); PATRON/AUDIENCE (who was it made for?); ARTIST’S DECISION MAKING: CONVENTION/ TRADITION(S): COMPARE TO ANOTHER WORK: 1. IDENTIFICATION: (Artist,title, date, size, country of 2. FORM: (use of design elements/ principles: 3. MATERIALS AND TECHNIQUE: (art making origin, period/style) color, shape, value, texture, line, space; balance, processes) contrast, emphasis, movement, etc.) 184. JOWO RINPOCHE, ENSHRINED IN JOKHANG Gilt metals with semiprecious stones, pearls, and TEMPLE paint; various offerings Lhasa, Tibet Yarlung Dynasty Believed to have been brought to Tibet in 641 CE 4. CONTENT: (subject & genre: iconography, 5. ORIGINAL CONTEXT/ SITE/ INTENDED symbolism, the story) FUNCTION OF THE WORK: (Overlap to #6) 6. INTENDED PURPOSE & MOTIVATION (why was it 7. INNOVATION/ CHANGE(S): 8. THEME(S): made?); PATRON/AUDIENCE (who was it made for?); ARTIST’S DECISION MAKING: CONVENTION/ TRADITION(S): COMPARE TO ANOTHER WORK: 1. IDENTIFICATION: (Artist, title, date, size, country 2. FORM: (use of design elements/ principles: 3. MATERIALS AND TECHNIQUE: (art making of origin, period/style) color, shape, value, texture, line, space; balance, processes) contrast, emphasis, movement, etc.) 192. GREAT STUPA AT SANCHI Stone Masonry, sandstone on dome Madhya Pradesh, India Maurya, late Sunga Dynasty c.300 BCE-100 CE 4 images: Exterior, Interior detail, detail of North Gate, Plan and elevation 4. CONTENT: (subject & genre: iconography, 5. ORIGINAL CONTEXT/ SITE/ INTENDED symbolism, the story) FUNCTION OF THE WORK: (Overlap to #6) 6. INTENDED PURPOSE & MOTIVATION (why was it 7. INNOVATION/ CHANGE(S): 8. THEME(S): made?); PATRON/AUDIENCE (who was it made for?); ARTIST’S DECISION MAKING: CONVENTION/ TRADITION(S): COMPARE TO ANOTHER WORK: 1. IDENTIFICATION: (Artist, title, date, size, country 2. FORM: (use of design elements/ principles: 3. MATERIALS AND TECHNIQUE: (art making of origin, period/style) color, shape, value, texture, line, space; balance, processes) contrast, emphasis, movement, etc.) 195. LONGMEN CAVES Limestone Luoyang, China Tang Dynasty 493-1127 CE 3 images: Exterior, Details of Buddha and Bodhisattvas 4. CONTENT: (subject & genre: iconography, 5. ORIGINAL CONTEXT/ SITE/ INTENDED symbolism, the story) FUNCTION OF THE WORK: (Overlap to #6) 6. INTENDED PURPOSE & MOTIVATION (why was it 7. INNOVATION/ CHANGE(S): 8. THEME(S): made?); PATRON/AUDIENCE (who was it made for?); ARTIST’S DECISION MAKING: CONVENTION/ TRADITION(S): COMPARE TO ANOTHER WORK: 1. IDENTIFICATION: (Artist, title, date, size, country 2. FORM: (use of design elements/ principles: 3. MATERIALS AND TECHNIQUE: (art making of origin, period/style) color, shape, value, texture, line, space; balance, processes) contrast, emphasis, movement, etc.) 197. TODAI-JI, Nara, Japan Bronze and wood (sculpture); wood with ceramic Various artists including sculptors Unkei and Keikei tile roofing (architecture) as well as the Kei School 743 CE; rebuilt c.1700 5 images: exterior view, Great Buddha, Nio guardian statues (2), Gate 4. CONTENT: (subject & genre: iconography, 5. ORIGINAL CONTEXT/ SITE/ INTENDED symbolism, the story) FUNCTION OF THE WORK: (Overlap to #6) 6. INTENDED PURPOSE & MOTIVATION (why was it 7. INNOVATION/ CHANGE(S): 8. THEME(S): made?); PATRON/AUDIENCE (who was it made for?); ARTIST’S DECISION MAKING: CONVENTION/ TRADITION(S): COMPARE TO ANOTHER WORK: 1. IDENTIFICATION: (Artist, title, date, size, country 2. FORM: (use of design elements/ principles: 3. MATERIALS AND TECHNIQUE: (art making of origin, period/style) color, shape, value, texture, line, space; balance, processes) contrast, emphasis, movement, etc.) 198. BOROBUDUR TEMPLE Volcanic-stone masonry Central Java, Indonesia Sailendra Dynasty C. 750-842 CE 3 images- aerial view, detail of relief carvings, Buddha 4. CONTENT: (subject & genre: iconography, 5. ORIGINAL CONTEXT/ SITE/ INTENDED symbolism, the story) FUNCTION OF THE WORK: (Overlap to #6) 6. INTENDED PURPOSE & MOTIVATION (why was it 7. INNOVATION/ CHANGE(S): 8. THEME(S): made?); PATRON/AUDIENCE (who was it made for?); ARTIST’S DECISION MAKING: CONVENTION/ TRADITION(S): COMPARE TO ANOTHER WORK: 1. IDENTIFICATION: (Artist,title, date, size, country of 2. FORM: (use of design elements/ principles: 3. MATERIALS AND TECHNIQUE: (art making origin, period/style) color, shape, value, texture, line, space; balance, processes) contrast, emphasis, movement, etc.) 207. Ryoan-ji Rock Garden Kyoto, Japan Muromachi Period, Japan c.1480 CE (Current design most likely dates to the 18th century) 3 Images- plan; wet garden; dry garden 4. CONTENT: (subject & genre: iconography, 5. ORIGINAL CONTEXT/ SITE/ INTENDED symbolism, the story) FUNCTION OF THE WORK: (Overlap to #6) 6. INTENDED PURPOSE & MOTIVATION (why was it 7. INNOVATION/ CHANGE(S): 8. THEME(S): made?); PATRON/AUDIENCE (who was it made for?); ARTIST’S DECISION MAKING: CONVENTION/ TRADITION(S): COMPARE TO ANOTHER WORK: .
Load more

Recommended publications
  • Reimagine a F G H a N I S T a N
    REIMAGINE A F G H A N I S T A N A N I N I T I A T I V E B Y R A I S I N A H O U S E REIMAGINE A F G H A N I S T A N INTRODUCTION . Afghanistan equals Culture, heritage, music, poet, spirituality, food & so much more. The country had witnessed continuous violence for more than 4 ................................................... decades & this has in turn overshadowed the rich cultural heritage possessed by the country, which has evolved through mellinnias of Cultural interaction & evolution. Reimagine Afghanistan as a digital magazine is an attempt by Raisina House to explore & portray that hidden side of Afghanistan, one that is almost always overlooked by the mainstream media, the side that is Humane. Afghanistan is rich in Cultural Heritage that has seen mellinnias of construction & destruction but has managed to evolve to the better through the ages. Issued as part of our vision project "Rejuvenate Afghanistan", the magazine is an attempt to change the existing perception of Afghanistan as a Country & a society bringing forward that there is more to the Country than meets the eye. So do join us in this journey to explore the People, lifestyle, Art, Food, Music of this Adventure called Afghanistan. C O N T E N T S P A G E 1 AFGHANISTAN COUNTRY PROFILE P A G E 2 - 4 PEOPLE ETHNICITY & LANGUAGE OF AFGHANISTAN P A G E 5 - 7 ART OF AFGHANISTAN P A G E 8 ARTISTS OF AFGHANISTAN P A G E 9 WOOD CARVING IN AFGHANISTAN P A G E 1 0 GLASS BLOWING IN AFGHANISTAN P A G E 1 1 CARPETS OF AFGHANISTAN P A G E 1 2 CERAMIC WARE OF AFGHANISTAN P A G E 1 3 - 1 4 FAMOUS RECIPES OF AFGHANISTAN P A G E 1 5 AFGHANI POETRY P A G E 1 6 ARCHITECTURE OF AFGHANISTAN P A G E 1 7 REIMAGINING AFGHANISTAN THROUGH CINEMA P A G E 1 8 AFGHANI MOVIE RECOMMENDATION A B O U T A F G H A N I S T A N Afghanistan Country Profile: The Islamic Republic of Afghanistan is a landlocked country situated between the crossroads of Western, Central, and Southern Asia and is at the heart of the continent.
    [Show full text]
  • Ethics & Critical Thinking in Conservation
    his collection of essays brings to focus a moment in the evolution of the & Critical Thinking Ethics Tcomplex decision making processes required when conservators consider the Ethics & treatment of cultural heritage materials. The papers presented here are drawn from two consecutive years of presentations at the American Institute for Conservation of Historic and Artistic Works (AIC) Annual Meeting General Sessions. These Critical were, in 2010, The Conservation Continuum: Examining the Past, Envisioning the Future, and in 2011, Ethos Logos Pathos: Ethical Principles and Critical Thinking in Conservation. Contributors to this thoughtful book include Barbara Appelbaum, Thinking Deborah Bede, Gabriëlle Beentjes, James Janowski, Jane E. Klinger, Frank Matero, Salvador Muñoz Viñas, Bill Wei, and George Wheeler. in Conservation in Conservationin A publication of the American Institute for Conservation of Historic & Artistic Works Edited by Pamela Hatchfield Ethics & Critical Thinking in Conservation Edited by Pamela Hatchfield American Institute for Conservation of Historic & Artistic Works The American Institute for Conservation of Historic & Artistic Works (AIC) promotes the preservation of cultural heritage as a means toward a deeper understanding of our shared humanity—the need to express ourselves through creative achievement in the arts, literature, architecture, and technology. We honor the history and integrity of achievements in the humanities and science through the preservation of cultural materials for future generations. American
    [Show full text]
  • Nationalist Ethnicities As Religious Identities: Islam, Buddhism, and Citizenship in Myanmar Imtiyaz Yusuf
    ajiss34-4-noconfrep_ajiss 11/3/2017 9:31 AM Page 100 Forum Nationalist Ethnicities as Religious Identities: Islam, Buddhism, and Citizenship in Myanmar Imtiyaz Yusuf Preliminary Statement: An Overview of Muslim-Buddhist Relations For centuries, the Rohingya have been living within the borders of the coun - try established in 1948 as Burma/Myanmar. Today left stateless, having been gradually stripped of their citizenship rights, they are described by the United Nations as one of the most persecuted minorities in the world. In order to understand the complexity of this conflict, one must consider how Burma is politically transitioning from military to democratic rule, a process that is open (much as was Afghanistan) to competition for resources by in - ternational and regional players such as the United States, China, India, Is - rael, Japan, and Australia. 1 To be fair, the record of Southeast Asian Muslim countries with Buddhist minorities is also not outstanding. Buddhist minori - ties identified as ethnic groups have faced great discrimination in, among others, Bangladesh, Malaysia, Indonesia, and Brunei. 2 Imtiyaz Yusuf is the director of the Center for Buddhist-Muslim Understanding, College of Religious Studies, Mahidol University, Salaya, Thailand. His recent publications are A Plane - tary and Global Ethics for Climate Change and Sustainable Energy (2016); “Muslim-Buddhist Relations Caught between Nalanda and Pattani,” in Ethnicity and Conflict in Buddhist Societies in South and Southeast Asia , ed. K.M. de Silva (2015) and “Islam and Buddhism,” in Wiley- Blackwell Companion to Interreligious Dialogue , ed. Catherine Cornille (2013). In addition to being a contributor to the Oxford Encyclopedia of Islamic World (2009), the Oxford Dictionary of Islam (2003), the Encyclopedia of Qur’an (2002), and the Oxford Encyclopedia of Modern Islamic World (1995), he was also the special editor of The Muslim World: A Special Issue on Islam and Buddhism 100, nos.
    [Show full text]
  • Toward a New World Dharma: Reconceptulaizing Citizenship, Community and the Sacred in the Global Age
    Bond University DOCTORAL THESIS Toward a new world dharma: reconceptulaizing citizenship, community and the sacred in the global age. Carolan, Trevor Award date: 2007 Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal. TOWARD A NEW WORLD DHARMA: RECONCEPTUALIZING CITIZENSHIP, COMMUNITY AND THE SACRED IN THE GLOBAL AGE By TREVOR CAROLAN, B.A., M.A. California State, Humboldt A Thesis Submitted to Bond University in Candidacy for the Degree of Doctor of Philosophy Faculty of Humanities and Social Sciences May 2006 2 Summary This dissertation addresses the problem of how, in a global future, humanity is to comprehend the singularity of the place, the biosphere it calls home. Will communities, nations, and the earth itself, for example, be regarded as ‘one’ place in which many live, or as the product of many separate, but linked compositional elements? The ‘many in the One’, or the “One in the many”? From the perspective of International Relations, in a global future will
    [Show full text]
  • December 1999 I Vol 1 I Issue Date: 12/12/99 9:53:51 AM Pacific Standard Time From: [email protected] (Nazi1) To: [email protected]
    Subj: Lemar-Aftaab I www.afghanmagazlne.com I October - December 1999 I Vol 1 I Issue Date: 12/12/99 9:53:51 AM Pacific Standard Time From: [email protected] (Nazi1) To: [email protected] Symposium on the Heritage of Afghanistan "If you do not respect the people of your past, how can you respect the people of your present?"- -Dr. Zemaryalai Tarzi (October 15th, 1999, Pasaneda, California) By Flouran Wali Oct. -Dec. 1999 I Lemar-Aftaab The Pacific Asia Museum, in conjunction with the International Committee for the Sal..ation of the Cultural Heritage of Afghanistan (ICSCHA), presented a symposium called "A Prospecti-.e Review of the History and Archaeology of Afghanistan from Glory to Plunder" on October 15 and 16 in Pasadena, California. The two day slmposium, attended by o-.er fifty people, was part of the ongoing efforts of both organizations to raise awareness about Afghanistan's rich culture as well as the wlnerability of Afghanistan's cultural treasures. It emphasized past and present archaeology and the current destruction of cultural objects and places. The symposium featured internationally recognized scholars who had conducted extensi-.e research or excavations in Afghanistan throughout the latter part of this century. Professor David Bivar from the Society for South Asian Studies, British Academy presented "The Significance of Numismatic Studies for Ancient and Modem Afghanistan" which centered on the history of coinage. Dr. Da1.1dMcDowall, Society of South Asian Studies, British Academy, presented "The Rise of Kushan Empire - Masters of the Silk Road: The Important Numismatic E1.1dencefrom Afghanistan." Dr.
    [Show full text]
  • Introduction of the Damage to the Cultural Heritage of Afghanistan That
    Introduction Of the damage to the cultural heritage of Afghanistan that has occurred in recent times, the most notorious is the destruction of the Buddhas of Bamiyan in 2001 by the Taliban. Alongside that shocking act, large-scale looting has continued to ravage Afghanistan’s cultural heritage. These acts impact on Afghan citizens’ enjoyment of their human rights, particularly the rights to participate in and benefit from cultural heritage. Legal provisions concerning human rights and cultural heritage The link between human rights and cultural heritage was authoritatively recognized as early as 1948, in the Universal Declaration of Human Rights. Article 27(1) states “everyone has the right to freely participate in the cultural life of the community.” Subsequent instruments developed this link, such as the 1966 International Covenant on Economic, Social and Cultural Rights (ICESCR), 1 which recognises in article 15 that everyone has the right “to take part in cultural life”, and that states parties must take the necessary steps to ensure the conservation of cultural heritage. The United Nations Committee on Economic, Social and Cultural Rights (CESCR) has explained that the right to participate in cultural life includes the right "to benefit from the cultural heritage [...] of other individuals and communities." 2 Human rights and cultural heritage in Afghanistan Commenting on the human rights situation in Afghanistan, both the United Nations General Assembly, 3 and the (now defunct) United Nations Commission on Human Rights, 4 have emphasized the need to protect cultural heritage from looting and destruction and ensure the effective participation of citizens, particularly women, in cultural life.
    [Show full text]
  • 08 SINGH.Indd
    Оригинални научни рад UDK: 316.74:2(5) 1 Rana P.B. Singh 316.722(5) HERITAGE CONTESTATION AND CONTEXT OF RELIGION: POLITICAL SCENARIO FROM SOUTHERN ASIA 1. The Context of Religion in Heritage Globalization, democratization, international and local cultural preservation initiatives, the penetration of the market economy, the commoditization of culture, and the politics of religious and ethnic identity impinge upon and shape many of the monumental religious sites in the world today. Lumbini, Borobodur, Angkor Wat, the Babri Mosque in Ayodhya, Bodh Gaya, Varanasi, and the Buddhist images at Bamiyan are some of the examples (cf. Owens 2002: 271). The concern of cultural heritage, especially religious built forms, had played an active role in the past, but attention for value, use and conservation are said to have emerged in the eighteenth and nineteenth centuries from the rubrics of ‘modernity’ where tourism is accepted as way of life. Also, the identity crises and increasing gaps between haves and have-nots further attracted religious happenings as means for personal solace and religious architecture as symbol of adherents’ identity. With the ‘cultural turn’ in geography 1 Dr. Rana P.B. Singh (b. 15-XII-1950), MA, PhD, Professor of Cultural Geography & Heritage Studies, Banaras Hindu University. He is the Founding President of the Society of Pilgrimage Studies, and of the Society of Heritage Planning & Environmental Health; and is a Member of the International Geographical Union’s Initiative on Cultures and Civilisations for Human Development (CCHD). In research he combines the trilogy of historical process, cultural tradition and cultural astronomy to understand the sacredscapes in India.
    [Show full text]
  • Never the Twain Shall Meet?
    IIAS | P.O. Box 9515 | 2300 RA Leiden | The Netherlands | T +31-71-527 22 27 | F +31-71-527 41 62 | [email protected] | www.iias.nl <Theme: Afghanistan: Picking up the Pieces Eight researchers assess what’s lost, recovered, and revived of Afghanistan’s cultural inheritance. 27 page 8-16 March 2002 | the IIAS newsletter is published by the IIAS and is available free of charge ¶ ¶ Enhancing EU’s Partnerships with Asia: p. 32 p. New stu- New ¶ pp 62-63 pp p. 51 p. asks Shalina Shar- Shalina asks , the Fifth European Fifth the , [3] [1] Never the Twain 7 Shall Meet? that shows how cultural and religious and cultural how shows that Forum > Adapting Kipling to a Globalized World [6] when he arrived in the Netherlands and had and Netherlands the in arrived he when [7] 15 October 2001 More than 100 years ago, in The Ballad of East and West, the British poet Kipling wrote a line of verse which In the first instalment of her series on “Asia in “Asia on series her of instalment first the In International Conference Agenda, Conference International ¶ Leiden, would subsequently enter the English language almost as a cliché: “Oh, East is East, and West is West, and never ¶ p.5 The Netherlands the twain shall meet.” p. 57 p. uch has changed since then. Empires have crashed to But the biggest change of all, the change that has and is M the ground. The horror and upheaval of world wars - touching more lives than even the world wars did, is the phe- two very hot and one ice-cold - have come and gone.
    [Show full text]
  • Making the Silk Road Festival by Rajeev Sethi
    Making the Silk Road Festival by Rajeev Sethi As a South Asian, the influence of the ancient Silk Road is part of my living reality. Helping create a Festival that would constitute a major pan-Asian presence on the National Mall has been a rare opportunity. Interface between the Asian diaspora in the United States, the American public, and hundreds of Silk Road artists can help us better understand who we are as Asians and what we mean to the world. 19 In search of a comprehensible and meaningful Asian iden­ Architectural representation offers a slippery path. tity, I was most inspired by commonalities, still visible across Deviating from tradition can mean not knowing where you fall, if many countries, where the past and the present are never far you slip. How could we reinterpret in Washington these glorious apart. The design for the Festival evolved through my search. As specimens of an immensely influential material heritage - a I traveled through Uzbekistan, China, Japan, Italy, Turkey, and heritage reflected in the very monuments and museums South Asia, contemplating the Festival's possible scenography, I surrounding the Festival site? Replication of ancient monuments was greeted with much proactive good will for the Silk Road using existing skills would be one answer, but too expensive. concept. It has been seen as well in related projects - Pakistan, Reducing the scale and finding a new context on the Mall China, and various Central Asian nations have joined in devel­ without becoming Disney-esque became a huge concern, but one oping their own Silk Road festivals, for example, while the in which, with the use of deconstruction, playfulness, and Japanese Silk Road Foundation has sought to map historic trade contemporary artistic adaptation, I hope we succeed.
    [Show full text]
  • News from Ancient Afghanistan.....5 Rather Than Attempt to Comment Part of an Elite but Non-Royal • Prof
    Volume 4 Number 2 Winter 2006-2007 “The Bridge between Eastern and Western Cultures” In This Issue From the Editor • News from ancient Afghanistan.....5 Rather than attempt to comment part of an elite but non-royal • Prof. Tarzi’s 2006 excavations at here on every article in this issue residence? What is depicted? Is Bamiyan ..............................10 of our journal, let me share with the whole iconography connected • A visit to the region of historic you some thoughts inspired by with celebration of Nauruz? Is it Balkh.................................. 27 reading two important new books abstract and symbolic or rather • A new interpretation of the Afrasiab which are closely related to certain related to a very specific political murals.................................32 of our contributions. In the first situation? Is the Chinese scene on • Mapping Buddhist sites in Western volume, Royal Nauruz in the north wall a specific depiction Tibet ...................................43 Samarkand, the eminent scholar of court culture in China or simply • Han lacquerware in Xiongnu Prof. Frantz Grenet begins his emblematic of a Chinese prin- graves..................................48 essay with the statement: ‘A cess’s having been sent off as a • Ming-Timurid relations as recorded positive side to the so-called bride to Central Asia? It is certainly in Chinese sources ................54 ‘Ambassador’s painting’ at interesting that at least one • Hunting hounds along the Silk Samarkand is that we shall never contributor (Markus Mode) Road....................................60 fully understand it…This means explicitly disagrees with the • An interview with Kyrgyz epic that research on this painting will premise about Nauruz which is singers.................................65 never stop and this is excellent embodied in the volume’s title.
    [Show full text]
  • Nepalica-Tibetica Festgabe for Christoph Cüppers Band 2
    Franz-Karl Ehrhard & Petra Maurer (Hrsg.) NEPALICA-TIBETICA FESTGABE FOR CHRISTOPH CÜPPERS BAND 2 2013 IITBS International Institute for Tibetan and Buddhist Studies GmbH Franz-Karl Ehrhard & Petra Maurer (Hrsg.) NEPALICA-TIBETICA FESTGABE FOR CHRISTOPH CÜPPERS BAND 2 BEITRÄGE ZUR ZENTRALASIENFORSCHUNG begründet von R. O. Meisezahl † und Dieter Schuh herausgegeben von Peter Schwieger Band 28, 2 NEPALICA-TIBETICA FESTGABE FOR CHRISTOPH CÜPPERS BAND 2 Herausgegeben von Franz-Karl Ehrhard & Petra Maurer 2013 IITBS International Institute for Tibetan and Buddhist Studies GmbH Abbildung Umschlag Band 2: Rolf A. Kluenter © KALI-Kutakshara, 1998 Blackened, handmade Nepalese paper Pigment, binder 120x120 cm Verso dated and signed by the artist ISBN 978-3-03809-119-6 Alle Rechte vorbehalten. Ohne ausdrückliche Genehmigung des Verlages ist es nicht gestattet, das Buch oder Teile daraus fotomechanisch oder auf andere Weise zu vervielfältigen. © (IITBS) International Institute for Tibetan and Buddhist Studies GmbH, Andiast Courtesy of Cristina Scherrer-Schaub PREFACE A person’s 65th birthday is often considered as the occasion to reflect on his or her life and achievements and to express one’s thanks. This opportunity has arisen this year in the case of our friend and travelling companion Christoph Cüppers, who has dedicated his life to Tibetan and Nepalese Studies and assisted and supported many academic projects and careers in these fields. Christoph was born into a family of lawyers from the Rhineland. His academic background is unusual as he began by studying art from 1970 to 1975 at the “Staatliche Kunstakademie Düsseldorf”. He trained under artists such as Joseph Beuys and Gotthard Graubner. It was during that time that he first travelled to Asia and, on reaching Southern India, encountered Tibetan culture and its exile communities.
    [Show full text]
  • Bamiyan Buddha
    Bamiyan Buddha March 12, 2021 In news : Recently, Bamiyan Buddhas have been brought back to life in the form of 3D projections in an event called “A Night With Buddha”. Background The sandstone carvings in Afghanistan’s Bamiyan valley were once the world’s tallest Buddhas – but they were lost forever when the Taliban blew them up 20 years ago. On February 27, 2001, the Taliban declared its intention to destroy the statues, despite condemnation and protest from governments and cultural ambassadors world over. Now, two decades later, on the anniversary of the annihilation, the Bamiyan Buddhas have been brought back to life in the form of 3D projections in an event called “A Night With Buddha” About Bamiyan Buddhas Location: The Buddhas of Bamiyan were two 6th-century monumental statues of Gautama Buddha carved into the side of a cliff in the Bamiyan valley of central Afghanistan, 130 kilometres northwest of Kabul at an elevation of 2,500 metres. They were once the world’s largest standing Buddhas. Time period: Carbon dating of the structural components of the Buddhas has determined that the smaller 38 m (125 ft) “Eastern Buddha” was built around 570 AD, and the larger 55 m (180 ft) “Western Buddha” was built around 618 AD. The statues represented a later evolution of the classic blended style of Gandhara art In their Roman draperies and with two different mudras, the Bamiyan Buddhas were great examples of a confluence of Gupta, Sassanian and Hellenistic artistic styles. The Names of the statues: Salsal and Shamama, as they were called by the locals, rose to heights of 55 and 38 metres respectively, and were said to be male and female.
    [Show full text]