Katalog 11.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
A/HRC/13/39/Add.1 General Assembly
United Nations A/HRC/13/39/Add.1 General Assembly Distr.: General 25 February 2010 English/French/Spanish only Human Rights Council Thirteenth session Agenda item 3 Promotion and protection of all human rights, civil, political, economic, social and cultural rights, including the right to development Report of the Special Rapporteur on torture and other cruel, inhuman or degrading treatment or punishment, Manfred Nowak Addendum Summary of information, including individual cases, transmitted to Governments and replies received* * The present document is being circulated in the languages of submission only as it greatly exceeds the page limitations currently imposed by the relevant General Assembly resolutions. GE.10-11514 A/HRC/13/39/Add.1 Contents Paragraphs Page List of abbreviations......................................................................................................................... 5 I. Introduction............................................................................................................. 1–5 6 II. Summary of allegations transmitted and replies received....................................... 1–305 7 Algeria ............................................................................................................ 1 7 Angola ............................................................................................................ 2 7 Argentina ........................................................................................................ 3 8 Australia......................................................................................................... -
Gandharan Origin of the Amida Buddha Image
Ancient Punjab – Volume 4, 2016-2017 1 GANDHARAN ORIGIN OF THE AMIDA BUDDHA IMAGE Katsumi Tanabe ABSTRACT The most famous Buddha of Mahāyāna Pure Land Buddhism is the Amida (Amitabha/Amitayus) Buddha that has been worshipped as great savior Buddha especially by Japanese Pure Land Buddhists (Jyodoshu and Jyodoshinshu schools). Quite different from other Mahāyāna celestial and non-historical Buddhas, the Amida Buddha has exceptionally two names or epithets: Amitābha alias Amitāyus. Amitābha means in Sanskrit ‘Infinite light’ while Amitāyus ‘Infinite life’. One of the problems concerning the Amida Buddha is why only this Buddha has two names or epithets. This anomaly is, as we shall see below, very important for solving the origin of the Amida Buddha. Keywords: Amida, Śākyamuni, Buddha, Mahāyāna, Buddhist, Gandhara, In Japan there remain many old paintings of the Amida Triad or Trinity: the Amida Buddha flanked by the two bodhisattvas Avalokiteśvara and Mahāsthāmaprāpta (Fig.1). The function of Avalokiteśvara is compassion while that of Mahāsthāmaprāpta is wisdom. Both of them help the Amida Buddha to save the lives of sentient beings. Therefore, most of such paintings as the Amida Triad feature their visiting a dying Buddhist and attempting to carry the soul of the dead to the AmidaParadise (Sukhāvatī) (cf. Tangut paintings of 12-13 centuries CE from Khara-khoto, The State Hermitage Museum 2008: 324-327, pls. 221-224). Thus, the Amida Buddha and the two regular attendant bodhisattvas became quite popular among Japanese Buddhists and paintings. However, the origin of this Triad and also the Amida Buddha himself is not clarified as yet in spite of many previous studies dedicated to the Amida Buddha, the Amida Triad, and the two regular attendant bodhisattvas (Higuchi 1950; Huntington 1980; Brough 1982; Quagliotti 1996; Salomon/Schopen 2002; Harrison/Lutczanits 2012; Miyaji 2008; Rhi 2003, 2006). -
The Usage of the Chinese Traditional “Yun Wen”
Research on Symbol Expression for Eye Image in Product Design: The Usage of the Chinese Traditional “Yun Wen” Chi-Chang Lu1 and Po-Hsien Lin2 1 Crafts and Design Department, National Taiwan University of Arts Ban Ciao City, Taipei 22058, Taiwan 2 Graduate School of Creative Industry Design, National Taiwan University of ArtsBan Ciao City, Taipei 22058, Taiwan {t0134,t0131}@ntua.edu.tw Abstract. In visual arts, using the eyes to deliver the message of life and emo- tion of a living thing has always been emphasized. The expression of the eyes is usually a combination of the eyeballs, pupils, eyelids, and eyelashes, etc. Among these, the pupil is of a crucial character. It completes the image of an eye and shows the direction of the line of sight. In this article, the authors wish to create a new way to show the symbols of eyes based on the Chinese tradi- tional cloud pattern- Yun Wen in the area of the product design. The design will combine the features of both the traditional cultural style and the vogue. It will also present the eastern aesthetics difference between visual similarity and visu- al dissimilarity. Keywords: Clouds pattern (Yun Wen), Chinese traditional pattern, decoration, eye image, cultural implication, product design. 1 Introduction At a product design event, the first author exhibited a teapot based on the form of the Chinese Prehistoric Pottery Gui-tripod. The Chinese traditional clouds pattern - Yun Wen- was selected for the symbolic decoration of a bird’s crest and wing to incorpo- rate extra traditional cultural elements into the design. -
Chinese Models for Chōgen's Pure Land Buddhist Network
Chinese Models for Chōgen’s Pure Land Buddhist Network Evan S. Ingram Chinese University of Hong Kong The medieval Japanese monk Chōgen 重源 (1121–1206), who so- journed at several prominent religious institutions in China during the Southern Song, used his knowledge of Chinese religious social or- ganizations to assist with the reconstruction of Tōdaiji 東大寺 after its destruction in the Gempei 源平 Civil War. Chōgen modeled the Buddhist societies at his bessho 別所 “satellite temples,” located on estates that raised funds and provided raw materials for the Tōdaiji reconstruction, upon the Pure Land societies that financed Tiantai天 台 temples in Ningbo 寧波 and Hangzhou 杭州. Both types of societ- ies formed as responses to catastrophes, encouraged diverse mem- berships of lay disciples and monastics, constituted geographical networks, and relied on a two-tiered structure. Also, Chōgen devel- oped Amidabutsu 阿弥陀仏 affiliation names similar in structure and function to those used by the “People of the Way” (daomin 道民) and other lay religious groups in southern China. These names created a collective identity for Chōgen’s devotees and established Chōgen’s place within a lineage of important Tōdaiji persons with the help of the Hishō 祕鈔, written by a Chōgen disciple. Chōgen’s use of religious social models from China were crucial for his fundraising and leader- ship of the managers, architects, sculptors, and workmen who helped rebuild Tōdaiji. Keywords: Chogen, Todaiji, Song Buddhism, Pure Land Buddhism, Pure Land society he medieval Japanese monk Chōgen 重源 (1121–1206) earned Trenown in his middle years as “the monk who traveled to China on three occasions,” sojourning at several of the most prominent religious institutions of the Southern Song (1127–1279), including Tiantaishan 天台山 and Ayuwangshan 阿育王山. -
Catazacke 20200425 Bd.Pdf
Provenances Museum Deaccessions The National Museum of the Philippines The Herbert F. Johnson Museum of Art, Cornell University New York, USA The Monterey Museum of Art, USA The Abrons Arts Center, New York, USA Private Estate and Collection Provenances Justus Blank, Dutch East India Company Georg Weifert (1850-1937), Federal Bank of the Kingdom of Serbia, Croatia and Slovenia Sir William Roy Hodgson (1892-1958), Lieutenant Colonel, CMG, OBE Jerrold Schecter, The Wall Street Journal Anne Marie Wood (1931-2019), Warwickshire, United Kingdom Brian Lister (19262014), Widdington, United Kingdom Léonce Filatriau (*1875), France S. X. Constantinidi, London, United Kingdom James Henry Taylor, Royal Navy Sub-Lieutenant, HM Naval Base Tamar, Hong Kong Alexandre Iolas (19071987), Greece Anthony du Boulay, Honorary Adviser on Ceramics to the National Trust, United Kingdom, Chairman of the French Porcelain Society Robert Bob Mayer and Beatrice Buddy Cummings Mayer, The Museum of Contemporary Art (MCA), Chicago Leslie Gifford Kilborn (18951972), The University of Hong Kong Traudi and Peter Plesch, United Kingdom Reinhold Hofstätter, Vienna, Austria Sir Thomas Jackson (1841-1915), 1st Baronet, United Kingdom Richard Nathanson (d. 2018), United Kingdom Dr. W. D. Franz (1915-2005), North Rhine-Westphalia, Germany Josette and Théo Schulmann, Paris, France Neil Cole, Toronto, Canada Gustav Heinrich Ralph von Koenigswald (19021982) Arthur Huc (1854-1932), La Dépêche du Midi, Toulouse, France Dame Eva Turner (18921990), DBE Sir Jeremy Lever KCMG, University -
The Global Connections of Gandhāran Art
More Gandhāra than Mathurā: substantial and persistent Gandhāran influences provincialized in the Buddhist material culture of Gujarat and beyond, c. AD 400-550 Ken Ishikawa The Global Connections of Gandhāran Art Proceedings of the Third International Workshop of the Gandhāra Connections Project, University of Oxford, 18th-19th March, 2019 Edited by Wannaporn Rienjang Peter Stewart Archaeopress Archaeology Archaeopress Publishing Ltd Summertown Pavilion 18-24 Middle Way Summertown Oxford OX2 7LG www.archaeopress.com ISBN 978-1-78969-695-0 ISBN 978-1-78969-696-7 (e-Pdf) DOI: 10.32028/9781789696950 www.doi.org/10.32028/9781789696950 © Archaeopress and the individual authors 2020 Gandhāran ‘Atlas’ figure in schist; c. second century AD. Los Angeles County Museum of Art, inv. M.71.73.136 (Photo: LACMA Public Domain image.) This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. This book is available direct from Archaeopress or from our website www.archaeopress.com Contents Acknowledgements ����������������������������������������������������������������������������������������������������������������������������iii Illustrations ����������������������������������������������������������������������������������������������������������������������������������������iii Contributors ��������������������������������������������������������������������������������������������������������������������������������������� iv Preface ������������������������������������������������������������������������������������������������������������������������������������������������ -
He Noble Path
HE NOBLE PATH THE NOBLE PATH TREASURES OF BUDDHISM AT THE CHESTER BEATTY LIBRARY AND GALLERY OF ORIENTAL ART DUBLIN, IRELAND MARCH 1991 Published by the Trustees of the Chester Beatty Library and Gallery of Oriental Art, Dublin. 1991 ISBN:0 9517380 0 3 Printed in Ireland by The Criterion Press Photographic Credits: Pieterse Davison International Ltd: Cat. Nos. 5, 9, 12, 16, 17, 18, 21, 22, 25, 26, 27, 29, 32, 36, 37, 43 (cover), 46, 50, 54, 58, 59, 63, 64, 65, 70, 72, 75, 78. Courtesy of the National Museum of Ireland: Cat. Nos. 1, 2 (cover), 52, 81, 83. Front cover reproduced by kind permission of the National Museum of Ireland © Back cover reproduced by courtesy of the Trustees of the Chester Beatty Library © Copyright © Trustees of the Chester Beatty Library and Gallery of Oriental Art, Dublin. Chester Beatty Library 10002780 10002780 Contents Introduction Page 1-3 Buddhism in Burma and Thailand Essay 4 Burma Cat. Nos. 1-14 Cases A B C D 5 - 11 Thailand Cat. Nos. 15 - 18 Case E 12 - 14 Buddhism in China Essay 15 China Cat. Nos. 19-27 Cases F G H I 16 - 19 Buddhism in Tibet and Mongolia Essay 20 Tibet Cat. Nos. 28 - 57 Cases J K L 21 - 30 Mongolia Cat. No. 58 Case L 30 Buddhism in Japan Essay 31 Japan Cat. Nos. 59 - 79 Cases M N O P Q 32 - 39 India Cat. Nos. 80 - 83 Case R 40 Glossary 41 - 48 Suggestions for Further Reading 49 Map 50 ■ '-ie?;- ' . , ^ . h ':'m' ':4^n *r-,:«.ria-,'.:: M.,, i Acknowledgments Much credit for this exhibition goes to the Far Eastern and Japanese Curators at the Chester Beatty Library, who selected the exhibits and collaborated in the design and mounting of the exhibition, and who wrote the text and entries for the catalogue. -
RET 36 Cover +
Revue d’Etudes Tibétaines numéro trente-neuf — Avril 2017 Revue d’Etudes Tibétaines numéro trente-neuf — Avril 2017 ISSN 1768-2959 Directeur : Jean-Luc Achard. Comité de rédaction : Alice Travers, Jean-Luc Achard. Comité de lecture : Ester Bianchi (Università degli Studi di Perugia), Fabienne Jagou (EFEO), Rob Mayer (Oriental Institute, University of Oxford), Fernand Meyer (CNRS-EPHE), Françoise Pommaret (CNRS), Ramon Prats (Universitat Pompeu Fabra, Barcelona), Charles Ramble (EPHE, CNRS), Françoise Robin (INALCO), Brigitte Steinman (Université de Lille), Alice Travers (CNRS), Jean-Luc Achard (CNRS). Périodicité La périodicité de la Revue d’Etudes Tibétaines est généralement bi-annuelle, les mois de parution étant, sauf indication contraire, Octobre et Avril. Les contributions doivent parvenir au moins six (6) mois à l’avance. Les dates de proposition d’articles au comité de lecture sont Novembre pour une parution en Avril, et Mai pour une parution en Octobre. Participation La participation est ouverte aux membres statutaires des équipes CNRS, à leurs membres associés, aux doctorants et aux chercheurs non-affiliés. Les articles et autres contributions sont proposées aux membres du comité de lecture et sont soumis à l’approbation des membres du comité de rédaction. Les articles et autres contributions doivent être inédits ou leur ré- édition doit être justifiée et soumise à l’approbation des membres du comité de lecture. Les documents doivent parvenir sous la forme de fichiers Word, envoyés à l’adresse du directeur ([email protected]). Comptes-rendus Contacter le directeur de publication, à l’adresse électronique suivante : [email protected] Langues Les langues acceptées dans la revue sont le français (en priorité), l’anglais, l’allemand, l’italien, l’espagnol, le tibétain et le chinois. -
Pre-Proto-Iranians of Afghanistan As Initiators of Sakta Tantrism: on the Scythian/Saka Affiliation of the Dasas, Nuristanis and Magadhans
Iranica Antiqua, vol. XXXVII, 2002 PRE-PROTO-IRANIANS OF AFGHANISTAN AS INITIATORS OF SAKTA TANTRISM: ON THE SCYTHIAN/SAKA AFFILIATION OF THE DASAS, NURISTANIS AND MAGADHANS BY Asko PARPOLA (Helsinki) 1. Introduction 1.1 Preliminary notice Professor C. C. Lamberg-Karlovsky is a scholar striving at integrated understanding of wide-ranging historical processes, extending from Mesopotamia and Elam to Central Asia and the Indus Valley (cf. Lamberg- Karlovsky 1985; 1996) and even further, to the Altai. The present study has similar ambitions and deals with much the same area, although the approach is from the opposite direction, north to south. I am grateful to Dan Potts for the opportunity to present the paper in Karl's Festschrift. It extends and complements another recent essay of mine, ‘From the dialects of Old Indo-Aryan to Proto-Indo-Aryan and Proto-Iranian', to appear in a volume in the memory of Sir Harold Bailey (Parpola in press a). To com- pensate for that wider framework which otherwise would be missing here, the main conclusions are summarized (with some further elaboration) below in section 1.2. Some fundamental ideas elaborated here were presented for the first time in 1988 in a paper entitled ‘The coming of the Aryans to Iran and India and the cultural and ethnic identity of the Dasas’ (Parpola 1988). Briefly stated, I suggested that the fortresses of the inimical Dasas raided by ¤gvedic Aryans in the Indo-Iranian borderlands have an archaeological counterpart in the Bronze Age ‘temple-fort’ of Dashly-3 in northern Afghanistan, and that those fortresses were the venue of the autumnal festival of the protoform of Durga, the feline-escorted Hindu goddess of war and victory, who appears to be of ancient Near Eastern origin. -
The Art of Sange Wangchug by Michael Erlewine
1 SACRED IMAGES The Art of Sange Wangchug By Michael Erlewine © Copyright by Michael Erlewine 2015 2 THE UNDERSTANDING I have kept these images mostly private for the last thirty years, lest they be misused. However, I am getting older and I would really like to share these, but I have to trust you not to misuse these sacred images; so here are the stipulations. These images are for your personal use. They are offered in two sizes, to fit 5 x 7 and 8.5 x 11 sheets of paper. You can take this PDF to Staples (or some copy place) and print the whole thing out, page by page, or have them print just the pages you want onto stiff white paper stock. Or, you can try to print them on your own printers, etc. NOTE: In respect for the artist (Sange Wangchug) and for the dharma, I ask you not to use them to advertise anything or for any other use than they were intended, which is as sacred objects of respect and veneration. This is what they were designed for and nothing else. To do anything else is to break the agreement upon which my sharing these images with you is based. If you wish to share these images with others, please explain to them the above stipulations and have them agree to honor them. You must decide if you share these sacred images whether the person you are sharing them with has respect and can receive them or just out of curiosity. The responsibility will be yours. -
The Daoist Tradition Also Available from Bloomsbury
The Daoist Tradition Also available from Bloomsbury Chinese Religion, Xinzhong Yao and Yanxia Zhao Confucius: A Guide for the Perplexed, Yong Huang The Daoist Tradition An Introduction LOUIS KOMJATHY Bloomsbury Academic An imprint of Bloomsbury Publishing Plc 50 Bedford Square 175 Fifth Avenue London New York WC1B 3DP NY 10010 UK USA www.bloomsbury.com First published 2013 © Louis Komjathy, 2013 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Louis Komjathy has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as Author of this work. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury Academic or the author. Permissions Cover: Kate Townsend Ch. 10: Chart 10: Livia Kohn Ch. 11: Chart 11: Harold Roth Ch. 13: Fig. 20: Michael Saso Ch. 15: Fig. 22: Wu’s Healing Art Ch. 16: Fig. 25: British Taoist Association British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 9781472508942 Library of Congress Cataloging-in-Publication Data Komjathy, Louis, 1971- The Daoist tradition : an introduction / Louis Komjathy. pages cm Includes bibliographical references and index. ISBN 978-1-4411-1669-7 (hardback) -- ISBN 978-1-4411-6873-3 (pbk.) -- ISBN 978-1-4411-9645-3 (epub) 1. -
The Image of the Mystic Flower Exploring the Lotus Symbolism in the Bahá’Í House of Worship Julie Badiee*
The Image of the Mystic Flower Exploring the Lotus Symbolism in the Bahá’í House of Worship Julie Badiee* Abstract The most recently constructed Bahá’í House of Worship, situated in Bahapur, India, was dedicated in December 1985. The attractive and compelling design of this building creates the visual effect of a large, white lotus blossom appearing to emerge from the pools of water circled around it. The lotus flower, identified by the psychiatrist Carl Jung as an archetypal symbol, carries with it many meanings. This article will explore these meanings both in the traditions of the Indian subcontinent and in other cultures and other eras. In addition, the article will show that the flower imagery relates also to symbols employed in the Bahá’í Writings and, while reiterating the meanings of the past, also functions as a powerful image announcing the appearance of Bahá’u’lláh, the Manifestation of God for this day. Résumé La maison d’adoration bahá’íe la plus récente, située à Bahapur en Inde, a été dédiée en décembre 1985. Par sa conception attrayante et puissante, l’édifice semble émerger, telle une immense fleur de lotus blanche, des étangs qui l’entourent. La fleur de lotus, désignée comme symbole archétype par le psychiatre Carl Jung, porte en elle beaucoup de significations. Le présent article explore ses significations dans les traditions du sous-continent indien aussi bien que dans d’autres cultures et à d’autres époques. De plus, l’article montre que l’image de la fleur se retrouve également dans le langage symbolique employé dans les écrits bahá’ís.