Buddha Style

Bamboo-style

This is a declaration of the largest and most important Burmese periods, styles and kingdoms. The Buddha pictures from this time are the oldest pictures of Burma. The Buddhist art is the artistic practice influenced by Buddhism. It enabled the spread of the Greek-Buddhist art style to other parts of the subcontinent.

Various genres, eras and realms of Myanmar Buddha sculptures

In the last 2000 years, many monarchs and monarchs have governed Burma. There were many empires and republics in the country. Buddha sculptures were made in a different style during each cycle. Every realm gave the pictures their own unique characters. This is a declaration of the largest and most important burmese eras, fashions and empires.

The Buddha pictures from this time are the oldest pictures of Burma. The Bagan is an important pilgrim center for Buddhists around the globe. Also known as Innwa, the town of Mandalay is situated just north of the village of Innwa. Mon was an important figure in the dissemination of Buddhism. Arakan was an old empire in western Burma, now Rakhine State.

About the Shan era

It is assumed that the Tai-Shan tribe emigrated from Yunnan in China. Tai, the so-called tai shans, are part of the great tai-ethnia that is now thought to have expanded from southeast China to Vietnam, Laos, Thailand and Burmaand Assam. Legends of Shand indicate that they were already in the part of Burma that they still inhabited in the middle of the eleventh centuries.

Though there are indications of an early settlement, the first Shan Buddha pictures found seem to date from the early 16th and 19th centuries. Buddha sculptures from the XVII and XVII centuries can be set up on high, squandered lotsus shrines and carry incredibly high crowns with extravagant ears.

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The Buddhist arts are the arts that are affected by Buddhism. These include arts mediums depicting Buddhas, Buddhasattvas and other beings; remarkable Buddha statues, both historic and mythic; scenes narrating the life of all these beings; Mandalas and other graphical tools for practicing; and bodily items associated with Buddha practise, such as viars, chimes, stupas and Buddha-style temples.

1 ] Baudhist arts emerged on the sub-continent of India after the historic lives of Siddhartha Gautama, sixteenth to fiveteenth centuries B.C., and then developed through contacts with other civilizations as they diffused in Asia and the rest of the globe. In the course of the 2. to 1. centuries B.C. the statues became ever clearer and represent periods from the lives and doctrines of Buddha.

Though India had a long sculpture making history and a command of wealthy icons, Buddha was never present in mankind but only through Buddhaism. Authors hesitated to anthropomorphize the Buddha and created elaborate aniconical icons to prevent this (even in storytelling situations where other humans would appear).

Up to the 2. c. this trend continued in the south of India, in the Amaravati school ( see: Maras Attack on the Buddha). The argument has been put forward that previous antropomorphic depictions of the Buddha may have been made of timber and have since disappeared.

Antropomorphic depictions of the Buddha began to develop in North India in the 1. cent. AD. Both of the major creative centres were designated as Gandhara in today's North West Frontier Province in Pakistan and the Mathura Province in India's centre north. Chandragupta's grandchild Ashoka (reign: 268-232 B.C.), who constituted the biggest kingdom of the sub-continent, after the Kalinga war turned to Buddhism.

Azhoka claimed to have promoted the conversion of the Greeks to Buddhism in his kingdom: Following the fall of the Moorish Empire by the Shunga Empire, the Greek-Bactrian and then the Indian-Greek kingdoms penetrated the northwest of India. It enabled the spreading of the Greek-Buddhist style to other parts of the world. Menander I, the Indo-Greek king, was known as a great promoter of Buddhism and received the status of arath.

5 ] In the meantime, Pushyamitra Shunga pursued Buddhism, presumably to further destroy the heritage of the Moorish empire. All of this resulted in the downfall of Buddist arts just south of Mathura. There is still controversy as to whether the anthropomorphous depictions of Buddha were largely the product of a recent development of Bulgarian arts in Mathura or of Gandhara's Greeks culture being influenced by Greek-Buddhist synergy.

Remnants of early Indian Buddhist paintings have disappeared, with the later stages of the Ajanta Caves making up most of the remaining work, which was painted in a relatively brief space of time until about 480 AD. In India Buddha arts developed further for several hundred years. Mathura' s rose coloured stone statues developed during the Gupta era (4th to 3rd millennium A.D.) in order to achieve a very fine finish and delicate modelling.

Gupta schools were of great importance almost everywhere in the whole of Asia. By the end of the twelfth centuries AD, Buddhism was maintained in its full splendour only in the Indian Himalayas. Supported by their position, these areas were in closer touch with Tibet and China - for example, Ladakh's arts and tradition carry the mark of influence from Tibet and China.

Buddha expanding throughout Asia. When Buddhism spread outside India from the 1 st cent. A.D. onwards, its initial art packet mixed with other art influence, resulting in a gradual distinction between the religious states. Starting in the 1. cent. AD, a northerly road was set up through Central Asia, Nepal, Tibet, Bhutan, China, Korea, Japan and Vietnam, where Mahayana Buddhism predominated.

Theravada Buddhism prevailed on a south-facing tour through Myanmar, Sri Lanka, Thailand, Cambodia and Laos. Buddhism's transfer to the Silk Road to Central Asia, China and finally Korea and Japan began in the 1 st centuries A.D. with a semi-legendary report about a message sent to the West by the Chinese Emperor Ming (58-75 A.D.).

But in the 16th and 18th centuries A.D. comprehensive contact began, probably as a result of the Kushan empire's extension into the Tarim basin of China, with the missions of a large number of Buddhist friars from the central Asia to China. Early Buddhist writers and interpreters into Mandarin, such as Lokaksema, were either Parthers, Kushan, Sogdians or Kucheans.

Meanwhile, the Silk Road's missions in Asia have been supported by a river of artists' influence, which is reflected in the evolution of Serbian arts from the second to the eleventh centuries in the Tarim Basin, the Xinjiang of today. The Silk Road Greco-Buddhist influenced arts can still be found today as far as Japan, in architectonic motives, buddhistic pictures and a few depictions of japonese god.

Nordic Circuit arts have also been strongly affected by the evolution of Mah?y?na Buddhism, an integrative arm of Buddhism characterised by the acceptance of new text in complement to the tradition of Mah?y?na and a change in understandings of Buddhism. Extending the Buddhist tradition of liberation from sufferings (du?kha) from Arhaten, Mah?y?na emphasises the Buddhist trail of Arhaten.

Mah?y?na sacred texts raise the Buddha to a transcendental and unending being and show a bodhisattva mantra dedicated to the Six Perfect, ultimative wisdom (Prajñ?p?ramit?), illumination and the release of all beings who feel. Thus, the arts of North Buddhism tend to be characterised by a very abundant and syncretistic Buddha School, with a variety of pictures of the various Buddha, Bodhisattva and Deva.

In Afghanistan (Old Bactria) Buddha arts existed for several hundred years until the spreading of Islam in the seventh cent. This is illustrated by the Buddhas of Bamyan. Some of the other sculpture, made of plaster, slate or earthenware, show a very powerful mixture of India's post-Gupta style and classic influences, Hellenistic or perhaps even Greek-Roman.

Even though Muslim domination was somewhat permissive towards other religions "of the book", it showed little respect for Buddhism, which was seen as a religious system dependent on "idolatry". Even under Islam, the use of anthropomorphic figural arts is forbidden, and Buddha's arts experienced a number of assaults, culminating in widespread destruction by the Taliban government.

Bamyan's Buddhas, Hadda's statues, and many of the other artefacts in the Afghanistan Temple were demolished. For a long time Central Asia acted as a hub between China, India and Persia. Over the course of the 2. centuries BC, the former Han's westward extension resulted in greater contacts with the Greek-Bactrian kingdom and the Greek civilisations of Asia.

Thereafter, the spread of Buddhism to the north resulted in the establishment of the Buddhist community and even Kingdom in the Central Asian area. A number of Silk Road towns were almost exclusively made up of Buddha statues and convents, and it seems that one of their primary destinations was to receive and serve travellers between East and West.

Especially the east part of Central Asia (Chinese Turkestan (Tarim Basin, Xinjiang) has exposed an exceptionally abundant Serbian arts (mural and relief painting in various caverns, wearable painting on linen, sculptures, ceremonial objects), which shows manifold influence from various India and Hellen istic civilizations. Artworks were found that remind of the Gandharan style, as well as writings in the Gandhari Kharoshti style.

However, these effects were quickly assimilated by the powerful China civilization, and from then on a strongly China specificism developed. The Buddhism came around the 1. cent. A.D. to China and imported new kinds of arts in China, in particular in the area of the statues. Following this remote religious tradition, powerful features of China were integrated into Buddha's work, the Northern Wei sculpture, 512 AD.

Her style is also considered festive and regal. It was the absence of physicality in this form and its remoteness from the Buddhist goal of manifesting the purity of the ideals of illumination in an approachable and realist way that gradually brought about a shift towards more naturism and realisticism, resulting in the manifestation of Buddhist tangism.

Places that preserve the northern Wei dynasty's Buddha sculpture: During the Suiydynasty, the Tang developed into a very realistic term of life after a transitional time. Due to the receptiveness of the Tang family to foreign influence and the exchange with India through the many journeys of Tibetan nuns to India, the Tang style of Tibetan sculptures took on a more classic shape, based on Gupta style India crafts.

It was during this period that the Tang capitol of Chang'an (now Xi'an) became an important centre of Buddhism. Buddhism expanded from there to Korea, and Japan assignments in Tang China assisted him in gaining a firm foothold there. By 845, the Tang Kaiser Wuzong banned all "foreign" faiths (including Christian Nestorianism, Zoroastrianism and Buddhism) to promote the native Taoistism.

His confiscation of Buddha's property compelled him to submerge his belief, which affected the evolution of Chinese religions and art. However, Chán Buddhism, as the source of Japanese Zen, flourished for several hundred years, especially during the Song Dynasty (960-1279), when Chan convents were great centres of cultural and educational activity.

The Qianlong Emperor also launched a number of major building works; in 1744 he consecrated the Yonghe as Beijing's most important Tibetan-Buddhist monastery and donated a number of precious sacred canvases, sculpture, textile and inscription to the city. The Xumi Fushou Museum and the works it houses are another Qianlong Emperor commission represented in another exhibition that represents the singular mix of Tibetan and Manchu arts that characterizes the Buddha arts created under Qianlong's rule in China.

Buddhism's popularisation in China has made the nation home to one of the wealthiest collection of Buddha art in the entirety. One of the most important and well-known sculptures of Buddhism is the Mogao caverns near Dunhuang and the Bingling temple caverns near Yongjing in Gansu County, the Longmen grottos near Luoyang in Henan County, the Yungang grottos near Datong in Shanxi County, and the associated rock carvings near Chongqing County.

Leshan Giant Buddha, cut from a hill in the eighth centuries during the Tang Dynasty and overlooking the junction of three streams, is still the biggest stony Buddha sculpture in the canyon. In general, Korea's buddhist arts reflect an interplay between other buddhistic elements and a strongly pristine korian civilization.

Furthermore, the steppe arts, especially those of Siberia and Scythia, can be seen in early Korea's buddhistic arts, resulting from the digging of artefacts and grave goods such as silla kings' crown, beltbuckles, daggers and decimal point cloaks. 14 ][15] The style of this native artwork was geometrical, abstracted and lavishly decorated with a distinctive "barbaric" luxury.

Though many other factors were powerful, Korea's art of Buddhism testifies to "sobriety, a flavor for the right note, a feeling of abstractness, but also colors that strangely coincide with the tastes of the times" (Pierre Cambon, Arts asiatiques- Guimet'). Maitreya probably from Silla around the early seventh cenury.

East Asia was particularly robust during the era of United Silla, with China and Korea both having a single government. The early uniform silla arts merged silla and baekje style. Corean Buddha arts have also been affected by new Tang Dynasty style, as shown by a new favorite Buddha theme with full-faced Buddha sculpture.

The Tang China was the crossing of East, Central and South Asia and so the buddhistic arts of this era show the so-called style American. It was during this era that state-sponsored Buddha arts blossomed, the embodiment of which is the Seokguram Grotto. In 918, the case of the Unified Silla dynasty and the founding of the Goryeo dynasty in Korea marked a new era in the history of Korea's art.

Goryeo monarchs also supported Buddhism and Buddist arts thrived, especially Buddha painting and sutra illumination using golden and silvery inks. From 1406, the Joseon dynasty was an active supporter of Buddhism, and as a result of this, Buddha churches and artistic productions deteriorated the qualities of quantities, although from 1549 onwards Buddha artistic productions continued.

Even before the advent of Buddhism, Japan was the home of various cultures (and arts ), from the abstracted lineal decoration of the Neolithic Indians J?mon from around 10500 BC to 300 BC, to Yayoi and Kofun period arts with evolutions such as Haniwaism.

There was no immediate intercultural interchange between India and Japan as Japan got Buddhism through Korea, China, Central Asia and finally India. Buddhism was rediscovered by the Japanese in the sixth millennium when missionaries traveled to the island along with many writings and works of artwork. Intercultural contacts between Indian-Dharmic civilisation and Japan through the incorporation of Buddha's teachings and aesthetics helped to develop a domestic culture order in the following centuries.

26 ] The buddhistic religious belief was adopted by the state in the following centuries. Located at the end of the Silk Road, Japan was able to retain many facets of Buddhism when it disappeared in India and was oppressed in Central Asia and China. Since 711 Nara, the main town, has been home to a number of churches and convents, among them a five-storey tower, the Golden Hall of Horyuji and the K?fuku-ji church.

Innumerable pictures and statues were created, often under state ownership. Hindi, Hellenistic, Mandarin, Chinesian and Koreaian artists mixed their influence to create an inventive style characterised by realistic and charming style. Judaism was particularly abundant in the period of Nara, Heian and Kamakura between the eighth and thirteenth century.

In Japan, a very wealthy figural arts was created for the Buddhist deities' mantheon, sometimes in combination with Hindu and Shinto influence. Another evolution from 12 to 13 December was Zen arts, and it stands before gold in the Muromachi period, after the initiation of belief by Dogen and Eisai after their repatriation from China.

One of the main features of this Zen style are originals (such as Sumi-e) and poetic works (such as Haikus), and it aims to convey the real nature of the universe through impressionist and austere "non-dualistic" depictions. Seeking illumination "at the moment" also resulted in the emergence of other important derived forms of artistic expression such as the Chanoyu teaceremony or the Ikebana floral work.

The Buddhism is very much in Japan until today actively. There are still around 80,000 surviving Buddha churches. The tantric Buddhism began as a move in East India around the fifth or sixth centuries. Much of the practice of Tantric Buddhism comes from Brahmanism (the use of mantra, Yoga, or the incineration of offerings).

The Tantrism became from the beginning of the eighth centuries the dominating type of Buddhism in Tibet. Because of its geographic center in Asia, Indian, Nepalese, Greek Buddha, and China influenced it. Some of the most distinctive works of traditional arts in Buddhism are the tangalas, charts of a "divine temple" from a circular space surrounding a rectangle, the object of which is to help Buddhists concentrate their attentions through contemplation and walk towards the Buddha's centerpiece.

In artistic terms, Gupta Buddha arts and Gupta arts are the two most powerful inspiration of Tibetian arts. China's influences were dominant in northern Vietnam (Tonkin) between the 1. and 9. century, and Confucianism and Mahayana Buddhism were widespread. All in all, Vietnam's arts have been strongly affected by China's Buddha School.

Most of his sculptures were decorated with bodily ornaments. In 1471 the Champa kingdom's capitol was annexed by Vietnam, and in the 1720' it completely disintegrated, while the Cham tribe is still an affluent South East Asian ethnic group. Southern Buddhism is still practiced in Sri Lanka, Myanmar (Burma), Thailand, Laos and Cambodia.

In the first half of the 19th cent. A.D., commerce on the highway was limited by the ascent of the Ethnic Kingdom in the Middle East, an undefeated foe of Rome, just as the Romans became exceedingly rich and their demands for Asiatic luxuries increased. These demands stimulated maritime links between the Mediterranean and China, with India being the preferred mover.

Since then, India has exerted a strong impact on South East Asia through trading relations, trading agreements and even policy intervention. Trading lanes connected India with South Burma, Middle and South Siam, Lower Cambodia and South Vietnam, and many urbanised seaside towns developed there. Pali and Sanskrit speeches and Hindi scripture, along with Mahayana and Theravada Buddhism, Brahmanism and Hinduism, were translated from face -to-face contacts and through holy text and Hindi literary sources such as Ramayana and Mahabharata.

It was this extension that formed the cultural framework for the evolution of Judaism in these lands, which then evolved their own qualities. Sailendra' s buddhistic arts were discovered and prospered in the Medang Mataram Kingdoms of Central Java, Indonesia, in the eighth to ninth centuries. It was a time when the rebirth of Buddist arts in Java was celebrated, as a number of monumental buildings were erected, such as Kalasan, Manjusrigrha, Mendut and Borobudur Steinmandala.

Tradition would carry on until the Singhasarian Buddist arts of East Java in the thirteenth millennium. Southeast Asia had very strong kingdoms from the ninth to the thirteenth hundreds and became highly involved in Buddha architecture and arts. While the Sri Vijaya Empire in the south and the Khmer Empire in the north were competing for power, both were followers of Mahayana Buddhism, and their arts embodied the wealthy Mahayana Panthéon of the Bodhisattvas.

Theravada Buddhism of the Pali Cannon was imported from Sri Lanka into the area around the thirteenth centuries and adopted by the recently established Thai ethnical empire of Sukhothai. In Theravada Buddhism at that epoch the monasteries were typical places for the laymen of the cities to get lessons and to settle conflicts. Therefore the building of temples played an important part in the art istical interpretation of Southeast Asia.

As of the fourteenth centuries, the major cause was the expansion of Islam in the marine regions of Southeast Asia, which flooded Malaysia, Indonesia and most of the island regions as far as the southern Philippines. Theravada Buddhism expanded further to Burma, Laos and Cambodia in the mainland. The Buddha in Sri Lanka.

Traditionally, Buddhism was established in Sri Lanka in the third millennium BC by missionary Indians under the leadership of Thera Mahinda, who was the Moorish Emperor Ashoka's son. Thera Mahinda was the first to teach Buddhism in Sri Lanka. Before Buddhism expanded, Sri Lanka's tribal peoples were living in an animist and superstitious state.

Buddhism had to take up the various classes of ghosts and other miraculous convictions in order to establish itself in the countryside. One of India's neighbours, Myanmar (Burma), was of course strongly affected by the east part of India's territories. It is said that the Mon were transformed from South Burma to Buddhism around 200 BC under the proselytisation of the ancient monarch Ashoka, before the split between Mahayana and Hinayana Buddhism.

One finds early buddhistic churches like Beikthano in Zentralmyanmar, with data between the 1. and 5. century. Mon buddhist arts were particularly affected by the Gupta and post-Gupta period in India, and their manneristic style expanded in Southeast Asia after the Mon Empire's growth between the fifth and eighth century.

Later on, between the eleventh and thirteenth hundreds, in Bagan, the city' s principal city, tens of thousands began to build Buddha chapels, some 2,000 of which are still there. From this time still nice jewel sculptures of the Buddha are preserved. The Mandalay style of the Buddha picture was created during the Konbaung era, at the end of the eighteenth hundred, and is still in use.

There was a clear renunciation of the Innwa style, and the face of the Buddha is much more pristine, fleshier, with obviously inclined brows, slightly inclined ears, fatter lips, and a round top knot. The Buddha pictures in this style can be found lying, upright or seated. 32 ] Mandalay-style Buddhas are wearing fluid dragged garments.

It seems that its impact was mainly politically motivated, with most of the culture directly from India. Later on, from the ninth to the thirteenth century, the Mahayana and Hindu Khmer Empires dominate large parts of the South East Asia-Penninsula, and their impact was felt especially in the evolution of Buddhist arts in the area.

More than 900 Khmer monasteries were constructed in Cambodia and neighbouring Thailand. Khmer Kings sponsorship of Khmer arts culminated in the sponsorship of Jayavarman VII, a Khmer Kings patron who constructed the fortified town of Angkor Thom, decorated with the smiley face of Lokeshvara in Angkor Thom Thvaras ( gates) and presat Bayon spires.

34 ] Angkor was at the centre of this evolution, with a Buddist Temple compound and an municipal organisation able to provide assistance to about 1 million city people. Much of the Kampuchian Buddha statue is still conserved in Angkor, but the organised plunder has had a major effect in many places throughout the state. Beginning in the 1. to 7. century, in Thailand Buddha arts were first affected by India's dealers and the Mon Kingdom's growth, which led to the establishment of Hindu and Buddha arts based on the Gupta traditions, with countless monuments of great dexterity.

Starting in the ninth millennium, the various styles of Thailand arts were strongly affected by Khmer arts in Cambodia in the northern hemisphere and Sri Vijaya arts in the southern hemisphere, both of which were inspired by the Mahayana school. Until the end of this era, Buddha arts were characterised by a clear fluidity of expressiveness, and the theme was typical of the Mahayana Panthéon with several Bodhisattvas workings.

Theravada Buddhism was imported from Sri Lanka from the thirteenth to the thirteenth hundreds, around the same date that the ethno-Thai empire of Sukhothai was founded. The new belief inspires Thai Buddhism with high stylised pictures, sometimes with very geometric and almost abstracted characters. In the Ayutthaya era (14th to 18th centuries) the Buddha was stylistically depicted with precious robes and ornaments.

A lot of Thai statues or Temples were gold-plated and occasionally inlaid with marquetry. In the following time of Thonburi and Rattanakosin Kingdoms the Thai buddhistic arts developed further. Bangkok was founded in the eighteenth and eighteenth centuries as the regal centre of the Siamese Empire. The Thai sovereigns then flooded the town with impressive Buddha statues to show their Buddha devotion and show their authorities.

These include the famed Wat Phra Kaew, which houses the Emerald Buddha. In Bangkok other buddhistic churches include Wat Arun with its pyramid shaped tower and Wat Pho with its famed picture of the reclining Buddha. One of the most splendid is the Borobudur Monastery (the biggest buddhistic building in the whole word, constructed around 780-850 AD), constructed by Silendras.

Designed according to the Buddha theme of the cosmos, the mandala, which includes 505 pictures of the sitting Buddha, and the singular bell-shaped staupa, which contains the Buddha sculpture. In Borobudur there is a long row of bas-reliefs that tell the story of the sacred writings of Buddhism. The oldest buddhistic building in Indonesia is probably the Batujaya stone houses in Karawang, West Java, dating from around the fourth cent.

In Indonesia, however, Buddha arts reached the gold age during the reign of the Sailendra family in Java. One of the most magnificent examples of classic Java Buddha arts is the quiet and tender sculpture of Prajnaparamita (the National Museum Jakarta collection), the divine figure of Singhasari's transscendental sage. 38 ] The Indonesian Buddha realm of Sri Vijaya sank due to conflict with the Chola lords of India, followed by the Majapahitmperium.

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