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Picturing the path: The visual rhet...

Gifford, Julie A.

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Picturing the path: The visual rhetoric of Barabudur (Indonesia).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Picturing the path: The visual rhetoric of Barabudur (Indonesia)./
作者:	Gifford, Julie A.
面頁冊數:	389 p.
附註:	Source: Dissertation Abstracts International, Volume: 65-10, Section: A, page: 3853.
Contained By:	Dissertation Abstracts International65-10A.
標題:	Religion, History of. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3149326
ISBN:	0496086316

Picturing the path: The visual rhetoric of Barabudur (Indonesia).
Gifford, Julie A.

Picturing the path: The visual rhetoric of Barabudur (Indonesia). - 389 p.

Source: Dissertation Abstracts International, Volume: 65-10, Section: A, page: 3853.

Thesis (Ph.D.)--The University of Chicago, 2004.

Barabudur is one of the largest and most complex Buddhist monuments in the world. Built in the late eighth or early ninth century by the Shailendra kings of Central Java, Barabudur lay nearly buried for centuries. Scholars have studied the monument since the early nineteenth century, but there is still no general consensus about what the monument originally represented, or how ninth-century Buddhists may have used it. What did Barabudur allow people to do that couldn't have been done in quite the same way without it?

ISBN: 0496086316Subjects--Topical Terms:

1017471
Religion, History of.

Picturing the path: The visual rhetoric of Barabudur (Indonesia).
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245 1 0 $a Picturing the path: The visual rhetoric of Barabudur (Indonesia).
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500 $a Source: Dissertation Abstracts International, Volume: 65-10, Section: A, page: 3853.
500 $a Advisers: Frank E. Reynolds; Wendy Doniger.
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520 $a Barabudur is one of the largest and most complex Buddhist monuments in the world. Built in the late eighth or early ninth century by the Shailendra kings of Central Java, Barabudur lay nearly buried for centuries. Scholars have studied the monument since the early nineteenth century, but there is still no general consensus about what the monument originally represented, or how ninth-century Buddhists may have used it. What did Barabudur allow people to do that couldn't have been done in quite the same way without it?
520 $a To answer this question, I analyze what I call the "visual rhetoric" of Barabudur---that is, the ways in which the monument and the ritual procedure for which it was built seek to persuade by means of visual display. I argue that the visual rhetoric of Barabudur reveals three key features of the monument's design. First, Barabudur embodies the visual rhetoric of the supreme Buddha Vairocana, who generates various manifestations perfectly adapted to the religious capacities of their target audiences, by representing his various manifestations in a single, hierarchically ordered architectural icon. Second, the art of the pathway around and up through the monument reflects a visual argument about the soteriological efficacy of vision itself---that is, it presents a version of the Mahayana Buddhist path in which bodhisattvas encounter relatively sophisticated manifestations of Vairocana through the practice of meditative visualization. Third, the monument served, in the early phase of its history, as the venue for the performance of a distinctive ritual that had a visual rhetoric of its own: it constituted and presented the celebrant as an advanced bodhisattva with the ability to intervene in the world for the benefit of others. Although a variety of people probably performed this ritual, it is very likely that on special occasions, Shailendra kings performed it, thereby claiming privileged access to the Buddha's power and the ability to mobilize it for the benefit of their subjects.
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