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Nirvana imagery in medieval Chinese art.

Lee, Sonya S.

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Nirvana imagery in medieval Chinese art.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Nirvana imagery in medieval Chinese art./
作者:	Lee, Sonya S.
面頁冊數:	503 p.
附註:	Source: Dissertation Abstracts International, Volume: 65-03, Section: A, page: 0733.
Contained By:	Dissertation Abstracts International65-03A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3125672

Nirvana imagery in medieval Chinese art.
Lee, Sonya S.

Nirvana imagery in medieval Chinese art. - 503 p.

Source: Dissertation Abstracts International, Volume: 65-03, Section: A, page: 0733.

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

One of the most important themes in Pan-Asian Buddhist art, a nirvana image entails a reclining buddha figure surrounded by a group of mourners. The configuration purportedly represents the moment when the Buddha Sakyamuni entered nirvana, or a state of ultimate release from the world of transmigration. This image of transition embodies the highest spiritual ideal in Buddhism, as well as an inherent ambiguity in representation which sets it apart from all other Buddha images. The theme of the Buddha's equivocation between presence and absence, not seeing and being seen, found a ready audience in medieval China of the fifth to ninth centuries. In refashioning the nirvana image into a pictorial sign commensurate with localized needs, Chinese image-makers and patrons initiated a pivotal transformation in the motif's iconography, function, and intention. The results in turn registered profound changes in contemporary artistic practices, religious devotionalism and political authority. The dissertation is the first comprehensive study of nirvana imagery in this crucial period of development.Subjects--Topical Terms:

635474
Art History.

Nirvana imagery in medieval Chinese art.
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520 $a One of the most important themes in Pan-Asian Buddhist art, a nirvana image entails a reclining buddha figure surrounded by a group of mourners. The configuration purportedly represents the moment when the Buddha Sakyamuni entered nirvana, or a state of ultimate release from the world of transmigration. This image of transition embodies the highest spiritual ideal in Buddhism, as well as an inherent ambiguity in representation which sets it apart from all other Buddha images. The theme of the Buddha's equivocation between presence and absence, not seeing and being seen, found a ready audience in medieval China of the fifth to ninth centuries. In refashioning the nirvana image into a pictorial sign commensurate with localized needs, Chinese image-makers and patrons initiated a pivotal transformation in the motif's iconography, function, and intention. The results in turn registered profound changes in contemporary artistic practices, religious devotionalism and political authority. The dissertation is the first comprehensive study of nirvana imagery in this crucial period of development.
520 $a Nirvana images from medieval China entailed various material manifestations—as a decorative motif, as a pictorial narrative, as a sculpted statue, as an architectural design—and underwent two crucial phases of development respectively in the sixth and eighth centuries. To excavate the motives and concerns which gave rise to the becoming of these new visual forms, the dissertation engages in methods and materials pertaining to art history, history of religions, and sinology in particular. Part One concerns the process of adaptation that the nirvana image continuously underwent, first from a concept articulated in written format to a pictorial motif; and second, from its original forms rooted in Indian and Central Asian visualities to new ones that were more suited to medieval Chinese visual sensibilities. Part Two historicizes the visual encounter of the nirvana image at cave shrine complexes by focusing on two cases of spectatorship, the nirvana caves at Dunhuang and the site of Wofoyuan in Sichuan. The ensuing analyses emphasize the dynamic interaction between person and place, in particular how material images and structures were deployed to mold viewers' experience and opinions with great efficacy.*
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