Kim Hongdo’s Buddhist Painting : Three Painting with the Inscription of Li Bai’s Songs for Sengjia.

2020 ◽  
Vol 30 ◽  
pp. 33-59
Author(s):  
Insoo Cho ◽  
Keyword(s):  
Buddhist Painting

The Characteristics of Buddhist Painting during Japan’s Modern Period and Their Influence on Korean Paintings

2018 ◽  
Vol 46 ◽  
pp. 249-276
Author(s):  
Yeob Choi ◽  
Keyword(s):  
Modern Period ◽  
Buddhist Painting

Pure Land Buddhist Painting.

1978 ◽  
Vol 33 (2) ◽  
pp. 229
Author(s):  
Alfred Bloom ◽  
Joji Okazaki ◽  
Elizabeth ten Grotenhuis
Keyword(s):  
Pure Land ◽  
Buddhist Painting

Pure land buddhist painting Jji Okazaki, Tokyo, Kodansha, 1977. 201 pp. illust. $12.95

Religion ◽  
1979 ◽  
Vol 9 (2) ◽  
pp. 239
Author(s):  
M PYE
Keyword(s):  
Pure Land ◽  
Buddhist Painting

scholarly journals The image of the god of wealth Namsarai in the Buryat Buddhist painting of the XVIII – early XX century

2019 ◽  
Author(s):  
Арюна Жамсуевна Бальжурова
Keyword(s):  
National Museum ◽  
Distinctive Features ◽  
History Of ◽  
Buddhist Painting ◽  
The Republic ◽  
Local Traditions

В статье рассмотрена коллекция тхангка с образом Вайшраваны (санскр.), или Намсарая (бур.), хранящаяся в фондах Национального музея Республики Бурятия и датируемая XVIII началом ХХ века. Намсарай бог богатства, бодхисаттва и дхармапала, относится к одному из наиболее почитаемых божеств в бурятском буддизме, и его иконография представляет собой сложный собирательный буддийский образ. Анализ данных тхангка позволяет выделить локальные традиции бурятской тхангкописи, отметить отличительные особенности и влияние иноэтнических традиций в разные периоды истории буддийской живописи Бурятии. The focus of the article is a collection of Thangka with the image of Vaishravana (in Sanskrit), or Namsarai (in Buryat), stored in the funds of the National Museum of the Republic of Buryatia and dating from the 18th early 20th centuries. Namsaray is a god of wealth, a Bodhisattva and Dharmapala, one of the most revered deities in Buryat Buddhism, and his iconography is a complex collective Buddhist image. An analysis of these Thangkas allows us to highlight the local traditions of Buryat Buddhist icon painting, to note the distinctive features and influence of foreign ethnic traditions in different periods of the history of Buddhist painting in Buryatia.

Esoteric Buddhist Painting

1990 ◽  
Vol 10 ◽  
pp. 302
Author(s):  
Michael Saso ◽  
Ishida Hisatoyo ◽  
E. Dale Saunders
Keyword(s):  
Buddhist Painting

scholarly journals Restoration and storage of Buddhist painting from the Khara-Khoto collections of XII–XIV centuries

2020 ◽  
pp. 57-62
Author(s):  
M. V. Korotkov ◽  
Keyword(s):  
Special Interest ◽  
The State ◽  
Archival Data ◽  
Early Stages ◽  
Modern Methods ◽  
History Of ◽  
Museum History ◽  
Buddhist Painting ◽  
And Storage

The paper is devoted to the conservation and early stages of maintenance and storage of the unique collection of Buddhist painting that was gathered by P. K. Kozlov in Mongolia in 1907–1909, 1926 and now belongs to the State Hermitage museum. History of its primary conservation is reconstructed using previously unexplored archival data. Of special interest are conditions of maintenance and actions taken to protect the monuments before they were given to the Hermitage. The article also analyses reasons why damage was caused to them. All this information is essential for fi guring out modern methods for their restoration that is a job of the Laboratory of scientifi c restoration of eastern painting of the Hermitage. The research goes beyond local museum practices as it helps to defi ne general problems in restoration of Buddhist painting

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