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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
21

History of the mediæval school of Indian logic,

Vidyabhusana, Satis Chandra, January 1909 (has links)
"Thesis approved for the degree of doctor of philosophy in the University of Calcutta, 1907." / On cover: Indian logic: mediæval school.
22

Buddhas and Bodhisattvas: emanators and emanated beings in the Buddhist art of Gandhara, Central Asia, and China

Zhu, Tianshu 16 July 2007 (has links)
No description available.
23

Inventing Chinese Buddhas: Identity, Authority, and Liberation in Song-Dynasty Chan Buddhism

Buckelew, Kevin January 2018 (has links)
This dissertation explores how Chan Buddhists made the unprecedented claim to a level of religious authority on par with the historical Buddha Śākyamuni and, in the process, invented what it means to be a buddha in China. This claim helped propel the Chan tradition to dominance of elite monastic Buddhism during the Song dynasty (960-1279), licensed an outpouring of Chan literature treated as equivalent to scripture, and changed the way Chinese Buddhists understood their own capacity for religious authority in relation to the historical Buddha and the Indian homeland of Buddhism. But the claim itself was fraught with complication. After all, according to canonical Buddhist scriptures, the Buddha was easily recognizable by the “marks of the great man” that adorned his body, while the same could not be said for Chan masters in the Song. What, then, distinguished Chan masters from everyone else? What authorized their elite status and granted them the authority of buddhas? According to what normative ideals did Chan aspirants pursue liberation, and by what standards did Chan masters evaluate their students to determine who was worthy of admission into an elite Chan lineage? How, in short, could one recognize a buddha in Song-dynasty China? The Chan tradition never answered this question once and for all; instead, the question broadly animated Chan rituals, institutional norms, literary practices, and visual cultures. My dissertation takes a performative approach to the analysis of Chan hagiographies, discourse records, commentarial collections, and visual materials, mobilizing the tradition’s rich archive to measure how Chan interventions in Buddhist tradition changed the landscape of elite Chinese Buddhism and participated in the epochal changes attending China’s Tang-to-Song transition.
24

Face to face with the absent Buddha : The formation of Buddhist Aniconic art

Karlsson, Klemens January 2000 (has links)
<p>Early art in Buddhist cultic sites was characterized by the absence of anthropomorphicimages of the Buddha. The Buddha was instead represented by different signs, like awheel, a tree, a seat and footprints. This study emphasizes the transformation this artunderwent from simple signs to carefully made aniconic compositions representing theBuddha in a narrative context.</p><p>Buddhist aniconic art has been explained by a prohibition against images of theBuddha or by a doctrine that made it inappropriate to depict the body of the Buddha.This study rejects such explanations. Likewise, the practice of different meditationalexercises cannot explain this transformation. Instead, it is important to understand thatearly art at Buddhist cultic sites consisted of simple signs belonging to a shared sacredIndian culture. This art reflected a notion of auspiciousness, fertility and abundance.The formation of Buddhist aniconic art was indicated by the connection of these auspi- cious signs with a narrative tradition about the life and teachings of the Buddha.</p><p>The study emphasizes the importance Sakyamuni Buddha played in the formation ofBuddhist art. The Buddha was interpreted as an expression of auspiciousness, but hewas also connected with a soteriological perspective. Attention is also focused on thefact that the development of Buddhist art and literature was a gradual and mutualprocess. Furthermore, Buddhist aniconic art presaged the making of anthropomorphicimages of the Buddha. It was not an innovation of motive for the Buddhists when theystarted to make anthropomorphic images of the Buddha. He was already there.</p>
25

The evolution of the Buddha and Bodhisattva figures in Japanese sculpture of the ninth and tenth centuries

McCallum, Donald Fredrick, January 1973 (has links)
Thesis--New York University, 1973. / Includes bibliographical references (leaves 379-388).
26

Face to face with the absent Buddha : The formation of Buddhist Aniconic art

Karlsson, Klemens January 2000 (has links)
Early art in Buddhist cultic sites was characterized by the absence of anthropomorphicimages of the Buddha. The Buddha was instead represented by different signs, like awheel, a tree, a seat and footprints. This study emphasizes the transformation this artunderwent from simple signs to carefully made aniconic compositions representing theBuddha in a narrative context. Buddhist aniconic art has been explained by a prohibition against images of theBuddha or by a doctrine that made it inappropriate to depict the body of the Buddha.This study rejects such explanations. Likewise, the practice of different meditationalexercises cannot explain this transformation. Instead, it is important to understand thatearly art at Buddhist cultic sites consisted of simple signs belonging to a shared sacredIndian culture. This art reflected a notion of auspiciousness, fertility and abundance.The formation of Buddhist aniconic art was indicated by the connection of these auspi- cious signs with a narrative tradition about the life and teachings of the Buddha. The study emphasizes the importance Sakyamuni Buddha played in the formation ofBuddhist art. The Buddha was interpreted as an expression of auspiciousness, but hewas also connected with a soteriological perspective. Attention is also focused on thefact that the development of Buddhist art and literature was a gradual and mutualprocess. Furthermore, Buddhist aniconic art presaged the making of anthropomorphicimages of the Buddha. It was not an innovation of motive for the Buddhists when theystarted to make anthropomorphic images of the Buddha. He was already there.
27

Påla-period Buddha images their hands, hand gestures, and hand-held attributes /

Chandrasekhar, Chaya. January 2004 (has links)
Thesis (Ph. D.)--Ohio State University, 2004. / Document formatted into pages; contains xvi,375 p.; also contains graphics. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2009 Aug. 18.
28

The Buddha from Dol po and his Fourth council of the Buddhist doctrine /

Stearns, Cyrus Rembert. Śes-rab-rgyal-mtshan, January 1996 (has links)
Thesis (Ph. D.)--University of Washington, 1996. / Vita. Includes bibliographical references (leaves [245]-266).
29

A study of the teachings regarding the Pure Land of Akṣobhya Buddha in early Mahayana

Kwan, Tai-wo. January 1985 (has links)
Thesis (Ph. D.)--University of California, Los Angeles, 1985. / Includes abstract and vita. Includes bibliographical references (p. 306-311).
30

Pāla-Period Buddha Images: their hands, hand gestures, and hand-held attributes

Chandrasekhar, Chaya 29 September 2004 (has links)
No description available.

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