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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.

Early history of Buddhism in Ceylon or, State of Buddhism in Ceylon as revealed by the Pāli commentaries of the # century A.D.

Adikaram, E. W. January 1900 (has links)
Thesis--University of London. / Includes bibliographical references.

The Trikâya : a study of the Buddhology of the early Vijñânavâda school of Indian Buddhism

Hanson, Mervin Viggo January 1980 (has links)
This is a study of the trikâya (the so-called "three bodies of the Buddha") doctrine whereby the early Indian Vijnânavâda Buddhists harmonized various beliefs about the Buddha. The most important twentieth-century studies are reviewed, but are found to contain no reliable interpretation of the early doctrine. Therefore, I have undertaken this study to clarify and interpret the trikâya. The main textual source is Asanga's Mahâyânasamgraha, which contains the earliest systematic outline of the Vihnânavâda system. The Buddhological passages have first been translated (from Tibetan and Chinese) in light of the commentaries by Vasubandhu and Asvabhâva. They have then been compared and arranged to expose the general structure of Asanga's trikâya. Why did Asanga introduce the trikâya when other integrative Buddhologies (especially the rupakâya/dharmakâya of the prajnâpâramitâ) were already at hand? A comparison of his application.of the trikâya with the prajnâpâramitâ treatment of similar concerns reveals that the former integrates one idea that the latter does not—that of the Buddhafield. The necessity to include this nascent doctrine appears to have been the main reason for the introduction of the trikâya. In the conclusion, the trikâya has been analyzed further to obtain an abstract Structuralist model exhibiting Asanga's Buddhology in terms acceptable to the non-believer. It is a useful framework within which to study the concept of Buddhahood itself, and its relation to other Vijnanavada dogma. It is also a convenient way to compare the results of modern "".investigations. This model, derived by an extension of Asanga's own search for the implicit pattern behind diverse scriptural statements about Buddhahood, is similar to those used by the anthropologist Claude Levi-Strauss. Therefore, various hypotheses were suggested by his writings. The model is a two-dimensional diagram which represents the encounter between Buddha (Svabhâvikakâya—at the top) and Man (Prthagjana—at the bottom). They are, simultaneously, poles of a dialectical tension and uninhabited existential categories. The inhabited region in-.the middle of the diagram is composed of a continuum of three situations along the horizontal axis. Each contains three elements: Buddha, Aspirant and Environment. The actual encounters between Buddha and Aspirant occur in these situations. "They include that of the Neophyte in the world, for whom the Buddha is merely a message; the Sravaka who is approached by a Nirmânakâya ("historical Buddha") who teaches him by pain, and the Bodhisattva who approaches the Sambhogakâya (the god-like figure in a Buddhafield) who matures him through pleasure. In the course of these three, the aspirant undergoes "reorientation," i.e., moves up the vertical axis to become a Buddha who, in turn, reaches out to another aspirant. The remainder "of the Buddhological ideas from the text are placed within this diagram. Finally, the applicability of this model to other Buddhological questions is examined. / Arts, Faculty of / Classical, Near Eastern and Religious Studies, Department of / Graduate

The making of Buddhist art in ancient China

Dillon, Davis, January 1972 (has links)
Thesis (M.A.)--University of Wisconsin--Madison, 1972. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

The Buddhist conquest of China; the spread and adaptation of Buddhism in early medieval China.

Zürcher, E. January 1959 (has links)
Proefschrift--Leyden. / Errata slip inserted. "Stellingen" slip inserted: p.l. Bibliography: p. [441]-447.

Controversy over Dharmakāya in Indo-Tibetan Buddhism an historical-critical analysis of Abhisamayālaṃkāra chapter 8 and its commentaries in relation to the large Prajñāpāramitā Sūtra and the Yogācāra tradition /

Makransky, John J., January 1900 (has links)
Thesis (Ph. D.)--University of Wisconsin--Madison, 1990. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves : 615-626).

Chi-tsang's Ta-ch'eng-hsüan-lun the two truths and the Buddha-nature /

Koseki, Aaron Ken, January 1900 (has links)
Thesis--Wisconsin. / Vita. Includes bibliographical references (leaves 443-445).

Vasubandhu: three aspects a study of a Buddhist philosopher.

Anacker, Stefan. January 1900 (has links)
Thesis (Ph. D.)--University of Wisconsin--Madison, 1970. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

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

Karlsson, Klemens, January 1900 (has links)
Diss. Uppsala : Univ., 2000.

The Enthroned Buddha in Majesty : an Iconological Study / Le Bouddha trônant en majesté : étude iconologique

Revire, Nicolas 10 December 2016 (has links)
Cette thèse étudie en détail un type particulier de représentation du Bouddha où il est représenté assis sur un trône prééminent, le bhadrapīṭha ou bhadrāsana, dans une posture majestueuse avec les deux jambes pendantes, c’est-à-dire assis en bhadrāsana ou dans l’attitude « de bon augure ». Cette iconographie, étroitement associée à l’imagerie du trône, se retrouve largement représentée dans l’art de l’Asie du Sud, de l’Est et du Sud-Est, et est, en règle générale, intimement liée aux modèles de la royauté, de la fertilité, et même du divin. Plusieurs implications notables ressortent de cet examen iconologique concernant les origines, la diffusion, et le développement de l’art bouddhique dans ces contrées, particulièrement au cours du premier millénaire de notre ère. / This dissertation provides a detailed study of a particular representation of the Buddha, in which he sits on a prominent throne, i.e. a bhadrapīṭha or bhadrāsana, in a majestic posture with two legs pendant, that is, in bhadrāsana or the “auspicious pose.” This pendant-legged imagery, generally associated with the throne, has been found widely depicted in South, East, and Southeast Asian art and is, as a rule, mostly associated with kingship, fertility, and even divinity. The results of this iconological examination have wide implications for understanding the origins, spread, and development of Buddhist art in those lands, particularly during the first millennium CE.

A study of the Buddha's epithets in the Khuddaka Nikāya /

Paknys, Kristyna January 1987 (has links)
No description available.

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