Thesis (Ph.D.) -- Australian National University, 2006.

Thesis (Ph.D.)--University of Kansas, 1997. / Co-Chairs: Chu-tsing Li; Marsha Weidner. Includes bibliographical references.

Thesis (doctoral)--Rijksuniversiteit te Leiden, 1984. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 526-593) and index.

Thesis (doctoral)--Rijksuniversiteit te Leiden, 1984. / Vita. Includes bibliographical references (p. 526-593) and index.

No description available.

This practice-led research One Mind - seeks to represent Korean Buddhist architectural aesthetics and Buddhist spiritual ideas using the animated documentary genre as a form of creative representation. It is intended that the piece be shown either as an installation in a gallery, or within a museum or cultural exhibition context. The key goal is to offer this digital artwork to European audiences, in a spirit of engendering the same feeling state as when present in the real monastery, encouraging an understanding of the sacred, and experiencing a form of transcendence. My art work in some ways functions as a digital restoration of sacred architecture outside its real environment and context, and seeks to document cultural heritage and knowledge. One Mind is different from a classic form of documentary, though, because it does not echo the idea of documentary based on live-action footage as a mode of non-fiction record and expression. I have particularly stressed the suggestiveness of the architectural aesthetics and the philosophic principles embedded in the environment. I have sought to bring my own subjective artistic interpretation to Korean Buddhism accordingly, resisting typical character animation and classical narrative, seeking instead, to encourage the viewer to be part of the environment. I focus on the meaning in Buddhist buildings and the landscape they are part of, and dramatise the environment, using the poetic tone of the voice over performance, the sound track of Buddhist chanting, and the visual effects and perspectives of computer generated imagery. This digital visualisation of the Buddhist s spiritual world is informed by a Buddhist s traditional way of life, but, most importantly, by my own past experience, feelings and memory of the Buddhist monastery compound, as a practising artist. My thesis is categorised into eight chapters. Chapter One offers an overview of the aims and objectives of my project. Chapter Two identifies my research questions and my intended methodology. Chapter Three focuses on important background knowledge about Korea s natural and cultural aspects and conditions. Chapter Four offers an analysis of the issue of the Korean cultural identity, suggesting that a more authentic image of Korea and Korean-ness is available in the philosophy and spiritual agenda of Buddhism. Chapter Five addresses the practical ways in which digital restoration of architecture has taken place, identifying three previous cases which both resemble and differ from my own project. Chapter Six looks at the specific characteristics of Korean Seon Buddhism and architecture, and engages with three theoretical approaches about the spatial composition of the monastery, and the ways it may help in constructing the monastery in a digital environment. Chapter Seven offers an evaluation and validation of my artwork, having adopted the approach of creating an animated spiritual documentary to reveal Buddhist philosophy and experience as a model of Korean cultural identity. Chapter Eight offers some conclusions about my intention, process and outcomes.

宋黎昀. / "2011年9月". / "2011 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (p. 130-135). / Abstract in Chinese and English. / Song Liyun. / Chapter 第一章： --- 導論 --- p.1 / Chapter 一. --- 論文之背景和目的 --- p.1 / Chapter (一). --- 背景 --- p.1 / Chapter (二). --- 研究目的 --- p.5 / Chapter 二. --- 文獻回顧 --- p.7 / Chapter (一). --- 民族性與商業 --- p.7 / Chapter (二). --- 商品化與「本真性」 --- p.13 / Chapter (三). --- 宗教與商業行為 --- p.18 / Chapter 三. --- 田野地之選擇與研究方法 --- p.23 / Chapter (一). --- 田野點的意義所在 --- p.23 / Chapter (二). --- 研究方法 --- p.25 / Chapter 四. --- 本論文之結構安排 --- p.29 / Chapter 第二章： --- 「藏族街」在成都 --- p.31 / Chapter 一. --- 成都的少數民族 --- p.31 / Chapter 二. --- 成都的藏族 --- p.32 / Chapter 三. --- 成都與藏區的地緣關係及往來淵源 --- p.33 / Chapter 四. --- 「藏族街」生意的發展歷程 --- p.40 / Chapter 五. --- 「藏族街」在成都 --- p.47 / Chapter (一). --- 成都大眾眼中的「藏族街」 --- p.49 / Chapter (二). --- 政府眼中的「敏感地帶」 --- p.50 / Chapter (三). --- 當地社區漢人對「藏族街」藏人的看法 --- p.53 / Chapter 六. --- 藏族商人之間的關係 --- p.59 / Chapter 七. --- 城市的邊緣人 --- p.60 / Chapter 八. --- 小結 --- p.63 / Chapter 第三章： --- 佛教道德觀與藏族商人的商業行為 --- p.65 / Chapter 一. --- 藏地經濟之變遷 --- p.66 / Chapter (一). --- 80年代以前的藏族社會經濟 --- p.66 / Chapter (二). --- 80年代以來市場經濟體系下的藏地經濟 --- p.69 / Chapter 二. --- 藏傳佛教藝術品買賣當中的禁忌 --- p.76 / Chapter (一). --- 對佛像生意的爭議 --- p.76 / Chapter (二). --- 其他禁忌物品 --- p.81 / Chapter 三. --- 佛教道德對商業觀念的影響 --- p.83 / Chapter 四. --- 「積德」的行為 --- p.86 / Chapter 五. --- 分析和小結 --- p.88 / Chapter 第四章： --- 何為「正宗的」藏傳佛教藝術品 --- p.91 / Chapter 一. --- 與尼泊爾的貿易網絡 --- p.91 / Chapter 二. --- 藏族商人對其產品「正宗性」的建構 --- p.99 / Chapter (一). --- 尼泊爾產品與藏地、 漢地產品的區分 --- p.100 / Chapter (二). --- 藏式風格與漢式風格的區分 --- p.102 / Chapter (三). --- 宗教用品與旅遊紀念品的區分 --- p.104 / Chapter 三. --- 有區分的本真性概念 --- p.114 / Chapter 四. --- 小結 --- p.120 / Chapter 第五章： --- 結論 --- p.121 / Chapter 一、 --- 族群性與商業之間的關係 --- p.121 / Chapter 二、 --- 商品化和「本真性」的建構 --- p.125 / Chapter 三、 --- 宗教對商業行為的影響 --- p.127 / 參考文獻 --- p.130

This thesis examines the visual images of Vimalakirti, an ancient Indian lay Buddhist, painted on the walls of the Buddhist cave complex at Dunhuang, Gansu province, between 581 and 1036. The sixty-nine Vimalakirti, paintings preserved at Dunhuang are a valuable source for the exploration of historical, religious, and artistic dimensions of wall paintings and sutras. These visual images, together with other textual sources such as sutras, commentaries, and inscriptions, suggest a variety of interesting questions: Why was this theme repeatedly represented? Do the images all have the same prototype? Is there a spiritual function contained in the layout of the caves and composition of the wall paintings? Did the meaning of these images change according to historical context? Did the patrons have a political scheme in mind when commissioning these devotional artworks? While it is difficult to provide definitive answers to all these questions, this thesis will attempt to clarify them and offer preliminary answers on the basis of available visual and textual sources. / The introduction of this thesis includes an overview of basic concepts related to wall paintings, a short history of the transmission of the Vimalakirti,-nirdesa Sutra, and a review of past scholarship on Vimalakirti, paintings and related subjects. The body of the thesis is divided into three main chapters. The first chapter describes the important visual representations of Vimalakirti, before the Sui dynasty. The second chapter of the thesis will provide an introduction to representations of Vimalakirti, at Dunhuang from the late sixth to the early eleventh centuries. The third chapter examines the social functions and symbolic meanings of the Vimalakirti, paintings at Dunhuang.

Thesis (Ph. D.)--University of California, Los Angeles, 1984. / Vita. "List of characters": leaves 355-360. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 361-384).

'(De)contextualising Buddhist Aesthetics' is a practice-led artistic research project focusing on the interchanging transition between Buddhist and artistic practices. Essentially inspired by the concept of vipassana meditation, I created a series of performances involving repetitive actions centring on the tasks of re-arranging readymade objects into multiple precarious configurations. Many exercises challenge the laws of gravity and other physical limitations of objects, as well as encouraging the learning experience through the process of trial and error. During the course of mindful observation of the performing body and objects, the mental state gradually gains moments of stillness and silence, which approach the meaning of emptiness (suññata) in Buddhism. Repeated failures generate intermittent feelings of exhaustion and disappointment, which naturally become part of the progress, and can be personally used to develop insight into the notions of impermanence and the non-self derived from dhamma (Buddhist teachings). The video and photography documentations were edited and altered to generate a visual experience that echoes my thoughts and feelings developed during the proceedings; these moving images later inspired other series of hand-made artworks, including collages, drawings and paintings on paper and canvas, exhibited as part of the installations. Various techniques were applied so these objective components resonate a comparative experience of uncontrollability and controllability: dynamic and stillness, fast pace and slow rhythm, abstract and representation. Some two-dimensional pieces are transformed to three-dimensional and their displays keep changing from location to location, and from time to time, in conjunction with an unstable state of the mind. All artworks were created in various formats and interrelate and inform each other. They act together as evidence of the endless journey of artistic learning, which also mirrors the concept of self-learning in Buddhist meditation.