Thesis (Ph. D.)--Ohio State University, 2003. / Document formatted into pages; contains xxiii, 871 p. Includes bibliographical references (p. 538-581). Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2006 June 17.

許雪輝. / 稿本 ; 複本據稿本影印. / Thesis (M.A.)--香港中文大學硏究院藝術學部. / Gao ben ; fu ben ju gao ben ying yin. / Includes bibliographical references (leaves 224-259). / Xu Xuehui. / Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan yi shu xue bu. / 導言 / Chapter 第一章 --- 孔望山佛教造像題材之發現 / Chapter 甲 --- 孔望山之地理位置 --- p.6 / Chapter 乙 --- 歷代對孔望山造像題材及年代之認識 / Chapter （一） --- 文献記載 --- p.11 / Chapter （二） --- 近人考察 --- p.13 / Chapter 丙 --- 孔望山造像內容之概述 --- p.18 / Chapter 第二章 --- 孔望山造像年代問題述評 / Chapter 甲 --- 東漢說 --- p.36 / Chapter （一） --- 小結 --- p.44 / Chapter 乙 --- 非東漢說 / Chapter （一） --- 曹魏以後元魏以前說 --- p.53 / Chapter （二） --- 三國或西晉時代以後說 --- p.57 / Chapter （三） --- 六朝說 --- p.59 / Chapter （四） --- 唐代前後說 --- p.60 / Chapter （五） --- 小結 --- p.65 / Chapter 第三章 --- 從文献資料考察孔望山佛教造像的年代 / Chapter 甲 --- 從佛教起源及漢代譯經方面考察 / Chapter （一） --- 佛像之起源　 --- p.74 / Chapter （1） --- 小結 --- p.89 / Chapter （二） --- 漢代佛教譯經 --- p.92 / Chapter （1） --- 小結 --- p.100 / Chapter 乙 --- 從漢代海上交通及漢代佛法流佈之地理分佈方面考察 / Chapter （一） --- 漢代海上交通 / Chapter （1） --- 漢代海路已開 --- p.106 / Chapter （2） --- 漢代中印之海路交往 --- p.114 / Chapter （3） --- 《漢書、地理志》所載之航程 --- p.119 / Chapter （二） --- 漢代佛法流佈之地理分佈 --- p.122 / Chapter （1） --- 小結 --- p.136 / Chapter 第四章 --- 孔望山佛教造像及藝術特色之分析比較 / Chapter 甲 --- 孔望山佛教造像之圖像及藝術特色 --- p.139 / Chapter 乙 --- 孔望山佛教造像與中國早期佛教造像之圖像及藝術特色比較 / Chapter （一） --- 東漢佛教造像之圖像及藝術特色　　　 --- p.147 / Chapter （二） --- 魏吳晉間出土佛像的圖像及藝術特色 --- p.152 / Chapter （三） --- 孔望山佛教造像與中國早期佛教造像之圖像及藝術特色比較 / Chapter （1） --- 圖像方面 --- p.163 / Chapter （2） --- 藝術特色方面 --- p.165 / Chapter 第五章 --- 總結 --- p.171 / 注釋 --- p.178 / 書目 --- p.224 / 圖錄

Thesis (M.A.)--Ohio State University. / Bibliography: leaves 51-54.

No description available.

Thesis--New York University, 1973. / Includes bibliographical references (leaves 379-388).

Thesis (Ph. D.)--University of California, Berkeley, 1987. / Includes bibliographical references (p. 176-187).

Thesis (Ph. D.)--University of Chicago, 2004. / Includes bibliographical references.

Buddhism is an integral part of Burmese culture. While Buddhism has been practiced in Burma for around 1500 years and evidence of the religion is found throughout the country, nothing surpasses the concentration of Buddhist monuments found at Bagan. Bagan represents not only the beginnings of a unified Burmese country, but also symbolises Burmese 'ownership' of Theravada Buddhism. ¶ While there is an abundance of artistic material throughout Burma, the study of Burmese Buddhist art by western scholars remains in it infancy due to historical events. In recent years, opportunities for further research have increased, and Bagan, as the region of Buddhism's principal flowering in Burma, is the starting point for the study of Burmese Buddhist art. To date, there has been no systematic review of the stylistic or iconographic characteristics of the Buddhist images of this period. This thesis proposes, for the first time, a chronological framework for sculptural depictions of the Buddha, and identifies the characteristics of Buddha images for each identified phase. The framework and features identified should provide a valuable resource for the dating of future discoveries of Buddhist sculpture at Bagan. ¶ As epigraphic material from this period is very scant, the reconstruction of Bagan's history has relied heavily to this point in time on non-contemporaneous accounts from Burma, and foreign chronicles. The usefulness of Bagan's visual material in broadening our understanding of the early Bagan period has been largely overlooked. This is addressed by relating the identified stylistic trends with purported historical events and it is demonstrated that, in the absence of other contemporaneous material, visual imagery is a valid and valuable resource for both supporting and refuting historical events. ¶ Buddhist imagery of Bagan widely regarded to represent the beginnings of 'pure' Theravada practice that King Anawrahta, the first Burman ruler, actively encouraged. This simplistic view has limited the potential of the imagery to provide a greater understanding of Buddhist practice at Bagan, and subsequently, the cross-cultural interactions that may have been occurring. In this light the narrative sculptural imagery of the period is interrogated against the principal Mahayana and Theravada texts relating to the life of Gotama Buddha. This review, along with the discussion regarding potential agencies for stylistic change, reveals that during the early Bagan period, Buddhism was an eclectic mix of both Theravada and Mahayana, which integrated with pre-existing spiritual traditions. Towards the end of the early Bagan period, trends were emerging which would lead to a distinctly Burmese form of Buddhist practice and visual expression.

This study explores the significance of Dunhuang 敦煌 iconography from the perspective of Buddhist philosophy. The time span of the Dunhuang iconography of the Grottoes runs from the 4th to the 14th centuries. This wide coverage makes it extremely valuable for revealing the developments in art, history, culture, and religious activities in China, and neighbouring regions along the Silk Road. Most scholars have approached the Dunhuang Grottoes from the perspectives of art, history, or archaeology. However, studying the Dunhuang Grottoes from the perspective of Buddhist philosophy has remained under-researched, and therefore, less exhaustively dealt with. It is in Dunhuang Mogao 莫高 Cave 45 that one can see the most well preserved Buddha statue group, and the only Guanyin S?tra 觀音經, i. e. the Chapter of the Universal Gateway of Avalokite?vara Bodhisattva 普門品 from the Saddharmapu??ar?ka S?tra 妙法蓮華經, painted on one entire wall. This dual association has rendered Cave 45 the most ideal source for this research. In this research, Buddhist iconography will be studied in the light of Buddhist philosophy. The study also takes into account triangulation of data collected through various sources, namely: (1) Field trips in Dunhuang and related areas for primary data collection; (2) Image analyses of data collected from primary and secondary sources; (3) Verification of data in the light of both ancient and modern Buddhist literature. The research will be focused on identifying Buddhist philosophy from the mural paintings of the Guanyin S?tra and on the conceptualized understanding of the material as presented in the paintings. The causes of suffering will be identified after examining the thirty-three manifestations / appearances of Avalokite?vara as depicted here. The scenes of various desires as identified and conceptualized in the mural painting of the Cave 45 will also be studied. The Buddha statue in the centre of the statue group portrays cessation of suffering. The statues of bodhisattvas and disciples along both sides, with different facial expressions and body gestures, portray the different levels of cessation of suffering, all leading to ultimate awakening and full emancipation. In this connection, the missing pair of statues in the statue group will also be explored and identified. It is true that Dunhuang iconography, as exemplified through Cave 45, can be approached from many perspectives. However, the primary objective of this study is to show that the Dunhuang iconography is designed as an artistic portrayal of the fundamental teachings of Buddhism. / published_or_final_version / Buddhist Studies / Doctoral / Doctor of Philosophy

Thesis (Ph. D.)--Australian National University, 2006. / Title from PDF title page (viewed on Feb. 3, 2008). Includes bibliographical references (p. 294-307).