Search Results (70)

Weituo 韦驮 is one of the most frequently represented protective deities in Chinese Buddhist temples. The statue of Weituo is enshrined virtually in every standard Buddhist temple in China today, and at a unique location—in the entrance hall for the four Heavenly Kings and facing inward. Why is the Weituo statue placed at this place and looking inward? The Chinese Weituo can be traced back to the Hindu god Skanda. However, his iconography and functions in China were completely reshaped by master Daoxuan’s 道宣 (596–667) account of this deity. Actually, Weituo is just one of the many Buddhist protective deities for general protection and prosperity. In China, as I demonstrate in this study, Weituo has been known as the most diligent Dharma-protector and is associated in particular with the saṅgha, as a patron guardian and inspector of monks and nuns. Thus, Weituo’s images are shrined in Buddhist temples. The locations of these images reflect the importance of Weituo and his special role in Chinese Buddhism. In the past, there have been a few studies, but they mainly focus on his origin. The functions of Weituo and the worship of Weituo in the Chinese saṅgha have not been well examined. Going beyond his identities, iconography, and style, this study aims to contextualize Weituo images in temple space and religious practice. Full article

This study unpacks the Buddhist assimilation of Namsan (South Mountain) in Kyŏngju through the creation and aggregation of Buddhist sculptures and structures on its slopes during the seventh to tenth centuries. Though steeped in native lore regarding nature deities and efficacious rocks, auspicious geological features such as Namsan were recast as part of a Buddhist landscape filled with manifestations of the Buddha and his attendants. These images served to demarcate claims of Buddhism’s place in the peninsula and were situated within sites that were previously marked and claimed by indigenous systems of belief. Employing an approach that draws parallels with David Harvey’s concept of urban environments as palimpsests, this paper reveals that Namsan was a multifaceted site, with military fortifications, temples, and rock-carved sculptures augmenting its spiritual and political significance. The repeated installation of Buddhist imagery ‘recovered’ the mountain, subsuming indigenous beliefs under Buddhist practices. This research finds that Namsan’s landscape was purposefully layered, reflecting the dialectical relationship between various communities and their religious and social practices over time. Analyzing Namsan as a palimpsest underscores the strategic appropriation of the mountain’s materiality and sacrality to establish a Buddhist territory deeply intertwined with the Silla elite’s politics and ideologies. Full article

Architecture is the stone book of history, and the evolution of architectural styles showcases a non-verbal history constructed through images. As an important part of China’s historical and cultural heritage, the architectural forms and styles of Tibetan Buddhist temples were initially modeled on Tang dynasty temple architecture and gradually evolved into the most significant architectural types in regions such as Tibet and Qinghai in China. Religious architecture has also played a significant role in shaping regional cultural landscapes. Existing research on Tibetan Buddhist temples is primarily focused on qualitative studies of individual temple buildings. This research takes the spatiotemporal evolution of architectural styles of Tibetan Buddhist temples as an entry point and, for the first time, employs ArcGIS technology to visualize the spatial and geographical distribution of Tibetan Buddhist temples from the 7th to the 18th century, establishing a comprehensive academic vision that encompasses both historical stratification and cross-regional spatial correlations. By analyzing the cultural symbolic features embodied in the construction styles of Tibetan Buddhist temples and the visual characteristics reflected in their decorative arts, we propose two spatiotemporal dimensions for the formation and transmission of Tibetan Buddhist temple architectural styles: “Westward Transmission” and “Eastward Diffusion”. Firstly, from the 7th to the 9th centuries, the architectural style and construction techniques of Tang dynasty Buddhist temples were transmitted westward along the Tang–Tibet ancient road, integrating with local Tibetan elements to form the Tubo architectural style, which was further refined into the “Sino–Tibetan Combined Style” with strong visual characteristics around the 13th century. Subsequently, along with the spread of Tibetan Buddhism, this temple architectural style underwent an eastward diffusion from the 13th to the 18th century, reaching regions, such as Sichuan, Qinghai, Gansu, Inner Mongolia, Hebei, and Beijing, presenting a spatial gradient from west to east in the geographical dimension. On this basis, in this research, we construct a historical evolution mapping of Tibetan Buddhist temple architectural styles based on bidirectional transmission, attempting to elucidate that the intrinsic driving forces are religious and the cultural identity that guided the bidirectional transmission mechanism of these architectural styles under the historical context of the formation and dissemination of Tibetan Buddhism from the 7th to the 18th century. Full article

Buddhist culture in Liaoning has a long and rich history. The continuous spread of Buddhism has promoted the development of Buddhist architecture, leaving us a rich architectural art heritage. Furthermore, it has also profoundly influenced China’s architectural characteristics, social culture, and economic development. This paper takes Buddhist temples and pagodas in Liaoning as the research objects and uses methods such as the geographic concentration index, nearest neighbor index, kernel density estimation, and standard deviation ellipse to analyze their spatio-temporal distribution characteristics and influencing factors across different periods. 1. Temporal distribution. During the Liao Dynasty (907–1125 AD) and the Qing Dynasty (1636–1912 AD), the construction of Buddhist temples and pagodas was the highest, with a linear increase in the Qing Dynasty. 2. The overall spatial distribution of Buddhist temples and pagodas in Liaoning is uneven, showing an agglomeration distribution state. The distribution status of different periods was different, and the Ming (1368–1644 AD) and Qing dynasties (1636–1912 AD) showed obvious aggregation distribution. The overall state is “more in the west and less in the east” and “more in the north and less in the south”. 3. In different periods, the spatial distribution direction of Buddhist temples and pagodas in Liaoning was relatively obvious and was southwest–northeast, and the center of gravity gradually shifted to the northwest. 4. The kernel density of different periods presents the density distribution and area of each period. The overall distribution is dense to scattered and then to highly dense. 5. The spatio-temporal distribution characteristics of Buddhist temples and pagodas in Liaoning are mainly composed of deep-seated political factors, rapid economic development and stable social environment, diverse culture, natural geography, cultural relics protection, and the artistic value of Buddhist architecture in the Liaoning region. Full article

The Daitokuji Old Collection’s 500 Luohans Paintings 五百羅漢圖, painted by Southern Song Mingzhou 明州 artists Lin Tinggui 林庭珪 and Zhou Jichang 周季常, have become a focal point in recent studies on the Chinese Buddhist material culture of the Song Dynasty. Among the 500 Luohans series, five paintings are related to the ancient Indian legend of Emperor Aśoka’s creation of 84,000 stupas. These paintings include “Building a Stupa” (No.78), “King Aśoka Stupa Emitting Light” (No.79), “Precious Stupa on the Rock” (No.80), and “Miracle of Light-Emitting Relics” (No.81), which are currently housed in the Daitokuji 大德寺 in Kyoto, Japan, and “Luohans Watching the Relics’ Light” (B5), which is housed in the Museum of Fine Arts in Boston, the US. However, the way in which the “King Aśoka Stupa” 阿育王塔 and “Relics’ Light” 舍利光 series were integrated into the overall visual narrative of the 500 Luohans in the Daitokuji and Boston collections, as well as the profound meanings and social-cultural contexts embedded in these images, have been rarely studied in depth. The introduction of the miraculous relics theme into the Daitokuji Old Collection’s 500 Luohans Paintings originates from an earlier version by the monk Fa Neng. However, Fa Neng’s version recorded by the Northern Song literati Qin Guan 秦觀 does not mention the King Aśoka Stupa. The artists had considerable freedom in depicting miraculous relic phenomena and King Aśoka Stupa. The specific details of King Aśoka Stupa’s background in Tiantai Mountain 天台山, such as rock bridges, waterfalls, and rock caves, as well as the craftsmanship of King Aśoka Stupa, reflect particular contemporary ideas. The vivid depictions of the “King Aśoka Stupa” and “Relics’ Light” in the Daitokuji Present Collection and the Boston Collection of the 500 Luohans may indicate a close connection between the creation of these images and the fervent Relics Worship at King Aśoka Temple 阿育王寺 in Mingzhou during Southern Song. This paper synthesizes these images, ancient Chinese and Japanese manuscripts, and fieldwork insights to interpret the sources and significance of these images. Full article

In Chiang Mai, Thailand, there has been an increasing demand for lighting design strategies that enhance tangible and intangible values of cultural heritage destinations. This research explores the role of lighting design in enhancing the cultural experiences and promoting the cultural tourism of Lanna Buddhist architecture. Suan Dok Temple was selected as a case study due to its historical, social, and cultural significance. This research uses qualitative approaches such as field surveys, photographic documentation, and interviews with temple authorities, cultural heritage experts and tourism professionals for the formulation of initial users’ requirements and lighting design criteria and concept. Data analysis suggested that cultural heritage and conservation, cultural tourism management, and operation and maintenance are important factors in heritage lighting design for cultural tourism. Realistic rendering images of lighting design scenes for the temple’s chedis and vihara are generated based on the concept of luminance layers representing the Buddhist cosmology idea. In addition, lighting operation and installation details are developed and presented to stakeholders for discussion on contextual and operational appropriateness. Finally, the study discusses critical lighting design factors for the development of lighting design solutions for heritage sites, particularly Lanna Buddhist temples, contributing to sustainable cultural tourism. Full article

The Huayansi 華嚴寺, situated at the frontier stronghold of the Liao Dynasty in the Western Capital, is a significant royal temple that preserves two main halls from the Liao and Jin Dynasties to this day. Through a systematic examination of the Liaoshi 《遼史》 and the related literature, this study offers a novel interpretation of the east–west dual-axial layout of the Huayansi and its historical significance. It further discusses the integral artistic space of the Buddha and the Dharma within the Bhagavata Scriptures Hall 薄伽教藏殿, which shapes the spiritual realm of the Western Pure Land, thereby repositioning and enhancing the historical value of the Bhagavata Scriptures Hall. The article elucidates the political and cultural core elements embedded within the formation of the parallel axes of the Bhagavata Scriptures Hall and the Mahavira Hall, which are closely associated with three pivotal years in the Liao Dynasty: 1038, 1044, and 1062. This not only reflects the grand historical context of the Liao Dynasty’s domestic governance and foreign policy during the 10th and 11th centuries but also encapsulates the rich and diverse religious beliefs and cultural traits of the Khitan 契丹 people. The axis space of the Bhagavata Scriptures Hall, constructed earlier during the reign of Xingzong 興宗 to house the Liao Canon 《遼藏》, along with the architectural complex of the Huayansi—named and commissioned by Emperor Daozong 道宗 24 years later—collectively establishes a dual-axial worship space at the Grand Huayansi, sanctified by the triad of the Buddha 佛, the Dharma 法, and the Ancestors 祖. This underscores the Liao Dynasty’s political objectives of deterring hostile states and ensuring national security within the framework of Buddhist veneration and ancestor worship. Full article

With the establishment of Chosŏn, the adoption of the Cheng-Zhu learning as its official ruling ideology led to the suppression of Buddhism, and the role of Buddhism in the public domain gradually diminished. However, the importance and influence of Buddhism in both thought and faith since the period of the Three Kingdoms were so great that it was very difficult to reduce them in a short period of time. Moreover, the state policy regarding Buddhism was a very complicated issue, involving the practical interests of the political powers of early Chosŏn. As a result, for a period of time after the foundation of the new dynasty, Buddhism still remained rather influential in many areas, not only as an ideology but also as a religion, and the differences in positions toward Buddhism between the king and the Confucian literati sometimes led to tensions and conflicts. Under these circumstances, Sejo, the seventh king of Chosŏn, came to power through a coup, purging many officials as well as his own blood relatives. Consequently, it was difficult for him to legitimize his kingship through Confucianism, which emphasizes socioethical values. Although the official role of Buddhism in the state was diminished, King Sejo sought to capitalize on its sociocultural influence, especially by endowing the phenomena of Buddhist wonders with political significance and using them as a means to enhance his authority. During his 14-year reign, Buddhist wonders, such as the appearance of the Buddha or the dividing of śarīra in Wŏn’gaksa Temple, Sangwŏnsa Temple, are believed to have occurred approximately 40 times. The perception that King Sejo’s merits led to the manifestation of wonder and that his subsequent gifts generated new merits for him likely served to increase his authority and strengthen his political power. Officials hardly resisted Sejo’s use of Buddhism, and as a result, the phenomenon of Buddhist wonder and related royal pardons occurred during his reign more than any other reign period during Chosŏn. The Buddhist wonders, along with large-scale pardons and gifts, allowed King Sejo to portray himself as a monarch with great benevolence and authority and also to use as a public tactic to comfort his people. Therefore, Buddhism served as a religion that helped the king create an ideal public image for himself, and with this Buddhism, the king could increase his royal authority. Full article

Erdene Zuu is the oldest extant Buddhist temple in the country of Mongolia, founded following the reintroduction of Tibetan Buddhism to Inner Mongolia in the sixteenth century. The subject of this paper is the building activities of the sixteenth and seventeenth centuries, particularly of the complex centering on Gurban Zuu (Three Temples), which are the main buildings of Erdene Zuu. The author first confirms Gurban Zuu’s ground plan based on measurements, and then interprets the “black-ink inscription” discovered on the ridge purlin of the Central Buddha Hall. This complex is then compared with Inner Mongolian Buddhist temples of the same period. Finally, the author studies whether or not the spatial structure of the temple architecture of the Mongolian Empire of the thirteenth and fourteenth centuries was continued at Erdene Zuu, and analyzes the position that Erdene Zuu occupied in the Tibetan Buddhist sphere. This comparative study investigates the origins of Erdene Zuu’s architectural spatial composition within East Asia. Full article

In Ying Xian Fogong Si Shijia Ta 應縣佛宮寺釋迦塔 (Sakyamuni Pagoda of Fogong Temple in Ying County), Shanxi, there are statues set on each floor, and 26 exist in total, with six murals painted on the first floor. The pagoda was designed as a vertically rising Buddhist temple, and the interior space of each floor was customized for the statues. Based on previous research and through surveying and mapping of the architecture and statuary (including the murals on the first floor) combined with geometric design analysis, this paper proposes the following: First, there exists a clear geometric proportion among the interior space and statues on each floor of the pagoda. Second, clear proportional relationships also exist among the statues on each floor, and each of the 26 statues has ‘classical’ proportion rules. Third, the height of the giant Buddha statue on the first floor is the module for not only the height of the statues on each floor but also the construction of the whole pagoda such that the height of the statue on the first floor is 1/6 of the total height of the pagoda (excluding the base). And the ratio of the pagoda’s total height to the first floor’s diameter, the ratio of the total height to the top-story height under the column capital, and all the other geometric proportions are closely related to the architectural modeling. And finally, in the construction of the pagoda, statues, and murals, the scale is deduced to be 1 chi 尺 (Chinese foot) = 29.5 cm. These values give clear scale logics not only to the construction but also to the details of the statues. Accordingly, the most frequently used proportions in the architectural space, statues, and murals of the Pagoda of Fogong Temple are 2, 3:2, 5:3 (or 8:5), and 9:5, which are imbued with cultural messages, like Zhou Bi Suan Jing 周髀算經 (The Mathematical classic of the Zhou shadow-gauging instrument), Ying Zao Fa Shi 營造法式 (Treatise on Architectural Methods or State Building Standards), the ancient Chinese world view—tian yuan di fang 天圜地方 (the dome-shaped heaven and the flat, square earth) reflected from “ yuan fang tu 圓方圖 (rounded-square map)” and “fang yuan tu 方圓圖 (squared-circle map)”, ancient Chinese ideas that ”san tian liang di er yi shu 參天兩地而倚數 (‘three’ is the number of the heaven and ‘two’ is the number of the earth, and all numbers are based on them)” and “jiu wu zhi zun 九五之尊 (nine and five are the numbers of the honorable central position)”, and most probably related to the “mandala” of Esoteric Buddhism and to the Western “Golden Ratio”, which all need further research in depth. Full article

This article explores the charitable activities of Chinese Buddhists in Beijing in the first decades of the twentieth century, with a focus on Buddhists’ efforts in building schools and promoting modern education. Specifically, the activities led by Venerable Zongyue 宗月 (1880–1941) are examined, in his role spearheading various Buddhist charitable activities in Beijing, including building several schools for commoners (pingmin xuexiao 平民學校) in the 1920s. Zongyue also established a library and a Buddhist newspaper called Fobao Xunkan 佛寶旬刊 to promote ideas about philanthropy. In the late 1920s, inspired by Zongyue’s example, as well as under pressure from the government during the anti-superstition campaigns, many other temples in Beijing began building schools to offer educational opportunities to students. This article investigates the interactions between Buddhism, education, and the government. By examining the initiatives started by Zongyue and the role of Chinese Buddhists in promoting charitable educational activities and social change, this article sheds light on the broader impact of Buddhism on Chinese society in the early twentieth century. Full article

During the operation of the Myeongjin School, it not only employed many leading Buddhist progressives, but graduated key Buddhist reformers. Overcoming conservative opposition within the Korean Buddhist community, during its brief operation the Myeongjin School would open dozens of branches at temples throughout Korea, prompting a proliferating modern education throughout its Buddhist community. Over the century, the institute founded as the Myeongjin School suffered repeated closures during Korea’s Japanese Annexation only to emerge from the Korean War as Dongguk University Seoul. As Korea’s oldest and largest Buddhist university, Dongguk has produced over 350,000 graduates and, despite transitioning to a more secular approach to education, it remains a leading center for monastic education, Buddhist studies, and intellectual culture. This article examines, in detail, the origins, founding, and operation of the Myeongjin School within the dynamic political and religious context of Korea’s early modern period, in addition to the school’s impact, subsequent history, and legacy. Full article

The Caodong School (曹洞宗) advocates the integration of Buddhism, Taoism, and Confucianism (三教會通) and interprets Chan through the I Ching (以易釋禪). During the transition from the Ming to the Qing Dynasty, there was extensive interaction and mobility between the Ming loyalists (遺民) and Chan monks. This accelerated the secularization of monks and promoted the construction of temple gardens, which were expressed and preserved through literary Chan poetry. This study explores the relationship between Buddhist concepts and garden construction through a specific case, the Changshou Monastery Garden (長壽寺花園) in Canton (now Guangzhou) during the Qing Dynasty. This study examines how the Chan master Shilian Dashan 石濂大汕 (1633–1705), who journeyed to Dang Trong (Cochinchina 廣南) to spread Buddhist teachings, shaped the design and layout of the temple garden, reflecting Buddhist ideals and Caodong principles. This study analyzes the changes in landscape at the Changshou Monastery Garden, according to “the sound of tides” (潮音) from a Buddhist perspective. It also reveals how Dashan, as both a monk and a literati, blended Chan and Chinese philosophy in making the garden. The cultural resonance of tides within religious and literati traditions furnishes novel insights and prospects for the development of garden spaces. Full article

This article explores the pictorial representation of the Buddhist hell in Kamakura (1185–1333) Japan, with a focus on a mid-thirteenth century rokudō-e, or Pictures of the Six Realms, preserved at Shōjuraigōji Temple. The examination revolves around how these scroll paintings convey messages of salvation by representing the symbolic architecture of the hell realm, the lowest level within the six realms. By scrutinizing the visual representation of hell landscapes in four hell scrolls in the Shōjuraigōji set, the study unveils the architectural symbolism of boundaries and pathways. A visual analysis of two hell-tearing narrative scrolls further reveals that the key iconography involves the destruction of the architectural symbols of hell. Through tracing the concurrent processes of constructing and destroying the imaginary space of hell, the study demonstrates that the conceptual and visual construction of hell is coupled with an equally pronounced intent for hell-tearing. Lastly, based on the visuality of the hell-escaping narratives, the medium of hanging scrolls, and the centrality of an Enma scroll within the Shōjuraigōji set, the author proposes a spatial arrangement of this set of fifteen scrolls that could systematically convey the visual massage of “escaping from suffering in the six courses”. Full article

This paper examines the construction and maintenance of Chinese Han Buddhist temples in modern China against the backdrop of societal transformation. Initially, it analyzes the profound impact of social changes since the mid-19th century on Buddhist monasteries, including political turmoil, economic development, and urbanization. Furthermore, the paper explores how temples were reconstructed and revitalized within this historical context, highlighting the monastic community’s unwavering commitment to protecting the Dharma and ensuring its enduring presence. Additionally, this paper also explores the role of charismatic monks in enhancing the sanctity of temples and the influence of Buddhist institutional frameworks on the dynamics of state and society. The study employs a multifaceted analysis to understand the complex interplay between temple construction, economic development, and the cultural heritage of Buddhism in China. Full article