|
|
|
 |
|
|
|
|
|
|
Violence and Serenity: Late Buddhist Sculpture of Indonesia |
|
|
|
| Author |
Reichle, Natasha Ann (著)
|
|---|
| Volume | v.63 n.9 Section A |
|---|
| Date | 2002 |
|---|
| Publisher | University of California, Berkeley |
|---|
| Publisher Url |
http://www.berkeley.edu/
|
|---|
| Location | Berkeley, CA, US [伯克利, 加利福尼亞州, 美國] |
|---|
| Content type | 博碩士論文=Thesis and Dissertation |
|---|
| Language | 英文=English |
|---|
| Degree | doctor |
|---|
| Institution | University of California, Berkeley |
|---|
| Advisor | Williams, Joanna |
|---|
| Publication year | 2002 |
|---|
| Note | 509p |
|---|
| Keyword | Buddhist; Sculpture; Indonesia |
|---|
| Abstract | Various attempts have been made to understand the Buddhism of Central Java, especially as reflected in ancient statuary and archaeological monuments, but little effort has been expended on examining the Buddhist sculpture of the East Javanese period (circa tenth–fifteenth centuries). This thesis examines Buddhist sculpture in Indonesia, concentrating on Javanese and Sumatran works from the thirteenth and fourteenth centuries. In most cases these statues are affiliated with the rulers of the Singasari or Majapahit dynasties, although several are also associated with the Sumatran ruler Adityawarman. The Sumatran images discussed were found at the ancient archeological sites of Padang Lawas, Muara Jambi, and the Upper Batang Hari.
The sculpture of this period is not only breathtakingly beautiful, but also an important key to a deeper understanding of the histories of Java and Sumatra. This thesis helps explicate the cultural significance of artistic production, focussing on the role of royal patronage, the impact of local cultures, the position of sculpture in religious ceremony, and the function of statuary in a political context both in the past and today. My methodology includes not only a close art-historical examination of works of art and their sites of origin, but also a necessary exploration of relevant epigraphical, archaeological, literary, and religious sources.
After an introductory chapter discussing the history of Buddhism in the region, each of the subsequent chapters revolves around a single statue, or group of statues. These include the so-called Joko Dolok from Surabaya, the famous Prajñapāramitā from Singasari, the Amoghapāśa mandala from Candi Jago, the Heruka from Padang Lawas, and a colossal Bhairawa from Padang Roco.
This study analyzes the relationship between these sculptures and the form of Buddhism practiced by native rulers, exploring specifically what role art played in the political as well as religious arena. In addressing this question, I am interested not only in identifying how these images may be placed into the Buddhist pantheon, but how they were used—what were their aesthetic, religious, political and performative functions? |
|---|
| Table of contents | Acknowledgments
A Note on Spelling and Transliteration
Rulers of the Singasari and Majapahit Dynasties
Introduction
1. The Development of Buddhism in Sumatra and Java
2. Joko Dolok and the Politics of Royal Asceticism
3. Ideas of Portraiture: Prajñaparamita in Java and Sumatra
4. The Many Roles of the Amoghapasa Mandala
5. A Charnel House of Images: The Padang Lawas Heruka
6. The National Museum’s Monumental Bhairava
Conclusion
Notes
Selected Bibliography
Illustration Credits
Index |
|---|
| ISBN | 0493824200; 9780493824208 |
|---|
| Hits | 1006 |
|---|
| Created date | 2005.09.23 |
|---|
| Modified date | 2022.03.24 |
|---|
 |
Best viewed with Chrome, Firefox, Safari(Mac) but not supported IE
|
|
|
