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Bodies of Buddhas and princes at the...

Mino, Katherine R. Tsiang.

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Bodies of Buddhas and princes at the Xiangtangshan caves: Image, text, and stupa in Buddhist art of the Northern Qi dynasty, 550-577.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Bodies of Buddhas and princes at the Xiangtangshan caves: Image, text, and stupa in Buddhist art of the Northern Qi dynasty, 550-577./
Author:	Mino, Katherine R. Tsiang.
Description:	437 p.
Notes:	Advisers: Harrie Vanderstappen; Wu Hung.
Contained By:	Dissertation Abstracts International57-05A.
Subject:	Art History. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9629288

Bodies of Buddhas and princes at the Xiangtangshan caves: Image, text, and stupa in Buddhist art of the Northern Qi dynasty, 550-577.
Mino, Katherine R. Tsiang.

Bodies of Buddhas and princes at the Xiangtangshan caves: Image, text, and stupa in Buddhist art of the Northern Qi dynasty, 550-577. - 437 p.

Advisers: Harrie Vanderstappen; Wu Hung.

Thesis (Ph.D.)--The University of Chicago, 1996.

The Buddhist cave temples of Xiangtangshan, in the province of Hebei, northern China, were created with the official sponsorship of the Northern Qi court. They are ambitious in scale and design, and in the variety and quality of the stone carvings. The sculptural, inscriptive, and architectural material are of great artistic and historical value and exhibit the innovative character of Northern Qi art. The modes of representation of the human figure apparent in the Northern Qi period are markedly different from those of the early part of the sixth century under the Northern Wei. The engraving of Buddhist sutras in stone, which becomes widespread in the Northern Qi period, is previously unknown. The stupa with dome roof, rarely seen in the metropolitan area of China before the Northern Qi, becomes the prevalent type. This study examines these three separate aspects of the art of Xiangtangshan--the sculpted images, the engraved Buddhist scriptures, and the architectural form of the stupa--in a variety of contexts. Important elements of Buddhist observance and practice can be seen to correspond to these separate artistic forms. Considered as a whole, they bring together a number of interesting concepts and issues. Among these are Northern Qi art and ethnicity, relationships between texts and images, and the multiple meanings of visual signs. The three principal artistic aspects of the caves may also be seen to correspond to major aspects of Buddhist practice and observance and to the classification of the principal manifestations of the Buddha, known as the trikaya, or "three bodies." At Xiangtangshan, the overlapping of the theme of Buddha's bodies with that of the bodies of emperors and courtiers indicates that the caves had political as well as religious significance and that they played an important role in the formation of the identity and ideology of the Northern Qi state.Subjects--Topical Terms:

635474
Art History.

Bodies of Buddhas and princes at the Xiangtangshan caves: Image, text, and stupa in Buddhist art of the Northern Qi dynasty, 550-577.
LDR:02893nam 2200289 a 45 001 965774
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100 1 $a Mino, Katherine R. Tsiang. $3 1288526
245 1 0 $a Bodies of Buddhas and princes at the Xiangtangshan caves: Image, text, and stupa in Buddhist art of the Northern Qi dynasty, 550-577.
300 $a 437 p.
500 $a Advisers: Harrie Vanderstappen; Wu Hung.
500 $a Source: Dissertation Abstracts International, Volume: 57-05, Section: A, page: 1887.
502 $a Thesis (Ph.D.)--The University of Chicago, 1996.
520 $a The Buddhist cave temples of Xiangtangshan, in the province of Hebei, northern China, were created with the official sponsorship of the Northern Qi court. They are ambitious in scale and design, and in the variety and quality of the stone carvings. The sculptural, inscriptive, and architectural material are of great artistic and historical value and exhibit the innovative character of Northern Qi art. The modes of representation of the human figure apparent in the Northern Qi period are markedly different from those of the early part of the sixth century under the Northern Wei. The engraving of Buddhist sutras in stone, which becomes widespread in the Northern Qi period, is previously unknown. The stupa with dome roof, rarely seen in the metropolitan area of China before the Northern Qi, becomes the prevalent type. This study examines these three separate aspects of the art of Xiangtangshan--the sculpted images, the engraved Buddhist scriptures, and the architectural form of the stupa--in a variety of contexts. Important elements of Buddhist observance and practice can be seen to correspond to these separate artistic forms. Considered as a whole, they bring together a number of interesting concepts and issues. Among these are Northern Qi art and ethnicity, relationships between texts and images, and the multiple meanings of visual signs. The three principal artistic aspects of the caves may also be seen to correspond to major aspects of Buddhist practice and observance and to the classification of the principal manifestations of the Buddha, known as the trikaya, or "three bodies." At Xiangtangshan, the overlapping of the theme of Buddha's bodies with that of the bodies of emperors and courtiers indicates that the caves had political as well as religious significance and that they played an important role in the formation of the identity and ideology of the Northern Qi state.
590 $a School code: 0330.
650 4 $a Art History. $3 635474
650 4 $a History, Asia, Australia and Oceania. $3 626624
650 4 $a Religion, History of. $3 1017471
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710 2 0 $a The University of Chicago. $3 1017389
773 0 $t Dissertation Abstracts International $g 57-05A.
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790 1 0 $a Hung, Wu, $e advisor
790 1 0 $a Vanderstappen, Harrie, $e advisor
791 $a Ph.D.
792 $a 1996
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9629288