Masterpieces Chinese Tibetan
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Lokesh Chandra: Dictionary of Buddhist Iconography, Vol. 6 (Kabira-jin - Lva.va.pahi Bde.mchog) New Delhi, India Aditya Prakashan 2002 ; fester Einband / hard cover; Schutzumschlag / dust cover; 1. Ed. ISBN: 81-7742-049-6
81-7742-049-6 New
The Dictionary of Buddhist Iconography is an endeavour of half a century to identify, classify, describe and delineate the bewildering variation in Buddhist icons. It spans the last twenty centuries, and it is a comparative study of unprecedented geographic variations, besides the ever-evolving visualisations of great masters who introduced extraordinary plurality of divine forms in the dharanis and sadhanas. "The multiple forms of a theonym arise in varying contexts. For example, Hevajra of the Hevajra-tantra holds crania in his hands, while the Hevajra of the Samputa-tantra has weapons. Both are subdivided into four each on the planes of kaya, vak, citta and hrdaya, with two, four, eight and sixteen arms. The Dictionary classifies several such types of a deity and places each in its theogonic structure, specifies the earliest date of its occurrence (e.g. Amoghapasa appears in Chinese in AD 587), the earliest image, the direction in which it is placed in the specific quarter of the mandala, its classification, colour, crown or hairdo, ferocious or serene appearance, number of eyes and heads, hair standing up and /or flaming, number of arms and attributes held in them, consort, lord of the family (kulesa), and so on. The esoteric name, symbolic form (samaya), bija (hierogram), mantra, mudra and mandala are given in this Dictionary for the first time and on an extensive scale. The Sanskrit, Chinese, Korean, Japanese, Tibetan, Mongolian, Manchu and other names are given under the main entry, as well as cross-referenced in their own alphabetic order. "The Dictionary details the characteristic attributes, chronology and symbolism of over twelve thousand main and minor deities. It reflects the extraordinary cultural, literary, aesthetic and spiritual achievements of several nations of Asia over two millennia. "It will help to identify the masterpieces along with the profusion of masters and divine beings around them. The last few decades have seen an exuberant flourishing of the study and popularisation of the patrimony of Buddhist art for its aesthetic magnificence. This Dictionary will add a dimension of precision and depth of perception to the visual tradition of paintings and sculptures. Printed Pages: 280 with illustrations. First Edition New Cloth 23 Cms x 29 Cms; First Edition
[SW: Indian Buddhism Buddhist Dictionary Buddha Iconography Religion]
Lokesh Chandra: Dictionary of Buddhist Iconography, Vol. 11 (Sakyamuni - Sparsavajra) New Delhi, India Aditya Prakashan 2004 ; fester Einband / hard cover; Schutzumschlag / dust cover; 1. Ed. ISBN: 81-7742-056-9
81-7742-056-9 New
The Dictionary of Buddhist Iconography is an endeavour of half a century to identify, classify, describe and delineate the bewildering variation in Buddhist icons. It spans the last twenty centuries, and it is a comparative study of unprecedented geographic variations, besides the ever-evolving visualisations of great masters who introduced extraordinary plurality of divine forms in the Dharanis and Sadhanas. The multiple forms of a theonym arise in varying contexts. For example, Hevajra of the Hevajra-Tantra holds Crania in his hands, while the Hevajra of the Samputa-Tantra has weapons. Both are subdivided into four each on the planes of Kaya, Vak, Citta and Hrdaya, with two, four, eight and sixteen arms. The dictionary classifies several such types of a deity and places each in its theogonic structure, specifies the earliest date of its occurrence (e.g. Amoghapasa appears in Chinese in AD 587), the earliest image, the direction in which it is placed in the specific quarter of the Mandala, its classification, colour, crown or hairdo, ferocious or serene appearance, number of eyes and heads, hair standing up and/or flaming, number of arms and attributes held in them, consort, lord of the family (Kulesa), and so on. The esoteric name, symbolic form (Samaya), Bija (Hierogram), Mantra, Mudra and Mandala are given in this dictionary for the first time and on an extensive scale. The Sanskrit, Chinese, Korean, Japanese, Tibetan, Mongolian, Manchu and other names are given under the main entry, as well as cross-referenced in their own alphabetic order. The dictionary details the characteristic attributes, chronology and symbolism of over twelve thousand main and minor deities. It reflects the extraordinary cultural, literary, aesthetic and spiritual achievements of several nations of Asia over two millennia. It will help to identify the masterpieces along with the profusion of masters and divine beings around them. The last few decades have seen an exuberant flourishing of the study and popularisation of the patrimony of Buddhist art for its aesthetic magnificence. This dictionary will add a dimension of precision and depth of perception to the visual tradition of paintings and sculptures Printed Pages: 319 with numerous illustrations. First Edition New Cloth 23 Cms x 29 Cms; First Edition
[SW: Indian Buddhism Buddhist Dictionary Buddha Iconography Religion]
Lokesh Chandra: Dictionary of Buddhist Iconography, Vol. 8 (Manjusri-Nyoze-en) New Delhi, India Aditya Prakashan 2003 ; fester Einband / hard cover; Schutzumschlag / dust cover; 1. Ed. ISBN: 81-7742-052-6
81-7742-052-6 New
The Dictionary of Buddhist Iconography is an endeavour of half a century to identify, classify, describe and delineate the bewildering variation in Buddhist icons. It spans the last twenty centuries, and it is a comparative study of unprecedented geographic variations, besides the ever-evolving visualisations of great masters who introduced extraordinary plurality of divine forms in the dharanis and sadhanas. "The multiple forms of a theonym arise in varying contexts. For example, Hevajra of the Hevajra-tantra holds crania in his hands, while the Hevajra of the Samputa-tantra has weapons. Both are subdivided into four each on the planes of kaya, vak, citta and hrdaya, with two, four, eight and sixteen arms. The Dictionary classifies several such types of a deity and places each in its theogonic structure, specifies the earliest date of its occurrence (e.g. Amoghapasa appears in Chinese in AD 587), the earliest image, the direction in which it is placed in the specific quarter of the mandala, its classification, colour, crown or hairdo, ferocious or serene appearance, number of eyes and heads, hair standing up and /or flaming, number of arms and attributes held in them, consort, lord of the family (kulesa), and so on. The esoteric name, symbolic form (samaya), bija (hierogram), mantra, mudra and mandala are given in this Dictionary for the first time and on an extensive scale. The Sanskrit, Chinese, Korean, Japanese, Tibetan, Mongolian, Manchu and other names are given under the main entry, as well as cross-referenced in their own alphabetic order. "The Dictionary details the characteristic attributes, chronology and symbolism of over twelve thousand main and minor deities. It reflects the extraordinary cultural, literary, aesthetic and spiritual achievements of several nations of Asia over two millennia. "It will help to identify the masterpieces along with the profusion of masters and divine beings around them. The last few decades have seen an exuberant flourishing of the study and popularisation of the patrimony of Buddhist art for its aesthetic magnificence. This Dictionary will add a dimension of precision and depth of perception to the visual tradition of paintings and sculptures. Printed Pages: 335 with illustrations. First Edition New Cloth 23 Cms x 29 Cms; First Edition
[SW: Indian Buddhism Buddhist Dictionary Buddha Iconography Religion]
National Palace Museum (Hrsg.). Masterpieces of Chinese Tibetan Buddhist Altar Fittings in the National Palace Museum. Taipei: National Palace Museum 1971.
Ecken und Kanten des Schuber etwas berieben und bestossen, Kasch-Folie hat sich vom Schuber gelöst und ist teilweise abgeblättert, sonst guter Zustand. Text in chinesisch und englisch. G17-2
86 Seiten, reich illustriert. 27,5*21 cm. OLeinenband, Deckel- und Rückengolddruck, OKlarsichtschutzumschlag im illustr. (und kartonierten) OSchuber.
[SW: Kunst. Kunstgeschichte. Porzellan. Porzellanmalerei. Ceramics. Chinese Pottery.]