Early Buddhist Narrative Art

Early Buddhist Narrative Art is a pictorial journey through the transmission of the narrative cycle based on the life of the historical Buddha. Karetzky, while demonstrating the various evolutions that the image of the Buddha underwent, maintains that there is an underlying homogeneity of the tradition in the cultures of India, Central Asia, China and Japan. The author, while focusing on the visual representation of the Buddhist narrative, goes into some detail regarding the importance of scriptures in each society, and how the written tradition informed the pictorial. Over seventy photos fill this book, which will be of interest to scholars of art history, Eastern religion and Buddhism in particular.

Illustrations: Numerous B/w Illustrations Description: Story-telling is an ever popular activity that occurs across space and time. Which child has not sat enthralled by the magic of story-tellers, and which adult has not succumbed to the seduction of reenactments of great legends? India's ancient Buddhists capitalized on the lure of stories, portraying them visually in stone reliefs and painted murals, to introduce viewers to the Buddhist faith and to confirm them in their belief. Commencing in the first century BC, Buddhist monasteries across the Indian subcontinent were extensively decorated with visual narratives of varying sizes, from a mere twelve inch panel to an extensive fifty foot wall. This book is a pioneering exploration of the manner in which stories are told. It identifies seven modes of visual story-telling used by the artist in early India, considers the reason for one mode being chosen over another, and explores how the effect of a story on the viewer varied according to the manner chosen to portray it. The book is a contribution to the expanding sphere of art, historical investigation and also to the field of Buddhist studies. Contents Preface Photographic Sources Discourse and Story 1. On Modes of Visual Narration 2. The Multivalent Sign in Early Buddhist Art 3. Text and Image II. Sites Of Narrative 4. Towards Narrative : Sanchi Stupa 5. Emergence of Visual Narrative : Bharhut Stupa 6. Narrative Achieves Assurance : Sanchi Stupa 7. Variations in Narrativity : Lesser Monasteries 8. Maturity of Narrative : Amaravati and Nagarjunakonda 9. Narrative Cycles at Gandhara 10. Ajanta's Painted Murals 11. The Narrative Tradition Recedes 12. Concluding Remarks

Volume two of Marylin Rhie's widely acclaimed and formative multi-volume work presents a comprehensive, scholarly and detailed study of the Buddhist art of China and Central Asia from 316-439 A.D. during the formative early periods of Buddhism in the Eastern Chin and Sixteen Kingdoms Period. Using texts translated from the Chinese together with stylistic and technical analyses, the chronology and sources of the art are more clearly defined than in previous studies for the regions of South and North China (other than Kansu) and the important sites of Tumshuk, Kucha and Karashahr on the Northern Silk Route in eastern Central Asia. Furthermore, by incorporating extensive religious and historical materials, this work not only contributes to clarifying the regional characteristics of the art, but also offers new insights into the broader, interregional relationships of this politically fragmented period.

Volume two of Marylin Rhie’s widely acclaimed and formative multi-volume work presents a comprehensive, scholarly and detailed study of the Buddhist art of China and Central Asia from 316-439 A.D. during the formative early periods of Buddhism in the Eastern Chin and Sixteen Kingdoms Period. Using texts translated from the Chinese together with stylistic and technical analyses, the chronology and sources of the art are more clearly defined than in previous studies for the regions of South and North China (other than Kansu) and the important sites of Tumshuk, Kucha and Karashahr on the Northern Silk Route in eastern Central Asia. Furthermore, by incorporating extensive religious and historical materials, this work not only contributes to clarifying the regional characteristics of the art, but also offers new insights into the broader, interregional relationships of this politically fragmented period.

A pioneering study of the emergence of Buddhist art in southern India, featuring vibrant photography of rare works, many published here for the first time Named for two primary motifs in Buddhist art, the sacred bodhi tree and the protective snake, Tree & Serpent: Early Buddhist Art in India is the first publication to foreground devotional works produced in the Deccan from 200 BCE to 400 CE. Unlike traditional narratives, which focus on northern India (where the Buddha was born, taught, and died), this groundbreaking book presents Buddhist art from monastic sites in the south. Long neglected, this is among the earliest surviving bodies of Buddhist art, and among the most sublimely beautiful. An international team of researchers contributes new scholarship on the sculptural and devotional art associated with Buddhism, and masterpieces from recently excavated Buddhist sites are published here for the first time—including Kanaganahalli and Phanigiri, the most important new discoveries in a generation. With its exploration of Buddhism’s emergence in southern India, as well as of India’s deep commercial and cultural engagement with the Hellenized and Roman worlds, this definitive study expands our understanding of the origins of Buddhist art itself.

Dr. Tanaka, For The First Time Ever, Explores The Absence Of The Buddha-Image In Early Buddhist Art. Applying The Motif Of The Empty Throne , She Undertakes A Comparative Study Of Buddhism And Other Religions.

A comprehensive analysis of the earliest Buddhist art of China, Bactria, and the Southern Silk Road in Central Asia from ca. 1st - 4th century A.D., elucidating the inter-relationships, history, religious elements, sources, dating and chronology.