Topography of Mind

A special issue of Religions (ISSN 2077-1444).

Deadline for manuscript submissions: closed (5 June 2025) | Viewed by 1833

Special Issue Editor


E-Mail Website
Guest Editor
The Department of History of Art and Architecture, Harvard University, Cambridge, MA 02138, USA
Interests: early Chinese art and archeology; modern and contemporary Chinese art and cinema; cognitive study of art and consciousness; Buddhist worldmaking

Special Issue Information

Dear Colleagues,

Religions seeks submissions to this Special Issue, "Topography of Mind," which is an exploration of the profound nexus between Buddhist arts and the landscapes of the mind they reflect and construct. This Special Issue aims to unravel the complex tapestry of Buddhist expressions, acknowledging that 'sites' within Buddhist traditions manifest both as tangible edifices and intangible states of consciousness. These fieldmaps of consciousness can be understood through paying close attention to Buddhist visual and material artefacts, recombinatory pictorial forms revealing intertextual concept maps that might not otherwise be elucidated solely from the study of texts. We seek papers that take visual media as their primary point of entry in their exploration of mental experiences, networked associations, and theories of the mind.

This Special Issue encourages an interdisciplinary approach, inviting contributions from fields such as art and architectural history, religious studies, anthropology, literature, philosophy, psychology, and neuroscience, among others. Manuscripts should consider how the 'topography of mind' in Buddhism is not confined to the physicality of sacred spaces and the ritual objects within them, but is often represented by invisible realms of mental processes. The physical and the metaphysical are inextricably linked, and submissions should reflect the complex interplay between the environmental, the material, and the spiritual dimensions of Buddhist arts.

We welcome studies that are methodologically innovative and that expand our understanding of Buddhist topographies in new or understudied geographical, historical, or theoretical contexts. Submissions that bridge gaps between traditional scholarship and contemporary interpretations of Buddhist art's role in shaping human experience are of particular value.

The submission deadline is 20 July 2024, and prospective authors should ensure their manuscripts comply with the submission guidelines provided by the Religions journal. The editorial committee looks forward to receiving insightful contributions that shed light on both the seen and unseen 'topographies' of the Buddhist world, contributing to a richer understanding of the dynamic interplay between environment, art, and the architecture of belief.

We request that, prior to submitting a manuscript, interested authors initially submit a proposed title and an abstract of 200-300 words summarizing their intended contribution. Please send it to the Guest Editor, Prof. Dr. Eugene Wang (eywang@fas.harvard.edu). Please copy the email to the Guest Editor Assistants, Mr. Michael Norton (), Ms. Icey Lin (), and Ms. Sophie Lei (). Abstracts will be reviewed by the Guest Editors in order to ensure that contributions are within the scope of the Special Issue. Full manuscripts will undergo a double-blind peer review process. We look forward to receiving your contributions.

Acknowledgments: This Special Issue is supported by Harvard FAS CAMLab.

Prof. Dr. Eugene Y. Wang
Guest Editor

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All submissions that pass pre-check are peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Religions is an international peer-reviewed open access monthly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 1800 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Keywords

  • Buddhist art
  • landscapes of the psyche
  • tangible edifices
  • sacred space
  • intangible states of consciousness

Benefits of Publishing in a Special Issue

  • Ease of navigation: Grouping papers by topic helps scholars navigate broad scope journals more efficiently.
  • Greater discoverability: Special Issues support the reach and impact of scientific research. Articles in Special Issues are more discoverable and cited more frequently.
  • Expansion of research network: Special Issues facilitate connections among authors, fostering scientific collaborations.
  • External promotion: Articles in Special Issues are often promoted through the journal's social media, increasing their visibility.
  • Reprint: MDPI Books provides the opportunity to republish successful Special Issues in book format, both online and in print.

Further information on MDPI's Special Issue policies can be found here.

Published Papers (2 papers)

Order results
Result details
Select all
Export citation of selected articles as:

Research

30 pages, 7167 KB  
Article
How to Grow a Buddha Body?—A Case Study of the “Bodhisattva Holding Up the True Body” (Peng zhenshen pusa 捧真身菩薩) Statue at the Famen Temple
by Xiaolu Wu
Religions 2025, 16(10), 1235; https://doi.org/10.3390/rel16101235 - 25 Sep 2025
Abstract
This paper is a case study of the Tang-dynasty Gilded Silver “Bodhisattva Holding up the True Body” (peng zhenshen pusa 捧真身菩薩) Statue (dated 871) excavated from the relic crypt of the Famen Temple pagoda in Fufeng 扶風 County, Shanxi 陝西. Commissioned to [...] Read more.
This paper is a case study of the Tang-dynasty Gilded Silver “Bodhisattva Holding up the True Body” (peng zhenshen pusa 捧真身菩薩) Statue (dated 871) excavated from the relic crypt of the Famen Temple pagoda in Fufeng 扶風 County, Shanxi 陝西. Commissioned to commemorate Emperor Yizong 懿宗’s 39th birthday, the statue was designed both to support the Buddha’s relic and to express a wish for the emperor’s longevity. Most strikingly, the Bodhisattva is seated on a three-layered pedestal richly adorned with esoteric Buddhist images and Siddhaṃ scripts. Departing from previous Buddhalogical approaches, this paper suggests that the Famen Temple statue did not serve to illustrate a specific maṇḍala, theological doctrine, or scripture. Instead, together with the five miniature garments interred underneath it, the statue draws upon esoteric ritual technology—particularly the Three Siddhi mantras—as well as cosmological, botanical, and embryological imagery to create a soteriological matrix of bodily transformation for the intended beneficiaries. By situating the object within the historical circumstances and religious practices of the late Tang imperial court, this study illuminates the statue’s conceptual design, symbolic significance, and intended function—namely, to address the patrons’ concerns with spiritual salvation and the renewal of life after death. Full article
(This article belongs to the Special Issue Topography of Mind)
Show Figures

Figure 1

24 pages, 23139 KB  
Article
Visualizing the Spirit Consciousness: Reinterpreting the Medicine Buddha Tableau in Mogao Cave 220 (642 CE)
by Xueyang (April) Peng
Religions 2025, 16(10), 1225; https://doi.org/10.3390/rel16101225 - 24 Sep 2025
Viewed by 130
Abstract
This paper considers how Buddhist art of the early Tang dynasty was shaped by concerns with states of consciousness and transmigrating spiritual entities. Focusing on the Medicine Buddha (Skt. Bhaiṣajyaguru) tableau in the main chamber of Mogao Cave 220, dated to 642 [...] Read more.
This paper considers how Buddhist art of the early Tang dynasty was shaped by concerns with states of consciousness and transmigrating spiritual entities. Focusing on the Medicine Buddha (Skt. Bhaiṣajyaguru) tableau in the main chamber of Mogao Cave 220, dated to 642 CE and among the earliest full wall transformation tableaux at Dunhuang, I propose that the tableau depicts a structured process centered around the transmigrating spiritual entity of spirit consciousness (shenshi 神識) and its transformations that were visually expressed by lighting devices. Other elements in the tableau, such as the dancers and bodhisattvas seated in the pond, are also part and parcel to this visual project of transformation, as indicated through the colors of their attire and the types of dance being performed. The spirit consciousness could be visualized through lighting devices in the Medicine Buddha tableau because of the associations of lamps with vital, spiritual parts of humans since the first century CE. More importantly, the central role of the spirit consciousness in the Medicine Buddha tableau shows that such Buddhist murals depicting rituals and performances situated among grand edifices could be visual expressions of states of spiritual entities and their transformations. Seemingly intangible spiritual entities in Buddhist art were thus inextricably intertwined with and visually expressed through physical objects and their representations. To this end, this study is a first step towards understanding the pictorial program of Mogao Cave 220 and similar cases through explorations of cognitive templates that informed the creation and production of Buddhist art, with the spirit consciousness as a case in point. Full article
(This article belongs to the Special Issue Topography of Mind)
Show Figures

Figure 1

Back to TopTop