Search Results (25)

This study examines how contemporary religious architecture mediates sacred meaning through the interaction of symbolic form, embodied practice, and sensory-spatial conditions, using the Namaste Dagoba at Famen Temple as a case study. Integrating architectural semiotics with exploratory empirical research, the study employs questionnaires and semi-structured interviews, supplemented by architectural field notes, to investigate how visitors perceive and interpret the space. An exploratory structural equation modeling (SEM) framework is used to examine possible relationships among Symbolism and Aesthetic Experience (SAE), Embodied Spatial-Ritual Perception (ESRP), and Perceived Sacred Meaning (PSM). The findings indicate that while symbolic and aesthetic perception provides an initial interpretive basis, perceived sacred meaning appears to be strongly associated with reported embodied spatial experience. Spatial configuration, ritual pathways, mandala-based geometry, and gradients of spatial intensity are interpreted as design conditions that may shape visitors’ reported perception, movement experience, and sense of sacred meaning. The observed mediating role of ESRP suggests that architecture may operate as an experiential interface rather than only as a static symbolic system. By integrating semiotic theory with exploratory questionnaire and interview evidence, the study proposes a tentative embodied and processual model of architectural meaning-making. Rather than suggesting a rupture from historical Buddhist spatial traditions, the study identifies one contemporary design strategy in which inherited cosmological symbolism, ritual movement, threshold experience, and sensory atmosphere are recomposed through a monumental modern architectural vocabulary. Full article

The tale commonly known as “Hunter Catches Birds” circulates widely across South Asia, the Islamicate world, and insular Southeast Asia. Despite linguistic, religious, and cultural differences, the narrative architecture of the Hunter Catches Birds tale displays remarkable continuities across Buddhist, Persian, Malay, Indonesian, and Javanese traditions. Its persistence across radically different religious and cultural settings raises a broader question of how narrative meaning remains recognizable through continual reinterpretation. In early Malay renderings, particularly within the Hikayat Bayan Budiman tradition, oral materials are reorganized into framed and nested literary structures. These forms enable both textual and visual interplay while supporting ethical instruction alongside aesthetic elaboration. Frequently positioned as an introductory episode in parrot-cycle literature, the story integrates motifs such as collective escape, feigned death, interspecies conflict, and the tension between loyalty and betrayal. These narrative elements remain open to reinterpretation in different moral and cultural settings. Drawing upon Sanskrit, Persian, Uyghur, Malay, Indonesian, and Javanese materials, this study examines how the tale moved across oral, manuscript, and visual traditions. Rather than treating the narrative as a fixed folktale type, the article approaches it as a flexible modular structure whose ethical meanings were continually reshaped across changing religious and social environments. These interactions generate layered systems of meaning in which image and text jointly shape narrative tension, vulnerability, and strategic judgment. In Persian miniature traditions, scenes of entrapment, sacrifice, and escape are organized through sequential composition and spatial tension, allowing conflict, vulnerability, and narrative causality to be experienced visually as well as textually. By tracing these transformations, this study argues that the enduring vitality of the Hunter Catches Birds tradition may lie less in narrative stability than in the sustained reinterpretation of repeated narrative structures across textual and visual cultures. Full article

Contemporary Korean Buddhism circulates through an expanding network of material and mediated forms that operate without explicitly demanding doctrinal commitment or institutional affiliation. Against the prevailing frameworks of secularization and commodification, this article proposes material affordance as an alternative analytical vocabulary, asking not what Buddhist objects and spaces signify but what they do to those who encounter them. Through this lens, the article analyzes four affordance types through which the Jogye Order of Korean Buddhism sustains its cultural presence in a disaffiliating society: access infrastructures, affective attunement devices, aesthetic identity markers, and public-cultural interfaces. Together, these modalities constitute what this article terms the mediated turn in Korean Buddhism, a structural transformation in which the tradition extends its reach not through the intensification of belief or the recruitment of formal members, but through the proliferation of designed material environments that make Buddhist sensibilities, aesthetics, and affects available to those who may never self-identify as Buddhist. Central to this analysis is the Korean paradox of mediated Buddhism: that de-institutionalization is itself institutionally engineered, inverting Grace Davie’s formulation of “believing without belonging” into something more radical: encountering without either. Full article

This paper focuses on the early Qing monk-painter Hongren 弘仁, systematically exploring the pathways through which the Chan Buddhist “emptiness contemplation” is manifested in his landscape paintings. As a representative monk-painter, Hongren produced works that profoundly embody the Chan contemplation of emptiness, yielding a singular style defined by austere coldness, minimalist simplicity, and profound quietude. Transcending conventional stylistic descriptions in art history and essentialist philosophical deductions, this study adopts a comprehensive empirical approach that integrates poetry, calligraphy, painting, and seals (shi-shu-hua-yin 诗书画印). By adopting an interdisciplinary perspective of philosophy, religion, and art history, this study argues that Hongren’s landscapes are not merely subjective emotional expressions or aesthetic pursuits; rather, they constitute a visual extension and a spiritual externalization of his emptiness contemplation. Through a multi-layered analysis of his form, brushwork, composition, and artistic conception, combined with the mutual corroboration of poetic inscriptions on paintings and textual inscriptions on seals, this paper reveals how the Chan philosophy of “emptiness contemplation” is reflected within his artistic language. While Hongren’s style is the cumulative result of various factors such as the Ming-Qing dynasty transition, his personal life, the inheritance of painting techniques, and the regional culture of Mount Huang, this paper specifically takes Chan thought as its analytical starting point, focusing on its unique expression in his work. Hongren’s path of “Painting-Chan” (hua chan 画禅) not only infused early Qing painting with a sublime spiritual power but also provides a vital religious exegesis of the deep-seated Chinese tradition of “Technique Ascending to the Dao” (ji jin yu dao 技进于道). Full article

This study examines the Vajra Exorcism Dance—commonly known as “Beating the Devils” (tiao buzha)—as performed at Yonghegong Lamasery in Beijing, positioning it as a quintessential example of monastic Nuoxi in which ritual form serves as the active embodiment of doctrinal content. By situating the performance within its historical, religious, and socio-political contexts, this paper argues that the dance’s choreography, iconography, music, and costumes are not merely aesthetic expressions but systematically structured manifestations of Vajrayana Buddhist soteriology and cosmology. Through a semiotic and performative analysis of ethnographic, historical, and visual sources, the study demonstrates how each formal element is meticulously designed to fulfill the ritual’s core objectives: the destruction of mental defilements and the establishment of a purified sacred realm. Furthermore, the paper investigates how the ritual’s transformation—from an imperial ceremony under Qing patronage to a public urban spectacle—reflects an ongoing negotiation between esoteric efficacy and popular accessibility, with its continued survival dependent upon this dynamic symbiosis. Full article

Sustainability meanings in platform-mediated food tourism circulate through digital infrastructure, yet how they stabilize when sensory experience contradicts hedonic expectations remains theoretically underspecified. Expectation Disconfirmation Theory (EDT) predicts dissatisfaction when performance falls short of expectations, but this logic does not account for sustainability-driven consumption, where restraint is ethically valorized rather than treated as deficient. This study introduces the Ethical–Visual Feedback Loop (EVFL) as a process-level extension of EDT, explaining how ethical priming modifies satisfaction formation under conditions of sensory disconfirmation. Drawing on 900 multilingual reviews, 300 user-generated images, and expert interviews with institutional practitioners of Korean Buddhist Temple Food across Western, Korean, and Chinese visitor markets, the study integrates visual semiotic analysis, reflexive thematic analysis, and institutional triangulation. The findings reveal that sustainability meanings are mobile yet fragile: portable across platforms through visual aesthetics but culturally contingent at ethical appraisal. Western reviewers stabilize satisfaction through secular environmental narratives, Korean reviewers through somatic trust and sincerity, and Chinese reviewers through disciplined participation in moral economies. By specifying how ethical appraisal resolves disconfirmation across cultural contexts, the EVFL extends EDT’s appraisal logic into sustainability-oriented consumption and offers governance implications for sustaining ethical legitimacy and sufficiency-oriented tourism practices in platform-mediated heritage tourism. Full article

This article traces the long transformation of liuli 琉璃 (Sanskrit vaiḍūrya) in China—from imported blue-green gemstones (typified by beryl) to man-made glass and, after the Song, to glazed architectural ceramics. Combining archaeological finds, textual and Buddhist sources, and mineralogical data, it argues that: (1) the wide circulation of Roman–South Asian glass imitations drove a dual shift in China, moving liuli from a natural gem to artificial glass; (2) Buddhist ritual and donation practices “sacralized” glass, integrating it into jewelry, vessels, and sacred spaces; and (3) this shift profoundly reshaped Chinese decorative arts, recasting color-and-light aesthetics and the material toolkit—from Han–Jin beadwork and containers, through Sui–Tang elite display, to the post-Song architectural palette epitomized by liuli tiles. The millennial journey of liuli shows how materials acquire new meanings through global exchange and local reinterpretation, and how man-made glass helped redefine Chinese decorative practice over the course of two thousand years. Full article

This research investigates the intersection of construction innovation and cultural heritage through the lens of tourist perceptions of the world’s largest carved golden Buddha, situated at Khao Chi Chan Mountain, Pattaya, Thailand. Positioned as an emerging tourism destination, this site contributes to the rebranding of Pattaya as a globally significant hub for religious tourism. This study highlights how this monumental Buddha statue fosters spiritual experiences, promotes the conservation of art and culture, and encapsulates a historical narrative tied to Thailand’s royal lineage. Notably, the statue’s creation employed a pioneering technique—the only one of its kind worldwide—involving laser-guided carving by artisans, followed by gold leaf application to enhance its aesthetic magnificence. A mixed-methods research approach was adopted, integrating historical document analysis with narrative accounts of the statue’s construction using modern technology, complemented by quantitative data collected through tourist questionnaires. By documenting the historical use of laser technology in creating this iconic Buddhist landmark, this research corrects misconceptions about its construction process and highlights the innovative application of a 20 W Argon ion laser for drawing the image of Buddha on the cliff. This study evaluates tourist perceptions using the DHARMA model, revealing how Destination Identity, Heritage Values, and Memorable Experiences foster emotional connections and spiritual enrichment (β = 0.801, p < 0.001). The findings underscore Khao Chi Chan’s potential to reposition Pattaya as a hub for Buddhist tourism, diversifying its image beyond nightlife-centric tourism. This work contributes to sustainable tourism by demonstrating how sacred sites can balance cultural preservation and economic vitality, offering insights for heritage management and urban tourism development in Southeast Asia. Full article

This study addresses the impact of pandemics, economic limitations, and physical constraints on physical pilgrimage by proposing and evaluating a culturally sensitive, ritual-oriented virtual Boudhanath Stupa environment. Using user-centered design (UCD) and Behavior-Driven Development (BDD), the project created interactive ritual nodes on a Minecraft–VR platform, combining spatial configuration, symbolic elements, and exploratory freedom to move beyond static representation toward participatory engagement. A mixed-methods evaluation with 50 participants from diverse backgrounds and 2 Tibetan Buddhist experts showed positive feedback for aesthetic experience (M = 4.36) and user control (M = 4.62). Despite its non-photorealistic style, the environment was able to evoke a strong sense of presence and was recognized by experts as a “digital Dharma gate” suitable for younger audiences and those unable to travel to sacred sites. Limitations include a small sample size, a short evaluation period, and a lack of social interaction features. Future development will enhance guidance and feedback, expand narratives, support community co-creation, and introduce multi-user functions, providing a scalable framework for virtual religious cultural heritage. Full article

The classical Laocoön and His Son (ca. 50 CE), rediscovered in 1506 in Rome, is arguably the most illustrious artwork anchoring the entire canon of art history. Less is known about the eighth-century Chinese Laocoön that predates the Italian rediscovery of the classical prototype by seven centuries. The tale of the two Laocoöns is a story of canon formation: the Italian work becomes one of the best-known artworks in the world; the Chinese one is hardly known. Why should that be the case? How do artworks become canonical? How does art acquire its canon? Does canon necessarily mean a collection of exemplary artworks? Or is canonization largely a process of ranking artists and corralling object-centered narratives? Is the Western concept of canon universally applicable or are there other ways of canonization that lead to a canon without particular objects? For these questions, the long history of Chinese art provides answers. Full article

Contemplative technologies in the form of Buddhist practices that challenge the sense of self and thereby enhance the experience of interrelationality are viable strategies for addressing existential concerns such as the environmental crisis. Much of the existing research on Buddhism and ecology neglects to measure environmentally sustainable behavior or engage with empirical research. Likewise, experiments measuring the effects of contemplative practice on oxytocin, a neuropeptide hormone often implicated in interrelational contexts, are scarce. This study explores the existential relevance of Chan and Huayan practices for oxytocin and environmentally sustainable behavior. Using empirical methods, it reports on an experimental fieldwork study among international participants in a one-month retreat at a Buddhist monastery in Taiwan. Salivary oxytocin, recycling, and food waste were measured, while phenomenological reports of experiences during contemplative practice were also obtained. Results of enzyme-linked immunosorbent assay indicate a marginal increase in oxytocin following Chan practice of the huatou “Who recites the Buddha’s name?” which targets the sense of self, consistent with phenomenological reports reflecting an interrelational, ecological sense of self through huatou. Results also indicate increased recycling and decreased food waste by mass as a function of time on retreat. While the precise mechanisms explaining why participants exhibited more environmentally sustainable behaviors are currently unclear, the discussion proposes an empirically testable framework for bridging ecologies that links emotion, sense of self, and behavior. Contemplative practices may contribute to changes in oxytocin and environmentally sustainable behavior through activation of existential, aesthetic emotions such as doubt and awe, thereby inducing changes in the practitioner’s sense of self, which they may then experience as interrelated with broader ecologies, a possibility awaiting further research. The huatou fieldwork and proposed follow-up study on the Huayan sanmei men thus shed light on the relevance of contemplative technologies from Chinese Buddhism for bridging ecologies in the existentially relational sense. Full article

The “Functional interchangeability of Six Roots” also known as the “Six Roots being unrestraint” is according to thoughts regarding Tathagatagarbha in the Śūraṅgama Sūtra, rather than mysterious personal experience of Buddhist meditation. The true mind and the delusive mind are distinguished in the Śūraṅgama Sūtra. The true mind recognizes the world through six roots so that the six roots can be functionally exchangeable. Scholars represented by SuShi, Huang Tingjian, and Hui Hong not only identify thoughts of the True mind of Buddhism but also apply them to literary creation, overthrowing previous aesthetics and literary performances and giving rise to changes. First, seeing with the ears and listening with the eyes originate from descriptions of Guanyin Bodhisattva’s enlightenment from hearing, whereby poets break through the limit of the eyes and ears. Second, burning incense, tasting tea, and admiring food become poetry themes. The emphases of those poems and essays are fantastic functions of the true mind. These changes are closely related to the new images of sages in their mind. Full article

Artifacts pertaining to Buddhist culture are often studied in relation to their circulation from India throughout the rest of Asia; however, many traveled to Europe during the last few centuries as trade commodities and pieces for the art market, losing any devotional purpose in favor of a specific aesthetic sensitivity that was typically adapted to Western taste to appeal to collectors. This article presents a technical study of seven polychrome wooden sculptures from the Museo d’Arte Orientale (MAO) in Turin, Italy. Originally from China, these objects are generally attributed to the late Ming–early Qing dynasties (16th–18th centuries) based merely on stylistic and iconographic considerations. Scientific analysis sought to expand the available knowledge on their constituting materials and fabrication techniques, to address questions on their authenticity, to assess their state of preservation, and to trace the history of transformations they have undergone while transitioning from devotional objects to private collection and museum artwork. By delving into the sculptures’ intricate paint stratigraphy, the results were also key to guiding treatment choices. The outcomes of this study were featured in the MAO exhibition “Buddha10. A Fragmented Display on Buddhist Visual Evolution” (October 2022–September 2023). Full article

As the most important Buddhist school in the history of Chinese Buddhism, the philosophy of Chan Buddhism and its agricultural Chan practice have had a profound influence on the lives of the literati and scholars. Both historically and logically, the term “Chan Dharma 禪法” is extremely rich in connotations. The so-called “agricultural Chan 農禪” is a transformation of Chinese farming culture into the “Chan practice” by practising meditation through farming activities. The “garden farming 園耕” refers to the farming activities of the literati and scholars in the gardens, which were driven by the style of agricultural Chan. Under the influence of agricultural Chan, “garden farming” took on a new spiritual attitude towards crops and created a natural aesthetic realm of life in the act of farming. This article consists of three main sections. I start with an introduction to the religious thoughts and practices of Chan Buddhism, pointing out that the underlying colour of Chan Buddhism is the aesthetics of life, while gradually evoking its special practice of Chan. The second section discusses the concept of agricultural Chan and farming activities in gardens, to figure out the characteristics of agricultural Chan and how farming activities in gardens are carried out. In the third section, I argue for the beauty of farming in gardens, pointing out the essence of the beauty in garden farming and what aesthetic possibilities the act of farming in gardens may embody. Full article

In at least two aspects, Buddhist Avadāna literature shares a strong affinity with Chinese literature. One type of stories can be seen as parallel tales that bear striking resemblances to Chinese tales, while the other type has been assimilated by Chinese writers and transformed into Chinese tales. Regarding the first kind, there are many parallels between Buddhist and Chinese stories throughout the Six Dynasties (222–589), and it was only later that these stories were somehow compiled into collections that brought these parallels to light. As an example of the second type, in linggui zhi 靈鬼志 (The Record of Magical Ghosts) of the Jin Dynasty (265–402), the story of waiguo daoren 外國道人 (“the Foreign Master”) adapts the magical plot in which a man throws up a jug from the story of fanzhi tuhu 梵志吐壺 (“a Brahmin Spits a jug”) in the Buddhist text, yet it changes certain objects of the story to items with Chinese characteristics and develops new meaning. In Xu qixiezhi 續齊諧志 (Further Records of Qixie [Supernatural tales]), the famous e’long shusheng 鵝籠書生 (“the Goose Cage Scholar”, also known as the yangxian shusheng 陽羨書生” (the Scholar from Yangxian)”), takes the same story to another level. The structure of the story is changed, and a number of literati aesthetic interests are added, improving the literary color, smoothing down the language, and making substitutions in the text’s specifics, thus, bolstering the sense of realism and history. Meanwhile, in Liu Yiqing’s 劉義慶 (403–444) Xuanyan ji 宣驗記 (Records Manifest Records of Manifest Miracles), the Avadāna tale yingwu jiuhuo 鸚鵡救火 (“the Parrot Putting Out the Fire”) that he collected is not only associated with Buddhism but can also be seen as a commentary on the turbulent times and a hint of literati optimism if we view it in the context of Liu Yiqing’s Youminglu 幽明錄 (Record of the Hidden and Visible Worlds). The literary elites of the Six Dynasties drew inspiration from Buddhist Avadāna sources and imaginatively mixed them with historical circumstances to create Chinese fiction with new intentions. The rich resources of Avadāna literature from India and the fable tradition in Chinese literature create cultural conditions for these two sources to combine and mutually develop, forming a world of literature with colorful and meaningful stories. Full article