Search Results (5)

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

The Zhag Cave in western Tibet, dated to the 11th to 12th centuries, features four walls fully adorned with images of the Thousand Buddhas of the Bhadrakalpa (Fortunate Aeon). According to the Tibetan inscriptions, the arrangement of the Thousand Buddhas creates a circumambulatory space for worship and confession, enabling practitioners to purify their sins. Four aspects of the Zhag Cave are comparable to those of Dunhuang. First, among the inscriptions is the Pratītyasamutpāda-gāthā, elaborated in the Śālistamba Sūtra, the Tibetan manuscripts of which have been unearthed in both western Tibet and Dunhuang. Second, the way of depicting Thousand Buddhas on four walls inside the cave could be found in earlier caves from the 5th to 6th centuries at Dunhuang. Third, the specific practice of only depicting the Bhadrakalpa Thousand Buddhas on the walls parallels similar caves from the mid-10th to early 13th centuries at Dunhuang. Fourth, the motifs depicted along the wall edges correspond with the prevalent themes found in the Bhadrakalpa Thousand Buddhas transformation tableaux during the 9th to 13th centuries, reflecting the apogee of Bhadrakalpa Thousand Buddhas devotion. These connections prompt us to think about the ways in which Western Tibet was part of the Silk Road network. I argue that this shared iconographic and ritual framework embodies the intertwined religious practices of the Dharma-ending Age (Mofa 末法) thought and Buddhist revival movements along the Silk Road, explaining these complex interconnections between the Zhag Cave and the Dunhuang relics within the broader context of religious beliefs and socio-cultural patterns. Full article

In this paper, we focus on the internal structural characteristics of permutation tableaux and their correspondence with linked partitions. We begin by introducing new statistics for permutation tableaux, designed to thoroughly describe various positional relationships among the topmost 1s and the rightmost restricted 0s. Subsequently, we develop two marking algorithms for permutation tableaux, each from the perspective of columns and rows. Additionally, we introduce tugging and rebound transformations, which elucidate the generative relationship from original partitions to linked partitions. As a result, we demonstrate that the construction of these two marking algorithms in permutation tableaux provides a straightforward method for enumerating the crossing number and nesting number of the corresponding linked partitions. Full article

In this paper, type 2 $(p,q)$-analogues of the r-Whitney numbers of the second kind is defined and a combinatorial interpretation in the context of the A-tableaux is given. Moreover, some convolution-type identities, which are useful in deriving the Hankel transform of the type 2 $(p,q)$-analogue of the r-Whitney numbers of the second kind are obtained. Finally, the Hankel transform of the type 2 $(p,q)$-analogue of the r-Dowling numbers are established. Full article

Pure land comes from the Indian term “sukha,” which means welfare and happiness. However, in East Asia, Buddhism has been associated with the theological concepts of the immortal realm in the bond of death and afterlife. This study reviews detailed conception of Pure Land architecture in Sanskrit literature, as well as Buddhist sutras. The thesis notes that the conceptual explanation of Pure Land architecture, which describes the real world, becomes more concrete over time. Such detailed expression is revealed through the depiction of the transformation tableau. Hence, through Pure Land architecture situated on Earth, this research shows that Buddhist monks and laypeople hope for their own happy and wealthy settlement in the Pure Land. The building’s expression of transformation tableaux influences the layout and shape of Buddhist temples built in the mundane real world at that time. Moreover, this study notes that Bulguksa Monastery is a cumulative product of U-shaped central-axis arrangements with courtyards, terraced platforms, high-rise pavilions, and lotus ponds, plus an integrated synthesis of religious behaviors by votaries as a system of rituals. Further, it merges pre-Buddhist practices and other Buddhist subdivisions’ notions with Hwaeom thought, in comparison with Hojoji and Byodoin Temples that follow the Pure Land tradition. Full article