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Fudo Myo-o (Acalanatha Vidyaraja) in Art and Iconography of Japan

Sampa Biswas

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ISBN 10: 8124606048 / ISBN 13: 9788124606049
Editorial: D.K. Printworld (P) Ltd., New Delhi, India, 2012
Nuevos Condición: New Encuadernación de tapa dura
Librería: Munshiram Manoharlal Publishers Pvt. Ltd (New Delhi, DELHI, India)

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Descripción

Shingon Buddhism -- esoteric Buddhism brought to Japan from China during the early ninth century -- inspired a new spiritual energy that found expression in varied forms, especially in art and iconography. A radical change occurred with the introduction of new deities, among them the Five Great Kings, the most important of them being Fudo Myo-o, the conqueror of all disasters and evil. This book is a study of the concept, iconography and decoction of Fudo in art. Beginning with a detailed account of the origin of Buddhism and its introduction into Japan, the book focuses on development of esoteric Buddhism in the country. It delves into the uniqueness of Shingon Buddhism rituals which try to evoke the vitality of the three mysteries in the body, speech and thought, the mysteries being transmitted orally from the master to the disciple. Describing Fudo Myo-o as discussed in Buddhist literary sources from India, it takes up his visual representation in painting and sculpture. It discusses the representation of his attendants in art and iconography, symbolic instruments associated with the god in his depiction and interpretations of the mudras (hand gestures, postures, emblems) carried by Fudo. It explains the esoteric meaning attached to various ideas and concepts represented in the visual images. Supported by numerous illustrations, this detailed and thorough study would enthral students and scholars of Buddhist art and iconography. Printed Pages: 248 with 49 colour and b/w photographs. Size: 23 x 29 Cm. N° de ref. de la librería 036917

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Detalles bibliográficos

Título: Fudo Myo-o (Acalanatha Vidyaraja) in Art and...

Editorial: D.K. Printworld (P) Ltd., New Delhi, India

Año de publicación: 2012

Encuadernación: Hardcover

Condición del libro:New

Condición de la sobrecubierta: New

Edición: First Edition.

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Sinopsis:

Shingon Buddhism -- esoteric Buddhism brought to Japan from China during the early ninth century -- inspired a new spiritual energy that found expression in varied forms, especially in art and iconography. A radical change occurred with the introduction of new deities, among them the Five Great Kings, the most important of them being Fudo Myo-o, the conqueror of all disasters and evil. This book is a study of the concept, iconography and decoction of Fudo in art. Beginning with a detailed account of the origin of Buddhism and its introduction into Japan, the book focuses on development of esoteric Buddhism in the country. It delves into the uniqueness of Shingon Buddhism rituals which try to evoke the vitality of the three mysteries in the body, speech and thought, the mysteries being transmitted orally from the master to the disciple. Describing Fudo Myo-o as discussed in Buddhist literary sources from India, it takes up his visual representation in painting and sculpture. It discusses the representation of his attendants in art and iconography, symbolic instruments associated with the god in his depiction and interpretations of the mudras (hand gestures, postures, emblems) carried by Fudo. It explains the esoteric meaning attached to various ideas and concepts represented in the visual images. Supported by numerous illustrations, this detailed and thorough study would enthral students and scholars of Buddhist art and iconography.

About the Author:

Dr Sampa Biswas has done her Ph.D. in Art History from Kala Bhawan, Santiniketan, West Bengal. She is the author of scholarly papers and studies on Japanese Art, Central Asia, including the book Indian Influence on the Art of Japan (2010). At present she is teaching Art of China and Japan, Buddhist Art of Central Asia, and Art of South-East Asia in the Department of History of Art, National Museum Institute, New Delhi, as a visiting scholar.

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