Subscribe for Newsletters and Discounts
Be the first to receive our thoughtfully written
religious articles and product discounts.
Your interests (Optional)
This will help us make recommendations and send discounts and sale information at times.
By registering, you may receive account related information, our email newsletters and product updates, no more than twice a month. Please read our Privacy Policy for details.
.
By subscribing, you will receive our email newsletters and product updates, no more than twice a month. All emails will be sent by Exotic India using the email address info@exoticindia.com.

Please read our Privacy Policy for details.
|6
Your Cart (0)
Share our website with your friends.
Email this page to a friend
Books > Buddhist > Early and Buddhist Stone Sculpture of Japan
Displaying 1128 of 1676         Previous  |  NextSubscribe to our newsletter and discounts
Early and Buddhist Stone Sculpture of Japan
Early and Buddhist Stone Sculpture of Japan
Description
From the Jacket

Japan’s iconographical material covers Buddhism, Shintoism and a few other smaller sects in that country. Yet, Buddhist iconography sculptural and in painting constitutes by far the greatest in number and variety. In that, however, sculptural art occupies the most part. Further, again, wood sculpture in that land of wood-yielding vegetation, forms the greater measure of iconographic material. In fact, Japan is not so fortunate in the availability of stone that can stand fine chiselling or carving, as China and India. With this background it is but reasonably justified that specialistic study of stone sculpture in icons and other subjects is undertaken and brought to the notice of scholars and the lay public. In doing so, the available stone material: early artefacts, religious icons and other subjects have been presented here in eight Sections and a Map. The Sections deal with Early Artefacts, Decorative Sculptures, Lanterns, Pagodas, Engravings, Buddha Images, Images of the Buddhist Pantheon and Biku, Bikuni & Rakans.

The approach followed is one of stating briefly the historical periods to which they belong, the styles adopted and the environment in which they were produced and placed. Each one of the pieces discussed is illustrated, barring only a few.

The over-all survey made of the sculptures of the Buddha and the Buddhist pantheon in stone in Japan is a unique contribution to the study of Buddhist iconography in general and that in Japan in particular.

A renowned scholar in East Asian art in addition to his contribution to the study of all branches of Indian art, Professor AK. Bhattacharyya has made a mark as an art-historian since long. His other interests include epigraphy and numismatics in which he has well- known publications. One of his works on Aspects of Perso-Arabic Epigraphy of India has earned worldwide commendation. His visits to Japan four times since 1968 and upto 1980, include a stay for a year in that country on a Japan Foundation Fellowship which he utilised in visiting almost all places of Buddhist interest, studying temples and sculptures. He took special care to study the stone sculptures in the southernmost island, Kyishi, by personal visits to the caverns and the rock- cut images in the Oita Prefecture and a few other places.

Back from the study-tours in the Republic of China and Japan, Professor Bhattacharyya was awarded the Jawaharlal Nehru Fellowship for his wide range of contribution to the study of the art of India and abroad.

Among his works, A Corpus of Dedicatory Inscriptions from Temples of West Bengal; A Pageant of Indian Culture—An & Archaeology, Historical, Culture and Political Aspects of Perso-Arabic Epigraphy of India; Development of Buddhist Iconography in China, Korea and Japan from Indian Concepts; Buddhist Stone Sculpture o4Japan; Thai Buddhist Iconography— stand out as Monumental. He was awarded PRS of the Calcutta University on his dissertation: Studies in Jaina Iconography.

Academically he has the most distinguished records and his linguistic equipment is the most unique in India, being a graduate in Arabic, and B.A. (Hons.) and M.A. in Sanskrit with a First Class. He also scured the first class position in MA, in Islamic History and Culture with Epigraphy and Numismatics as special subjects.

He held important positions in India throughout his career. After being a Lecturer and Principal of Colleges for the first eight years of his service career, he served as Asstt. Curator, Archaeological Survey, Deputy Keeper and Keeper of Art Deptt. at the National Museum, New Delhi, Superintending Archaeologist in charge of the Museums Branch of the Archaeological Survey of India, and finally as Director, Indian Museum, Calcutta. On retirement, he sewed the National University in the Republic of China as Visiting Professor.

Preface

It is a common belief that the Japanese Buddhist icons are mostly made of wood or dry lacquer. If it is true because of the reason that Japan is a largely vegetational country with abundance of wood available specially of the kind that suffers workings on it by the chisel, it is equally true that the availability of lacquer from wood-forests is also responsible for its use extensively as the material for making images. The other material largely used in making images and other objects, religious or otherwise, is bronze. Sadly, however, Japan is not fortunate enough to have suitable stone for carving figures and other forms, as are China and India. The situation being so, it is interesting to lay bare before researchers and the common readers the wealth, however small comparatively, of images and other creations of art in stone which, it must be remembered, are of several varieties and compositions in Japan. Of these, granite provides, though in restricted instances, the best in quality. The Gyokaigan variety is soft, porous and fibrous, though it supplies the material for majority of sculptures in stone, while sandstone is also used in a limited number of instances. A variety known as ash-stone is also used for making images and allied objects. This is also a form of hardened igneous rock.

The examples available and studied here, though not widely distributed in area, are very much difficult of access. It is this situation that has rendered the study quite hazardous, and had kept these examples widely unknown to both lay people and inquisitive scholars.

My visits to Japan in 1968, 1973 on deputation by the Govt. of India to attend two International Conferences heki in Tokyo, one for Fine Arts Experts and the other on Modernization of Museums in Asia, followed by the award of a Japan Foundation Fellowship, in 1976—77, for a year, extended by another two months, to study Japanese Buddhist Iconography, provided me a great opportunity to study the subject on-the-spot by visits to almost all important sites, affording close study of most of the iconic and other relevant material in stone.

Having written a book on the Development of East Asian Buddhist Iconography, from Indian Concepts to Japan following the routes through China and Korea, and published it, I felt it worthwhile writing on the Stone Sculptures of Japan in an exclusive way incorporating much of the material not touched upon in the developmental study. The present work is the fruit of that endeavour. A number of examples cited in the present work are reproduced in the original colour which would prove that some of the stone sculptures in Japan had also limited colour decorations on them. On the whole, the work produced is meant to be some sort of a conspectus of stone sculptures of Japan and not claimed to be an exhaustive treatise by any measure.

In writing this book, I was fortunate in getting ungrudging help in the matter of explaining Japanese texts from Sri Salil Mitra, Lake Gardens, who as an established scholar in Japanese had been invited to Japan to attend an International Meet sponsored by the Japan Foundation. In the matter of procuring photo-illustrations, I readily received hearty response from the museums and other sources in Japan to whom all I offer my grateful thanks.

I record here, most of all, my deep indebtedness to the Late Professor Hajime Nakamura whose recent demise has left a void in the Indo-Japanese cultural bonds fostered by that great savant for more than forty years. He made my studies in Japan possible in all feasible ways. The Late Rev. Taien Tsujimura, Ms. Takako Uchida, and later, Taihan Tsujimura, all of Gangoji, Nara, Dr. (Mrs.) Akiko Murakata, late of the Kyoto National Museum, Ms. Takako Kato of the International House of Japan, are some of those that deserve grateful mention here as having helped me in visiting distant areas of Buddhist iconographic interest in Japan and explaining the background of some of the Buddhist icons and temples of that country.

I must end this with a word of hearty thanks to Sri Shakti Malik, Proprietor, Abhinav Publications, New Delhi, for encouraging me to write this book and readily taking it up for publication.

Contents

Preface 9
I. Early Stone Works: Uses and Forms 11
II. Decorative Stone Sculptures 23
III. Stone Lanterns 25
IV. Stone Pagoda 29
V. Stone Engravings and Bas-reliefs 33
VI. Stone Images of Buddha and of His Manifestations 37
VII. Centres of Magaibutsu in Oita 47
VIII. Biku, Bikuni, Rakan in Stone 77
Select Bibliography 79
Map of Kyushu Island 82
Japanese Buddhist Art: A Chronology 83
Index 85

Early and Buddhist Stone Sculpture of Japan

Item Code:
NAC519
Cover:
Hardcover
Edition:
2004
ISBN:
8170174228
Size:
11.2 Inch X 8.8 Inch
Pages:
90 (Illustrated In B/W & Color)
Other Details:
Weight of the Book: 900 gms
Price:
$40.00   Shipping Free
Add to Wishlist
Send as e-card
Send as free online greeting card
Early and Buddhist Stone Sculpture of Japan

Verify the characters on the left

From:
Edit     
You will be informed as and when your card is viewed. Please note that your card will be active in the system for 30 days.

Viewed 4985 times since 18th Nov, 2011
From the Jacket

Japan’s iconographical material covers Buddhism, Shintoism and a few other smaller sects in that country. Yet, Buddhist iconography sculptural and in painting constitutes by far the greatest in number and variety. In that, however, sculptural art occupies the most part. Further, again, wood sculpture in that land of wood-yielding vegetation, forms the greater measure of iconographic material. In fact, Japan is not so fortunate in the availability of stone that can stand fine chiselling or carving, as China and India. With this background it is but reasonably justified that specialistic study of stone sculpture in icons and other subjects is undertaken and brought to the notice of scholars and the lay public. In doing so, the available stone material: early artefacts, religious icons and other subjects have been presented here in eight Sections and a Map. The Sections deal with Early Artefacts, Decorative Sculptures, Lanterns, Pagodas, Engravings, Buddha Images, Images of the Buddhist Pantheon and Biku, Bikuni & Rakans.

The approach followed is one of stating briefly the historical periods to which they belong, the styles adopted and the environment in which they were produced and placed. Each one of the pieces discussed is illustrated, barring only a few.

The over-all survey made of the sculptures of the Buddha and the Buddhist pantheon in stone in Japan is a unique contribution to the study of Buddhist iconography in general and that in Japan in particular.

A renowned scholar in East Asian art in addition to his contribution to the study of all branches of Indian art, Professor AK. Bhattacharyya has made a mark as an art-historian since long. His other interests include epigraphy and numismatics in which he has well- known publications. One of his works on Aspects of Perso-Arabic Epigraphy of India has earned worldwide commendation. His visits to Japan four times since 1968 and upto 1980, include a stay for a year in that country on a Japan Foundation Fellowship which he utilised in visiting almost all places of Buddhist interest, studying temples and sculptures. He took special care to study the stone sculptures in the southernmost island, Kyishi, by personal visits to the caverns and the rock- cut images in the Oita Prefecture and a few other places.

Back from the study-tours in the Republic of China and Japan, Professor Bhattacharyya was awarded the Jawaharlal Nehru Fellowship for his wide range of contribution to the study of the art of India and abroad.

Among his works, A Corpus of Dedicatory Inscriptions from Temples of West Bengal; A Pageant of Indian Culture—An & Archaeology, Historical, Culture and Political Aspects of Perso-Arabic Epigraphy of India; Development of Buddhist Iconography in China, Korea and Japan from Indian Concepts; Buddhist Stone Sculpture o4Japan; Thai Buddhist Iconography— stand out as Monumental. He was awarded PRS of the Calcutta University on his dissertation: Studies in Jaina Iconography.

Academically he has the most distinguished records and his linguistic equipment is the most unique in India, being a graduate in Arabic, and B.A. (Hons.) and M.A. in Sanskrit with a First Class. He also scured the first class position in MA, in Islamic History and Culture with Epigraphy and Numismatics as special subjects.

He held important positions in India throughout his career. After being a Lecturer and Principal of Colleges for the first eight years of his service career, he served as Asstt. Curator, Archaeological Survey, Deputy Keeper and Keeper of Art Deptt. at the National Museum, New Delhi, Superintending Archaeologist in charge of the Museums Branch of the Archaeological Survey of India, and finally as Director, Indian Museum, Calcutta. On retirement, he sewed the National University in the Republic of China as Visiting Professor.

Preface

It is a common belief that the Japanese Buddhist icons are mostly made of wood or dry lacquer. If it is true because of the reason that Japan is a largely vegetational country with abundance of wood available specially of the kind that suffers workings on it by the chisel, it is equally true that the availability of lacquer from wood-forests is also responsible for its use extensively as the material for making images. The other material largely used in making images and other objects, religious or otherwise, is bronze. Sadly, however, Japan is not fortunate enough to have suitable stone for carving figures and other forms, as are China and India. The situation being so, it is interesting to lay bare before researchers and the common readers the wealth, however small comparatively, of images and other creations of art in stone which, it must be remembered, are of several varieties and compositions in Japan. Of these, granite provides, though in restricted instances, the best in quality. The Gyokaigan variety is soft, porous and fibrous, though it supplies the material for majority of sculptures in stone, while sandstone is also used in a limited number of instances. A variety known as ash-stone is also used for making images and allied objects. This is also a form of hardened igneous rock.

The examples available and studied here, though not widely distributed in area, are very much difficult of access. It is this situation that has rendered the study quite hazardous, and had kept these examples widely unknown to both lay people and inquisitive scholars.

My visits to Japan in 1968, 1973 on deputation by the Govt. of India to attend two International Conferences heki in Tokyo, one for Fine Arts Experts and the other on Modernization of Museums in Asia, followed by the award of a Japan Foundation Fellowship, in 1976—77, for a year, extended by another two months, to study Japanese Buddhist Iconography, provided me a great opportunity to study the subject on-the-spot by visits to almost all important sites, affording close study of most of the iconic and other relevant material in stone.

Having written a book on the Development of East Asian Buddhist Iconography, from Indian Concepts to Japan following the routes through China and Korea, and published it, I felt it worthwhile writing on the Stone Sculptures of Japan in an exclusive way incorporating much of the material not touched upon in the developmental study. The present work is the fruit of that endeavour. A number of examples cited in the present work are reproduced in the original colour which would prove that some of the stone sculptures in Japan had also limited colour decorations on them. On the whole, the work produced is meant to be some sort of a conspectus of stone sculptures of Japan and not claimed to be an exhaustive treatise by any measure.

In writing this book, I was fortunate in getting ungrudging help in the matter of explaining Japanese texts from Sri Salil Mitra, Lake Gardens, who as an established scholar in Japanese had been invited to Japan to attend an International Meet sponsored by the Japan Foundation. In the matter of procuring photo-illustrations, I readily received hearty response from the museums and other sources in Japan to whom all I offer my grateful thanks.

I record here, most of all, my deep indebtedness to the Late Professor Hajime Nakamura whose recent demise has left a void in the Indo-Japanese cultural bonds fostered by that great savant for more than forty years. He made my studies in Japan possible in all feasible ways. The Late Rev. Taien Tsujimura, Ms. Takako Uchida, and later, Taihan Tsujimura, all of Gangoji, Nara, Dr. (Mrs.) Akiko Murakata, late of the Kyoto National Museum, Ms. Takako Kato of the International House of Japan, are some of those that deserve grateful mention here as having helped me in visiting distant areas of Buddhist iconographic interest in Japan and explaining the background of some of the Buddhist icons and temples of that country.

I must end this with a word of hearty thanks to Sri Shakti Malik, Proprietor, Abhinav Publications, New Delhi, for encouraging me to write this book and readily taking it up for publication.

Contents

Preface 9
I. Early Stone Works: Uses and Forms 11
II. Decorative Stone Sculptures 23
III. Stone Lanterns 25
IV. Stone Pagoda 29
V. Stone Engravings and Bas-reliefs 33
VI. Stone Images of Buddha and of His Manifestations 37
VII. Centres of Magaibutsu in Oita 47
VIII. Biku, Bikuni, Rakan in Stone 77
Select Bibliography 79
Map of Kyushu Island 82
Japanese Buddhist Art: A Chronology 83
Index 85
Post a Comment
 
Post Review
Post a Query
For privacy concerns, please view our Privacy Policy

Related Items

Fudo Myo-O (Acalanatha Vidyaraja) in Art and Iconography of Japan
by Sampa Biswas
Hardcover (Edition: 2010)
D. K. Printworld Pvt. Ltd.
Item Code: NAC818
$75.00
Add to Cart
Buy Now
Twin Mandalas Of Vairocana In Japanese Iconography
Item Code: NAD898
$95.00
Add to Cart
Buy Now
Buddhist Art and Thought
by Shashibala
Hardcover (Edition: 2007)
Akshaya Prakashan
Item Code: IDK743
$65.00
Add to Cart
Buy Now
Buddhist Iconography in The National Museums of Tokyo And Kyoto
by A.K. Bhattacharyya
Hardcover (Edition: 2006)
Indian Museum
Item Code: NAG111
$200.00
Add to Cart
Buy Now
Buddhism: Art and Values
by Lokesh Chandra
Hardcover (Edition: 2007)
Aditya Prakashan
Item Code: IDK857
$105.00
Add to Cart
Buy Now
Buddha in Gandhara Art and Other Buddhist Sites
by Shantilal Nagar
Hardcover (Edition: 2010)
Buddhist World Press
Item Code: NAL253
$125.00
Add to Cart
Buy Now
ABSENCE OF THE BUDDHA IMAGE IN EARLY BUDDHIST ART (Toward its Significance in Comparative Religion)
Deal 10% Off
by KANOKO TANAKA
Hardcover (Edition: 1998)
D. K. Printworld (P). Ltd.
Item Code: IDD692
$70.00$63.00
You save: $7.00 (10%)
Add to Cart
Buy Now
The Cultural Heritage of India (Volume VII The Arts)
Item Code: IDJ862
$70.00
Add to Cart
Buy Now
Ganesa (Ganesha) Unraveling an Enigma
Item Code: IDD385
$50.00
Add to Cart
Buy Now
History of Indian and Eastern Architecture (Two Volumes)
by James Fergusson
Hardcover (Edition: 2011)
Rupa Publication Pvt. Ltd.
Item Code: NAD477
$70.00
Add to Cart
Buy Now

Testimonials

STATUE RECEIVED. EXCELLENT STATUE AND EXCELLENT SERVICE.
Charles, London
To my astonishment and joy, your book arrived (quicker than the speed of light) today with no further adoo concerning customs. I am very pleased and grateful.
Christine, the Netherlands
You have excellent books!!
Jorge, USA.
You have a very interesting collection of books. Great job! And the ordering is easy and the books are not expensive. Great!
Ketil, Norway
I just wanted to thank you for being so helpful and wonderful to work with. My artwork arrived exquisitely framed, and I am anxious to get it up on the walls of my house. I am truly grateful to have discovered your website. All of the items I’ve received have been truly lovely.
Katherine, USA
I have received yesterday a parcel with the ordered books. Thanks for the fast delivery through DHL! I will surely order for other books in the future.
Ravindra, the Netherlands
My order has been delivered today. Thanks for your excellent customer services. I really appreciate that. I hope to see you again. Good luck.
Ankush, Australia
I just love shopping with Exotic India.
Delia, USA.
Fantastic products, fantastic service, something for every budget.
LB, United Kingdom
I love this web site and love coming to see what you have online.
Glenn, Australia
TRUSTe
Language:
Currency:
All rights reserved. Copyright 2017 © Exotic India