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SUMMARY:Buddhist Images in Motion—Contexts of Encounter\, Codification a
 nd Transformation
DTSTART;VALUE=DATE:20121021
DTEND;VALUE=DATE:20121025
DTSTAMP:20260502T193641Z
UID:en-20121021-panel-beijing-429@ceres.rub.de
CATEGORIES:
DESCRIPTION:Report\n‘Buddhist Images in Motion—Contexts of Encounter\,
  Codification and Transformation’\nPanel presented at the Fifth Internat
 ional Conference on Tibetan Archaeology and Art\, Beijing\, 21-24 October 
 2012\nPanel chair: Carmen Meinert\nParticipants: Christoph Anderl\, Carmen
  Meinert\, Henrik Sørensen\nThree members of the Buddhist Studies Group o
 f the Käte Hamburger Kolleg ‘Dynamics in the History of Religions betwe
 en Asia and Europe\,’ namely Christoph Anderl\, Carmen Meinert\, and Hen
 rik Sørensen\, participated at the Fifth International Conference on Tibe
 tan Archaeology and Art in Beijing on 21-24 October 2012 with the panel 
 ‘Buddhist Images in Motion—Contexts of Encounter\, Codification and Tr
 ansformation.’ The conference was a joint Sino-Austrian cooperation\, wi
 th the Institute for Sino-Tibetan Buddhist Art at Capital Normal Universit
 y in Beijing as the hosting institution. The conference focused on art his
 tory in Central Asia\, Tibet and Mongolia\, on recent archaeological findi
 ngs\, and on the Tibetan and Chinese interchange in Buddhist art and histo
 ry.\nWith the panel ‘Buddhist Images in Motion’ the members of the Bud
 dhist Studies Group continued to present the on-going research activities 
 of the KHK group on one of the most extensive networks in early Asian hist
 ory that was established and sustained by the spread of Buddhism. Followin
 g a relational approach to religion\, their panel investigated how Buddhis
 t art was localised\, codified and transformed at various Buddhist sites i
 n Central Asia and China. The investigated sites were regarded as constant
 ly changing nodes within networks of religious cooperation\, contest and e
 xchange of various ethnic groups. The phrase ‘Buddhist Images in Motion
 ’ did not refer to the mobility of an (imagined) religious unity-in-dive
 rsity on its way across Asia\, but expressed the perspective on Buddhism a
 s ‘something’ relational and heterogeneous from the very start\, a pan
 -Asian phenomenon constituting itself as localized densifications of trans
 local processes.\nThe three papers explored aspects of Buddhist art at dif
 ferent localities important for the history of Buddhism and characterized 
 by Chinese\, Tibetan\, Tangut and Mongolian contacts and interchanges. The
 y analysed processes of resistance and adaptation of Tibetan and Chinese i
 nfluences as manifested in Buddhist images from the 6th to the 14th centur
 ies with particular emphasis on the respective socio-political contexts.\n
 Christoph Anderl investigated the narratives of so-called ruixiang 瑞像 
 or ‘Auspicious Statues’ connected to the iconic representation of part
 icular Buddhas or bodhisattvas as they appeared in the Central Asian oasis
  of Khotan and in Chinese Dunhuang manuscripts from the 6th to the 11th ce
 nturies\; he thereby showed the flexibility of narratives which allowed an
  adaptation to “local” socio-politically determined values. The develo
 pment of this type of narratives in the context of Dunhuang is also an ind
 ication of on-going processes of localization\, sinization\, and the produ
 ction of historiographies. Looking back at the “origins” of Buddhism a
 nd its transfer to China\, both real and imagined movements were traced or
  created\, and projected on iconic representations. Whereas some of the na
 rratives were based on canonical literature\, the development showed speci
 fic features in China and subsequently other regions the narratives spread
  to\, including Tibet and Japan.\nCarmen Meinert explored another local ex
 pression of Buddhist art in Dunhuang connecting it with manuscript evidenc
 es from the Tangut Empire in the 11th and 12th centuries\; her contributio
 n contextualized artistic expressions through a micro-historical analysis.
 \nHenrik Sørensen distinguished in his presentation between what constitu
 tes Sino-Tibetan Buddhist art\, i.e. a form of Buddhist art made in Tibet 
 in which clear-cut Chinese stylistic and iconic features are discernible\,
  and what constitutes one which can more correctly be defined as ‘Tibeto
 -Chinese\,’ i.e. forms of Buddhist art produced in China under varying d
 egrees of Tibetan influence\; through numerous examples from Tangut influe
 nces in the 12th century to Mongolian and Chinese examples from the 13th t
 o 14th centuries\, he demonstrated the Tibetan heritage in Ming Chinese Bu
 ddhist art (14th c.)\, a so far neglected view. The whole panel stimulated
  vivid discussions among the more than 80 Chinese and Western experts part
 icipating in the conference.
URL:https://khk.ceres.rub.de/en/events/en-20121021-panel-beijing/
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