玛雅艺术中的祭祀披风

古代中美洲各个不同文化在贵族的礼仪服饰上共享很多传统。文化中的礼仪服装的相互关系以及跨越时空的仪式活动连续性展示了它们之间内在的历史联系。这篇文章意在探究玛雅早期壁画和后奥尔梅克石碑雕刻中刻画的礼仪服装所表现的象征对应关系的内涵。这些服装的样式和象征内涵衍生于早期奥尔梅克的鸟神祭祀的装束。至后盛期,玛雅祭祀披风在样式和象征意义方面呈现多样化特征。但是,它们仍然出现在一些类似SanBartolo壁画里祭祀活动的场合。     

Remaking a Kabbalist: Manuscript and Print Cultures in Early Modern Italy

Jewish History - The dissemination of Safedian Kabbalah in late sixteenth- and early seventeenth-century Italy represents a critical turning point in the history of modern Kabbalah. Several...     

礼仪中的鲜花——试析佛教建筑中的花卉母题

在中、印很多古代石窟或寺院建筑的屋顶、立柱等部位,经常会看到很多花卉图案,笔者认为它与佛教的一项重要礼仪,即散花供养密切相关。本文从经典出发,阐明散花供养在佛教中的重要作用,并结合中、印石窟建筑以及斯里兰卡地面寺院建筑的具体实例,探讨散花礼仪在建筑中的体现及其功能。     

试论台湾佛教四大道场崛起的原因

台湾南部的佛光山、东部的慈济功德会、北部的法鼓山、中部的中台山,是台湾当代佛教崛起的四大道场,它掌握了台湾佛教界的大部份社会资源,已成台湾佛教发展的方向。这四大道场在短期内崛起有着多方面原因,如:有明确的目标、有各自的鲜明特点、创办者都是经营管理大师、有高超的口才、注意对人才吸收培养、注意与祖国大陆保持沟通和联系、积极向海外拓展、努力适应台湾社会的变化、与社会产生互动等。     

南宋禅画 中国化的佛教绘画艺术

一禅画是中国画最为独特的艺术表现形式之一,也是中国化的佛教绘画艺术的典型表征。禅画笔墨简洁而意境深远,以笔墨来表达禅道,体现了中国禅宗不立文字、直指本心的直观、简约的核心思想,开创了唐宋以来中国绘画的新纪元。禅画在中国有着悠久的历史渊源。艺术史上,通常将禅画的开端追溯到文人画之祖、唐代的诗佛王维。他最早将禅宗的自性论和意境说融进山水画,以澄心观照的审美态度进行创作,其画作具有意境、画境、诗境、禅境融为一体的特点。     

Art, Practical Knowledge and Aesthetic Objectivity

It seems often to have been assumed by art theorists and aestheticians that concepts of art and the aesthetic are related, if not actually identical. In recent times, however, David Best has criticized this widespread assumption in the interests of marking a quite radical distinction between artistic and aesthetic concerns. But this claim may be considered problematic in turn, not only in terms of its denial of the conventional conception of art as implicated in the production of aesthetic effects, but also because it obscures our understanding of the objectivity of aesthetic judgement – and hence, ultimately, of the rational basis of artistic appreciation and endeavour. In the light of some critical attention to Joseph Dunne's recent work on practical reason in Aristotle, the following paper argues that a suitably modified notion of phronesis may provide the key to understanding the relationship of aesthetic sensibility to artistic knowledge.     

蒙古地区佛教艺术与弥勒造像--以北京雍和宫弥勒大佛、内蒙梵宗寺弥勒佛为中心

本文阐述了佛教艺术在蒙古地区的传播过程和弥勒造像的缘由。在元朝以前蒙古帝国的蒙哥汗赐予藏传佛教噶玛噶举派的噶玛拔希为“国师”,并授与玉印,担任起总领天下释教的重任。以此为契机,蒙藏地区佛教诸派先后都产生了活佛转世制度,达赖、班禅、章嘉、哲布尊丹巴等大活佛,极大地影响了蒙藏地区的政治、宗教与文化。并详细客观地解释考证了北京雍和宫和内蒙古梵宗寺的弥勒造像的历史,宗教仪轨与艺术特征。     

傣族剪纸艺术佛教文化民族化的生动呈现

一 傣族剪纸主要流行于云南省德宏傣族景颇族自治州,起源年代已无从查考,最早是源于傣族祭祀仪式所用的纸幡.公元15世纪前后,佛教传入傣族地区.在佛教文化和中原文化的影响下,傣族剪纸的风格也逐步充实、发展,并被广泛应用于赕佛(向庙宇布施财物以求消灾赐福的仪式)、祭祀、丧葬、喜庆及居家装饰等方面.(刘岩:《南传佛教与傣族文化...     

Transcendental Meditation,Reiki and Yoga: Suffering,Ritual and Self-Transformation

The paper explores three practices of eastern spirituality taken up by westerners for apparently secular purposes. As an 'emic' account that proceeds inductively from the author's experience, it shows how each of these practices is an attempt to change the meaning of suffering through the creative medium of ritual. Rituals are often used as initiations from one form of subjectivity to another. Yoga, Transcendental Meditation, and Reiki are undertaken as means of self-transformation. They may be adopted as 'magical' ways of achieving personal aims, but they also have the potential to take practitioners beyond the ego towards 'sacred' understandings or 'otherness'. The sacred (or 'spiritual'), however, is not necessarily 'the good'. The paper considers the effects of these practices. Do they become forms of self-mastery and power for the individual ego or do they hold out the promise of a more ethical self (in Lévinas's sense of 'ethics')? In other words, do they help resolve the problem of suffering through creating a more communicative body and a self-for-others?