Katalog : Details
| Isabell JohneVasudharaA study of the origin, development, and diffusion of artistic representations of the Buddhist goddess of prosperity in their cultural contexts (Volume I + II) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| ISBN: | 978-3-8440-3029-7 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Reihe: | Kunstgeschichte | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Schlagwörter: | indische Kunstgeschichte; nepalische Kunstgeschichte; Asien; Südostasien; Buddhismus; Religion | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Publikationsart: | Fachbuch | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Sprache: | Englisch | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Seiten: | 356 Seiten | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Abbildungen: | 383 Abbildungen | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Gewicht: | 1430 g | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Format: | 29,7 x 21 cm | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Bindung: | Gebundene Ausgabe | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Preis: | 59,80 € | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Erscheinungsdatum: | September 2014 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Kaufen: | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| DOI: | 10.2370/9783844030297 (Online-Gesamtdokument) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| Zusammenfassung: | The goddess Vasudhārā, guarantor of sustenance, material and spiritual prosperity, and good fortune, is one of the most important deities in late Buddhism. This study presents relevant text sources and analyzes the iconographic development of the figure in her narrative contexts and in individual cult images from various regions in Asia during different epochs. Originating from an ancient Indian goddess of the earth and fertility, Vasudhārā is the guardian of all precious treasures and is called upon for a good harvest and long life.
Vasudhārā was incorporated into Buddhism as witness to the enlightenment, the most important event in the Buddha’s life. She is portrayed in this context from the second century onward, both in narrative stone reliefs in India and in wall paintings in Buddhist cult caves along the Silk Road. The motif was also depicted in the cave temples of Dekkan as well as in sculptures from the Gupta and Pala periods. Around the ninth century, during the expansion of Vajrayāna Buddhism, Vasudhārā developed into an independent goddess. Thanks to missionary thrusts and cultural exchange spurred by trade, her cult spread from India into the neighboring regions of Indian influence, Nepal and Tibet. She developed an iconography of her own with specific gestures and attributes. The goddess came to be associated with consistent accompanying deities, and in the center of a maṇḍala she is encircled by numerous deities and symbols portending good fortune and wealth. Pictorial legends tell of her benevolence and mercy. She was integrated into initiations, celebrations of age, and protective rituals and depicted in astrological contexts, in which she was associated with the sun. From antiquity to the present, the works portraying Vasudhārā range from individual cult images to narrative scenes, from sculptures in stone, metal, and wood to traditional scroll and wall paintings, as well as book art. In Nepal, Vasudhārā, also called Vasundhārā, is still the focus of a lively cult. Her likeness, sanctuaries, and rituals remain an important part of the Newar culture’s complex religious and social system. A two-day celebration in her honor is held annually at the beginning of the rice harvest in the Kathmandu Valley, in the hopes that she will bestow prosperity and success in all aspects of life. In Southeast Asia, the goddess took on a local, indigenously influenced form around the eleventh or twelfth century, based upon a divergent mythology and thus different iconography. This form of the goddess still exists today. The goddess’s presence spanning some two thousand years implies both her continuity as well as the ever-shifting meaning of her aspects, functions, and affinities to other gods in various cultural and religious contexts. Nevertheless, the fulfillment of man’s fundamental needs – sustenance, wealth, success, and good fortune – has remained her most important function into the present day. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
