The Spiritual Buddhist Arts and the Ashtamangala of Tibet

Main Article Content

Phramaha Chakrapol Acharashubho (Thepa)
Phrasutthisanmethi

Abstract

The paper aims to describe and analyze pieces of evidence of the influence of ancient Tibetan Buddhist art on Tibetan culture. The Ashtamangala symbol appears in the design of printed furniture and various complex murals in the Buddhist architecture. The Tibetan Plateau artists apply the painted Ashtamangala symbols to represent the arts of soul. The findings revealed that religious elements are prevalent in many historic artefacts developed before the mid-twentieth century, and commonly found in, for example, thangkas (Tibetan Buddhist painting on fabric), murals, and miniature bronze sculptures, and big statues made of clay, plaster, and wood. These findings imply that the Tibetans believe in the connection between the myth of the Ashtamangala and Buddha’s life and his power. The most prevalent interpretations of each symbol include the Precious Parasol (PP), the White Conch Shell (WCS), the Two Golden Fish (TGF), the Knot of Eternity (KE), the Vase of Great Treasures (VGT), the Victory Banner (VB), the Lotus Flower (LF), and the Dharmachakra (DHA). Every symbol reflects the spiritual and vigorous arts and culture of the Tibetan.


 

Downloads

Download data is not yet available.

Article Details

How to Cite
(Thepa), P. chakrapol, & Phrasutthisanmethi. (2022). The Spiritual Buddhist Arts and the Ashtamangala of Tibet . Journal of Liberal Arts Prince of Songkla University, 14(1), 316–344. https://doi.org/10.14456/jlapsu.2022.12
Section
บทความวิชาการ (academic article)

References

Agnihotri, A. (2020). State crime of cultural genocide in Tibet. In V. Singh & A. Agnihotri (Eds.), New Radical Approach in Interdisciplinary Research (pp. 1-12). Akshita Publishers and Distributors.

Beer, R. (1999). The encyclopedia of Tibetan symbols and motifs. Shambala Publications.

Beer, R. (2003). The handbook of Tibetan Buddhist symbols. Shambhala.

Brown, C. G. (2020). Tibetan singing bowls. American Religion, 1(2), 52-73. https://doi.org/10.2979/amerreli. 1.2.03

Brown, K. S. (2003). Tibetan Buddhist art. Metmuseum.org. https://www.metmuseum.org/toah/hd/tibu/hd_tibu.htm

Coleman, G. (Ed.). (1995). A handbook of Tibetan culture. Rider & Co.

Conze, E. (1959). Buddhist scriptures. Penguin Books.

Dayal, H. (1970). The Bodihisattva doctrine in Buddhist Sanskrit literature. Motilal Banarsidass.

Deng, C. L. (2016). Tibetan monastery architecture. Tibetan Ancient Books Publishing House.

Dutt, N. (1977). Mahayana Buddhism. Motilal Banarasidass.

Fynn, C. J. (2015). Carved wooden door with 8 auspicious signs (Ashtamangala) design, Nepal [Online image]. Wikimedia.

https://commons.wikimedia.org/wiki/File:Carved_door_with_8_auspicious_signs,_Nepal.jpg

Geary, D., & Shinde, K. (2021). Buddhist pilgrimage and the ritual ecology of sacred sites in the Indo-Gangetic region. Religions, 12(6), 385. https://doi.org/10.3390 /rel12060385

Haluwalia, S., Bhat, G. M., & Rani, M. (2021). Exploring the factors of social exclusion: Empirical study of rural Haryana, India. Contemporary Voice of Dalit, 14(1), 53–66.

Hung, C. T. (2021). Architecture and ethnicity: Unity under one roof? In Politics of control: Creating Red culture in the early People’s Republic of China. University of Hawaiʻi Press.

Hyytiäinen, T. (2008). The eight auspicious symbols. In M. R. Saloniemi & T. Hyytiäinen (Eds.), Tibet: A Culture in transition. Vapriikki.

Jarvis, D. (2006). Tibet-5483 - Potala Palace [Online image]. Flickr. https://www.flickr.com/photos/archer10/26164664 00

Jenkins, K. J. (2019). Chang (Beer): A social marker, ritual tool, and multivalent symbol in Tibetan Buddhism [Unpublished master’s thesis]. https://bearworks.missouristate. edu/theses/3348/

Karunaratna, T. B. (1980). The auspicious symbols that adorned the octagonal monument in the premises of the Pacinatissa-Pabbata Vihara at Anuradhapura. Journal of the Royal Asiatic Society Sri Lanka Branch, 25, 69-78.

Kasdorf, K. E. (2018). A gift of five Tibetan Buddhist ritual objects. The Journal of the Walters Art Museum, 73, 57-64.

Kimura, R. (1978). History of term Hinayana and Mahayana and the origin of Mahayana Buddhism. Indological Book.

Kværne, P. (2020). Frontier Tibet: Patterns of change in the Sino-Tibetan borderlands [Review of the book Frontier Tibet: Patterns of change in the Sino-Tibetan borderlands, by S. Gros]. Asian Ethnology, 79(2), 423-426.

Le, N. B. L. (2021). Truth telling in peacebuilding: A Buddhist contribution. International Journal of Interreligious and Intercultural Studies, 4(1), 45-56. https://doi.org/10.32 795/ijiis.vol4.iss1.2021.1207

Liu, M. (2019). A study on the decorative patterns of Tibetan Buddhist monastery architecture. Open Journal of Social Sciences, 7(4), 355-361. https://doi.org/10.4236/jss.2019. 74028

Liverani, V., Dekkers, A. M., & Maxwell, S. J. (2021). Resolving phylogenetic and classical nomenclature: A revision of Canarium Schumacher, 1817 (Mollusca, Neostromboidae, Strombidae). The Festivus, 53(1), 26-43. https://doi.org/10. 54173/f531026

Lopes, R. O. (2019). The transience of things in Vajrayana Buddhist visual culture. ARTE E TEMPO: TEMPO, CULTURA E CRIAÇÃO ARTÍSTICA, 8, 107-128.

Ma, Y., Liu, Y., Xie, Q., Xiong, S., Bai, L., & Hu, A. (2021). A Tibetan Thangka data set and relative tasks. Image

and Vision Computing, 108, 104125. https://doi.org/10.1016 /j.imavis.2021.104125

McFalls, J. (2020). Rhythms of spiritual praxis as discipleship from karma to atonement among believers from a Tibetan Buddhist background. Glocal Conversations, 8(1), 15-31.

McGirk, T. (1995). The fight for the Panchen Lama. (Tibetan spiritual leader). World Press Review, 42(9), 41-42.

Mehrotra, R. (2009). Understanding the Dalai Lama. Hay House Publishers.

Mitkari, S. B. (2019). Mahabharata: A collection of science fiction innovative ideas related to present life. Research Review International Journal of Multidisciplinary. 4(3), 2883-2885.

Mohapatra, R. (2021). Kalinga style temple architecture of Lord Jagannatha Temple of Puri in Eastern India: A historical review. Bulletin Monumental. 22(8), 88-107.

Pallis, M. (1967). Introduction to Tibetan Art. Studies in Comparative Religion, 1(1), 17-19.

Pakhoutova, E. (2021). For one and or for many: Affluent and common patronage of narrative art in Tibet. Material Religion, 17(1), 29-55.

Rhys-Davids, T. W. (1970). Buddhist India. Indological Book House.https://www.indianculture.gov.in/ebooks/buddhist-india

Roshan, B. N. R., & Kumar S. S. (2018). Study on the sculptural features of the Madurai temples. Research Review International Journal of Multidisciplinary. 3(6), 661-664.

Smith, W. (2019). Tibetan nation: A history of Tibetan nationalism and Sino-Tibetan relations. Routledge.

Surpi, N. K., Avalokitesvari, N. N. A. N., Sandi Untara, I. M. G., & Sudarsana, I. K. (2021). Interpretation of symbols, veneration and divine attributes in Dieng Temple Complex, Central Java. Space and Culture, India, 8(4), 60–77. https://doi.org/10.20896/saci.v8i4.991

Suzuki, D. T. (1973). Outline of Mahayana Buddhism. Schocken Book.

Tadvalkar, N. (2015). A language of symbols: Rangoli art of India. In S. Garg (Ed.), Traditional Knowledge and Traditional Cultural Expressions. SAARC Cultural Centre. http://saarc culture.org/wp-content/uploads/2020/07/tktce_Nayana_Tadvalkar.pdf

The Metropolitan Museum of Art. (n.d.). Back and sleeve of a dragon robe [Online image]. In The Met. https://www.

metmuseum.org/art/collection/search/60009550?rpp=20&pg=1&ft=Dragon&pos=10

Tin, D., Anh, P. P., & Thien, N. (2021). The meaning of the Lotus’s symbol in Buddhist philosophy for Vietnam now. Journal of Contemporary Issues in Business and Government, 27(5), 1197-1210.

van der Linden, M. (2021). Architecture: Changing spatial transitions between context, construction and human activities. Springer.

Wang, L. (2021). A study on the Baoxiang flower pattern in the decorative art of Tibetan carpets. The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020), 543–547.

WorthPoint. (n.d.). Tibetan incense burner with eight auspicious symbols design [Online image]. In WorthPoint. https://www.worthpoint.com/worthopedia/tibetan-incense-burner-eight-534964890

Xue, L., Pan, X., Wang, X., & Zhou, H. (2021). Introduction: Diversity of cultures, villages and architecture. In Traditional Chinese Villages. Springer.

Zhang, X. (2021). Devotion to Tārā in Tangut Buddhism—based on an art exploration of Tārā murals in Dunhuang caves [Unpublished doctoral dissertation].

Zhu, L. (2021). A study on the path of Thangka redesign in the context of digitalization. In 2021 International Conference on Computer Technology and Media Convergence Design (CTM