November 1, 2013
Seoul, South Korea — A South Korean Buddhist temple is playing host to a contemporary art show, in an effort to throw a new perspective to the ancient religion and the age-old surroundings.
The Temple of Haeinsa, an ancient shrine on a mountainside southeast of Seoul, is playing host to a contemporary art show.
The Temple of Haeinsa, a 1,211-year-old shrine located on a mountainside 280 kilometers (174 miles) southeast of Seoul, is home to the Tripitaka Koreana, the most complete collection of Buddhist texts, laws and treaties, engraved on more than 80,000 woodblocks carved in the 13th century. The woodblocks, their storage and the surrounding temple grounds are recognized as a UNESCO World Heritage site.
The temple’s monks hosted the inaugural contemporary art show in 2011 to mark the millennial anniversary of the first woodblocks, which were engraved with a wish for protection against invasion from a northern dynasty that occupied lands now belonging to Mongolia and China. Those 1,000-year-old blocks were lost in a fire during the ensuing incursion. Continue reading
October 27, 2013
Doris Staffel´s painting “Spirit Gate” is part of the Woodmere Art Museum collection.
Doris Staffel Malarkey, a highly praised artist and teacher and a devoted Buddhist and mother, will have her life celebrated at the Arch Street Meeting House on Friday, Nov. 1.
Known professionally as Doris Staffel, she died of coronary artery disease Sept. 13 at her Society Hill home at age 91.
Born Doris Blitman in Brooklyn, N.Y., Mrs. Staffel started drawing at age 3, and painted up to three weeks before she died, said daughter Megan Staffel.
“As long as she could paint, she felt energized and excited about life,” Staffel said.
She said her mother’s favorite paintings to do in the last year of her life were small watercolors with geometric shapes.
“She loved the fact that she could still work. These pieces were very playful,” she said.
A majority of her works were abstract and deeply influenced by Buddhist philosophy. Continue reading
October 10, 2013
Saint Louis Art Museum
One Fine Arts Drive
St. Louis, Missouri
The annual Nelson I Wu Lecture on Asian Art and Culture honors the memory of the late Dr. Wu and is jointly sponsored by the Saint Louis Art Museum and Washington University in St. Louis. The elegant, cosmopolitan arts of Kashmir inspired Buddhists and artists in Western Tibet to acquire, revere, preserve, and imitate them. Eventually the imported Kashmiri style became integrated into the cultural identity of Western Tibetan Buddhists as their own signature mode of art-making. The valuable and distinctive workmanship of Kashmiri artists in brass, silver, gold, wood, and ivory, and the detailed painted illuminations of Buddhist deities continue to be prized by collectors and museums alike. This lecture [looked] at the different forms of “collecting” Kashmiri Buddhist art through the centuries.
The Courtauld Institute of Art Events Calendar
When and Where:
Friday 8 November 2013
18.00-19.00, Kenneth Clark Lecture Theatre
Modern reproductions of Buddhist sculpture for sale at an antiquities market in Beijing. Photo: Judith Farquhar
Sculpture as we know it did not exist in China. Stone stele and figural objects were produced in abundance for commemorative and religious functions. But these objects were not collected and displayed as sculpture. This lecture will discuss the emergence of Chinese sculpture as two parallel developments. In China from as early as the eighteenth century ancient Buddhist and Daoist images were preserved as antiquities. By the mid-nineteenth century small Buddhist and Daoist images were available in the Chinese antiquities market and were being acquired by private collectors. Foreign residents and visitors to China were unaware of such antiquities and as late as 1904 writers on Chinese art could declare that China had no tradition of monumental sculpture. It was only in 1906 that Okakura Kakuzo acquired the first significant group of Buddhist and Daoist images for a foreign collection, the Museum of Fine Arts, Boston. These were imagined as sculpture in the context of the fine art museum. Interestingly, the majority of Chinese images known from the late nineteenth and early twentieth centuries are not genuinely ancient. Many are pious copies based on ancient styles; others are old but restored at a later date, many in the Ming dynasty. Other images are modern works, new votive works as well as forgeries for profit. The whole range of objects from old and rare antiquities to pious copies and restored works to modern productions were not easily distinguishable. Some were imagined as religious objects, some as antiquities, and others as sculpture.
BBC Arts & Culture
23 October 2013
Bodhisattva as Guide of Souls
The paintings from the Mogao caves show the development of Chinese art over a period of 1000 years
In a secret cave on China’s ancient Silk Road, one of the world’s most incredible collections of art lay locked away in darkness for 900 years.
It held a treasure trove of 50,000 Buddhist paintings and manuscripts dating back to the 5th Century.
And it would have remained hidden from the world if it had not been accidentally uncovered by a curious priest – who sold it away for a fraction of its worth.
The cave is one of the 500 surviving caverns at the Mogao Caves, on the edge of the Gobi desert, at Dunhuang in western China.
Their wonders are on show in London next week as part of the V&A’s new Masterpieces of Chinese Painting exhibition. Continue reading
Martha’s Vineyard Times
October 17, 2013
Korean director Kim Ki-Duk’s 2003 Buddhist-inspired film, “Spring, Summer, Fall, Winter…and Spring,” [came] to the Martha’s Vineyard Film Center on Friday, Oct. 18. Buddhist teacher Tenzin Namsel, who is visiting the Island and conducting workshops here, [led] a discussion of the film’s Buddhist themes following the screening.
One remarkable aspect of “Spring,” evident from the start, is its powerful celebration of the world’s natural beauty. The film was shot on Jusan Pond, a 200-year-old man-made lake in a South Korean wilderness preserve in North Kyungsang Province. The exquisitely wooded hills — occasionally garlanded with mist — around the lake and its calm waters where humans live in harmony with their surroundings, can be seen as an unspoken commentary on deteriorating global conditions elsewhere. In the same way, the narrative proceeds with much that is unspoken but emblematic. Continue reading