Part
1 Range | different ideals which the Buddhist mind has from time to time
2 Taoism| which, when blended with Buddhist ideals in the great liberalising
3 Taoism| at the same time a devout Buddhist. In the third century, when
4 Buddhi| constellations. The existence of the Buddhist Church, mother of all churches
5 Buddhi| demonstrates the dual trend of the Buddhist idea. For the organisation
6 Buddhi| formed the busiest seat of Buddhist activity. It was in Kashmir,
7 Buddhi| near Agra - called a great Buddhist council, whose influence
8 Buddhi| period in India we find Buddhist art-activity working out
9 Buddhi| culture.~The second stage of Buddhist activity - on whose Sino-Japanese
10 Buddhi| The art of this second Buddhist epoch is best seen in the
11 Buddhi| monastery and university of Buddhist learning, in the vicinity
12 Asuka | 550 TO 700 A.D. ~THE first Buddhist period in Japan begins with
13 Asuka | certain translations of a Buddhist scripture. In 64 A.D. Meitei,
14 Asuka | returning in 67 A.D., with Buddhist images and two monks, Matanga
15 Asuka | teachers translated those Buddhist scriptures which belonged
16 Asuka | innumerable translations of Buddhist scriptures and laid the
17 Asuka | nation that would admit Buddhist images to the Taoist pantheon
18 Asuka | were changed at once into Buddhist temples in an impulse of
19 Asuka | thousand~paragraph continues] Buddhist images, some of the Tâng
20 Asuka | and canopies and sundry Buddhist scriptures - addressing
21 Asuka | formal adoption by the court, Buddhist monks and images were already
22 Asuka | first nun who worshipped the Buddhist images. The Korean priests,
23 Asuka | vied with each other in Buddhist presents, and Wumako, the
24 Asuka | prime minister, erected Buddhist temples in 584. The year
25 Asuka | personification of this first Buddhist illumination. He as regent
26 Asuka | His commentaries on the Buddhist sûtras not only evince remarkable
27 Asuka | culmination of the first Buddhist movement, which is sometimes
28 Asuka | Hâng type as it appears in Buddhist art. The proportions are
29 Asuka | national development of Buddhist art and philosophy, under
30 Nara | Hinduism with puranic lore.~Buddhist art now assumes the aspect
31 Nara | This city became the great Buddhist centre, and the strength
32 Nara | to be the centre of the Buddhist universe. We can still see,
33 Nara | was an age of tremendous Buddhist activity. Amongst the seven
34 Nara | helpful to the progress of Buddhist art. On one occasion, when
35 Nara | is so different from the Buddhist style, both in spirit and
36 Heian | period, we find a new wave of Buddhist development, called the
37 Heian | combining the Brahminical and Buddhist doctrines. This was the
38 Heian | in the appropriation of Buddhist conceptions. Up to this
39 Ashika| amalgamation of Taoist, Buddhist, and Confucian thought,
40 Ashika| ignoring forms and rituals, for Buddhist images were cast into the
41 Ashika| interpreting them through Buddhist ideas. The standard of excellence
42 Meiji | dynasty in China was himself a Buddhist monk. Yet he considered
43 Meiji | Neo-Confucianism is Confucianism under Buddhist interpretation, this means
44 Meiji | the genius of Kukai, with Buddhist interpretations. This element
45 Meiji | of the treasures of the Buddhist temples and monasteries,
46 Meiji | downfall of the sanctity of Buddhist monasteries and the dispersion
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