This thesis analyzes the ideological construct of Zen Buddhist art and provides suggestions for reconceptualizing this construct within Buddhist visual culture. The concept of Zen art has been part of a larger strategic effort by Buddhist modernizers to adapt Japanese Buddhist institutions for survival amidst rapid political reforms in Japan. Thus, the concepts of Zen art and, by extension, Chan art largely reiterate the ideological claims of Japanese modernization. A range of objects only loosely connected to the actual religious practices of Chan or Zen Buddhism have been categorized according to highly subjective modernist aesthetics. Comparison to the actual functions of visual culture in Chan and Zen religious tradition, as well as examination of the specific criteria used to determine objects as Chan or Zen art, leads to a less political and more contextual method of interpreting objects previously subsumed under Zen art and Chan art.
|School:||California State University, Long Beach|
|School Location:||United States -- California|
|Source:||MAI 49/05M, Masters Abstracts International|
|Subjects:||Religion, History, Art history|
Copyright in each Dissertation and Thesis is retained by the author. All Rights Reserved
The supplemental file or files you are about to download were provided to ProQuest by the author as part of a
dissertation or thesis. The supplemental files are provided "AS IS" without warranty. ProQuest is not responsible for the
content, format or impact on the supplemental file(s) on our system. in some cases, the file type may be unknown or
may be a .exe file. We recommend caution as you open such files.
Copyright of the original materials contained in the supplemental file is retained by the author and your access to the
supplemental files is subject to the ProQuest Terms and Conditions of use.
Depending on the size of the file(s) you are downloading, the system may take some time to download them. Please be