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Another Buddhist deity, named Shukongoshin, one of the wrath-filled protector deities of Buddhist temples in Japan, is also an interesting case of transmission of the image of the famous Greek god Herakles to the Far-East along the Silk Road. Herakles was used in Greco-Buddhist art to represent Vajrapani, the protector of the Buddha, and his ...
Blue-eyed Central Asian monk teaching East-Asian monk. A fresco from the Bezeklik Thousand Buddha Caves, dated to the 9th century; although Albert von Le Coq (1913) assumed the blue-eyed, red-haired monk was a Tocharian, [2] modern scholarship has identified similar Caucasian figures of the same cave temple (No. 9) as ethnic Sogdians, [3] an Eastern Iranian people who inhabited Turfan as an ...
Yingluo (simplified Chinese: 璎珞; traditional Chinese: 瓔珞; also written as 缨络; 纓絡; from the word keyūra in Sanskrit which was transliterated into jiyouluo (积由罗) in China) is a ring-shaped neck ornament or fashion jewellery of Buddhist origins in ancient China with its earliest prototypes having roots in ancient India.
A resident of Japan, he specialized in jewelry, restaurants, galleries and property management, at one point being the 13th richest in Japan. In the immediate post-WWII period, the antique market expanded, and as such his holdings expanded, with an awakening of Buddhist faith after a brief stint in jail. [4] [5]
Richard Foltz, Religions of the Silk Road 2nd edition (Palgrave Macmilla, 2010) ISBN 978-0-230-62125-1; Harle, J.C., The Art and Architecture of the Indian Subcontinent, 2nd edn. 1994, Yale University Press Pelican History of Art, ISBN 0300062176; Sir John Marshall, The Buddhist art of Gandhara, 1960, ISBN 81-215-0967-X
Goryeo Buddhist paintings were uniquely made by applying color to both the front and back of the silk canvas. By utilizing the reverse side of the canvas, artists creating Buddhist artworks were able to create subtle effects, intensifying and contrasting with the primary colors painted on the front.