H3008:

AESTHETIC MANIFESTATIONS OF BUDDHIST DEVOTION & PRACTICE

Semester 2, 2023
NTU
Tuesdays, 10.30-1.20 pm

Professor: Prof. Pat Chirapravati, Ph.D.

Office: HSS-03-45
Office hours: Tuesdays 3-4 and Wednesday 10.30-12.30, and by appointment
E-mail: mlpattaratorn.c@NTU.edu.sg

Course Description:
This course is intended to deepen and widen your pre-existing knowledge of Asian or
Buddhist art, and to develop critical frameworks for rethinking prevailing canons of
Buddhist art. It covers a selection of artefacts, sites and works of art from over two
millennia from ca. 300BCE to the 21st century. The geographical scope mirrors the
internationalisation of Buddhism, from South Asia to East, Southeast Asia, and the
Western world, since the first millennium. We ask: how have Buddhist teachings been
interpreted by image-makers over space and time, and how have the representations been
subsequently experienced, read and used, and what makes “Buddhist art” “Buddhist and
“art.” These studies will provide a basis for further in-depth studies of Buddhist Art.

Course Objectives:

Upon completion of H3008, students will:

1. Identify and discuss Buddhist artefacts, sites and works of art from ca. 300BCE to
the 21st century.
2. Discern and discuss adaptations and transformations of Buddhist concepts and
imagery from South to East and Southeast Asia, and to Euro-America.
3. Demonstrate visual memory skills and be able to differentiate between the
different styles, and identify the figures and symbols represented, in Buddhist Art.
4. Present research findings related to Buddhist Art in a clear and cohesive manner.
5. Share and critique analyses of Buddhist Art in a constructive manner.

Course Content

What are the most representative examples of Buddhist artefacts, sites and works of
art from ca 300BCE to the 21st century?

You will be shown a range of Buddhist visual materials from South, East and Southeast
Asia, Europe and North America from the inception of Buddhist art to the contemporary:
stupas, seals, coins, monumental sculptures, paintings, installations, etc.

What are the principal figures and symbols featured in Buddhist art?

1
You will learn how to identify the different Buddhist superior beings and their meanings:
arhats, Buddhas, bodhisattvas, etc. They are also initiated to the symbolic meanings of
aniconic representations.

How have Buddhist teachings been interpreted by image-makers over space and
time and how have the representations been subsequently experienced, read and
used?
You will explore the ways in which the representation of a single concept, figure or
symbol transformed over space and time, as well as how the reception of the
representation has varied.

What makes “Buddhist art” “Buddhist” and “art”

You will be invited to reflect on the contradictions between the raison d'être of Buddhist
images and the notion of art as a commodity today.

Class Assignments

The Oral Presentation is an exercise on the analysis of an artwork’s formal and

iconographic qualities, intrinsic meanings and art historical significance, as well as its
effective communication. The Written Assignment demands that you compare and
contrast, and engage with a wider range of issues. The Visual Memory Exercise trains
you in visual memory skills which are vital for the study of art history.

Evaluation:
1. Oral Presentation: 40%
2. Term paper: 40%
3. Class participation: 20%

Recommend reading:

Baas, Jacquelynn, and Mary Jane Jacob, eds. Buddha mind in contemporary art.
University of California Press, 2004.
Cather, Sharon, David Park, and K. Wangmo. Art of Merit: Studies in Buddhist Art and
its Conservation. Archetype, 2013.
Chirapravati, M.L. Pattaratorn, “Phra Mae Thorani Wringing Her Hair: The Earth Goddess in
Modern Thai Buddhism,” with an Appendix by Trent Walker, Felicitation Volume for
Dr. Piriya Krairiksh (On the Occasion of his 80th birthday in July 2022). Bangkok: River Books,
2022.
Chirapravati, M.L. Pattaratorn, “Buddhist Art and Architecture in Sri Lanka and Southeast
Asia,” Oxford Bibliography in Buddhism, ed. Richard Payne. (Oxford University Press, 2015). P.
Chirapravati and John Listopad.
Coomaraswamy, Ananda K. "The origin of the Buddha image." The Art Bulletin 9.4
(1927): 287-328.
Dehejia, Vidya. Discourse in early Buddhist art: Visual narratives of India. Coronet
Books Inc, 1997.
Dehejia, Vidya. "On modes of visual narration in early Buddhist art." The Art Bulletin
72.3 (1990): 374-392.
Fisher, Robert E. Buddhist art and architecture. Thames and Hudson, 1993.

2
Foucher, Alfred. The beginnings of Buddhist art: and other essays in Indian and Central-
Asian archaeology. Asian Educational Services, 1917.
Green, Alexandra, ed. Rethinking Visual Narratives from Asia: Intercultural and
Comparative Perspectives. Hong Kong University Press, 2013.
Green, Ronald. Buddhism Goes to the Movies: Introduction to Buddhist Thought and
Practice. Routledge, 2013.
Guy, John. Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia.
Metropolitan Museum of Art, 2014.
Harle, James C. The art and architecture of the Indian subcontinent. Yale University
Press, 1994.
Harris, Clare E. The museum on the roof of the world: art, politics, and the
representation of Tibet. University of Chicago Press, 2012.
Huntington, Susan L. "Early Buddhist art and the theory of aniconism." Art Journal 49.4
(1990): 401-408.
Kinnard, Jacob N. Imaging wisdom: seeing and knowing in the art of Indian Buddhism.
Routledge, 2013.
Kinney, Ann R., Marijke J. Klokke, and Lydia Kieven. Worshiping Siva and Buddha:
The Temple Art of East Java. University of Hawaii Press, 2003.
Le May, Reginald. A concise history of Buddhist art in Siam. CE Tuttle Company, 1938.
Leidy, Denise Patry, Buddhist Art: An Introduction to Its History and Meaning (Boston
& London: Shambhala, 2008.
Paine, Robert Treat, and Alexander Coburn Soper. The art and architecture of Japan.
Yale University Press, 1981.
Seckel, Dietrich. The Art of Buddhism. Crown Pub, 1964.
Seckel, Dietrich. Before and beyond the image: aniconic symbolism in Buddhist art.
Artibus Asiae Pub, 2004.
Shaw, Sarah (2006), The Jatakas: Birth Stories of the Bodhisatta. New Delhi: Penguin
Books, 2006.
Snodgrass, Adrian. The symbolism of the stupa. Motilal Banarsidass Publisher, 1992.
Soper, Alexander Coburn. The Art and Architecture of China. Harmondsworth,
Middlesex; Baltimore: Penquin Books, 1960.
Teiser, Stephen F. Reinventing the Wheel: Paintings of rebirth in medieval Buddhist
temples. University of Washington Press, 2006.

TERM PAPER:

An essay of 10 double-spaced, typed pages (12 point-type, one-inch margins). Students

are free to choose at least two objects from the Asian Civilisations Museum and/or
Buddhist temples in Singapore as the research pieces for their term papers.
https://www.nhb.gov.sg/acm/

Students will place the objects in their religious, ritual, historical, and cultural contexts.
Illustrations should be included in the paper. Students need to write the paper in their own
words. If any passages from books, articles, or web sites are quoted or paraphrased,
footnotes must be used to identify the sources. All quoted material must be set within
quotation marks or otherwise set off from the rest of the text (long quotations may be
indented and have a different spacing: see a style guide). Plagiarism is not acceptable and
will result in a failing grade on the assignment.

3
For the paper’s format please use Chicago or MLA format.

Chicago format: http://www.chicagomanualofstyle.org/tools_citationguide.html

MLA format: http://owl.english.purdue.edu/owl/resource/747/01/

Class Participation (Class attendance and field trip 20 %)

Regular attendance is very important. A grade penalty will be charged if you have had
more than ONE unexcused absence during the semester. You are required to attend the
field trip to the Asian Civilisations Museum on 11 February 2023, 1-4 pm.

Course Requirements and Grade Basis:

GRADING RUBRIC for TERMPAPER 40% : 10-15 pages (3000 – 3500 words)

The paper is worth 40% of your grade and has 3 parts totaling 40 points:
1) proposal, consisting of a one-paragraph thesis statement and research bibliography
(100 points)

2) First draft (100 points)

-Relevance of topic to the course; originality and clarity of thesis: 20 points
-Logic of argument development (composition): 20 points
-Strength of visual evidence: 20 points
-Quality of scholarly sources: 20 points
-Accuracy of citation usage and format (footnote and bibliography): 10 points
-Quality of writing (grammar, syntax, punctuation, spelling, etc.) and overall
presentation: 10 points

3) Final Draft (200 points)

Submission Deadline: 18 April 2023
Please submit a soft copy via Turnitin on NTULearn. Penalties will be applied for late
submissions.
You can also submit a hardcopy to the instructor.

Proposal and research bibliography (100 points):

-Proposal: A 200-word thesis statement with a brief description of the subject. This is
your working thesis and can change as your research and thinking progress. For how to
write a strong thesis statement: https://wts.indiana.edu/writing-guides/index.html
-Research bibliography: This is your working bibliography. You will not have read all or
even located all the sources listed. It should have everything available on your subject:
historical, social, cultural, psychological, theoretical, and art historical contexts. Find
some of the articles and books, requesting books from the library and online. Then look
at these sources’ bibliographies for more sources.
-Essay topic must be approved by the instructor by 14 March 2023.

ORAL PRESENTATION (40%):

Power Point Presentation (100 points):

4
-Clarity of communication in presenting research and arguments (100 points).
-Strength of visual and textual analysis of works of art and publications (200 points).
-Contribution to discussions (100 points).

ACADEMIC GUIDANCE AND SUPPORT:

To meet with the instructor during office hours (days/times listed above), sign up on the
list on the office door (HSS-03-45). To schedule an appointment outside of office hours,
contact the instructor directly.

If you have a disability and require academic accommodation, please provide

verification. Please also discuss your accommodation needs with the instructor at the
beginning of the semester.

CLASS POLICY:
Cell phone and laptop computer policy:
To avoid classroom disruption, all cell phones must be turned off or set on the silent
mode. Laptop computers may use only for taking notes. You require to sit in the front
row of the classroom.

Schedule of Classes and Assignments:

Note: All reading assignments listed below are from the reading list.

January 10: Introduction to Buddhist philosophy and art

January 17: Premodern Buddhist art: pictorial narratives of the Buddha’s life and
past lives, and Buddha development of Buddha images in South and SEA

January 24: NO CLASS: CHINESE NEW YEAR

January 31: Premodern Buddhist art: Pictorial narratives of the Buddha’s life and
past lives, and Buddha development of Buddha images in South and SEA

February 7: Premodern Buddhist art: Buddhist Architecture in South and SEA

February 11: Class visits the Asian Civilisations Museum, 1-4 pm.

February 14: Premodern Buddhist art: Buddhist Architecture in East Asia

February 21 Premodern Buddhist art: Buddhist Architecture in Himalayan region

February 28: NO CLASS: RECESS WEEK

March 7: Modern and Contemporary Buddhist Art: Painting, sculpture,

installation, new Media art, and performance

5
March 14: Modern and Contemporary Buddhist Art: New Media art and
performance

March 21: Buddhism in Popular Culture: Manga and Animation

March 28: Studies of Buddhist Art: Buddhist Studies, Anthropology, History,

Epigraphy, and Philosophy

April 4: Presentations by students

April 11: Presentations by students

April 18: TERM PAPER DUE