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Keywords
Buddhism, art, iconography, canon, tradition, cultural heritage, local school, a comparative study analysis
Categories
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
How to Cite
Batyreva, S.G. (2017) ‘The cult of Nature in the iconography of Buddhism: Oirat-Kalmyk Parallels: УДК 294.3+7.046.3+069:09 (045)’, The Art of Eurasia, (1), pp. 45–54. doi:10.25712/ASTU.2518-7767.2017.01.002.
Индексация статей
Abstract
The article is devoted to the comparative analysis of the Buddhist Kalmykia painting and Western Mongolia. The object of research is the traditional art, purpose – Identification and characterization of the local features of the iconography of Buddhism. Considering the examples of painting associated with the cult of Nature, in the canon of interpretation the author considers the general and the particular composition, proportion, color and attributes of the works of Buddhist art these regions. In the picturesque embodiment iconographic canon recorded its local variations due to the specific conditions of existence. Recent vary considerably, for example, in the treatment of conditional scenery, expressed in imaginative solutions canonical plot elements. In addition, coloring works, the originality of ethnic type, attribute of the image is an art, in general the sources of origin. The phenomenon of the variation of the fine Buddhist canon is often accompanied his departure from the conventions, allowing to characterize a whole school of icon painting. This is possible in the comprehensive study combining in the field of museology techniques of Art, History and ethnoculturology.
References
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