Buddha in Beton Eine buddhologische Kritik der neuen Wege des japanischen Tempelbaus
emple. And only because temple architecture - as well as paintings, statues, gardens etc. - shows the presence of the Buddha in this way does it become a religious place where the Buddha is actually present. The final discussion of this study puts these Buddhist teachings in a dialogue with modern a...
Saved in:
Main Author: | |
---|---|
Format: | Electronic Book Chapter |
Published: |
Cologne
Modern Academic Publishing
2017
|
Subjects: | |
Online Access: | DOAB: download the publication DOAB: description of the publication |
Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
MARC
LEADER | 00000naaaa2200000uu 4500 | ||
---|---|---|---|
001 | doab_20_500_12854_31584 | ||
005 | 20210210 | ||
003 | oapen | ||
006 | m o d | ||
007 | cr|mn|---annan | ||
008 | 20210210s2017 xx |||||o ||| 0|deu d | ||
020 | |a bag | ||
020 | |a 9783946198239;9783946198215;9783946198222 | ||
040 | |a oapen |c oapen | ||
024 | 7 | |a 10.16994/bag |c doi | |
041 | 0 | |a deu | |
042 | |a dc | ||
072 | 7 | |a ACV |2 bicssc | |
072 | 7 | |a ACX |2 bicssc | |
072 | 7 | |a AMN |2 bicssc | |
072 | 7 | |a AMX |2 bicssc | |
072 | 7 | |a HPN |2 bicssc | |
072 | 7 | |a HRE |2 bicssc | |
100 | 1 | |a Gerlach, Jonas |4 auth | |
245 | 1 | 0 | |a Buddha in Beton |b Eine buddhologische Kritik der neuen Wege des japanischen Tempelbaus |
260 | |a Cologne |b Modern Academic Publishing |c 2017 | ||
300 | |a 1 electronic resource (522 p.) | ||
336 | |a text |b txt |2 rdacontent | ||
337 | |a computer |b c |2 rdamedia | ||
338 | |a online resource |b cr |2 rdacarrier | ||
506 | 0 | |a Open Access |2 star |f Unrestricted online access | |
520 | |a emple. And only because temple architecture - as well as paintings, statues, gardens etc. - shows the presence of the Buddha in this way does it become a religious place where the Buddha is actually present. The final discussion of this study puts these Buddhist teachings in a dialogue with modern aesthetic architectural concepts argued by temple architects. The contrasting points of view make it clear that the explicitly Buddhist idea of Buddhist temple architecture can not be grasped by aesthetics, because its purpose is to show the invisible presence of the Buddha and not to be a sensual (i.e. aesthetic) experience of the visible object itself in the first place. However, aesthetic concepts of art have become common in Japan since the late 19th century. They are the foundation of the described new ways in which temples were built and designed since then. One indication for the impact of aesthetics are Japanese words like shimboru シンボル/shōchō 象徴 (symbol) or fun'iki 雰囲気 (atmosphere) which are used by architects to describe their temple architecture and matters of design. These words were formed around the turn of the century to express European concepts of art and aesthetics, since before that these words and ideas simply did not exist in Japan. And it is only since then, that temples were perceived as aesthetic symbols with various meanings that can be defined by an architect, and that they have a certain atmosphere which should be designed for making visitors feeling comfortable. Now it is the architect himself who gives meaning to its work and who is responsible for a nice spatial experience. But none of these architects is talking about himself becoming Buddha by building a temple. So not only the architectural appearance and construction of Buddhist temples have changed enormously throughout the last 150 years, but also the task of building itself. There has always been change in appearance and construction throughout the history of Buddhism and in the different Buddhist cultures, but the redefinition of the temple as an architectural piece of art is a very recent development in Japan and the actual new idea causing these dramatic architectural changes. " | ||
520 | |a "Viele buddhistische Tempelbauten in Japan sind heute aus Beton. Sie haben Glasfenster, Teppichböden und elektrisches Licht. Manche sehen aus wie gewöhnliche Wohnhäuser, andere imitieren das Erscheinungsbild traditioneller Bauweisen, wieder andere sind von Star-Architekten geplant. Alle diese Bauten zeigen, dass die alte und einst durch die buddhistische Religion formulierte Aufgabe, einen Tempel zu bauen, in den letzten 150 Jahren in unterschiedlicher Weise neu interpretiert wurde. Gründe dafür sind die japanische Auseinandersetzung mit westlichen Ideen von Kunst, Architektur, Religion und Ästhetik ab dem späten 19. Jahrhundert, die darauf rückführbare Annahme, Tempelbau sei eine Aufgabe für kunstschaffende Architekten, sowie das Bedürfnis, den Ansprüchen der Gegenwart neu zu begegnen. All das führte dazu, dass Jahrhunderte alte liturgische Ideen des Tempelbaus, die in buddhistischen Traditionstexten mit ritueller Wichtigkeit festgehalten sind, ihre Bedeutung zugunsten eines neuen ästhetischen Kunstdenkens eingebüßt haben. Ordnungen und Darstellungen zum Beispiel von maṇḍalas oder Buddhaländern, die fuür den Tempelbau formgebend und sinnstiftend sind, werden in einem künstlerischen Denken von Raumerlebnis und Baustil zu blassen ästhetischen Gestaltungselementen. Diese Studie zeigt zum einen anhand vieler Beispiele die angesprochene jüngere bauliche Entwicklung im Tempelbau auf und legt dabei einen Schwerpunkt auf die Frage nach dem spezifisch Religiösen der neuen Baugestalt. Zum anderen geht sie gleichzeitig der Frage nach, was seitens der buddhistischen Religion als Aufgabe für den Tempel überhaupt formuliert ist, was dies für den Tempelbau bedeutet und wo neben der veränderten neuen Baugestalt deswegen das eigentlich Neue in den jüngeren Entwicklungen des Tempelbaus liegt. Lesen Sie hier die detaillierte English Summary: http://bit.ly/2CYGITG. Jonas Gerlach hat Japanologie, Kunstgeschichte und Musikwissenschaft an der Universität zu Köln und der Sophia Universität in Tokyo studiert (2005-2011). Im Jahr 2015 erfolgte die Promotion im Fach Japanologie an der Universität zu Köln. Zuvor war er dort wissenschaftlicher Mitarbeiter (2012-2014). Jonas Gerlach ist derzeit Mitglied der Geschäftsleitung der Pausanio GmbH & Co.KG, einer Agentur für digitale Kulturkommunikation." | ||
540 | |a Creative Commons |f https://creativecommons.org/licenses/by-sa/4.0/ |2 cc |4 https://creativecommons.org/licenses/by-sa/4.0/ | ||
546 | |a German | ||
650 | 7 | |a History of art & design styles: c 1800 to c 1900 |2 bicssc | |
650 | 7 | |a History of art & design styles: from c 1900 - |2 bicssc | |
650 | 7 | |a Religious buildings |2 bicssc | |
650 | 7 | |a History of architecture |2 bicssc | |
650 | 7 | |a Philosophy: aesthetics |2 bicssc | |
650 | 7 | |a Buddhism |2 bicssc | |
653 | |a buddhist architecture | ||
653 | |a buddhism | ||
653 | |a modern age | ||
653 | |a temples | ||
653 | |a aesthetics | ||
653 | |a japan | ||
653 | |a Buddha | ||
653 | |a Dharma | ||
653 | |a Ritus | ||
653 | |a Stupa | ||
653 | |a Sutra | ||
653 | |a Tempel | ||
653 | |a Tokio | ||
856 | 4 | 0 | |a www.oapen.org |u https://library.oapen.org/bitstream/20.500.12657/30871/1/641501.pdf |7 0 |z DOAB: download the publication |
856 | 4 | 0 | |a www.oapen.org |u https://library.oapen.org/bitstream/20.500.12657/30871/1/641501.pdf |7 0 |z DOAB: download the publication |
856 | 4 | 0 | |a www.oapen.org |u https://library.oapen.org/bitstream/20.500.12657/30871/1/641501.pdf |7 0 |z DOAB: download the publication |
856 | 4 | 0 | |a www.oapen.org |u https://library.oapen.org/bitstream/20.500.12657/30871/1/641501.pdf |7 0 |z DOAB: download the publication |
856 | 4 | 0 | |a www.oapen.org |u https://directory.doabooks.org/handle/20.500.12854/31584 |7 0 |z DOAB: description of the publication |