Monika Zin
Biographic Data
| ID | 3892015 |
|---|---|
| NAME | Monika Zin |
| GIVEN NAMES | Monika |
| FAMILY NAME | Zin |
| SIGNATURE | ZIN M |
| AFFILIATIONS | Saxon Academy of Sciences in Leipzig |
| ORCID | 0000-0002-3539-5773 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
Maitreya, the Saviour? Enigmatic ‘Mahābodhisatvas’ in Kucha
Narrative art requires pictorial conventions to convey the content of pictures.Artists have to provide information about the social status of a person, the place and time of an event, etc., without employing words.Pictorial conventions have to be consistent to be understandable; any deviation will be detected and is therefore probably meaningful.In paintings from Kucha, a clear distinction is made between the headgear of a king and the hairdo of …
About Visual Language, Drunken Women, Jesters and Escaping the World
Visual communication employs language different than literature. The economy of viewing calls for elements of representation familiar to the viewer, which, when shown in a recurring order, become comprehensible. For us, recognising these elements is often difficult as they can be entirely absent from the literary text. The person of the jester, whose appearance corresponds to the vidūṣaka of the Nāṭyaśāstra, is found frequently in narrative scene…
Nagarjunakonda
Narrative representations have not been found in all Buddhist monasteries. In some areas, for instance in the region of modern Sannati in ancient Āndhradeśa, only one stūpa, known today as Kanaganahalli, was decorated with opulent narrative reliefs, while the others display none at all. It appears that some Buddhist schools were interested in narrative representations while others were not. The area now known as Nagarjunakonda – the historical Vi…
Crossing the Ocean of saṃsāra
The aim of this paper is to explain the meaning of two mural fragments housed in the Central Asian Collection of the Museum für Asiatische Kunst, Preußischer Kulturbesitz, Staatliche Museen zu Berlin. The two mural fragments under discussion, nos. III 9023a and III 9023b–c (Pl. 1, Fig. 1), were brought to Berlin by the 4th Turfan Expedition in the year 1914 from the Buddhist cave monasteries in Kizil in the area of Kucha on the Northern Silk Road…
Traces of Reciprocal Exchange
Based on a selection of examples from the sculptural art of Andhra, the paper discusses what possibly motivated the inclusion of motifs and stylistic elements from the ancient Mediterranean into the Buddhist art of the region. While in some cases such adaptations may have been driven by the need to find suitable solutions for the depiction of critical events or by the fact that a foreign motif tied in perfectly with already existing concepts, and…
Nagarjunakonda
Narrative representations have not been found in all Buddhist monasteries. In some areas, for instance in the region of modern Sannati in ancient Āndhradeśa, only one stūpa, known today as Kanaganahalli, was decorated with opulent narrative reliefs, while the others display none at all. It appears that some Buddhist schools were interested in narrative representations while others were not. The area now known as Nagarjunakonda – the historical Vi…
Crossing the Ocean of saṃsāra
The aim of this paper is to explain the meaning of two mural fragments housed in the Central Asian Collection of the Museum für Asiatische Kunst, Preußischer Kulturbesitz, Staatliche Museen zu Berlin. The two mural fragments under discussion, nos. III 9023a and III 9023b–c (Pl. 1, Fig. 1), were brought to Berlin by the 4th Turfan Expedition in the year 1914 from the Buddhist cave monasteries in Kizil in the area of Kucha on the Northern Silk Road…
Traces of Reciprocal Exchange
Based on a selection of examples from the sculptural art of Andhra, the paper discusses what possibly motivated the inclusion of motifs and stylistic elements from the ancient Mediterranean into the Buddhist art of the region. While in some cases such adaptations may have been driven by the need to find suitable solutions for the depiction of critical events or by the fact that a foreign motif tied in perfectly with already existing concepts, and…
About Visual Language, Drunken Women, Jesters and Escaping the World
Visual communication employs language different than literature. The economy of viewing calls for elements of representation familiar to the viewer, which, when shown in a recurring order, become comprehensible. For us, recognising these elements is often difficult as they can be entirely absent from the literary text. The person of the jester, whose appearance corresponds to the vidūṣaka of the Nāṭyaśāstra, is found frequently in narrative scene…
Nagarjunakonda
Narrative representations have not been found in all Buddhist monasteries. In some areas, for instance in the region of modern Sannati in ancient Āndhradeśa, only one stūpa, known today as Kanaganahalli, was decorated with opulent narrative reliefs, while the others display none at all. It appears that some Buddhist schools were interested in narrative representations while others were not. The area now known as Nagarjunakonda – the historical Vi…
Maitreya, the Saviour? Enigmatic ‘Mahābodhisatvas’ in Kucha
Narrative art requires pictorial conventions to convey the content of pictures.Artists have to provide information about the social status of a person, the place and time of an event, etc., without employing words.Pictorial conventions have to be consistent to be understandable; any deviation will be detected and is therefore probably meaningful.In paintings from Kucha, a clear distinction is made between the headgear of a king and the hairdo of …
Indian and Buddhist Studies (5 works) · Art (4 works) · Chinese history and philosophy (3 works) · Literature (3 works) · Narrative (3 works) · Aesthetics (2 works) · Eurasian Exchange Networks (2 works) · History (2 works) · Advertising (1 work) · AKA (1 work)