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<p>Publisher's description: Buddha Mind in Contemporary Art documents the growing presence of Buddhist perspectives in contemporary culture. This shift began in the nineteenth century and is now pervasive in many aspects of everyday experience. In the arts especially, the increasing importance of process over product has promoted a profound change in the relationship between artist and audience. But while artists have been among the most perceptive interpreters of Buddhism in the West, art historians and critics have been slow to develop the intellectual tools to analyze the impact of Buddhist concepts. This timely, multi-faceted volume explores the relationships between Buddhist practice and the contemporary arts in lively essays by writers from a range of disciplines and in revealing interviews with some of the most influential artists of our time. Elucidating the common ground between the creative mind, the perceiving mind, and the meditative mind, the contributors tackle essential questions about the relationship of art and life. Among the writers are curators, art critics, educators, and Buddhist commentators in psychology, literature, and cognitive science. They consider the many Western artists today who recognize the Buddhist notion of emptiness, achieved through focused meditation, as a place of great creative potential for the making and experiencing of art. The artists featured in the interviews, all internationally recognized, include Maya Lin, Bill Viola, and Ann Hamilton. Extending earlier twentieth-century aesthetic interests in blurring the boundaries of art and life, the artists view art as a way of life, a daily practice, in ways parallel to that of the Buddhist practitioner. Their works, woven throughout the book, richly convey how Buddhism has been both a source for and a lens through which we now perceive art.</p>
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- Buddhist Contemplation by Applied Subject,
- Socially Engaged Buddhism,
- Buddhist Contemplation by Tradition,
- Contemplation by Applied Subject,
- Contemplation by Tradition,
- Art and Buddhist Contemplation,
- Photography and Buddhist Contemplation,
- Art and Contemplation,
- Visual art and Buddhist Contemplation,
- Buddhist Contemplation
This article examines the lay meditation movement occurring in contemporary Buddhism in Sri Lanka. The lay meditation movement represents a different perspective from the nationalistic Sinhala Buddhism that has dominated the discourse in the wake of the intractable ethnic conflict in the country. The lay meditation movement reflects the contemporary ferment in Buddhist discourse among the laity. One of the key themes in this movement is the privileging of experience because it gives the lay groups authority to challenge contemporary orthodoxy and it has empowered a new class of spiritual leaders, the lay gurus. Paraphrasing Stirrat, we can say that these lay gurus are leading the lay meditation movement towards ‘a series of different interpretations of what it means’ to be a Buddhist today. In its overall effect the lay meditation movement not only reconstructs what it means to be a Buddhist today but also points in the direction of establishing new forms of sectarianism that could be considered to be ‘new religious movements’ under the umbrella of Buddhism.
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Neurosurgical treatment of psychiatric disorders has been influenced by evolving neurobiological models of symptom generation. The advent of functional neuroimaging and advances in the neurosciences have revolutionized understanding of the functional neuroanatomy of psychiatric disorders. This article reviews neuroimaging studies of depression from the last 3 decades and describes an emerging neurocircuitry model of mood disorders, focusing on critical circuits of cognition and emotion, particularly those networks involved in the regulation of evaluative, expressive and experiential aspects of emotion. The relevance of this model for neurotherapeutics is discussed, as well as the role of functional neuroimaging of psychiatric disorders.
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The specific aim of this course is development of a university dance curriculum that will link post-modern dance with Tai Chi as it is understood and practiced by the masters of the discipline in China – both as a practice (i.e., as a set of physical movements known as “Tai Chi Chuan”) and as a spiritual discipline (i.e., “Tai Chi”) worthy of scholarly study. A central hypothesis of this course is that the teaching of Tai Chi Chuan in this country – both in academic and experiential contexts – has generally missed the essence of the actual Chinese discipline by concentrating more on the specific physical steps than on the deeper mental and spiritual principles from which it derives. A major goal of the course is to restore to the curriculum those important principles of employing certain meditation techniques that have not been taught here. The course will apply two central principles of Tai Chi in the context of dance: first, the goal of awareness, or softness, which is simply movement based on stillness; and second, the goal of relational physics, or the intention and orientation of the individual to the whole.
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