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The English poet, philosopher and literary critic William Empson considered 'The Face of the Buddha' to be one of his finest works. Drafted as he travelled throughout eastern and southern Asia during the 1930's, it is a highly personal account of the cultures and artworks he encountered in Japan, Korea, China, Burma, India and Ceylon, and contains perspectives and theories that are not found in any of his other works. Empson was heartbroken when he lost the onlycopy of the manuscript in the wake of World War Two, but its recent rediscovery means the book can now be offered exactly as he intended, complete with his original photographs. A comprehensiveintroduction by the global culture historian Rupert Arrowsmith ensures that the text is just as accessible to the general reader as it is to academics and students.… (más)
Información procedente del conocimiento común inglés.Edita para encontrar en tu idioma.
There are two common misunderstandings about Buddhist sculpture; that the faces have no expression at all, an idea set on foot by Lafcadio Hearn, who had a genuine feeling for the East but was almost blind, or else they all sneer, a thing that G. K. Chesterton, for instance, often said, which is less easy to answer.
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Información procedente del conocimiento común inglés.Edita para encontrar en tu idioma.
Of course one must not make these things too clear-cut; the Indians had to humanise the Buddha in some degree (as Mahayana developed) before they could make statues of him at all; but I think this contrast was the basis for the much greater degree of humanisation required in the Chinese development of the complex Buddha face.
The English poet, philosopher and literary critic William Empson considered 'The Face of the Buddha' to be one of his finest works. Drafted as he travelled throughout eastern and southern Asia during the 1930's, it is a highly personal account of the cultures and artworks he encountered in Japan, Korea, China, Burma, India and Ceylon, and contains perspectives and theories that are not found in any of his other works. Empson was heartbroken when he lost the onlycopy of the manuscript in the wake of World War Two, but its recent rediscovery means the book can now be offered exactly as he intended, complete with his original photographs. A comprehensiveintroduction by the global culture historian Rupert Arrowsmith ensures that the text is just as accessible to the general reader as it is to academics and students.
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