A comparative study of Buddhist teachings resulting in the concept of creative designs of Buddhist artworks in Theravada and Mahayana Buddhism : A case study of Ajanta caves in Maharashtra state, Republic of India

Abstract

This thesis :A Comparative Study of Dhammic Principles that affected upon a Creative Conceptual Design of Buddhist artworks in Theravada and Mahayana Buddhism : A Case Study of Ajanta Caves, Maharashtra State ,republic of India ,is of 3 objectives:1.to study Dharmic Principles that affected upon a Creative Conceptual Design of Buddhist artworks in Theravada Buddhism :A case Study of Ajanta Caves, Maharashtra State, republic of India ;2.to study Dharmic Principl that affected upon a Creative Conceptual Design of Buddhist artworks in Mahayana Buddhism :A case Study of Ajanta Caves, Maharashtra State, republic of India;3.to compare Dhammic Principles that affected upon a Creative Conceptual Design of Buddhist artworks in Theravada and Mahayana Buddhism :A case Study of Ajanta Caves, Maharashtra State, republic of India.

The research results are found that the Dharmic Principles that affected upon a Creative Conceptual Design of Buddhist artworks in appliedarts in Theravada and Mahayana Buddhismare in 2 characterlisticsof appliedarts; i.e. having the sameness, ,as well as having difference with having mutual development. The dharmic principles in creative conceptual design in appliedarts in Theravada and Mahayana Buddhism, in the characterlistics of the sameness and mutual development are : Buddha”objective towards Buddhist assembly is the effort to practice Dharma to offer to the Buddha as for the continual stability of Buddhism, Buddha”s permission that bhikkhus may stay in caves during rainy season ,and Buddha” steaching that Bhikkhus shoud often pilgrim for paying homage to pagodas to deserve going to heaven ; Sikkhattaya:Dana, Sila and Bhavana, and ultimate Vitmutti lead to Nibbana ; the right samadhi in the Four Noble Truths ,Tilakkhana ,Niramanakaya ,the Buddha”s life – story and jakata,Theravada Buddha kasetta, Dharmakaya in Theravada and Mahayana Buddhism, Anapanasati Dharma practice in Theravada Buddhism, and Tathaganta in Mahayana Buddhism. Dhamic principles in creative conceptual design in appliedarts in Theravada and Mahayana Buddhism are : the existence of the Buddha, phradayani buddha , the yield for the importance of Bodhisatta” s Parami creation, Sukhavadi-Buddhakasetta in Mahayana Buddhism, Dharmakaya and Sambodhikaya in Mahayana Buddhism. It can be seen that in Theravada or the first era, the Dhammic principles were made Buddhist artworks beautiful, pure and simple for communicating the essential implication of original Dharmic teachings honestly and keeping the core of Dharmic truth for continual stability. While in Mahayana or the secondery, besides mutually holding the originaiiy pure Dhammic teachings, there were more of creatively conceptual ideas for explanation and deep details on the additional enumeration of Dharmic teaching with supremely creative imagination and art-tactic ability, full of pure mind of the faith in the Buddha”s Dharmic truths, with the extent that human” shighest potential can be achieved.