ZANABAZAR’S STYLE IN THE BUDDHIST FINE ART AND THE GLOBALIZED AESTHETIC OF THE 21ST CENTURY

S. D. Syrtypova /С. Д. Сыртыпова

Abstract


The theory of the correct presentation of the spirit beauty in a fine body was developed in Mongolia on basis of Indo-Nepali-Tibetan Buddhist iconography and iconometry. And Zanabazar (1635-1723) remarkably implemented it in his activity. He created his deities in numerical terms and formulas of the Buddhist canon, but from the elements of the artistic tradition of the Central Asian nomads. The «decomposition» of his masterpieces into «elements» provides the clearest confirmation of Kandinsky's theory of the force of the «point and line» effect in a work of art. The basic pictorial element of the Mongolian style coincides with the shape of the «golden spiral» of Fibonacci, the composition corresponds to the golden section. The goddesses of the great master contain a universal code of beauty and an expansion of contemporary aesthetics. The study of the issue was carried out on the basis of verbal and visual sources (Mongolian literature, painting, sculpture, cinematography, etc.)


References


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TRANSLIT

Brauen., M., M. Willson (ed.). Deities of Tibetan Buddhism. The Zürich Painting of the Icons Worthwhile to See (Bris sku mthoṅ ba don ldan). Boston, 2000.

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