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Prof. Dr. Monika Zin

zin

Abteilung Südasien

ehemalige Gastprofessorin (Vakanzvertretung Prof. Dr. Gail) am Kunsthistorischen Institut

E-Mail
zin[at]saw-leipzig.de

Professur am Institut für Indologie und Zentralasienwissenschaften an der Universität Leipzig

Kurzvita

  • Studium der Theaterwissenschaft, Literatur und Kunstgeschichte an der Jagiellonischen Universität in Krakau, Magister
  • Studium des Bühnenbildes an der Kunstakademie in Krakau
  • Studium der Indologie und der Indischen Kunstgeschichte in München
  • Promotion in München
  • Habilitation in München Privatdozentin für Indologie in München
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Schwerpunkte in Forschung und Lehre

  • Indische und zentralasiatische Kunstgeschichte
  • Indisches Drama

Monographien

  • Udayana-Schauspiele aus Trivandrum in der Entwicklungsgeschichte der Udayana-Erzählung, Dissertation, München 1991.
  • Ajanta – Handbuch der Malereien / Handbook of the Paintings 2: Devotionale und ornamentale Malereien, Vols.1-2, Wiesbaden: Harrassowitz, 2003.
  • Guide to the Ajanta-Paintings II, Delhi: Munshiram Manoharlal, 2003.
  • Mitleid und Wunderkraft. Schwierige Bekehrungen und ihre Ikonographie im indischen Buddhismus, Wiesbaden: Harrassowitz, 2006.
  • Samsaracakra, Das Rad der Wiedergeburten in der indischen Überlieferung (gemeinsam mit Dieter Schlingloff) Düsseldorf: Haus der Japanischen Kultur (EKŌ), 2007.
  • From Turfan to Ajanta, Festschrift for Dieter Schlingloff on the Occasion of his Eightieth Birthday, ed. E. Franco and M. Zin, Lumbini International Research Institute 2010.

Aufsätze (Auswahl)

  • Representations of Architectural Elements in the Oldest Murals of Ajanta, in: Explorations in Art and Archaeology of South Asia: Essays Dedicated to N.G. Majumdar, ed. Mitra, D., Calcutta 1996, pp. 454-76.
  • Der Elefant mit dem Schwert [The Elephant with the Sword], in: Festschrift für Dieter Schlingloff, ed. F. Wilhelm, Reinbek 1996, pp. 331-44.
  • Der Vidūṣaka jenseits der Bühne [The Vidūṣaka off-stage], in: Indo-Asiatiasche Zeitschrift, 2, Berlin 1998, pp. 30-41.
  • Der Wandel des Buddha-Bildes im Buddha-Bildnis. Zu den Anfängen der Buddha-Darstellung [The evolution in the pictorial representations of the Buddha. On the beginning of the figurative representations.], in: Wer ist Buddha?, ed. P. Schmidt-Leukel, München 1998, pp. 50-74.
  • The Oldest Painting of the Udayana Legend, in: Berliner Indologische Studien, 11-12, Berlin 1998, pp. 435-48.
  • Two Nāga-Stories in the Oldest Paintings of Ajanta, in: South Asian Archaeology, Proceedings of the 14th Conference of the European Association of South Asian Archaeologists, Roma, 1997, ed. M. Taddei, G. De Marco, Rome 2000, pp. 1171-99.
  • The Identification of the Bagh Painting, in: East & West, 51, Rome 2001, pp. 299-322.
  • Das Drama Nāgānanda und der Ursprung der Jimūtavāhana-Legende [The Drama Nāgānanda and the Beginning of the Jimūtavāhana Narrative], in: Studien zur Indologie und Iranistik, 23, Reinbek 2002, pp. 146-64.
  • Kālakarṇī, in: Berliner Indologische Studien, 15-17, Berlin 2003, pp. 327-40.
  • The uṣṇīṣa as a Physical Characteristic of the Buddha’s Relatives and Successors, in: Silk Road Art and Archaeology, 9, Kamakura 2003, pp. 107-29.
  • Die altindische vīṇā [The old Indian vīṇā], in: Musikarchäologie IV. Orient-Archäologie, ed. E. Hickmann / R. Eichmann, Bonn 2004, pp. 321-62.
  • The Mūkapaṅgu Story in the Madras Government Museum: The Problem of the Textual Affiliations of the Narrative Reliefs in Amaravati and Nagarjunikonda, in: Annali d'Istituto Universitario di Napoli, 64, Napoli 2004; pp. 157-180.
  • The Identification of Kizil Paintings I (1. Yaśa, 2. Mākandika), in: Indo-Asiatische Zeitschrift, 9, Berlin 2005, pp. 23-36.
  • The Unknown Ajanta Painting of the Aṅgulimāla Story, in: South Asian Archaeology 2001. Proceedings of the Sixteenth International Conference of the European Association of South Asian Archaeologists, held in Collège de France, Paris, 2-6 July 2001, 1-2, ed. C. Jarrige / V. Lefèvre. Paris 2005, pp. 704-713.
  • Ajanta Paintings and Mahāyāna Buddhism, in: Transactions of the International Conference of Eastern Studies, 51, Tokyo 2006, pp. 100-01.
  • The Story of the Conversion of Nanda in Borobudur, in: Vanamālā, Festschrift für Adalbert Gail, Berlin 2006, pp. 265-75.
  • About Two Rocks in the Buddha’s Life Story, in: East & West, 56, Rome 2006, pp. 326-58.
  • The Identification of Kizil Paintings II (3. Sudāya, 4. Bṛhaddyuti), in: Indo-Asiatische Zeitschrift, 11, Berlin 2007, pp. 43-52.
  • Śabaras: The Vile Hunters in Heavenly Spheres, in: South Asian Archaeology 1999, Proceedings of the 15th International Conference of the European Association of South Asian Archaeologists in Leiden, ed. Ellen M. Raven, Groningen, pp. 375-94.
  • The Identification of Kizil Paintings III (5. kalamacchedya, 6. Sundarika-Bhāradvāja), in: Indo-Asiatische Zeitschrift, 12, Berlin 2008.
  • The Water Tank from Gandhara, in: Prajñādhara – Essays on Asian Art, History, Epigraphy and Culture in Honour of Gouriswar Bhattacharya, Berlin 2009, pp. 7-21.
  • Vajrapāṇi in the Narrative Reliefs, in: Migration, Trade and Peoples, Part 2: Gandharan Art, ed. C. Fröhlich, The British Association for South Asian Studies,  (Proceedings of the 18th International Conference of the European Association of South Asian Archaeologists in London 2005) London, pp. 73-83.
  • Brahmanische Asketengräber, in: From Turfan to Ajanta, Festschrift for Dieter Schlingloff on the Occasion of his Eightieth Birthday, ed. E. Franco and M. Zin, Lumbini International Research Institute 2010, pp. 1075-98.
  • The Identification of Kizil Paintings IV (7. Kapila, 8, The Promise of the Four Kings), in: Indo-Asiatische Zeitschrift 14, Berlin 2010, pp. 22-30.
  • The Purchase of the Jetavana in an Amaravati-Relief, in: South Asian Archaeology 2007, Proceedings of the 19th International Conference of the European Association of South Asian Archaeologists in Ravenna, ed. Pierfrancesco Callieri / Luca Colliva, Oxford 2010: Archaeopress, S. 369-73.
  • Die Reliefs der Amaravati-Schule, in: Tribus, Jahrbuch des Linden-Museums, 60, Stuttgart 2011, pp. 174-91.
  • Narrative Reliefs in Kanaganahalli – A Short Outline of Their Importance for Buddhist Studies, in: Marg, 63.1, Bombay 2011, pp. 12-21.
  • The Identification of Kizil Paintings V (9. The painted dome from Simsim and its narrative programme, 8. Elapatra), in: Indo-Asiatische Zeitschrift, 15, Berlin 2011, pp. 57-69.
  • The Parable of “The Man in the Well”. Its Travels and its Pictorial Traditions from Amaravati to Today, in: Art, Myths and Visual Culture of South Asia, ed. P. Balcerowicz and J. Malinowski, Delhi 2011, pp. 33–93.