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Buddhadharma : Summer 2018
Peruvian photographer and perfor- mance artist Cecilia Paredes (fea- tured in “Breaking the Silence on Sexual Misconduct”) plays the central role in her series “Landscapes,” where boundaries between her body and back- drops all but disappear: “I wrap, cover, or paint my body with the same pattern of the material and represent myself as part of that landscape,” explains Paredes. Her last name, which means “walls” in Spanish, is fitting for her uncanny ability to camouflage herself in the walls behind her. In her art she communicates a theme of dislocation and the quest to find home. The scene depicted on this issue’s cover represents the annual ceremony of clean- ing the Great Buddha of the Todai-ji Temple in Japan. About 230 people, including priests, clean and dust this fifteen-meter statue, the largest and oldest bronze Buddha in the world. The art- ist, Okamoto Kiichi (1888–1930), was Japan’s most popular children’s illustra- tor in the 1920s. This illustration first appeared in the pages of Kodomo no Kuni, a well-known children’s publica- tion, in 1927. Mary DeVincentis’ colorful depictions of Vajrayogini, Tara, and Dorje Drolo, which accompany this issue’s Forum, come from a series titled “Miksang”— Tibetan for “good eye,” or pure percep- tion. Employing an unusual combination of opaque watercolor on tea bag paper, and informed by her own meditation practice and study of Tibetan Buddhism, her work evokes a kind of seeing that takes away the filter of the conceptual- izing mind. ABOUT THE ART (CREDITS,TOP—BOTTOM)CECILIAPAREDESSTUDIO,OKAMOTOKIICHI,MARYDEVINCENTIS BUDDHADHARMA: THE PRACTITIONER’S QUARTERLY 13