古比特佛像网, 编号: 文殊菩萨:文殊菩萨158
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文殊菩萨:文殊菩萨158 [2020/04/24 11:20] artemis 创建 |
文殊菩萨:文殊菩萨158 [2022/02/27 10:58] (当前版本) |
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| - | =====9世纪西藏铜鎏金文殊菩萨坐像(牛津大学阿什莫林博物馆)===== | + | =====9世纪西藏铜鎏金白文殊菩萨坐像(牛津大学阿什莫林博物馆)===== |
| - | {{tag> 主题: | + | {{tag> 主题: |
| ~~PAGEIMAGE:<: | ~~PAGEIMAGE:<: | ||
| **尺寸：16.5 x 10.3 x 5 cm\\ | **尺寸：16.5 x 10.3 x 5 cm\\ | ||
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| {{ : | {{ : | ||
| {{ : | {{ : | ||
| - | 左手持青莲花说明是文殊菩萨. | + | 左手持乌巴拉花说明是文殊菩萨. |
| + | Artemis -- 2020/04/25 | ||
| This sculpture may be tentatively identified as an archaic representation of Manjusri, from the closed utpala lotus in the left hand [1]. This flower is exclusively associated with Manjusri, who is moreover not always represented with sword or book; the iconography is nevertheless unusual. He makes the boon-bestowing gesture with the right hand, while holding the closed bud of his utpala lotus in the left. Usually the left hand will be closer to the waist, clasping the stem and leaf tendrils from which the closed bud of the utpala lotus emerges. Here the lotus is held against the heart, and it has almost no foliage. The simple high panels of the crown with plain band, the single strand necklace, armband, bracelet, and anklet reflect the influence of Licchavi models, particularly certain sculptures now conserved in Tibet, which also have a similar lotus pedestal [2]. The square face, the gently downward glance, and the overall diminutive proportions also reflect Nepalese aesthetic influences, as does the high percentage of copper in the alloy. Rather than being a lost-wax casting typical of Nepal, however, this statue appears to be solid cast, with a tang and two holes in the reverse beneath the lotus pedestal. The pedestal appears to be broken under the leg resting on its individual lotus, but in fact is sculpted in this way. It is a very distinctive system for supporting the leg. Possibly the statue would have been affixed to a nimbus surrounding a very large image of a Buddha, or else possibly attached within a niche in an altar. | This sculpture may be tentatively identified as an archaic representation of Manjusri, from the closed utpala lotus in the left hand [1]. This flower is exclusively associated with Manjusri, who is moreover not always represented with sword or book; the iconography is nevertheless unusual. He makes the boon-bestowing gesture with the right hand, while holding the closed bud of his utpala lotus in the left. Usually the left hand will be closer to the waist, clasping the stem and leaf tendrils from which the closed bud of the utpala lotus emerges. Here the lotus is held against the heart, and it has almost no foliage. The simple high panels of the crown with plain band, the single strand necklace, armband, bracelet, and anklet reflect the influence of Licchavi models, particularly certain sculptures now conserved in Tibet, which also have a similar lotus pedestal [2]. The square face, the gently downward glance, and the overall diminutive proportions also reflect Nepalese aesthetic influences, as does the high percentage of copper in the alloy. Rather than being a lost-wax casting typical of Nepal, however, this statue appears to be solid cast, with a tang and two holes in the reverse beneath the lotus pedestal. The pedestal appears to be broken under the leg resting on its individual lotus, but in fact is sculpted in this way. It is a very distinctive system for supporting the leg. Possibly the statue would have been affixed to a nimbus surrounding a very large image of a Buddha, or else possibly attached within a niche in an altar. | ||
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