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--- 释迦牟尼佛:释迦牟尼佛251 [2021/01/02 06:29]
artemis 创建
+++ 释迦牟尼佛:释迦牟尼佛251 [2022/02/27 10:58] (当前版本)
@@ 行 17: / 行 17: @@
 --Artemis注
-This handsome Buddha is the work of an accomplished sculptor who has deftly harmonized quite distinct aesthetic norms and techniques in a most sensitive sculpture of Sakyamuni as a teacher. This iconography was particularly popular in both Kashmir and Nepal in the tenth to eleventh century, and here the artist has adopted the Kashmiri technique of using brass alloy with silver and copper inlays as a complement to the Newar grace and elegant modelling of the body. Although Sakyamuni has the sacred marks of the ushnisha and elongated earlobes (due to his having worn heavy earrings as a royal child), he otherwise appears in human form. He stands with shoulders and feet aligned, but the right hip is bent, pushing his left knee slightly forward. This position is called abhanga, a lightly flexed standing pose. His right hand forms the gesture of charity or gift-bestowing and the first joint of the thumb is bent. This delicate bend of the thumb in Sakyamuni's gesture may be observed on a masterpiece of Newar workmanship of the tenth to eleventh century, now in the Potala at Lhasa, which strongly resembles the Ashmolean Sakyamuni but instead is cast in a copper alloy, with a height of 71 cm [1].
+This handsome Buddha is the work of an accomplished sculptor who has deftly harmonized quite distinct aesthetic norms and techniques in a most sensitive sculpture of Sakyamuni as a teacher. This iconography was particularly popular in both Kashmir and Nepal in the tenth to eleventh century, and here the artist has adopted the Kashmiri technique of using brass alloy with silver and copper inlays as a complement to the Newar grace and elegant modelling of the body. Although Sakyamuni has the sacred marks of the ushnisha and elongated earlobes (due to his having worn heavy earrings as a royal child), he otherwise appears in human form. He stands with shoulders and feet aligned, but the right hip is bent, pushing his left knee slightly forward. This position is called abhanga, a lightly flexed standing pose. His right hand forms the gesture of charity or gift-bestowing and the first joint of the thumb is bent. This delicate bend of the thumb in Sakyamuni's gesture may be observed on [[释迦牟尼佛:释迦牟尼佛058|a masterpiece of Newar workmanship of the tenth to eleventh century, now in the Potala at Lhasa]], which strongly resembles the Ashmolean Sakyamuni but instead is cast in a copper alloy, with a height of 71 cm [1].
 The strong character of this Buddha's face is conveyed through its broad planes and the silver and copper inlays in the eyes and lips. The forehead has a very wide hairline. The eyebrows have deeply incised carving to form a very high arch. The brows are now filled with matt 'cold gold' paint, but it is evident that there was formerly a dark colour inlay. The eye socket is rounded; the heavy upper eyelid has a curving dip and is bordered by an incised outline, as if the Buddha were wearing kohl. The eyes are inlaid with silver; the pupils are now absent but formerly also had inlay in a contrasting colour. The narrow nose is aquiline, the nostrils perfectly formed. The lips have copper inlay. The mouth is closed and the lips are bow-shaped, slightly pursed and smiling. The earlobes are not finished with two lobes but there is an outer rim to represent a fold of skin.

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