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古比特佛像网, 编号: 金刚萨埵:金刚萨埵103

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两侧同时换到之前的修订记录 前一修订版
后一修订版 		前一修订版
金刚萨埵:金刚萨埵103 [2020/07/09 12:18]
artemis 		金刚萨埵:金刚萨埵103 [2022/02/27 10:58] (当前版本)
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 The artist has drawn on rock crystal's clarity and translucence to better evoke the ultimate voidness (shunyata) of true reality and wisdom that Vajrasattva conceptually represents. Similarly, both figure and medium are associated with purity. Vajrassattva practice is usually performed in a purifying ceremony before tantric rituals. He is identified by his unique iconography, holding the vajra before his heart and the ghanta by his hip. His perfection is further symbolised by meticulously carved jewelry and patterned textiles. The artist has drawn on rock crystal's clarity and translucence to better evoke the ultimate voidness (shunyata) of true reality and wisdom that Vajrasattva conceptually represents. Similarly, both figure and medium are associated with purity. Vajrassattva practice is usually performed in a purifying ceremony before tantric rituals. He is identified by his unique iconography, holding the vajra before his heart and the ghanta by his hip. His perfection is further symbolised by meticulously carved jewelry and patterned textiles.
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 Stylistically, the present work can be compared with a gilt bronze figure of Shadakshari made during the Kangxi Emporer's reign (1661-1722) (see Zangchuan Fojiao Zaoxiang, Hong Kong, 2008, p.237, no.226). The tear-drop crown finials and scroll patterned scarf are very similar across the two sculptures. The lotus petals, although not identical in the decorative flame tips, are modeled after the same type. The flying ends of his scarf, twisting in a stylized manner, are very similar to that of a bronze Amitayus in the Qing Palace Collection (ibid., p.248, no.237).  Stylistically, the present work can be compared with a gilt bronze figure of Shadakshari made during the Kangxi Emporer's reign (1661-1722) (see Zangchuan Fojiao Zaoxiang, Hong Kong, 2008, p.237, no.226). The tear-drop crown finials and scroll patterned scarf are very similar across the two sculptures. The lotus petals, although not identical in the decorative flame tips, are modeled after the same type. The flying ends of his scarf, twisting in a stylized manner, are very similar to that of a bronze Amitayus in the Qing Palace Collection (ibid., p.248, no.237). 
  
古比特佛像网, 编号: 金刚萨埵:金刚萨埵103
本页地址: https://fo.gubit.cn/金刚萨埵/金刚萨埵103.1594318684.txt · 最后更新: 2022/02/27 10:56 (外部编辑)

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