File:Mahayanabuddha.jpg
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Summary
| Artist |
Unknown author |
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| Description |
English: Seated Buddha, probably Amitabha (Amituo). Buddhist images executed in dry lacquer were highly valued by the Chinese because of their costly and time-consuming process of production. There are so few surviving examples that this seated Buddha is especially precious. To fashion the body of the image, the craftsman made a rough form of the sculpture in clay and then applied at least three layers of hemp cloth, each secured with a paste made of raw lacquer (the sap from the lac tree, Rhus verniciflua) and a fine powder of bone, horn, shell, ceramic, stone, or carbon. Each layer had to dry thoroughly before the next could be added. The clay core was then removed from the lacquered image. The head and hands were likely modeled separately, using the same technique as that used for the body, and then attached to the sculpture. The surface was finished with several coatings of pure lacquer and then painted. Portrayed as a youthful figure, the Buddha sits in the full lotus position, with his legs tightly interlocked, though the lower part of the sculpture is missing. The position of the damaged arms suggests that the hands performed the "contemplation" gesture.
The columnar form and lean gracefulness of the figure recall the style of Buddhist sculptures of the late Six Dynasties, but the attempt to render anatomical differentiation and, in particular, the emotional impact of the Buddha's expression are distinguishing features of early Tang style. The traces of brilliant red and blue, vividly combined to form a stylized floral pattern in the hem of the undergarment crossing the chest, and the remains of shimmering gilt on the surface are evidence of the sumptuous effect of this once colorful figure. |
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| Date | early 7th century (Tang Dynasty) | |||||||||||||||||||||||
| Medium |
English: hollow dry lacquer with polychrome pigment and gilding |
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| Dimensions | 96.5 × 68.6 × 57.1 cm (37.9 × 27 × 22.4 in) | |||||||||||||||||||||||
| Collection |
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| Accession number |
Rogers Fund, 1919 (19.186). |
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| Place of creation | Hebei, China | |||||||||||||||||||||||
| References | http://ifacontemporary.wordpress.com/2012/02/08/professor-stanley-abe-the-modern-moment-of-chinese-sculpture-at-the-ifa/ | |||||||||||||||||||||||
| Source/Photographer | https://www.flickr.com/photos/rosemania/86745965/in/set-72057594048518296/, Photograph by Rosemania | |||||||||||||||||||||||
| Permission (Reusing this file) |
  This file is licensed under the Creative Commons Attribution 2.0 Generic license.
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File history
Click on a date/time to view the file as it appeared at that time.
| Date/Time | Thumbnail | Dimensions | User | Comment | |
|---|---|---|---|---|---|
| current | 15:04, 19 July 2017 | 1,199 × 1,347 (651 KB) | Johnbod | Cropped 20 % horizontally and 33 % vertically using CropTool with lossless mode. | |
| 02:37, 19 January 2007 | 1,493 × 2,016 (961 KB) | Sandrog~commonswiki | From Hebei, Tang Dynasty. The MET Seated Buddha, Tang dynasty, ca. 650 China Dry lacquer with traces of gilt and polychrome pigments; H. 38 in. (96.5 cm); W. 27 in. (68.6 cm) Rogers Fund, 1919 (19.186) Buddhist images executed in dry lacquer were hi |
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- User:The Thin Man Who Never Leaves/Buddhism Article,4 Sept. 2008
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