Bodhisattva Guanyin

Bodhisattva Guanyin

典藏者
The Walters Art Museum
Guanyin is a bodhisattva, a divine being who has attained enlightenment but chooses to stay in the world to help others. Guanyin (an abbreviation of Guanshiyin: “Perceiver of the World’s Sounds”) responds to the calls of those in peril. Here, Guanyin sits in an attitude of tranquil ease, an arm resting on one knee while gazing at the moon’s reflection in the water below; the bodhisattva’s rippling garments puddle downward in a seemingly liquid cascade. In China, devotion to Guanyin, who came to be represented as an androgynous or female being, was popularized through sacred texts ("sutras"), miracle tales, and legends by which the deity became associated with natural elements, such as water and the moon, that evoke themes of impermanence and change. The sculpture is a technical marvel. The entire figure, down to the slender fingers, is hollow and made in a technique similar to papier-mâché. Layers of cloth soaked in lacquer, derived from a tree resin, were wrapped over an internal clay support that was removed after the lacquer had hardened. X-radiography shows that the hollow interior was covered in a pigment containing red mercury, called cinnabar, that may have had both sacred and preservative functions.

詳細資料

主要名稱
Bodhisattva Guanyin
典藏者
The Walters Art Museum
內容描述

Guanyin is a bodhisattva, a divine being who has attained enlightenment but chooses to stay in the world to help others. Guanyin (an abbreviation of Guanshiyin: “Perceiver of the World’s Sounds”) responds to the calls of those in peril. Here, Guanyin sits in an attitude of tranquil ease, an arm resting on one knee while gazing at the moon’s reflection in the water below; the bodhisattva’s rippling garments puddle downward in a seemingly liquid cascade. In China, devotion to Guanyin, who came to be represented as an androgynous or female being, was popularized through sacred texts ("sutras"), miracle tales, and legends by which the deity became associated with natural elements, such as water and the moon, that evoke themes of impermanence and change. The sculpture is a technical marvel. The entire figure, down to the slender fingers, is hollow and made in a technique similar to papier-mâché. Layers of cloth soaked in lacquer, derived from a tree resin, were wrapped over an internal clay support that was removed after the lacquer had hardened. X-radiography shows that the hollow interior was covered in a pigment containing red mercury, called cinnabar, that may have had both sacred and preservative functions.

物件類別
文物
其他內容描述
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取得方式: 

C.T. Loo & Co., Paris; purchased by Doris Duke, October 7 1937; Doris Duke Charitable Foundation; given to Walters Art Museum, 2006.

尺寸: 

高:50 × 寬:34 1/4 × 深:22 5/8 英吋 (127 × 87 × 57.5 公分)

材質: 

材質: 

乾漆

類型: 
創建時間
創建時間: 
14世紀末~15世紀
創建時間: 
創建地點
創建地點: 
中國
貢獻者
前藏家: 
Doris Duke Charitable Foundation's Southeast Asian Art Collection
提供者: 
Doris Duke Charitable Foundation's Southeast Asian Art Collection
識別碼
Walters 25.256
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