At the beginning of the 7th century, Buddhist art was introduced to Tibet on a large scale with Buddhism, and it had a profound and lasting impact on the development of Tibetan sculpture art. The emergence of Buddhist monasteries has created a huge demand for the sculpture creation of Buddha images and related subject matter. Therefore, based on the traditional copper sculpture art in Tibet, the new art form formed by the essence of Buddhist art is constantly absorbed. Thus it became the main body of Tibetan sculpture art.
The formation, development and prosperity of Tibetan Buddhist sculpture art have gone through four important historical stages:
(1) The coexistence of various artistic schools in the Tubo period (from the early 7th century to the middle and late 8th century). During this period, due to the cultural open policy implemented since Songtsan Gambo, the culture and art of neighboring countries and regions such as India, Central Plains, Nepal and Yusong all poured into the Tubo society. Indian Buddhism and Han Buddhism continue to contact and collide with Tubo's traditional Bon culture in Tubo. Various cultures and the political entities behind them are trying to compete for their cultural ideology to unify the status of Tubo. The balance of power has formed a situation in which Buddhism and Bon culture and art coexist and shine. The famous Samye Monastery is a typical representative of this stage. In its works of art, the traditional characteristics of Tubo and the style outside the city are both available. According to the literature, the three-story main hall of the Samye Monastery was built in three artistic styles: Tibetan, Han and Indian. The first floor of the main hall is a Tibetan-style architectural style. The central part of the temple is decorated with Tibetan statues and has 13 statues of Sakyamuni Buddha and its servant. On the right side of Sakyamuni Buddha, there are Maitreya Bodhisattva, Guanyin Bodhisattva, Dizang Bodhisattva, Xi Jinang and Sanjie Zunsheng Mingwang. On the left side are the Puxian Bodhisattva, the Vajrapani Bodhisattva, the Manjushri Bodhisattva, the Barrier Bodhisattva and the No. Move the king. The second floor is built according to the Chinese style. The center of the temple is decorated with a large Buddha. The right side is decorated with a burning Buddha. On the left side is a Maitreya Buddha. The front is decorated with Sakyamuni, the Pharmacist Buddha, and the Three Buddhas. Buddha statues, around the eight major near Bodhisattva and King Kong Ming Wang. The third layer is built according to the architectural features of India. The main statue is the Buddha of the Great Day, and the servant is the statue of the Eight Great Buddhas, the Ten Buddhas, the Uncle King and the King Kong Hand. At this stage, a variety of artistic styles coexist, just like a hundred flowers to study, laid the foundation for the formation of Tibetan Buddhist art.
(2) The stage of Tibetan Buddhist sculpture art is gradually formed (the middle and late 8th to the 13th century). During this period, Buddhism culture was gradually promoted in Tibet as Buddhism gradually gained the status of “State Education†in the second half of the period. Although Buddhism was contained during the Rondama period, after a century, Buddhism once again entered Tibet from Qinghai and Ali. The sculptures of this period reflect the characteristics of the integration of Indian Buddhist sculptures and traditional Tibetan sculptures. Tibetan artists began to absorb Indian art style, and Indian Buddhist art is also seeking the process of Tibetization. Judging from the sculptures and sculptures left in the Tolin Temple and the Guge Ruins, the Baltic art style and Kashmiri art style are more obvious, pursuing a noble and quiet aesthetic concept. The statue is mostly three-folded, with a wide buttocks and a high waist. The hair style of the Buddha is wavy, with a wide nose and a high nose. The eyes are thin and thin, and the pursuit of thirty-two is good. Eighty kinds of shapes are good. The Buddha is solemn and heavy, light and transparent, revealing shoulders, beaming crowns, and taming. Very gorgeous. Although Tibetan artists pursue the perfect integration of Buddhist art and national sculpture, Buddhist art is a foreign culture after all, so it is inevitable to focus on imitation in early practice.
(3) The comprehensive maturity stage of Tibetan Buddhist sculpture (from the 13th to the end of the 15th century). At this stage, Tibet is in the period of Tibetan feudal economy and culture, and the feudal lords are dedicated to supporting the sects and building temples. The famous Changdu Temple (built in 1347), Gandan Temple (built in 1409), Drepung Monastery (built in 1416), Sera Monastery (built in 1418) and Jiangju Baiju Temple (built in 1418-1436) and Shigatse Temples such as Shilunbu Temple (built in 1447) were built at this time. After long-term explorations of the styles of Indian, ancestral and Nepalese Buddhist sculptures, Tibetan artists have integrated them to form a unique Tibetan Buddhist sculpture art, creating a large number of exquisite works in a simple, rough and profound style. ,full. Compared with the influence of early Indian and Nepalese sculptures, the sculptures of this period have a strong legacy of court sculpture since the Yuan Dynasty. The shape of the characters is basically no longer able to see the prototype of Indian art. The high nose and thin lips and the oval face have begun to be replaced by the familiar faces of Tibetans, especially in the depiction of the sorghum ethics. More determined and self-sufficient. Bodhisattva's three-fold shape is rare, but more dignified and steady. Pay attention to the inner feelings, to shape the gods, and to have both forms of the gods. It fully demonstrates the outstanding artistic talents of Tibetan sculptors and the traditional national sculpture tradition of Tibetans.
(4) The gradual and gorgeous stage of Tibetan Buddhist sculpture (after the 16th century). After the 16th century, the sculpture style of Tibetan Buddhism gradually became more secular, stylized, rational and mysterious, and the decoration was more and more gorgeous. The carving of the characters was more elaborate and focused on decoration. The sculptures of Tantrics are more in pursuit of the mysterious colors in the Buddhist doctrine, and the sculptures are inconsistent with tradition and there is no major breakthrough. At this stage, the decorative art of Buddha statues is much more than before. Its rich luxury and exquisite craftsmanship have reached an amazing degree, but from the whole artistic point of view, it lacks the rich and delicate emotional communication and personality characterization of the 13th to 15th centuries. . Although there is no shortage of masterpieces with both forms of God, it is no longer comparable to the full-fledged and prosperous period.
There are many kinds of Tibetan Buddhist sculptures. The textures include not only gold, silver, copper, alloy and other metal sculptures, but also various sculptures, high reliefs and bas-reliefs such as clay sculptures, wood carvings, stone carvings and butter flowers. Among them, clay sculptures, metal sculptures and stone carvings are the most common, and the number of works is the largest, which is the main body of Tibetan Buddhist sculptures.
The original text is from the Chinese copper sculpture industry network http://
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