摘要
唐招提寺金堂内存有三尊木心干漆造像。位于主尊卢舍那佛像右侧的观音像是日本现存最大最古老的十一面千手观音立像。此像造型遵循经典所述,不仅将“千”实体化,并将十一面、千手千眼观音造型融为一体。文章通过对图像及制作流程的分析,探求唐招提寺千手观音的造像内涵及其工艺沿革。
In Toshodai-ji Temple,there are three wooden painted statues.Guanyin status on the right side of Locanabuddha status is the largest and oldest Eleven-faces and Thousand-hands Guanyin standing status in Japan.The status is built as recorded in scriptures,not only concretizing"one thousand hands",but also integrating eleven faces,one thousand hands and eyes Guanyin into one status.Through the analysis on the image and production process,the status connotation and process evolution of one Thousand-hands Guanyin in Toshodai-ji Temple are explored.
作者
周胤君
Zhou Yinjun(Shanghai Academy of Fine Arts,Shanghai University,Shanghai 200444,China;Ningxia University,Yinchuan 750021,China)
基金
国家社科基金艺术学项目“西夏佛教雕塑造像研究”(项目编号:18CF183)阶段性成果。
关键词
唐招提寺
十一面千手观音
造型
技法
Toshodai-ji Temple
Eleven-faces and Thousand-hands Guanyin
modeling
techniques