I believe that in museums or temples, you will see Buddhist statues of different shapes and styles. Many friends are wondering how to distinguish Chinese Buddhist statues from Tibetan Buddhist statues?
Zhenghan Shuo Shi will continue to talk with you in detail in two phases, combining paintings, bronze statues, sculptures, etc. of Tibetan Buddhist statues and Chinese Buddhist statues.
In this issue, we first introduce the characteristics of Chinese Buddhist statues:
Face and body shape, round and plump
Chinese Buddhism was introduced from India. After a long period of evolution, it was integrated into Chinese traditional concepts. It lost the straight, high nose, thin lips and other Western characteristics of the Gandhara statues introduced from India. The statues have similar outlines to Eastern people, with round and plump body shapes.
In the "Mahatma Hall" of Chinese Buddhist temples, you will often see three huge Buddha statues. In the center is Sakyamuni Buddha in the whirling world, on the left is the Medicine Buddha in the Eastern Pure Glaze World, and on the right is Amitabha Buddha in the Western Paradise World. If you look closely, you will find that the faces and bodies of the three Buddha statues are plump and strong. Except for their hand movements, their shapes are basically the same.
(The picture above shows the Third Buddha in the Main Hall of the Jade Buddha Temple in Shanghai)
(Partial Internet reference picture of the statue of the Third Buddha in Chinese tradition)
(The picture above It is the shape of the third Buddha in the Tibetan thangka)
From the comparison, we can see that the Chinese Buddhist statues are much rounder and fuller than the Tibetan Buddhist statues, and the Tibetan Buddhism is closer to the Gandhara statues. Regardless of the Chinese and Tibetan Buddhist statues, their respective Buddha statues form a system, and their image, posture, clothing, etc. all have certain rituals (standards).
Serene expression, realistic style
The invasion of foreigners during the Song and Yuan Dynasties led to the decline of Buddhism. Under the influence of a painting style that paid attention to reality and focused on urban life, Buddha statues moved from the altar to the human world.
Buddhism has combined with real life, and the statues have changed. In addition to the obvious characteristics of Buddha statues such as meat buns, they have been transformed into Chinese-style Buddha images: simple shapes, wide robes and big sleeves, round and plump faces, beautiful appearance, well-proportioned, very lifelike and highly realistic style. The Buddha statue is pure and dignified, with a peaceful expression. It is an image that the Chinese people like to see and hear, and is in line with the Chinese people’s aesthetic consciousness.
Although the ancient Chinese royal family worshiped Tibetan Buddhism, the wrathful body shape emphasized in Tibetan Buddhist statues has also gradually faded in the mainland.
(The picture above shows the Capital Museum Bronze Statue of Maitreya Buddha)
(The left is the Maitreya Buddha painted by Zen Master Youle, and the right is the Australian Maitreya Buddha carved ornaments)
Many people think that Maitreya Buddha has a big belly, always smiles, and has an easy-going shape. It is a statue of Maitreya Buddha after Chineseization. The next issue will show the statues of Maitreya Buddha in Tibetan Buddhism. The shapes are relatively different.
Solemn and solemn, with complete costumes
Buddha statues have the atmosphere of feudal civilization. Most of the palace statues in the Ming and Qing dynasties were modeled on Tibetan statues, while incorporating Han aesthetic concepts and traditional expression techniques. The style is unique, the inheritance line is clear, the expression techniques pay more attention to details, and the relief jewelry is densely bordered. The Buddha statues are solemn and solemn, with complete clothing. The trains are naturally smooth and graceful. They are covered with necklaces and rarely reveal their bodies like the early Buddha statues in India.
(The picture above shows the Guanyin porcelain sculpture in the Capital Museum)
(The left is the Thirty-three Guanyin painted by Cheng Zongyuan, and the right is the Guanyin painted by Yuezhao Master)
(Obao Carved ornaments of Puci Guanyin)
With the development of time, the current rituals of Chinese Buddhist statues are not as "rigid" and rigorous as those of Tibetan Buddhism. Except for the Buddha statues placed in Chinese Buddhist temples, the creation of Chinese Buddhist statues are complicated and simple, using "spirit" to express "meaning".
For example, Mr. Cheng Zongyuan uses calligraphy and painting, pays attention to brushwork, and has profound skills, creating Guanyin paintings that are fresh, beautiful, delicate, elegant and full of modern meaning; there are also unique Guanyin Buddha paintings created by Zen painting masters such as Yuezhao Master and Youle Zen Master. Promote the development of contemporary Chinese Buddhist culture and art.
Compassionate, bright and wise
Chinese Buddhist statues are permeated with the Confucian concept of benevolence. Their shapes reflect the spirit of compassion and salvation of all living beings, and are trusted and accepted by the Chinese people.
(On the left is a white drawing of Avalokitesvara Avalokitesvara, on the right is a carved ornament of Aubao Avalokitesvara Avalokitesvara)
During the Ming and Qing Dynasties, the number of Bodhisattva images was unprecedentedly diverse, and the expression content was more diverse and practical. The spread of the compassionate manifestations of Avalokitesvara among the people, such as Avalokitesvara Avalokitesvara, Shuiyue Avalokitesvara, and Ruyi Avalokitesvara, gradually became folkloric from content to form.
(On the left is the Patriarch Bodhidharma painted by Master Fan Zeng, on the right is the engraved ornament of the Patriarch Bodhidharma by Opal)
(On the left is the Long-Eyebrow Arhat painted by Master Han Yichen, on the right is the engraved ornament of the Long-Eyebrow Arhat by Opal)
For example, the Patriarch Bodhidharma and the Long-Eyebrow Arhat above both imply insight into the universe, the six roots are pure, and the mind is as bright as a mirror. They are both representatives of the bright wisdom of Chinese Buddhist statues.
(the picture above shows Aobao Reclining Buddha sculptures)
Regardless of Chinese or Tibetan Buddhist statues, the art of Buddhist statues contains rich historical and cultural connotations and is closely related to the social politics, economy, culture and people's aesthetic concepts in ancient my country. Many exquisite statues with exquisite craftsmanship, gorgeous patterns, beautiful shapes and compassionate faces have been created in each era. The unique sense of sanctity and solemnity possessed by Buddhist statues can always give people a kind of spiritual comfort, and have a value that is difficult to match and replace with other works of art.
In the next issue, we will introduce the characteristics of Tibetan Buddhist statues. Welcome to watch.
(Some Buddhist paintings and pictures are from the Internet and are for reference only)
