File:Mahayanabuddha.jpg
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本预览的尺寸:534 × 600像素。 其他分辨率:214 × 240像素 | 427 × 480像素 | 684 × 768像素 | 1,199 × 1,347像素。
原始文件 (1,199 × 1,347像素,文件大小:651 KB,MIME类型:image/jpeg)
摘要
艺术家 |
未知Unknown author |
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描述 |
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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日期 |
early 7世纪 date QS:P571,+650-00-00T00:00:00Z/7 (Tang Dynasty) |
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表现形式 |
English: hollow dry lacquer with polychrome pigment and gilding |
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尺寸 | 96.5×68.6×57.1厘米 | |||||||||||||||||||||||
藏于 |
institution QS:P195,Q160236 |
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登录号 |
Rogers Fund, 1919 (19.186). |
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创作地点 | Hebei, 中國 | |||||||||||||||||||||||
参考 | http://ifacontemporary.wordpress.com/2012/02/08/professor-stanley-abe-the-modern-moment-of-chinese-sculpture-at-the-ifa/ | |||||||||||||||||||||||
来源/摄影师 | https://www.flickr.com/photos/rosemania/86745965/in/set-72057594048518296/, Photograph by Rosemania | |||||||||||||||||||||||
授权 (二次使用本文件) |
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其他版本 |
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此文件中描述的项目
描繪內容
摄影器材 简体中文(已转写)
曝光时间 简体中文(已转写)
0.1 秒
2.8
焦距 简体中文(已转写)
7.40625 毫米
image/jpeg
文件历史
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日期/时间 | 缩略图 | 大小 | 用户 | 备注 | |
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当前 | 2017年7月19日 (三) 15:04 | 1,199 × 1,347(651 KB) | Johnbod | Cropped 20 % horizontally and 33 % vertically using CropTool with lossless mode. | |
2007年1月19日 (五) 02:37 | 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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相机制造商 | Canon |
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相机型号 | Canon DIGITAL IXUS 400 |
曝光时间 | 1/10秒(0.1) |
光圈值 | f/2.8 |
数据生成日期时间 | 2005年12月30日 (五) 17:52 |
焦距 | 7.40625 mm |
JPEG文件备注 | AppleMark |
方位 | 标准 |
水平分辨率 | 72 dpi |
垂直分辨率 | 72 dpi |
使用软件 | QuickTime 7.0.4 |
文件修改日期时间 | 2006年1月14日 (六) 22:06 |
YCbCr位置 | 居中 |
Exif版本 | 2.2 |
数字化日期时间 | 2005年12月30日 (五) 17:52 |
各部分含义 |
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图像压缩模式 | 3 |
APEX快门速度 | 3.3125 |
APEX光圈 | 2.96875 |
曝光补偿 | −0.66666666666667 |
最大陆地光圈 | 2.96875 APEX (f/2.8) |
测光模式 | 模式 |
闪光灯 | 闪光灯未点亮、闪光灯强制关闭 |