دسترسی نامحدود
برای کاربرانی که ثبت نام کرده اند
دانلود کتاب Early Buddhist Art of China and Central Asia, Volume 3 : the Western Ch'in in Kansu in the Sixteen Kingdoms Period and Inter-relationships with the Buddhist Art of Gandh?ra.
دانلود کتاب هنر بودایی اولیه چین و آسیای مرکزی، جلد 3: چین غربی در کانسو در دوره شانزده پادشاهی و روابط متقابل با هنر بودایی گاندورا.
مشخصات کتاب
Early Buddhist Art of China and Central Asia, Volume 3 : the Western Ch'in in Kansu in the Sixteen Kingdoms Period and Inter-relationships with the Buddhist Art of Gandh?ra.
ویرایش:
نویسندگان: Martin Rhie. Marylin
سری: Early Buddhist Art of China and Central Asia.
ISBN (شابک) : 9789004190191, 9004190198
ناشر: BRILL
سال نشر: 2010
تعداد صفحات: 1018
زبان: English
فرمت فایل : PDF (درصورت درخواست کاربر به PDF، EPUB یا AZW3 تبدیل می شود)
حجم فایل: 80 مگابایت
قیمت کتاب (تومان) : 48,000
کلمات کلیدی مربوط به کتاب هنر بودایی اولیه چین و آسیای مرکزی، جلد 3: چین غربی در کانسو در دوره شانزده پادشاهی و روابط متقابل با هنر بودایی گاندورا.: هنر آسیای مرکزی چینی هنر بودایی آسیا چین
در صورت تبدیل فایل کتاب Early Buddhist Art of China and Central Asia, Volume 3 : the Western Ch'in in Kansu in the Sixteen Kingdoms Period and Inter-relationships with the Buddhist Art of Gandh?ra. به فرمت های PDF، EPUB، AZW3، MOBI و یا DJVU می توانید به پشتیبان اطلاع دهید تا فایل مورد نظر را تبدیل نمایند.
توجه داشته باشید کتاب هنر بودایی اولیه چین و آسیای مرکزی، جلد 3: چین غربی در کانسو در دوره شانزده پادشاهی و روابط متقابل با هنر بودایی گاندورا. نسخه زبان اصلی می باشد و کتاب ترجمه شده به فارسی نمی باشد. وبسایت اینترنشنال لایبرری ارائه دهنده کتاب های زبان اصلی می باشد و هیچ گونه کتاب ترجمه شده یا نوشته شده به فارسی را ارائه نمی دهد.
توضیحاتی در مورد کتاب هنر بودایی اولیه چین و آسیای مرکزی، جلد 3: چین غربی در کانسو در دوره شانزده پادشاهی و روابط متقابل با هنر بودایی گاندورا.
این کتاب، سومین کتاب از مجموعه‌ای در مورد هنر اولیه بودایی چین و آسیای مرکزی است، که بر هنر بودایی مربوط به دوران چ غربی در (385-431 پس از میلاد) در شرق کانسو (شمال غربی چین)، عمدتاً از معابد غار پینگ لینگ تمرکز دارد. سو و مای چی شان. مطالعه دقیق زمانی و نمادنگاری مجسمه‌ها و نقاشی‌های دیواری در غار 169 در پینگ لینگ سو، به‌ویژه چارچوب زمانی را برای بازگشایی مسائل دشوار تاریخ‌گذاری هنر بودایی چینی اوایل قرن پنجم به دست می‌دهد و بینش‌های جدیدی را در مورد منابع متنی در نیلوفر آبی ارائه می‌دهد. سوتراهای Hua-yen و Amitabha. علاوه بر این، این مطالعه شمایل نگاری پنج بودا و ارتباط آن با هنر گانهارا و پنج غار عظیم تان-یائو در یون کانگ را معرفی می کند. موجودی کتابفروش
توضیحاتی درمورد کتاب به خارجی
This book, third in a series on the early Buddhist art of China and Central Asia, centers on Buddhist art from the Western Ch in (385-431 A.D.) in eastern Kansu (northwest China), primarily from the cave temples of Ping-ling ssu and Mai-chi shan. A detailed chronological and iconographic study of sculptures and wall paintings in Cave 169 at Ping-ling ssu particularly yields a chronological framework for unlocking the difficult issues of dating early fifth century Chinese Buddhist art, and offers some new insights into textual sources in the Lotus, Hua-yen and Amitabha sutras. Further, this study introduces the iconographpy of the five Buddhas and its relation to the art of Gandhara and the famous five colossal Tan-yao caves at Yun-kang. Bookseller Inventory
فهرست مطالب
Contents
Preface
Acknowledgements
List of Illustrations
List of Maps and Note on Diacriticals
Introduction
Chapter One The Western Ch’in (385-431 A.D.): History and Buddhism
I. The Ch’i-fu Clan and the Western Ch’in (385-431 A.D.)
A. Ch’i-fu Kuo-jen (r. 385-387/388): Beginning of the Western Ch’in Kingdom
B. Ch’i-fu Ch’ien-kuei (r. 388-412): Expansion of the Western Ch’in
C. Ch’i-fu Chih-p’an (r. 412-427): Consolidation and Height of the Western Ch’in
D. Ch’i-fu Mu-mo (r. 427-431): Demise of the Western Ch’in
II. Buddhist Activities in the Western Ch’in from Written Records
A. Sheng-chien: Buddhist Monk Translator
B. Fa-hsien: Early Monk Traveler to the Western Regions
C. Hsuan-kao: Famous Meditation Monk
D. Hui-lan: Later Monk Traveler to the Western Regions
E. Concluding Comments
Chapter Two Bronze Buddha Altar from Ching-Ch’uan
I. Introduction
II. Technical and Stylistic Description and Comparative Analysis
A. Buddha Image
B. Lion Throne
C. Mandorla
D. Canopy
E. Four-footed Stand
III. Conclusions of Dating and Region of Make from the Technical and Stylistic Analysis
IV. The “Kuei-i-hou yin” Bronze Seal and the Date of the Burial
Chapter Three Ping-Ling SSU Stone Caves: Introduction and Niche No. 1
I. Introduction
II. Niche No.1: Monumental Buddha Statue
A. Description and Technical, Stylistic and Comparative Analysis
1. Technique
2. Posture and Hand Positions
3. Body Form
4. Drapery
5. Head
6. Wall Paintings
III. Conclusions and Significance Regarding the Niche No.1 Buddha
A. Dating and Sources of Style
B. Oldest Surviving Monumental Buddha Image in China
C. Possible King Asoka Buddha Image and Relation to Eastern Chin in the South
D. Relation with the Bamiyan East Great Buddha
Chapter Four Ping-Ling SSU Cave 169: West (Rear) Wall
I. Introduction to Cave 169
II. West Wall (upper part)
A. Group 18: Description, Dating and Stylistic Sources
1. Group 18: Large Standing Central Buddha
a. Proportions and Posture, Body Form and Head
b. Drapery
c. Mandorla and Pedestal
d. Conclusions
2. Group 18: Ten Dhyanasana Buddhas
B. Group 18: Iconography of the Large Standing Buddha with Ten Dhyanasana Buddhas
1. Group 18 Schema
2. Buddhas of the Ten-Directions in Early Mahayana Sutras
3. Group 18 as Representing Sakyamuni and the Ten-Direction Buddhas from Chapter 11 of the Cheng fa-hua ching Dharmaraksa’s 286 A.D. Translation of the Saddharmapundarika Sutra (Lotus Sutra)
a. Translation of Excerpts from Chapter 11 of the Cheng fa-hua ching, the Dharmaraksa 286 A.D.
b. Application of Chapter 11 of the Cheng fa-hua ching (Dharamraksa Translation of the Saddharmapundarika Sutra) to the Cave 169 Group 18 Sculptures
c. Comment on the identity of the Group 18 configuration
C. Conclusions of Dating and Iconography
III. West Wall (lower part)
A. Group 17: Triad with Surviving Standing Bodhisattva
1. Description Sources and Dating of the Standing Bodhisattva
2. Iconographic Considerations and Conclusions
B. Group 16
1. Group 16: Five Dhyanasna Buddhas
2. Group 16: Seated Bodhisattva with One Leg Pendant
3. Group 16: Two (of Three) Standing Buddhas
C. Concluding Remarks
Chapter Five Ping-Ling SSU Cave 169: East and South Walls
I. East (Entrance) Wall: Group 24
A. Description Comparative Analysis and Stylistic Sources
1. Thousand Buddha Painting
2. Individual Buddha Groups Within the Thousand Buddha Painting
a. Dhyanasana Buddha Triad with Two Monks
b. Teaching Buddha Triad
c. Sakyamuni and Prabhutaratna in the Seven Jewel Stupa
3. Summary Conclusions
B. Dedicatory Inscription Biography of Tao-jung and Dating of the Group 24 Painting
C. Iconography: Textual Considerations
D. Conclusions: Dating and Issues of Identification
II. South (Left) Wall
A. Upper Zone: Group 23
1. Large Stone Relief Seated Buddha
2. Row of Painted Stupas
3. Group 23: “Ping-shen” Inscription
4. Group 23: Five Dhyanasana Buddha Sculptures
a. Three Dhyanasana Buddhas on the Left (east) Side
i. Brief Description
ii. Stylistic Sources and Tentative Dating
iii. Relation with West Wall Sculptures in Cave 169
iv. Mandorlas
b. Two dhyanasana Buddhas on the Right (west) Side
i. Description
ii. Elements for Comparative Dating of the Two Buddhas
iii. Mandorlas
5. Conclusions
B. Middle Zone: Groups 22 and 21
1. Group 22: Standing Buddha Triad
a. Buddha
b. Bodhisattva
c. Conclusions
2. Group 21: Two Individual Dhyanasana Buddhas
C. Lower Zone: Group 20
1. Group 20: Seated Buddha (A)
2. Group 20: Seated Buddha (B)
3. Group 20: Seated Ascetic Buddha (C)
4. Group 20: Standing Buddha (D)
5. Group 20: Seated Buddha (E)
6. Group 20: Dating
7. Iconographic Considerations: More on the Five Buddhas
D. Summary Conclusions (South Wall)
Chapter Six Cave 169: North Wall (I)
I. North (Right) Wall: Upper Zone
A. Group 1
B. Group 2
C. Group 4
II. North Wall: Middle Zone
A. Group 6: Niche with Amitayus Sculpture Triad
1. Image Analysis
a. Buddha Amitayus
b. Mandorla of Amitayus
c. Attendant Bodhisattvas
2. Textual Considerations
a. Early texts: Later Han, Three Kingdoms and Western Chin Period
1) Pratyutpanna-samadhi Sutra (T 418)
2) [Larger] Sukhavativyuha Sutra
a) A-mi-t’o san-yeh san fo sa lou fo t’an kuo tu jen tao ching
b) Wu-liang-ch’ing-ching p’ing-teng-chueh ching (T 361)
c) Wu-liang-shou [fo] ching (T 360)
i. Chu Fa-hu theory
ii. Buddhabhadra and/or Pao-yun theory
iii. Terminology of the Wu-liang-shou ching
d) Brief Synopsis and Some Pertinent Factors in the Wu-liang-shou ching with Respect to Considerations of the Group 6 Niche
i. Summary of the Text Wu-liang-shou ching (T 360): chuan 1 (shang)
ii. Summary of the Text Wu-liang-shou ching (T 360): chuan 2 (hsia)
3) Mahalalitapariprccha Sutra
a) Lao nü jen ching
b) Fo-shuo lao mu ching
c) Lao mu nu liu ying ching
4) Vimalakirti-nirdesa
a) Wei-mo chieh ching
b) Wei mo chieh so shuo ching
5) Saddharmapundarika Sutra (Lotus Sutra)
a) Cheng fa-hua ching
b) Miao fa lien hua ching
6) Brahmavisesacintipariprccha Sutra (Questions of Brahma Sutra)
a) Ch’ih hsin fan-t’ien so wen ching
b) Ssu i fan t’ien so wen ching
7) Bhadrakalpika Sutra
b. Eulogies, Images, and Biographies from the South during the Eastern Chin (317-420)
8) Eulogy (tsan) on Amitabha by Chih-tun
9) Biography of Chu Fa-k’uang
10) Images by Tai K’uei
11) Biographical excerpts of Hui-yuan Seng-chi and other monks at Lu shan
c. Period ca. 400-425 A.D. in North and South China
12) Fo-shuo A-mi-t’o ching
13) Ta chih-tu lun
14) Kuan fo san-mei hai ching
15) Ta-fang kuang fo hua-yen ching
16) Kuan-shih-yin p’u-sa [Te-ta-shih p’u-sa] shou chi ching]
a) Biography of T’an-wu-chieh
b) Summary Synopsis of the Kuan-shih-yin shou chi ching ( T371) Translated by T’an-wu-chieh
c) Some Major Points Concerning the Kuan-shih-yin shou-chi ching
d) Questions of Terminology in Relation to Group 6
17) Kuan Wu-liang-shou [fo] ching
a) Translation of the Kao-seng chuan Biography of Kalayasas
b) Brief Synopsis and Some Pertinent Points Regarding Terminology
c) Textual Issues
i) Central Asian Origination (or Compilation)
ii) Chinese “Compilation”
d) Terminology Used in the Kuan ching and Cave 169 Group 6 Inscriptions
d. Summary and Conclusions Regarding the Textual Comparisons and Survey of the Amitabha/Amitayus Sutra Translations in China up to ca. 425 A.D. with Respect to the Group 6 Inscriptions
3. Amitabha/Amitayus and Sukhavati in the Art of Mathura and Gandhara Prior to the Mid-5th century A.D.
a. Mathura Inscribed Amitabha Buddha
b. Triads of a Seated Buddha with Two Standing Bodhisattvas
i. Mathura and Gandhara
c. Triads within Complex Stele Scenes
i. Mohammad Nari (larger) Stele: Problems of Identification
ii. A stele in the Peshawar Museum: Possible Sukhavati with Amitabha and the Two Great Bodhisattvas
d. Afghanistan Central Asia and South India
4. Summary Conclusions Regarding the Iconography of the Group 6 Amitayus Triad
Chapter Seven Ping-Ling SSU Cave 169: North Wall (II)
I. North Wall: Middle Zone (continued)
A. Group 6: Wall Paintings and Inscriptions
1. Wall Paintings Inside the Group 6 Niche
a. Ten-direction Buddhas
i. Discussion of the style
ii. Identification of the ten Buddhas
iii. Buddhabhadra and the Translation of the 60-chuan Hua-yen ching
a) Early Records of the Buddhabhadra Translation of the Avatamsaka Sutra
b) Translation of the Kao-seng chuan Biography of Buddhabhadra
c) Buddhabhadra’s Translation of the Hua-yen ching and the Paintings of the Ten-Direction Buddhas in Group 6
b. Other Images near the Ten-Direction Buddhas
i. A Guardian and an Offering Figure
ii. Sakyamuni Buddha and Maitreya Bodhisattva
iii. Stylistic and Iconographic Considerations in the Context of the Group 6 Niche
2. Group 6: Main Inscription and Surrounding Wall Paintings
a. Main Inscription
i. Description and Translation
ii. Regarding the 420/424 Date Issue
b. Donor Figures
i. First Row of Donors
ii. Second Row of Donors
iii. Row of Eight Donors inside the Niche
c. Other Figures and Inscriptions above the Main Inscription
i. Small Standing Monk
ii. “Yao-wang fo”
a) Textual Considerations
b) Concluding Remarks Regarding “Yao-wang fo”
iii. ? ? chih p’u-sa
iv. Chieh-yin fo
v. Ch’ing-hsin shih Chin ch’eng Wan Wen chih hsiang
vi. Ch’ing-hsin nu Wen ch’i
d. Images and inscriptions below the second row of donors
i. Standing Buddha
ii. male donor “Ch’i-fu ? Lo-shih chih hsiang”
3. Group 6: Summations and Conclusions
a. Inscriptions
i. Main Inscription
ii. Monk and Lay Donor Inscriptions
a) Monk Donors
b) Lay Donors
b. Artistic Elements
i. Sculpture
ii. Paintings
c. Iconography and Textual Sources
i. Amitayus Triad
ii. Paintings Inside the Niche (other than donors)
iii. Paintings of Iconic Images Outside the Niche (other than donors)
a) Yao-wang fo
b) Chieh-yin fo and ? ? chih p’u-sa
d. Textual Aspects and the Iconographic Program of Group 6
e. Significance Points with Respect to Cave 169
B. Group 7: Two Large Standing Buddha Sculptures
1. Image Analysis
2. Mandorlas
3. Comments on Dating
II. North Wall: Lower Zone
A. Group 9: Three Standing Buddha Sculptures
B. Group 10: Wall Paintings (far left)
1. Under Layer
2. Upper Layer
C. Group 11: Wall Paintings (center left)
1. Topmost Level
2. Second Level from the Top
3. Third Level from the Top
4. Lowest Level
D. Group 12: Wall Paintings (center right)
1. Main Seated Buddha
2. Buddha’s Attendants and Kneeling Brahmin-like Figure
3. Above the Buddha Group: Buddhas Donors and a Five Buddha Painting
4. Summary of the Five Buddha Configurations in Ping-ling ssu Cave 169
5. Other representations of the Five Buddhas in China prior to ca. 400
E. Group 13: Wall Paintings (far right)
F. Conclusions: Wall Paintings of Groups 11, 12 and 13
1. Artistic Style and Dating
2. Iconographic Considerations
3. Donor and Other Figures
G. Group 14
1. Row of Three Seated Buddha Sculptures
2. Sutra Writing and Wall Paintings
a. Translation of the Wei-ts’eng-yu ching (T 688)
b. Wall Paintings
3. Fragment of Large Standing Buddha Sculpture
4. Concluding Comments on Group 14
H. Group 3: Buddha Niche
I. Groups 15 and 19: Thousand Buddha Panel Paintings
II. Conclusions: North Wall
III. The Cave at Yeh-chi kou (Wild Pheasant Gulch)
IV. Summary Conclusions: Ping-ling ssu under the Western Ch’in
A. Earliest Period: ca. 375-ca. 400
B. Middle Period: ca. 400-420
C. Late Period: ca. 420–431
Chapter Eight The Five Buddhas and Sets of Multiple Buddhas in the Art of Gandhara and Afghanistan and their Relation to Cave 169 at Ping-Ling ssu and the Five T’an-Yao Caves at Yun-Kang
I. Introduction
II. Taxila (Gandhara)
A. Dharmarajika: Stupas K1, N4 (and J1)
B. Main stupas at Jaulian and Mohra Moradu
1. Jaulian
a. Layout and Scheme of Main Images
b. Small Pilaster Buddhas
2. Mohra Moradu
a. Stupa Drum/Dome
b. Podium Images
3. Dating
a. Sculptures of the Jaulian Main Stupa
b. Sculptures at Mohra Moradu
4. Conclusions: Jaulian and Mohra Moradu Main Stupas
C. Miniature and Subsidiary Stupas at Mohra Moradu and Jaulian
1. Stucco Stupa from Cell 9 at Mohra Moradu
2. Subsidiary Stupas at Jaulian
a. Stupa A15
i. Description and Discussion of the Iconography of the Images
ii. Iconographic Interpretation
iii. Technique Inscriptions and Dating of the Images
b. Stupa A11
i. Iconography
ii. Date
c. Stupas A2 A20 and D5
d. Stupas A16 D4 and D1
i. Stupa A16
ii. Stupas D4 and D1
iii. Style and Date of Stupas D4 and D1
a) Niches
b) Pilasters
c) Lotus Pedestals
d) Individual Images
iv. Conclusions and Iconography of Stupas D4 and D1
3. Further Comments on Jaulian and Mohra Moradu
D. Pippala: Stupa K
III. Peshawar Valley (Gandhara)
A. Thareli: Area C 106
1. Area C106: Data
2. Dating
3. Iconographic Considerations of Area C106
B. Takht-i-Bahi
1. South Stupa Court X
2. Niche-shrines in the Lower Stupa Court
a. Niche/shrines 1-9 on the Processional Path
b. Niche/shrines 24-18 along the South Wall of the Lower Stupa Court
c. Niche/shrines 25-28 on the North Wall of the Lower Stupa Court
d. Niche/shrines 29-37 on the North Wall of the Lower Stupa Court
e. Niche/shrines M8-M1 along the East and South Walls of the Lower Stupa Court
f. Niche/shrines M14 and M11
g. Niches on the Perimeter of the Lower Stupa Court Considered as a Totality
3. Southeast Stupa Court XIVii
4. Court XX (Court of the Three Stupas)
a. Stupa P37
b. Four Monumental Stucco Standing Buddhas
5. Conclusions: Takht-i-Bahi
C. Sahri Bahlol Site B
1. Stupa with Five Buddhas
2. “Main Stone Stupa” with Four Buddhas
D. Ali Masjid
1. Medium-sized Stupa
2. Stupa No. 6
E. Conclusions: Peshawar Valley
IV. Afghanistan: Hadda
A. Great Stupa (TTK)
B. Tapa Kalan
1. Stupa TK67
2. Stupa TK86
3. Stupas TK97 and TK100
C. Tapa-i-Kafariha
1. Stupa K43
2. Gallery K45
D. Bagh-Gai
1. Stupa B31
2. Stupa B51
3. Structure B56 and Stupa B55
4. Stupas B76 and B77
E. Chakhil-i-Ghoundi
1. Stupa C5
F. Prates
1. Stupa P8
2. Stupa P29
G. Gar-nao
H. Concluding Comments: Hadda
V. Afghanistan: Shotorak
A. Stupa D3
B. Stupa D4
VI. Afghanistan: Bamiyan
A. Cave 24
B. Cave 129
C. Cave 152
D. Cave 164
E. Cave 51
VII. Summary Conclusions
A. Sets of Multiple Buddhas in Gandhara and Afghanistan
B. Significant Factors Regarding the Reading of Images on Stupas
1. Unified Scheme
2. Individual Side Scheme
3. Chronologically Linear Presentation
4. Non-chronologically Linear Presentation
5. Spatial Interpretation
C. Summary of the Development of the Five Buddha Configurations in Gandhara and Afghanistan
D. Importance of Ping-ling ssu Cave 169 in Relation to the Five Buddha Iconography
1. Relation with Gandhara and Afghanistan
2. In China
VIII. The Five T’an-yao Colossal Image Caves at Yun-kang
A. Layout and Brief Description of the Five T’an-yao Caves
B. New Theory of the System of Arrangement and Identity of the Main Images of the Five T’an-yao Caves
Chapter Nine Mai-Chi Shan: Early Caves
I. Introduction
II. Early History of the Site
III. Caves 78 and 74
A. General Description and Layout
1. Cave 78
2. Cave 74
B. Image Style, Sources and Dating
1. Seated Buddhas
2. Standing Bodhisattvas
3. Mandorla and Halo Designs
4. Paintings on the Pedestal of the Main Buddha in Cave 78
5. Small Niches with the Cross-ankled and Contemplative Bodhisattvas
6. Dating of Caves 78 and 74
C. Iconographic Considerations
IV. Caves 169 and 69
A. Cave 169
B. Cave 69
V. Conclusions: Early Caves at Mai-chi shan
Conclusions: Volume III
Appendix I
Appendix II
Bibliography
Index
Color Plates
