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A Rattanakosin style figure of Buddha Śākyamuni with traces of gilt
荷兰
2022年12月15日 开拍 / 2022年12月13日 截止委托
拍品描述 翻译
A Rattanakosin style figure of Buddha ?ākyamuni with traces of gilt, 18/19th century, Thailand, Seated in Dhyānāsana, wearing the sa?ghā?ī over his left shoulder, his right hand in bhūmispar?a. Literally, bhūmispar?a translates to 'touching the earth'. It is more commonly known as the 'earth witness' mudrā. This mudrā, formed with all five fingers of the right hand extended to touch the ground, symbolizes the Buddha's enlightenment under the bodhi tree, when he summoned the earth goddess, Sthāvara (bhūmi), to bear witness to his attainment of enlightenment. The right hand placed upon the right knee in earth-pressing mudrā, and is complemented by the left hand which is held flat in the lap, symbolises the union of method and wisdom, sa?sāra and nirvā?a, and also the realizations of the conventional and ultimate truths. It is in this posture that ?ākyamuni overcame the obstructions of Māra while meditating on Truth. The eyes are gilt or painted as part of the formal consecration. In Theravāda Buddhism every image requires some formal consecration before it can serve as an object of worship. An important ritual is the nētra prati??hāpanaya utsavaya or 'festival of setting the eyes'. The ceremony is regarded by its performers as very dangerous and is surrounded with taboos. It is performed by the craftsman who made the statue, after several hours of ceremonies to ensure that no evil will come to him. The craftsman paints in the eyes at an auspicious moment and is left alone in the closed temple with only his colleagues, while everyone else stands clear even of the outer door. Moreover, the craftsman does not dare to look the statue in the face, but keeps his back to it and paints sideways or over his shoulder while looking into a mirror, which catches the gaze of the image he is bringing to life. As soon as the painting is done, the craftsman himself has a dangerous gaze. He is led out blindfolded and the covering is only removed from his eyes when they will first fall upon something which he then symbolically destroys with a sword stroke. [1] The spirit of this ceremony cannot be reconciled with Buddhist doctrine and this practice probably comes from Sri Lanka between 700 and 1700 CE, when Sri Lankan monks and artisans visited many Asian countries, including Thailand, to propagate Buddhist philosophy, literature, and architecture. Robert Knox, a seventeenth-century Englishman who was imprisoned for twenty years in Theravāda Buddhist Ceylon, made an interesting observation: “Before the Eyes are made, it is not accounted a God, but a lump of ordinary Metal, and thrown about the Shop with no more regard than anything else. . . . The Eyes being formed, it is thenceforward a God”. [2] Elsewhere Knox says: “As for these Images they say they do not own them to be Gods themselves but only Figures, representing their Gods to their memories; and as such they give to them honour and worship”. [3] The face with downcast expression, elongated earlobes, curled hair and an u??ī?a. The separately cast flame, also called ketumālā, on the head is missing. The ketumālā doesn’t appear in canonical Buddhist scripture, but ketumālā is mentioned in the 5th century Mahāva??a. In chapter V the serpent king Mahākāla responds to a request of King A?oka. "The nāga-king created a beauteous figure of Buddha, endowed with the 32 greater signs and brilliant with the 80 lesser signs (of a Buddha), surrounded by the fathom-long rays of glory (byāmappabhā) and adorned with the crown of flames (ketumālā).” [4] A seated image of a hollow cast Buddha ?ākyamuni like this served as a meditation object (buddhānussati) for monks. H 54.5 cm, [1] R. Gombrich, The Consecration of a Buddhist Image, The Journal of Asian Studies , Nov. 1966, Vol. 26, p. 24-25. [2] Robert Knox, An Historical Relation of Ceylon, originally published in London, 1681, Ceylon Historical journal Vol. VI (Ceylon, I958), 130 (original folio p. 82). [3] Ibid. 116 (folio p. 73). [4] W. Geiger, The Mahāva?sa or The Great Chronicle of Ceylon, Asian Educational Services, 1986, Delhi. P. 34

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