What is the three-leafed crown

A.D. 846 the destruction of Buddha's Rang Dama was (Beji Duoji) stabbed to death, the royal family appeared in two factions for the zanpu inheritance issue fierce struggle, a faction embraced the big consort of the son of Yun Dan, a faction embraced the second consort of the son of Ou Song. The two factions fought each other, the outbreak of the poor and slaves revolt, which led to the collapse of the Tubo dynasty. Since then, more than 400 years, the plateau has appeared numerous small local authorities. There are descendants of the royal family in Lhasa, ali, yazhe, yalong juea established the four major king system of power and some of the nobles of the local small regime. More influential to the regime has "Tibet west Guge dynasty" "Tibet in the YiXiJianZan WangLin regime" "Tibet east 唃LuLuo regime", they coincidentally thought of revitalization of buddhism and the use of buddhism, so the interruption of more than a hundred years of Tibetan Buddhism. So the interruption of more than a hundred years of Tibetan Buddhism has spread again on the Tibetan plateau and the rapid development of 300 years has formed the Nyingma, Kadang, Sakya, Kagyu and other Buddhist sects.

The struggle between the two factions in the failure of Ouson, his son Bedzan was killed by the rebels, his grandson Jide Nyimagon fled to Xiangxiong (now the Ali region), the establishment of the "Gugu Dynasty" prototype:

eldest son Bedgon - sealed in the Mangcheng (now the south of Kashmir), the "Gugu Dynasty" prototype:

eldest son Bedgun - sealed in the Mangcheng (now Kashmir south), the "Kingdom of Ladakh", a concentration of lakes. History

The second son, Zazigon - sealed in Bujang (present-day Plain County, Ali and other places), the "Kingdom of Plain", the land surrounded by snow-capped mountains. Ali

The third son Dezugon - sealed in Xiangxiong (now Ali region), "Kingdom of Guge", the land of rocky surroundings. Three around

De Zu Gun's son Ko Ri King when the Guge is strong, annexed Ladakh and Pran, the formation of the history of the famous "Guge dynasty", and De Zu Gun was worshiped as the first generation of Zangpo.

King Kozhi is the most influential figure in the history of the Guge dynasty, he spent his life reviving Buddhism. He sent 21 men to Kashmir to learn the Dharma, but 19 of them died of illness, and only Rinchen Sangpo and Ma-Rebe Hirao returned. Rinchen Sangpo (958-1055) traveled abroad many times, studied under 75 "Panchidas" to learn the teachings of the obvious and the tantric teachings, and then translated the sutras in the Toling Monastery built for him by King Keri, translating 17 kinds of sutras, 33 kinds of treatises, and 108 kinds of tantric sutras and mantras, and was honored by the later generations as the "Lochin" (Great Translator). He was honored as "Lochin" (Great Translator). At the same time, King Ko Ri also spared no expense in inviting the Indian monk Dharmapala and his disciples, Venerable Atisha, the head of Chaoyan Monastery, to come east to propagate the Dharma, which opened the prelude to the development of Buddhism in the latter part of the Tibetan period. And in the 10th-12th A.D. when the formation of the Tibetan and Western style of Buddhist art, appeared to specialize in statues place "Rukh" (today's Ali Zada County, Zang "smelting place" meaning).

The three great father: Manjushri (in the center), Guanyin (in Manjushri left), Vajrapani (in Manjushri right).

I. Stylistic features of Tibetan and Western statues (10th-12th)

(a) face and headdress: Buddha head decorated with conch hair, bodhisattva head decorated with a flower crown or a three-leafed crown, the crown are higher, the face of the square, eyes open, nose flat, the outline of the features is not very clear.

(b) body: statue of the body and limbs solid, visible bulging muscles, especially in the face and lower abdomen, muscle bulging obvious, the lower abdomen can be seen in a few raised small packets, which clearly inherited the Gandhara art realistic style legacy.

(C) clothing: the statue of clothing is very simple, Buddha's clothing is completely Sarnath style of expression, only the chest and thighs, etc., there are clothing lines, the rest of the clean and rounded; bodhisattva statue of the general upper body exposed, the left shoulder diagonally draped with a saint's belt, obviously rounded stripes, the neck of the ornaments of a collar, simple and realistic, under the knee-length skirt.

Note: Sarnath, is the translation of Indian Sanskrit, Chinese translation "Deer Park", is Shakyamuni's first statement of the place, the 5th Indian Shudo dynasty, here Buddha carving and the same time the style of Matura, but the Buddha body is not applied to the clothes line, only in the collar, cuffs, coat hem at the edge of the clothes line, the body seems to be wearing no clothes, the body of the body, the body is not wearing clothes. The body seems to have no clothes, the body undulation obvious. Academics called "Sarnath-style clothes (performance methods)", our country is also known as "wet clothes method".

(D) Buddha seat: mostly in the form of pedestal, square, girdle square, but also upward contraction of the polygonal stacked form (imitation of the Parra statue seat type). Some in the pedestal and carving decorative lotus, mostly single-layer overlay lotus. Lotus petal shape is very simple, its shape is broad, flat, head is very pointed, like a leaf floating on the pedestal, and Para statue full of kernel-shaped lotus petals is very different, and with the old Gandhara statue of lotus petals have a clear relationship of inheritance. Behind the statue of the backlight for the head backlight and body backlight connected to the form, although rich in decorative but few carvings, plain and unadorned, can only be seen in the shadowy flame pattern. Seat the bottom of the bag bottom seal, cover on the line carved cross vajra mortar and pestle, rugged lines, the shape is simple.

(E) process: generally cast in brass, historically, this copper is mainly produced in Central Asia and China's Xinjiang, Tibet, Western region, its texture is fine and moist, bright and shiny surface. Texture on the obvious Tibetan West regional characteristics. Statue carcass is thin, mostly for the whole casting, reflecting the region's higher level of smelting and casting. Also used to inlaid jewelry process, with silver inlaid eyeballs, with red copper inlaid clothing pattern. The eye inlaid with silver is the most important feature of the Guge statue, so there is "Guge silver eyes" of the name.

The main foreign art influencing the character of Tibetan Western statues is Kashmiri art. Although Indian influence can be seen. Gandhara's legacy, but are absorbed and digested by the Kashmiri influence on western Tibet.

Second, Yi Xi Jianzan and the art of Buddhist statues in Tibet

Yi Xi Jianzan after the defeat of the descendants of Osun fled to Ali, in the southern region of the mountain to establish local power. Following the Guge dynasty, he revived Buddhism with the ancient Sangye Monastery as his stronghold. Around 970 A.D., he sent ten people, including Lumay Chushenhirao, to Dandi to study Buddhism. At the beginning of 11th A.D., Buddhism was fully revived in the Wei-Tsang area and continued to attract monks from all walks of life, especially from India, Nepal, Kashmir and other places, and thus became the center of development of Buddhism in the whole of Tibet. The Nyingma, Kadang, Sakya, Kagyu and other sects formed at the beginning of the later Hiroshima period were all established in the Shannan and Lhasa areas of Wei-Tibet, and their temples were mainly distributed in the Wei-Tibet area.

The Palla Dynasty of India formed a Buddhist art style in East India in the 8th-12th A.D. The Buddhism and its art of this dynasty were introduced to Tibet through Nepal, and combined with the traditional aesthetics and craftsmanship of Tibet, thus forming a new type of statue art style, which is the Palla Tibetan style (10th-12th A.D.). Its artistic features are as follows:

Buddha statues are decorated with conch hair, and there are flaming beads on the chignon; bodhisattva statues wear three-leaf crowns or three-flower crowns, and the flower crowns are generally low, and there is a columnar high chignon at the top, and there are typical fan-shaped crown knots and U-shaped treasure bindings between the ears of Para statues. Statue of rounded face, deep eyes, hook nose, eyebrows and eyes up, forehead like a bow pulled open, mouth large and thick lips, with obvious South Asian features.

The statue of Buddha has an upright and well-proportioned structure; the body of the Bodhisattva and the Goddess of Mercy is mostly in the form of a three-fold branch, graceful and beautiful.

The statue of Buddha's clothing is completely Sarnath expression, the clothing pattern is very little, the hem of the robe scattered in front of the pedestal to form a regular fan, and the Sarnath statue is the same.

The bodhisattva's clothing is also very simple, the upper body draped in a sacred belt, neck hanging collar, collar embellishment, the lower body around the skirt. Due to the statue of thin clothing, accessories simple, so the statue of sturdy and robust, plump twisted torso is fully exposed, extremely dynamic and fleshy.

The statue pedestal has a common Para statue of multi-horned upward contraction of the stacked astringent (with an arch-shaped flame backlighting), there is also a half-moon lotus seat. Lotus seat is relatively high, double lotus petals near the upper part of the pedestal, the lotus seat of the girdle is not deep, its upper and lower edges almost vertical, unlike the later Tibetan statue of the common large ladder-shaped lotus seat. At the same time, the petals of the lotus seat is also very distinctive, is a long round flat shape, the lotus tip or support the lotus tip of the lotus leaves slightly outwardly rolled, and the Tibetan style of the lotus petal shape is obviously different, reflecting another artistic style. In addition, pazang style statues also with zangxi style zangxi craft characteristics, with red copper inlays indicate clothing or other floral motifs is also very common. Statue of copper mostly, yellow, red, bronze, etc., stone statues in recent years in Tibet is also constantly found.

The formation of the Pa-Tsang style was the result of close exchanges between Tibet and the Pala dynasty of East India during the 10th-12th AD. Two major historical events are particularly noteworthy. First, the Indian monk Atisha into Tibet to promote the Dharma, the first half of the 11th AD, the Guge dynasty asked him to Tibet, he moved in 1040, 1041 to Nepal, 1042 arrived in the Guge dynasty, three years after the Dharma and then in 1045 by the disciple Zhongdunba invited to Weizang to promote the Dharma, until the death of Weizang Nietang in 1054; one is the invasion of the Islamic race to make the East Indian dynasty extinction event, the Buddhists were forced to The Islamic invasion of the East Indian dynasty was destroyed, the Buddhists were forced to flee, and many of them were diverted to Tibet, which not only promoted the revival of Buddhism in the latter part of the Tibetan period, but also brought the fruits of the East Indian Buddhist art. Therefore, some scholars believe that the early gold and copper Buddha statues enshrined in Tibetan temples are East Indian monks fled to Tibet when brought with them is not unreasonable.

As Nepalese art style is formed on the basis of East Indian Pala art, so many features of the two are very similar, so Nepalese art should be categorized as Indian Pala art.

This period of Nepali and Tibetan statues from the general point of view of the basic inheritance of the Tubo period of Nepali and Tibetan statues style, the details and there are obvious changes. The subject matter of the statue is mainly Buddha and bodhisattva costume two categories.

Buddha statues: general head decorated with screw hair, top bun high up, bun top and decorated with beads. Facial mud gold, face-shaped inverted triangle, forehead high wide, cheeks sharp; eyebrows and eyes to both sides upward, eyes open, fresh and clear demeanor; high nose and small mouth, nose and mouth is more centralized, the overall look is very charming, Nepalese national characteristics are very obvious. Dressed in a right shoulder or shoulder robe, the coat pattern adopts the Sarnath style of expression, clearly revealing the changes in the muscles of the torso. The body is strong and powerful, especially the rounded shoulders, thick pectoral muscles, thick arms and thighs are particularly prominent. Buddha's seat for the waist-shaped lotus seat, the upper and lower two layers of lotus petals staggered distribution, wide and flat, each petal on the customary yin carving "Chuan" pattern.

The statue of Buddha: generally wearing a mountain-shaped bun crown and three flower crown, but there are also separate bun crown form. Crown modeling tall and complex, on the effect of decorative small Buddha. Crown mouth wide hair covered tightly, forehead almost can not see the hair, the outer edge of the crown mouth is generally decorated with two to three rows of beads, quite decorative. There are flower-shaped decorations around the ears and under the earlobes. The facial features are basically the same as those of the Buddha statue, but the image is more flattering than that of the Buddha statue, and the face is also treated with clay and gold. There is a collar around the neck, a saint's sash draped diagonally over the left shoulder, flower-shaped armlets on both arms, and a skirt on the lower body. Collar for the bead pattern form, there is a circle or two circles, the collar fell three small petals, its shape and workmanship than the Tubo period standardized much more. Sacred belt is no longer a single strip of Tubo period, but more is the form of silk fabric of the large broadband, also diagonally draped across the chest, narrow at the top and wide at the bottom. Hip of the flower-shaped kushion decorations are also more up, still reflecting the ancient style of the Tufan statue. Skirt form has two kinds, one is covered legs long skirt; One is one side of the long side of the short form, this particular form should come from the South Asian people's clothing customs. The waistband is knotted and draped between the legs, and the waistband and the drape form a "d" shape. If it is standing like, the buttocks are generally also a diagonal bundle of a ribbon, knotted on one side of the body after blowing on the side, but sitting like no such ornamental belt.