Preview time
2021.11.30.-12.01
Auction time
2021.12.02
Auction location
Renaissance Beijing R&F Hotel
(61 East 3rd Ring Middle Road, Chaoyang District, Beijing)
After the introduction of Buddhism to China, combined with China's traditional culture to form a unique Chinese Buddhist culture and art, Buddhism to the east, the long history of the era, the vastness of the region, the evolution of Buddhism and faith in different periods has formed the unique images and patterns of Buddhist art in each era, these are the specific rituals followed by Buddhism in each period, and the corresponding artistic style changes are made by different eras, which makes Buddhist art have a strong epochality. So much so that the difference in the styles of Buddha statues in the Northern Wei and Tang Dynasties that we see now, the changes in their artistic styles silently tell people about the distant era from which they came.
In the Mahabharata Sutra [The True Biography of Maitreya Buddha], there is "Impermanence of all actions, the law of birth and destruction." Silence destroys oneself, and silence is happiness" The first sentence breaks the essence of the world, and the next sentence is the law of birth, which comes from the Great Nirvana Sutra. This is the essence of Buddhism, seeing through and practicing and attaining the happiness of selflessness. The Buddha sacrificed himself for great progress, so Maitreya became a Buddha early. I am now enlightening all sentient beings with "Jizo Jizo / Buddha's phaselessness, such as the state of ru / everyone is hiding", and open up the future Buddha's life and destruction. Thus evolved the popular Bunsen story diagram of Chinese Buddhism in the Middle Ages.
Brahmins give up their lives
According to the "Great Nirvana Sutra • Sunshine", also known as the Wenshu Rensheng Diagram, there is a Brahmin in ancient India who believed in Mahayana Buddhism and lived alone in the snowy mountains to practice and could not hear the Mahayana sutras. In order to test whether this Brahmin had the will to truly cultivate and become a Buddha, Emperor Shi tian transformed into a vicious-looking rakshasa, came to a place not far from the Brahmin, and in a fresh and pleasant voice, sang a half-chant, "All actions are impermanent, they are the law of birth and destruction," which is what the Buddha said in the past: "Everything in the world is not eternal, there must be death in life, this is an irresistible heavenly method." When the Brahmin heard this half of the hymn, he was filled with excitement and joy. Hurriedly getting up and going out, looking around, I saw a rakshasa come up to him and say, "I sang the half of the hymn just now," and the brahmin said, "I would like to hear the master finish singing the hymn." Luocha said, "I am very hungry now, and only by eating people's warm flesh and drinking people's hot blood can I sing The Dharma hymns for you."
When the Brahmin heard this, he said, "In order to listen to the Dharma, I would like to give you my charity." Then a temporary dharma seat was laid for the Rakshasa ghost, and the Rakshasa said for the second half of the phrase, "Birth and destruction destroy oneself, and silence is bliss," which means: "If one can attain liberation from the cycle of birth and death, one can attain the nirvana of eternal happiness." The Brahmin listened to the mantra, deeply understood Buddha-nature, and climbed to a big tree with great joy, threw himself into the ground, and jumped from the big tree. For Luocha to eat. At this time, The Rakshasa returned to the original form of the Emperor Shi Tianshen, stretched out his hands, caught the Brahmin from the air, put him on the ground peacefully, and said to the Brahmin, "You are truly cultivating and seeking the Dharma, and you will certainly be able to become a Buddha in the future, and purify all sentient beings." Emperor Shi Tian said, and suddenly disappeared.
Now preserved in the Dunhuang Mogao Grottoes and the Kyzyl Grottoes and the XiaonanhaiZhong Grottoes murals there are 4 pictures of the story of Wen Wei's dedication to Bunsen:
One. On the west side of the south wall of The 285 Cave of the Western Wei Dynasty, there are 7 pictures (traces of the 2 square list can be seen):
1. Tiangong. Painted on the right side below a circular arch niche, when it represents the Heavenly Palace, sits on the inside of a person, sits on his feet, hands on his chest, holds unknown objects, wears a heavenly robe (similar to a bodhisattva suit), wears a crown, and has no headlight, indicating that Emperor Shi Tian lives in the Heavenly Palace.
2. Meditation. A painting on the left side below shows that there is no figure, indicating that the Brahmin is meditating in the kusana. 3. Say yes. In the center below, there is a person standing outside the grass temple, wearing a heavenly robe, seemingly headless, with his hands on his chest, the gesture is unknown, and there is a list of titles in front of him, which is rambling, indicating that the emperor Shi Tian said half a day.
4. Tree climbing. A man with a naked upper body, hooded trousers, and holding a large tree in both hands, the Brahmin decided to give his body.
5. Devotional. A man with his bare body, folded his hands, jumped from the top of a tree, and the Brahmin gave his body.
6. Undertake. A man stands under a tree, wearing a heavenly robe, with a head light, raising his hand, making a gesture, and there is a party title between the front and the climbing tree, and the emperor shi tian undertakes the brahman.
7. Landing. A man naked, wearing hooded trousers, flew from the air to the heel of the Emperor Shi tian, and the Brahmin landed safely. It unfolds in a clockwise direction, one person, one picture.
The whole picture closely revolves around the plot (5), reaching the climax of the whole story. The coherence of the character dynamics in the three plots and the perfect arc of the characters in the plot (6) connect the parts together to form a circular composition (Figure 8). The circle has a strong sense of movement, which just meets the requirements of the dynamic expression of these parts of the storyline, and also symbolizes the perfection of the storyline and the ending of the characters. The Emperor, who is located in the middle with his hands outstretched to the sky, takes on the Brahman to form a triangular composition, and the stability of the triangle represents the firmness of the Dharma.
Two. Sui Dynasty Cave 302, Sui | Mogao Cave 302 Cave The main room (rear chamber) is located at the top of the cave, located in the third picture of the herringbone Phi Dong Phi Nan, with only two figures: the Brahmin jumping down, and the emperor Shi Tian reaching out to pick it up.
Three. Picture of Cave 38 of the Kyzyl Caves in Xinjiang
Four. The picture on the right side of the main wall of the small South China Sea Cave is cast to smell the screen.
This bunsheng propagates the basic Buddhist ideas such as the supremacy of Buddhism and reincarnation, so it is deeply loved by Buddhists and circulated in Buddhist art, and has been preserved in early pictures such as the Kyzyl Grottoes, the Konanhae Grottoes, and the Jade Worm Cook of Horyuji Temple in Japan. Around the 10th century AD, such sutra paintings disappeared into the theme of Buddhist painting, and Cave 38 of the Kyzyl Caves in Xinjiang depicted a person leaning over and a person holding a posture, which scholars believe is this story. The story of the Little South Sea Cave (built between 550-555) is similar to that of Cave 285:
1. Zenshu Yamanaka alone, one front.。
2, the two sit in a posture, in the middle is the title: "Life and death have been destroyed, silence is fun." ”
3. A person standing under a tree means climbing a tree or writing a slang everywhere.
4. A man lifts a fallen Brahmin.
Duchamp often said the word interesting when talking about art. Art, which developed from Sanskrit, we see that the plot of the story derived from the Dharma has been perfectly processed in the imagination of ancient artists, so that it can perfectly express the teachings of the Dharma and give people a beautiful experience, which is an unprecedented viewing experience, that is, the experiencer gives creativity to these works at the same time. The first four paintings are all early domestic paintings, and we have found very close compositions of the same period at Horyu-ji Temple in neighboring Japan.
Horyu-ji Temple in Nara, Japan, is the world's oldest surviving wooden structure, built in 607 AD
The "Jade Worm Cook" of the Palace-style Buddhist Shrine in Nara, Japan, is the early Asuka period (mid-7th century)
The tang dynasty excavated pottery-shaped buildings are compared with the golden hall architecture of Horyu-ji Temple
On the left side of the Golden Hall of Thea matricari in The Dharma Dragon Temple, the painting "Sacrifice Oneself to Feed the Tiger" represents Shakya's good deeds of saving sentient beings and sparing his life to seek the Dharma before he became a Buddha. From the composition of the picture, you can see that it is very similar to the composition, painting method and color of this piece, which is a national treasure of Japan and is called the oldest painting in Japan.
The bamboo list form of the picture is similar to the arrangement in the Double Rhinoceros Mirror of the Tang Dynasty
Contrast with the bamboo forest painting method in Cave 9 of Mogao Caves
The head of the Luocha partridge in the picture is similar to the shape of the head of the Tang Dynasty Sancai partridge
Tang Dynasty Sancai Partridge Kiss Head Shape (left) The image of Luocha in the "Wen Wei Sacrifice Figure" (right)
Tang Dynasty Wu Daozi ghost Botu stone carvings in the image of Luocha (stele)
The Dunhuang Mogao Grottoes in the collection of the Jimei Museum in France unearthed the image of luocha in the Tang Dynasty's "Descending Demons into The Tao"
In the painting, the painting method of the Xianshan tree dotting and the painting method of the Mountain Stone Tree in the Tang Dynasty Feixian Mountain Yue Pattern Diamond Flower Mirror
Painting of mountain stone trees in Cave 276 of Mogao Caves
Mogao Caves 468 Cave Tree Dot Painting Method
The style of the Mani jewel in the picture is the shape of the Mani jewel held in the left hand of the Tang Dynasty main statue in the second cave of the Shaanxi Charity Temple
The brahman's line composition and the Mogao Caves in the picture
In the picture, Emperor Shi Tiantan's upper body is exposed, and the two volumes of the crown turban rise with the wind And the same style can also be seen in the murals of Cave 280 of Dunhuang Mogao Grottoes.
The red and black that prevailed in the Tang Dynasty were rendered, and this color collocation was more popular in the Tang Dynasty, and we often see this classic aesthetic collocation in the Tang Dynasty tomb murals.
The Tang Dynasty silk paintings in the British Museum's collection of Bodhisattva statues are magnified and contrasted, showing the same fine weaving techniques of the Tang Dynasty.
Lot.3562
Sacrifice yourself to ask for a picture
8th-9th century 1 box colored silk mirror heart
32.8×63.2cm
RMB: 150,000-300,000
We can see that the whole picture is complete, the composition is rigorous, the layout is clever, the lines are concise and concise, the air rhymes, and the artistic conception is profound. Conveying the wisdom and meaning of the Dharma, the overall atmosphere and color are very harmonious, the Mani orb is like a scattered flower flying down, the trees on the mountain swaying with the wind, the Emperor Shi Tian's streamers soaring, the dress fluttering, the head has a backlight, as if through a thousand years of time, reproducing the magnificent world. Drifting clouds and fluttering winds decorate the picture with colorful colors and a peaceful atmosphere. The hook line is smooth, the color is coordinated, the picture is moving and static, there are Zhang youchi, and it is very romantic. The whole picture is rigorously composed, magnificently made, exquisitely painted, majestic and stretched, and juanxiu is ethereal, showing a magnificent picture of sutra transformation in the Buddhist teachings of the 8th and 9th centuries, which is an extremely rare treasure of early Buddhist painting.