Seven Buddha statue monuments in the second year of the Northern Qi Emperor's construction: Liu Hailong shared the Aurora Museum Buddha statue monument series 2

The Northern Qi Emperor built seven statues of Buddha in the second year

Aurora Museum Buddhist Statue Exhibition Series 2

Liu Hailong shared

The exhibition "Buddhist Statues" is mainly composed of Gandhara statues in the early stage of Buddhist art and localized statues in the Northern Wei Dynasty, Sui and Tang dynasties, etc., presenting the material characteristics and craft technology of each statue with the research method of ancient artifacts, introducing the origin of Chinese Buddha statues, the formation of local styles and the significance of the rebirth of ancient Buddha from the perspective of development history, and explaining the profound artistic creativity and cultural integration of Chinese civilization from one side.

"Buddhist statues" are artistic creation activities with religious emotions based on the content of the teachings and the needs of ritual offerings. Also known as the "Imageless Period", Buddhist statues used only symbolic patterns to imply the existence of the Buddha. It was not until the birth of the two major centers of Buddhist art in the Kushan Dynasty, Gandhara and Mosa, that statues of the Buddha used for worship appeared and became popular. At the turn of the Han Dynasty and the Han Dynasty, Buddhist statues were introduced to China from ancient India with Buddhism, and were influenced by Gandhara and the Western Regions in India in the early days, and then gradually integrated with local traditions, deriving Chinese Buddhist statues with distinctive regional styles of the times and Chinese cultural and artistic connotations, which became an important part of Chinese Buddhist art.

The Buddhist statues in the museum are mainly Gandhara statues in the early stage of Buddhist art and localized statues in the Northern Wei Dynasty, Sui and Tang dynasties, which clearly outline the different style characteristics and aesthetic views of Chinese Buddhist statues in the process of localization.

Thank you Moxiangge for your strong support

Spreading skills and determining intangible cultural heritage

The humanistic journey of Moxiang Pavilion

Profile of intangible cultural heritage inheritor: Liu Xiufeng, a native of Zhengding, Shijiazhuang City, Hebei Province. He is the representative inheritor of the Hebei Provincial Intangible Cultural Heritage Project "Chuantuo Skills". Liu Xiufeng, founder of Moxiangge. Director of Hebei Jinshi Rubbing Museum (preparation). Moxiang Pavilion was founded in 1989, and the plaque of "Moxiang Pavilion" was inscribed by Mr. Huang Qi, a contemporary calligrapher. Moxiang Pavilion takes calligraphy and painting mounting and collection as the main carrier, inherits the Chinese cultural context, undertakes the culture of gold and stone, and its collection of gold and stone treasures has a certain influence in the country. Among them, there are hundreds of inscriptions, statues, Qin bricks and Han tile seals, etc., and there is no shortage of high-quality products. There are nearly 10,000 kinds of Tibetan extensions. Mr. Liu Xiufeng, decades of painstaking management, continuous pursuit, collection of his gold and stone treasures has now become a scale, and continues to receive attention and praise from all walks of life. In recent years, due to his enthusiasm for the research and collection of gold and stone culture, he has been absorbed as a member of the Chinese Collectors Association, a director of the China Jinshi Society, a vice president of the China Longzang Temple Tablet Research Association, a vice president of the Hebei Jinshi Society, a vice president of the Hebei Mounting Association, a director of the Zhengding Federation of Literary and Art Circles, and an executive vice president of the Zhengding Collection Association. Moxiang Pavilion has a rich collection and makes a wide range of friends. It has attracted many famous calligraphers, cultural scholars, and gold and stone experts to visit here for academic exchanges, including: Shen Peng, Huang Qi, Xu Yu, He Yinghui, Liu Zhengcheng, Wang Yong, Zhou Zhigao, Cong Wenjun, Liu Heng, Hua Rende, Li Song, Liu Wenhua, Chen Genyuan, etc. He also left more than 200 kinds of Mobao languages and letters for Moxiang Pavilion. The treasures of Moxiangge's collection have been written by famous calligraphers and scholars in China, and published in national magazines and newspapers. He has been published in dozens of well-known national academic magazines and journals, such as Rong Bao Zhai, Calligraphy Series, Chinese Calligraphy, Chinese Chinese Painting, Shanghai Calligraphy, Hebei Calligraphy, Calligraphy Herald, etc. His collection has also been cited and collected by cultural relics academic institutions. ("Three Hundred Kinds of Luoyang Inscriptions", Xi'an "Forest of Steles", Tsinghua University, Peking University, Jilin University, Hebei Academy of Social Sciences, etc.). In particular, in 2017, Liu Xiufeng collected 151 kinds of fine rubbings of the Northern Dynasties, and cooperated with Peking University to launch the book "Moxiangge Tibetan Epitaphs of the Northern Dynasties", which was published by Shanghai Cultural Relics Publishing House.

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