Selected Relics Of Japanese Art Vol 1 Classic Reprint

Author : S. Tajima
Publisher : Forgotten Books
ISBN 13 : 9781397296429
Total Pages : 180 pages
Book Rating : 4.2/5 (964 download)

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Download or read book Selected Relics of Japanese Art, Vol. 18 (Classic Reprint) written by S. Tajima and published by Forgotten Books. This book was released on 2019-01-24 with total page 180 pages. Available in PDF, EPUB and Kindle. Book excerpt: Excerpt from Selected Relics of Japanese Art, Vol. 18 Of the brozne images of Buddhas, made during the time of the Six dynasties. In Count Tanaka's collection, we have shown four in the twelfth volume. We now add five more to Our series of reproductions; these being smaller in size, but more excellent in workman ship and more attractive in every way. The middle three (nos. 2 to 4 inclusive) bear inscriptions. The second one. Two Buddhas sitting side by side in one screen, represents Sakyamuni and Prabhiitamtna, and on the pedestal there is a legend running thus: On the zud day, 7th year of Tien l'ao, this image Ls prepared to secure the happiness of my deemed father and mother, by Li Ta T'ung, a follower of Buddha. T'ién Pa'o is the eponym of Weh Hsfian Ti, of the Northern Ch'i dynasty: the 7th year of that period corresponds to 556, Western calendar. When the Western gei'dynas'ty came to an end in the 3rd year of Kung T: of that dynasty; also to the year of the end of the Liang dynasty of the south, in thg lst year of Tai P'ing of Ching Ti of that-same dynasty! It also corresponds to the 7th year of Emperor Kimmel of our coun'try. The third figure, Maitreya Bodhisattda, is very attractive in the decorative design of the screen, while the attitude of tlfifigure is quite different from that of other images of the same Bodhisattva commonly seen in after times', he has a water-jar in the rigffi'fhand. The inscfiption'ofthe pedestal runs thus: On the roth day, 6th month, 2nd year of Shen Kuei, this image of M'aitreya Bodhisattva is prepared from my ardent devotion for the sake of peace in the country and for the happiness of my Six kindred families, by Lin Shih Te, a native of Tung-wu. This Slten Kuei is the eponym of Hsiao Ming T1 of the Northern Vl'ei dynasty. The 2nd year of that period corresponds to 519, to the t8th year of Tien Chien of Wu Ti of the Southern Liang dynasty, and to the I3! Year Of Emperor Keitai Of our country. The fourth image, shows that it is the figure of Avalokitesvara with a lotus - bud in the right-hand and a water-jar in the left. The inscription On the pedestal is as follows: On the 4th day. Loth month, 16th year of Tai Ho. This image is cast by Bhikshu Fui Chiao in memory of my deceased parents and for the sake of the young and old members of my family who are protected by a great number Buddhas. Tai H0 is the eponym of Hsiao Wen Ti of the Northern Wei dynasty; its r6th year'corresponds to 49-2, to the roth year of Ying Ming of Wu Ti, Southern Empire of Ch 1, and to the sth year of Emperor Ninken of our country. The firstjimage has a waiter-iar in the right-hand and a pinda in the left. The fifth image has the Chamara in the right hand (the left hand is missing); from the small' sitting images in the upper part of the screen, we readily understand that this figure of Avalokitesvara is in very old style. The first image, which has protruding busts, is like a female and this leads us to suppose that it shows this deity as a transformation of some female deity of Brahmanism. These two images (first and fifth) were probably cast at the same time as the remaining three. Perhaps during the Northern dynasty. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.