Period:Tang dynasty Production date:8thC-9thC
Materials:bronze, gold,
Technique:gilded, cast,
Subjects:buddha
Dimensions:Height: 20.30 centimetres
Description:
Figure of Śākyamuni group. Śākyamuni sits on a draped throne supported on a high pillar, his right hand held in ‘abhaya mudrā’. Two Lokapālas stand at the front corners of the pierced platform, flanking an incense burner and two lions. Made of gilded cast bronze.
IMG
![图片[1]-figure BM-1963-0212.1-China Archive](https://chinaarchive.net/Tang dynasty/Bronzes/mid_00331417_001.jpg)
Comments:Zwalf 1985Śākyamuni sits on a draped throne supported on a high pillar, his right hand held in ‘abhaya mudrā’. Two Lokapālas stand at the front corners of the pierced platform, flanking an incense burner and two lions. A similar Śākyamuni group is found in the central panel of a portable triptych sandalwood shrine, carried to Japan and installed, in AD 806, in the Kongōbuji temple at Kōyasan by Kōbō Daishi (Kūkai), founder of the Shingon sect. The exceptional quality of that, and of other surviving sandalwood images, reminds us that during the Tang very fine detail in sculpture was achieved not only in metal work.
Materials:bronze, gold,
Technique:gilded, cast,
Subjects:buddha
Dimensions:Height: 20.30 centimetres
Description:
Figure of Śākyamuni group. Śākyamuni sits on a draped throne supported on a high pillar, his right hand held in ‘abhaya mudrā’. Two Lokapālas stand at the front corners of the pierced platform, flanking an incense burner and two lions. Made of gilded cast bronze.
IMG
Comments:Zwalf 1985Śākyamuni sits on a draped throne supported on a high pillar, his right hand held in ‘abhaya mudrā’. Two Lokapālas stand at the front corners of the pierced platform, flanking an incense burner and two lions. A similar Śākyamuni group is found in the central panel of a portable triptych sandalwood shrine, carried to Japan and installed, in AD 806, in the Kongōbuji temple at Kōyasan by Kōbō Daishi (Kūkai), founder of the Shingon sect. The exceptional quality of that, and of other surviving sandalwood images, reminds us that during the Tang very fine detail in sculpture was achieved not only in metal work.
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