Period:Unknown Production date:4thC-7thC
Materials:clay, 粘土 (Chinese),
Technique:mould-made, 烘乾的 (Chinese), 模製 (Chinese), slipped,
Subjects:buddha 佛 (Chinese)
Dimensions:Diameter: 8.80 centimetres
Description:
Fragment of clay relief plaque. Shown is a Buddha seated cross-legged, with his hands held in what is probably the vajra mudrā (literally “thunder mudrā”). This gesture, made by extending the index finger of one hand upward and the other hand making a fist and enclosing it, is the gesture of knowledge. The Buddha wears a robe with prominent folds and is seated in front of a mandorla, his head surrounded by a nimbus. The whole figure is surrounded by a circle of lotus leaves The plaque was made using a mould and then covered with a red slip.
IMG
![图片[1]-plaque; 飾板(Chinese) BM-1907-1111.185-China Archive](https://chinaarchive.net/Unknown/43/mid_01172932_001.jpg)
![图片[2]-plaque; 飾板(Chinese) BM-1907-1111.185-China Archive](https://chinaarchive.net/Unknown/43/mid_01141947_001.jpg)
![图片[3]-plaque; 飾板(Chinese) BM-1907-1111.185-China Archive](https://chinaarchive.net/Unknown/43/mid_00008537_002.jpg)
Comments:EnglishFrom Whitfield 1985:Miniature plaques such as these were produced in quantity by the use of moulds, and applied to form parts of the nimbus decoration of larger statues. In the case of many of the Rawak figures, this decoration was quite elaborate (see Gropp, 1974, Fig. 110, p. 233), and they appear around the edges of the aureoles of standing figures as well as in the nimbus (see Ancient Khotan, Pl. XVIIIc). As Stein himself wrote:Special artistic interest attaches to the remains of the elaborate aureoles which … encircled these statues. They varied but little in details. Every-where there was a border formed by a cloud-scroll, and within it a broad band showing small plaques of seated Buddhas or Bodhisattvas inserted between wreaths of a very graceful bead-ornament. The latter were gathered at intervals into bunches surmounted y a fleur-de-lis. A second band of small seated Buddhas seems to have filled the space left between the highly ornamental border and the edges of the drapery. (Ibid., Vol. I, p.499)The plaque from Dandan-oilik, probably somewhat later than that from Rawak, had a similar purpose: it bears traces of pigment as follows: “hair black, robe brown, seat pink, inner part of vesica pink, outer ray emerald green. The whole appears to have been on background of indigo” (ibid., Vol. I, p.289). ChineseFrom Whitfield 1985:像这樣的小裝飾是使用模子大量製作的，一部分是用於大型佛像的背光上。熱瓦克的諸像中，有很多非常精巧的這種裝飾（參照Gropp，1974，Fig. 110，233頁），不僅在頭光上，立像身光的周邊也使用（參照《古代和田》圖版XVIII.c）。斯坦因对此有如下叙述：“從環繞這些像的漂亮背光的斷片上感到了特殊的美。它們的細部表現上只有小的差異，其邊緣都有火焰，內側非常美的連珠圓紋中，是貼著佛或菩薩坐像小裝飾板的寬的帶狀部分。連珠紋的連接處有百合花狀的裝飾。小坐佛的第二列，是極具裝飾性的邊緣部分，大概是爲了填充衣紋端部的空間配了裝飾”（參照《古代和田》卷一，499頁）。丹丹烏里克的作品大概比熱瓦克的年代還晚些，但用途相同。有關其色彩，斯坦因有如下記述：“頭髮是黑色，衣服爲茶褐色，台座是淺紅色，背光的裏面爲淡紅，外面的部分是淡綠色。全用青色做背景。”（參照《古代和田》卷一，289頁）
Materials:clay, 粘土 (Chinese),
Technique:mould-made, 烘乾的 (Chinese), 模製 (Chinese), slipped,
Subjects:buddha 佛 (Chinese)
Dimensions:Diameter: 8.80 centimetres
Description:
Fragment of clay relief plaque. Shown is a Buddha seated cross-legged, with his hands held in what is probably the vajra mudrā (literally “thunder mudrā”). This gesture, made by extending the index finger of one hand upward and the other hand making a fist and enclosing it, is the gesture of knowledge. The Buddha wears a robe with prominent folds and is seated in front of a mandorla, his head surrounded by a nimbus. The whole figure is surrounded by a circle of lotus leaves The plaque was made using a mould and then covered with a red slip.
IMG
Comments:EnglishFrom Whitfield 1985:Miniature plaques such as these were produced in quantity by the use of moulds, and applied to form parts of the nimbus decoration of larger statues. In the case of many of the Rawak figures, this decoration was quite elaborate (see Gropp, 1974, Fig. 110, p. 233), and they appear around the edges of the aureoles of standing figures as well as in the nimbus (see Ancient Khotan, Pl. XVIIIc). As Stein himself wrote:Special artistic interest attaches to the remains of the elaborate aureoles which … encircled these statues. They varied but little in details. Every-where there was a border formed by a cloud-scroll, and within it a broad band showing small plaques of seated Buddhas or Bodhisattvas inserted between wreaths of a very graceful bead-ornament. The latter were gathered at intervals into bunches surmounted y a fleur-de-lis. A second band of small seated Buddhas seems to have filled the space left between the highly ornamental border and the edges of the drapery. (Ibid., Vol. I, p.499)The plaque from Dandan-oilik, probably somewhat later than that from Rawak, had a similar purpose: it bears traces of pigment as follows: “hair black, robe brown, seat pink, inner part of vesica pink, outer ray emerald green. The whole appears to have been on background of indigo” (ibid., Vol. I, p.289). ChineseFrom Whitfield 1985:像这樣的小裝飾是使用模子大量製作的，一部分是用於大型佛像的背光上。熱瓦克的諸像中，有很多非常精巧的這種裝飾（參照Gropp，1974，Fig. 110，233頁），不僅在頭光上，立像身光的周邊也使用（參照《古代和田》圖版XVIII.c）。斯坦因对此有如下叙述：“從環繞這些像的漂亮背光的斷片上感到了特殊的美。它們的細部表現上只有小的差異，其邊緣都有火焰，內側非常美的連珠圓紋中，是貼著佛或菩薩坐像小裝飾板的寬的帶狀部分。連珠紋的連接處有百合花狀的裝飾。小坐佛的第二列，是極具裝飾性的邊緣部分，大概是爲了填充衣紋端部的空間配了裝飾”（參照《古代和田》卷一，499頁）。丹丹烏里克的作品大概比熱瓦克的年代還晚些，但用途相同。有關其色彩，斯坦因有如下記述：“頭髮是黑色，衣服爲茶褐色，台座是淺紅色，背光的裏面爲淡紅，外面的部分是淡綠色。全用青色做背景。”（參照《古代和田》卷一，289頁）
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