Period:Unknown Production date:10thC
Materials:paper, 紙 (Chinese),
Technique:woodblock, 版畫 (Chinese),
Subjects:bodhisattva 菩薩 (Chinese)
Dimensions:Height: 39.90 centimetres (image) Width: 17 centimetres (image)
Description:
woodblock print with added mount and colours
IMG
![图片[1]-print; 印刷品(Chinese) BM-1919-0101-0.234-China Archive](https://chinaarchive.net/Unknown/43/mid_00000082_001.jpg)
Comments:EnglishFrom Whitfield 1983:This woodblock print, with colours added by hand, is an excellent example of the kind of print that must have circulated widely in the tenth century. It is already fairly elaborate. Avalokitesvara, holding a lotus, with nimbus and aureole, is seated on a lotus throne, all of which is completely contained within a large circle, as we have seen in some early tenth century paintings (e.g., Pl.8). To either side are symmetrical cartouches, and, below, a text in fourteen lines.When found, this print, together with another impression from the same block (Fig. 140), was pasted to the surface of the drawing of Yu and the dragon (Pl. 60), leaving only a string of cash of the drawing showing underneath, no doubt in the guise of an offering. Only this copy of the print has the printed borders on blue paper. However, in the Bibliotheque Nationale a woodcut print of Ksitigarbha (P. 4514, 5) is furnished with borders of a similar pattern. I have not been able to check with the original in this case, but in view of the joint popularity of the two Bodhisattvas in the tenth century, and the fact that their dimensions correspond almost exactly, it is likely that the two prints were mounted at the same time. ChineseFrom Whitfield 1983:10世紀時廣泛流行的版畫中的珍品，印刷後手工上色。此畫製作精良，觀世音菩薩有頭光和背光，手持蓮花，坐於蓮花寶座上，是10世紀初的繪畫中常見（例如圖8）的，整尊像被圍在一個大的圓相中。像的兩側配有左右對稱的長方形榜題框，下段有十四行經文。發現時，此畫和同一版印的另外的版畫一起（Fig.140）粘在禹與龍圖的表面上（圖60），只留下一串金錢，好像作爲供品。用同樣方式印製的畫中，只有本圖上下貼了印有花紋的藍紙邊飾。但是在巴黎的法國國立圖書館裏，地藏菩薩像的木版畫(P. 4514, 5)，也有貼著同樣邊飾的。不過，我沒有調查原物，但從10世紀時觀音和地藏緊密結合的考慮，這兩種版畫尺寸大致相同，好像在同一時期裝裱的。 Avalokitesvara is the compassionate bodhisattva who leads believers to the Western Pure Land of Amitabha. This image and its text are identical to another print in the British Museum collection (1919,0101,0.233). They were impressed from the same woodblocks, but here colours have been added by hand. In the Mogao Caves at Dunhuang, images of the bodhisattva Avalokitesvara often appeared with that of Ksitigarbha, also regarded as a saviour. An image of Ksitigarbha in the same mount and format preserved in the Pelliot Collection in Paris suggests that this print and the one in Paris belonged together. Both have blue woodblock-printed paper mounts like a hanging scroll. Published: Stein 1921, vol. II, 968; Kikutake 1975, fig. 12 (as Stein 233[1]); Whitfield 1982-5, vol. 2, 346, pl. 81; Tai 2005, 18, pl. 2 (mistakenly recorded as Shanghai Museum 上博007 in both instances); Yu 2005, 22-3; The Printed Image in China (2010)
Materials:paper, 紙 (Chinese),
Technique:woodblock, 版畫 (Chinese),
Subjects:bodhisattva 菩薩 (Chinese)
Dimensions:Height: 39.90 centimetres (image) Width: 17 centimetres (image)
Description:
woodblock print with added mount and colours
IMG
Comments:EnglishFrom Whitfield 1983:This woodblock print, with colours added by hand, is an excellent example of the kind of print that must have circulated widely in the tenth century. It is already fairly elaborate. Avalokitesvara, holding a lotus, with nimbus and aureole, is seated on a lotus throne, all of which is completely contained within a large circle, as we have seen in some early tenth century paintings (e.g., Pl.8). To either side are symmetrical cartouches, and, below, a text in fourteen lines.When found, this print, together with another impression from the same block (Fig. 140), was pasted to the surface of the drawing of Yu and the dragon (Pl. 60), leaving only a string of cash of the drawing showing underneath, no doubt in the guise of an offering. Only this copy of the print has the printed borders on blue paper. However, in the Bibliotheque Nationale a woodcut print of Ksitigarbha (P. 4514, 5) is furnished with borders of a similar pattern. I have not been able to check with the original in this case, but in view of the joint popularity of the two Bodhisattvas in the tenth century, and the fact that their dimensions correspond almost exactly, it is likely that the two prints were mounted at the same time. ChineseFrom Whitfield 1983:10世紀時廣泛流行的版畫中的珍品，印刷後手工上色。此畫製作精良，觀世音菩薩有頭光和背光，手持蓮花，坐於蓮花寶座上，是10世紀初的繪畫中常見（例如圖8）的，整尊像被圍在一個大的圓相中。像的兩側配有左右對稱的長方形榜題框，下段有十四行經文。發現時，此畫和同一版印的另外的版畫一起（Fig.140）粘在禹與龍圖的表面上（圖60），只留下一串金錢，好像作爲供品。用同樣方式印製的畫中，只有本圖上下貼了印有花紋的藍紙邊飾。但是在巴黎的法國國立圖書館裏，地藏菩薩像的木版畫(P. 4514, 5)，也有貼著同樣邊飾的。不過，我沒有調查原物，但從10世紀時觀音和地藏緊密結合的考慮，這兩種版畫尺寸大致相同，好像在同一時期裝裱的。 Avalokitesvara is the compassionate bodhisattva who leads believers to the Western Pure Land of Amitabha. This image and its text are identical to another print in the British Museum collection (1919,0101,0.233). They were impressed from the same woodblocks, but here colours have been added by hand. In the Mogao Caves at Dunhuang, images of the bodhisattva Avalokitesvara often appeared with that of Ksitigarbha, also regarded as a saviour. An image of Ksitigarbha in the same mount and format preserved in the Pelliot Collection in Paris suggests that this print and the one in Paris belonged together. Both have blue woodblock-printed paper mounts like a hanging scroll. Published: Stein 1921, vol. II, 968; Kikutake 1975, fig. 12 (as Stein 233[1]); Whitfield 1982-5, vol. 2, 346, pl. 81; Tai 2005, 18, pl. 2 (mistakenly recorded as Shanghai Museum 上博007 in both instances); Yu 2005, 22-3; The Printed Image in China (2010)
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