File:Barmhärtighetens gudinna Guanyin sittande i en grotta. Qingbai-gods, Yuandynastin, cirka 1280-1330 - Hallwylska museet - 107695.tif

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Barmhärtighetens gudinna Guanyin sittande i en grotta. Qingbai-gods, Yuandynastin, cirka 1280-1330.
Nyckelord: Föremålsbild, Mytologi, Kina, Stengods, Gudinnor, Gudinna
Svenska: FIGUR. Guanyin. Barmhärtighetens gudinna sittande i en grotta. Bakom figuren en glorieliknande omramning med fem hoprullade band på vardera sidan (till vänster ett band avfallet). Kring figuren i grottan en portal. Över och på ömse sidor om portalen klippformiga utsprång, nedtill stiliserade vågor. På taket, snäckor, gloria, bandornament, kapitäl och vågor. Svagt celadonfärgad glasyr, gruppen för övrigt oglaserad. Godset gråvitt. Av Georg Karlin inköpt ur en sydtysk samling 1918 sedan såld hos Bukowskis 1919. Pris 1.025 Kr.
Altaret är nästan 30 cm högt, har tjocka väggar och är väldigt tungt. Sett bakifrån är det uppenbart att föremålet tillverkats för hand, för det är ojämnt och har många fingeravtryck från när lerplattan formades. Att den bakre
ytan var obehandlad spelade ingen roll, för altaret var tänkt att placeras i en grotta eller mot en vägg. Dess olika delar (form, stenparti, tak, vågor etc.) modellerades var för sig och kittades fast på ytan, en oerhört mödosam och
tidskrävande tillverkningsmetod. Altaret avbildar Guanyin, som avslappnad sitter lutad mot sin arm med det ena benet uppdraget, en ställning som anses representera Vattenmånen Guanyin, ett namn som tagits ur en buddistisk
text med titeln Blomsterkranssutran. Guden är manlig, för han har bar överkropp och syns vila i ett tempel, uthugget ur en klippvägg ovanför havet. Detta motiv kopierade storskaliga figurer som huggits in i steniga grottor. Dessa kunde vara nästan identiska i kroppsställning och omgivningar.
Liknande stora fristående och utskurna träbilder tillverkades också för tempel. Ett praktfullt exempel är en målad Guanyin från norra Kina, daterad till Liao-Jinperioden (907 – 1234), som finns på Rijksmuseum i Amsterdam.
Den har samma pose, med ett uppdraget knä som stödjer ena armen och kroppstyngden vilandes på den andra raka armen. Bland jämförbart qingbaiporslin finns bland annat en sittande Guanyin med liknande ansiktsuttryck, glaserad kappa och ljusbrun hud. Den grävdes fram i Shanghai
City och har daterats till 1251. De svallande vågorna modellerades och fästes en och en på altarets sockel. De liknar de applicerade detaljer som användes på mycket mindre föremål från den tiden, till exempel penselburkar.
Takteglet liknar det på den välkända modellen av ett spannmålsmagasin som finns vid Jiangxis provinsmuseum och har daterats till 1338. Det har också målade detaljer som är underglaserade och målade i kopparrött. Med
utgångspunkt i detta verkar det troligt att det Hallwylska Guanyinaltaret kan dateras till ca 1280 – 1330.
The shrine is nearly 30cm in height, thick-walled, and very heavy. From the back it is evident that the piece was formed by hand, for it is uneven and bears many fingerprints where the clay was shaped like a large slab of pastry. Its unfinished rear surface did not matter, because the piece was designed to be placed in a grotto or against a wall. Its different elements (figure, rockwork, roof, waves etc.) were each modelled separately and luted onto the surface, an immensely laborious and time-consuming method of manufacture. The shrine depicts Guanyin seated in a relaxed way, leaning on one arm with one leg drawn up, a posture that has been identified as representing Water-Moon Guanyin, a name taken from a Buddhist text called the Flower Garland Sutra. The deity is male, for he has a bare torso, and is shown reclining in a temple carved from a cliff-face above the sea. This scheme copied large-scale figures carved into rocky grottoes, that could be almost identical in posture and surrounds. Similar large, free-standing, carved wooden images were also made for temples. A magnificent example is a painted Guanyin from north China dating to the Liao-Jin period in the Rijksmuseum, that adopts the pose with raised knee supporting one arm, the weight of the body resting on the other straight arm. In terms of comparable qingbai porcelain, one may cite a seated with Guanyin with analagous facial expression, glazed robes and biscuit flesh unearthed in Shanghai city and dated to 1251. The lavish and exuberantly carved waves applied one-by-one to the base of the shrine resemble the appliqué details used on much smaller pieces of the era, for example brushrests. The roof-tiles are like those on the well-know model of a granary in Jiangxi Provincial Museum, dated 1338, and also having underglaze copper red painted details. From these reference points it seems likely that the Hallwyl Guanyin shrine dates to c.1280-1330.
Date between circa 1280 and circa 1330
date QS:P571,+1500-00-00T00:00:00Z/6,P1319,+1280-00-00T00:00:00Z/9,P1326,+1330-00-00T00:00:00Z/9,P1480,Q5727902
Medium stoneware
medium QS:P186,Q830894
Dimensions Height: 45 cm (17.7 ″); Width: 30 cm (11.8 ″)
dimensions QS:P2048,45U174728;P2049,30U174728
institution QS:P195,Q4346239
Accession number
Place of creation China
Source LSH 107695 (hm_dig16543)
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current07:20, 31 May 2016Thumbnail for version as of 07:20, 31 May 20163,744 × 5,616 (60.19 MB)LSHuploadBot (talk | contribs){{LSH artwork |artist= |title= {{Title|Figur}} |description= {{sv|1=FIGUR. Guanyin. Barmhärtighetens gudinna sittande i en grotta. Bakom figuren en glorieliknande omramning med fem hoprullade band på vardera sidan (till vänster ett band avfallet)....
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