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+=====14世纪西藏唐卡四面大日如来坐像(洛杉矶艺术博物馆)=====
+{{tag> 主题:大日如来 材质:唐卡 尺寸:50-100cm 年代:14世纪 风格:西藏 来源:洛杉矶艺术博物馆 大日如来:四面 大日如来:坐像}}
+~~PAGEIMAGE:<:大日如来:106-1.jpg>~~
+**尺寸：54.61 x 30.48 cm\\
+年代：13-14世纪\\
+质地：棉布设色矿物颜料，施金\\
+风格：西藏中部\\
+来源：洛杉矶艺术博物馆\\
+参阅：[[https://collections.lacma.org/object/67521|洛杉矶艺术博物馆]]\\
+鉴赏：**\\
+{{ :大日如来:106-1.jpg?direct&600 |}}
+遍照毗卢遮那佛（Sarvavid Vairochana）\\
+出自一组五方佛（Five Jina Buddhas）\\
+基于《净治一切恶趣续》（Sarva Durgati Parishodana Tantra）\\
+约13世纪末至14世纪初\\
+Sarvavid Vairochana, From a Set of the Five Jina Buddhas, based on Complete Purification of All Evil Rebirths (Sarva Durgati Parishodana Tantra)
+这幅作品的绘制，很可能依据了《净治一切恶趣续》（Sarva Durgati Parishodana Tantra）。该续典作为佛教瑜伽续部（Yoga Tantra）的典籍，于8世纪成书于印度。8世纪末，由印度大师寂护（Shantigarbha）传入西藏，并在藏王赤松德赞（Khri srong lde brtsan，755–797年在位）统治时期于桑耶寺被译成藏文。这幅画及其所依轨仪的核心关切，都与健康、安乐与昌盛紧密相关。
+画面中央主尊为遍照毗卢遮那佛（Sarvavid Vairochana，意为“一切智大日如来”）。由此，他与遍在之师——金刚萨埵（Vajrasattva）本质无异。从图像学角度而言，这幅画整体上意在宣示：五方佛（Five Jina Buddhas）所彰显的智慧（jñana），乃是此贤劫千佛生起之根基。
+颇为有趣的是，画面中央的遍照毗卢遮那佛呈现了一种前所未见的“速疾成菩提印”（bodhyangi mudra）变体：左手握金刚杵（vajra）成拳，其拇指与四指则舒展于拳前。遍照毗卢遮那佛的周围，环绕着四位般若波罗蜜多佛母（Paramita goddesses）、八大菩萨，以及一个由 209 尊佛陀 组成的佛境，所有这些佛陀皆以右手结触地印（bhumisparsha mudra）。
+This painting was likely based on the Complete Purification of All Evil Rebirths (Sarva Durgati Parishodana Tantra). It was composed in India in the 8th century as part of the Yoga Tantra class of Buddhist literature. The tantra was introduced to Tibet in the late 8th century by the Indian master Shantigarbha and translated into Tibetan at the Samye Monastery during the reign of King Khri srong lde brtsan (r. 755–797). The overriding concerns of the painting and the underlying rituals are associated with health, well-being, and prosperity. The central figure is Sarvavid Vairochana, (Vairochana of Universal Knowledge). As such he is identical to Vajrasattva, the Universal Teacher. Overall, the painting is part of an iconographic statement that the insights (jñana) manifested by the five Jina Buddhas are the basis for all 1,000 Buddhas of the present eon.
+Interestingly, this central image of Sarvavid Vairochana displays an otherwise unknown variant of the symbolic gesture of "quick enlightenment" (bodhyangi mudra) with all four fingers and the thumb of the left hand displayed simply in front of a fist holding a thunderbolt (vajra). Sarvavid Vairochana is accompanied by four Perfection (Paramita) goddesses, eight standard Bodhisattvas, and a field of 209 Buddhas all with their right hand extended in the gesture of calling upon the earth to witness the Buddha’s right to achieve Enlightenment after his many lifetimes (bhumisparsha mudra).
+See Himalayan Art Resources, no. 85701, https://www.himalayanart.org/items/85701
+著录:\\
+Huntington, John C. and Dina Bangdel. The Circle of Bliss: Buddhist Meditational Art. Columbus: The Columbus Museum of Art; Chicago: Serindia Publications, 2003.
+来源:\\
+Purchased with funds provided by Harry and Yvonne Lenart
+馆藏号:\\
+AC1994.121.1

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