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| The tree under which the Buddha reached enlightenment marks the center of the composition. It had been under worship by local villagers, for it was known to be the residence of a nature divinity, who here emerges from the tree and altar to praise the Buddha. The altar itself is covered with kusha grass used in the context of sacrificial offerings. At the base of the altar, the earth goddess has risen from the ground and kneels before him in reverence. | The tree under which the Buddha reached enlightenment marks the center of the composition. It had been under worship by local villagers, for it was known to be the residence of a nature divinity, who here emerges from the tree and altar to praise the Buddha. The altar itself is covered with kusha grass used in the context of sacrificial offerings. At the base of the altar, the earth goddess has risen from the ground and kneels before him in reverence. | ||
| - | CITATIONS | + | 来源:\\ |
| + | ? | ||
| + | (Bodhicitta, | ||
| + | 1997–\\ | ||
| + | The Cleveland Museum of Art, Cleveland, OH | ||
| + | |||
| + | 出版:\\ | ||
| + | Kurita, Isao 栗田功. Gandhāran art [ガンダ-ラ美術 = Gandāra bijutsu]. Tōkyō: Nigensha, 1988. Mentioned and Reproduced: vol. 1, p. 113, fig. 218 | ||
| Cleveland Museum of Art, “Major African Sculpture, Recent Mark Tansey Painting, and Other Works of Art Enter CMA Collection, | Cleveland Museum of Art, “Major African Sculpture, Recent Mark Tansey Painting, and Other Works of Art Enter CMA Collection, | ||
| + | |||
| + | Czuma, Stanislaw. “East Meets West”, Members Magazine, Cleveland Museum of Art, May 1998. archive.org | ||
| + | |||
| + | Cleveland Museum of Art. The CMA Companion: A Guide to the Cleveland Museum of Art. Cleveland: Cleveland Museum of Art, 2014. Mentioned and reproduced: P. 201 | ||
| Sengupta, Arputha Rani. Buddhist Jewels in Mortuary Cult: Magic Symbols. | Sengupta, Arputha Rani. Buddhist Jewels in Mortuary Cult: Magic Symbols. | ||
| Delhi: Agam Kala Prakashan, 2019. Reproduced: Vol. 2, P. 314, fig. 6.27; mentioned: vol. 2, P. 315-316 | Delhi: Agam Kala Prakashan, 2019. Reproduced: Vol. 2, P. 314, fig. 6.27; mentioned: vol. 2, P. 315-316 | ||