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本页列出文殊菩萨举剑坐像(一面二臂).

These forms of Manjushri are generally non-iconic, or aniconic. They are not typically found described in Tantric texts, meditations or rituals. They are for the most part based on the Sutra literature and narrative stories. The pose with the right hand grasping the sword at the chest is seen in a few other sculptures of Manjushri, primarily Western Himalayan standing figures. The left hand turned with the back of the hand resting on the thigh is reminiscent of a royal pose. The left leg pendant is unusual as it typically signifies a more wrathful or fierce demeanor. The artists appear to be trying to captured the image of Manjushri as a prince with both beauty and strength and in many examples they succeed.

文殊菩萨
文殊菩萨:四臂文殊(敏捷文殊)
文殊菩萨:举剑文殊坐像(早期-12世纪)
文殊菩萨:举剑文殊坐像(元代 13-14世纪)
文殊菩萨:举剑文殊坐像(明代 15-17世纪)
文殊菩萨:举剑文殊坐像(清代 18-20世纪)

文殊菩萨举剑坐像(一面二臂), 左手置于大腿上或于胸前拈一支乌巴拉花之茎部, 右手执剑, 这是文殊菩萨造像最常见的造型。

这种最常见的形象称为五字文殊(Arapacana).《成就法鬘》对此形像作了简要的概括: 菩萨呈金刚跏趺坐姿; 他右手高举吐火智慧宝剑, 左手在胸前握持一部经书. 在更复杂的组像中主尊身旁会侍立着他的四位伴神, 分别是髻设尼, 优婆髻设尼, 日光菩萨与月光菩萨. 虽然我们今天看到的五字文殊金铜造像形象比较常见, 但在早期印度艺术中却相对少见.

深度阅读: ……

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按年代分类浏览:

唐宋 (早期-12世纪)

元代 (13-14世纪)

明代 (15-17世纪)

清代 (18-20世纪)