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The bibliographic record is provided by 李玉珉老師.
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| Author |
羅文華
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| Source |
故宮博物院院刊=Palace Museum Journal
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| Volume | n.6 |
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| Date | 2004 |
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| Pages | 49 - 59 |
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| Publisher | 紫禁城出版社 |
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| Publisher Url |
http://www.culturefc.cn/index/product.jhtml?act=index
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| Location | 北京, 中國 [Beijing, China] |
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| Content type | 期刊論文=Journal Article |
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| Language | 中文=Chinese |
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| Keyword | 仲巴呼圖克圖; 紫金琍瑪; 乾隆; 造辦處 |
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| Abstract | 清乾隆時期是宮廷藏傳佛教藝術發展的一個重要里程碑,其標志是漢藏藝術的頻繁交流。六世班禪于乾隆四十五年進京為乾隆帝祝壽,他帶來的紫金瑪造像為乾隆帝所重,并在宮中造辦處仿做,其后,又對原配方加以改進,成造了具有宮中特色的紫金瑪造像,成為清宮藏傳佛教造像的珍品。本文根據清宮內務府造辦處的檔案將這段歷史淵源作了詳細的介紹,并概述了故宮和承德避暑山莊具有代表性的藏品。
The Qianlong period of the Qing dynasty was an important milestone in the development ofthe palace’s Tibetan Buddhist arts and it signified the rich interaction between Chinese and Tibetan art. In the 45th year (1780) of the Qianlong Emperor’s reign, the Sixth Panchen Lama travelled to Beijing for the Emperor’s birthday and he brought with him a Buddhiststatue made from purple li-ma (a bronze-brass compound of as many as eight metals, themost valuablecontaining gold) both for the emperor’s veneration and also to be copied by the Zaobanchu in the palace. Later the original formula for this ware wasimproved and special lima statues for exclusiveuse in thepalace were made and these became part of the treasury of Tibetan Buddhist statuary in the palace collection. This paper provides a detailed introduction to the background history of this using the archives of the Zaobanchu (Imperial Workshops) under the Neiwufu of the Qing royal palace and describes the representative works in the collections of the Palace Museum and the Imperial Summer Retreat at Chengde. |
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| ISSN | 04527402 (P); 04527402 (E) |
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| Categories | 雕塑造像 |
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| Dynasty | 清代 |
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| Regions | 中國 |
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| Hits | 303 |
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| Created date | 2016.05.12 |
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| Modified date | 2019.09.17 |
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