【内容简介】 “擦擦”源自梵语，专指藏传佛教脱模泥制佛像。是一种用凹型模具，捺入软泥、压制成型、脱模而出的小型佛像或佛塔。作为佛教附属物的擦擦，在西藏成为广为流传的信物。本画册可帮助国外读者了解这种被藏传佛教僧俗视为能消灾祈福的宗教圣物，感受和认识神秘的西藏文化。 Chen Dan was a graduate from the Department of Journalism of the China School of Journalism and Communication， and furtHered Her study of the Chinese culture in Tsinghua University. She went to cover the cultural activities in Tibet for a dozen times， and once stayed in Lhasa for over a year. Her experience made it possible for her to write good books or articles on Tibetan culture. Beginning in 2009, she wrote for China's Tibet magazine columns of Tibet Handicrafts and Tibctan Arr Collectors. Cashingin on her stay and work in Tibet， she has taken thousands of photos of great value，and many of these were used for her works which run to millions of words. Her illustrated works aiready published, including Tibetan murals，Arts and Crafts Unique to the Snowland， Tibetarz， Hanclicrafts and Ancient Road for Tea-Horse Trade-Places Covered by Caravans.
【目录】 CONTENTSPrefaceBuddhaBodhisattva and TaraDharmapalaGuruStupas and Others
【文摘】 get_product_contenthtml
body{font-size:1.28em} img {max-width:100%;}
DharmapalaDharmapalas refers to Dharma-defenders, with extraordinary supernatural powers to do good or bad things. These ghosts and spirits, after being reined by Buddhas or other eminent monks, vow to follow and protect Dharma, so they are called Dharmapalas. Dharmapalas in Tibetan Buddhism have a large, complex system, many deities were originally from the Indian mythology before the birth of Brahmanism, after the rise of Buddhism they were gradually being accepted; with the spread of Buddhism in Tibet, a lot of indigenous gods have been incorporated to form today’s thriving situation.Esoteric Buddhism divides Dharmapalas into male and female sects, with Mahakala as the leader of the male sect, and Palden Lhamo as the leader of the female sect. The most famous Dharmapalas in the Exoteric Buddhism doctrine are the Four Heavenly Kings. (“Four Heavenly Kings” are originally a combination of four Buddhist Dharmapalas, commonly known as the “Four Heavenly Guardians”, which are Dhrtarastra, Virudhaka, Virupaksa and Vaisravana.) Dharmapala has a variety of countenance: anger, quietness, and integration of anger and quietness. Most Dharmapalas are wrathful deities.Yamantaka is a wrathful countenance of Manjusri incarnation. He is both the Yidam deity of Esoteric Buddhism and Dharmapala, who can defeat the evil and protect the good. This god is regarded as the Dharmapala of Gelug School. This Clay Tshatsha of Yamantaka is a Medicine Tshatsha, and the lower left corner has a neat cut, which may be used for medication by its owner.Qing product. The statue in the work has a fierce face, 9 faces and 34 arms, which are depicted clearly including every piece of musical instrument in the hands, and the flame backlight behind is full of beauty and dynamics. Ultra-precision of the Tshatsha mold shows superb carving skills, and the fine clay of the Tshatsha exhibits excellent performance, thus giving rise to such a rare beautiful masterpiece. (Photo by Geng Yi)
【前言】 PrefaceOrigin of Tibet Tshatsha“Tshatsha” originates from the Sanskrit, and specifically refers to the demolded clay statues in Tibetan Buddhism. It is a small Buddha statue or stupa made as follows: Fill a concave mold with the clay tightly, press it into shape and then demold. As said by the Italian Tibetologist Mr. G Tucci in his book entitled Tibet Archaeology: “Tshatsha originates from a word in dialects of central and northern India ancient in ancient times and in the Middle Ages, and is closely related with stupa. The custom of putting ‘Tshatsha’ in the stupa originates from the Indian custom of storing holy articles in the stupa body made of slabstone.” To redeem the vow to Bodhisattva, some pilgrims bought Tshatshas and put them in the places where they thought there was anima. In this way, the small Buddha statue embodying the wishes was taken far away.It is said that it is just in that way that Tshatsha was introduced into Tibet by Buddhists from India. But later, the development of Tshatsha in Tibet was far better than that in India, because Buddhism gradually declined and disappeared at the end of the 12th century in India, the origin of Buddhism. But after being introduced into Tibet in the 7th century, the Buddhism took root gradually and was developed and expanded eventually, despite of several hardships. As an adjunct to Buddhism, Tshatsha became the widespread token in Tibet.Tshatsha Once Got Lost in TibetTshatsha is the outcome of religion. The development and change of Tibetan Buddhism has greatly influenced formation of its art style. Normally, the age and geographical feature of Tshatsha can be easily distinguished according to certain religious period and corresponding artistic style, but it is not the case. For the small size and portability, mobility of Tshatsha and its mold is great, which results in the mixing and blending. So it is difficult to confirm its geographical feature and style. The experts can only generally sum up its artistic styles and age characteristics.The Earlier Macro Period of Tibetan Buddhism is the rising period of Tshatsha, ranging from the 7th century to the 9th century. During that period, Tshatshas were made of clay. During the period of destruction of Buddhism launched by Langdarmathe Zamprogna (King) of the last Tibetan regime lasting from 838 to 842, Buddhism suffered a catastrophe. Almost all the Buddha statues, scriptures and murals were destroyed, so did all easily damaged clay Tshatshas.During the subsequent 140 years, Tibetan Buddhism almost disappeared, and Tshatshas also disappeared.From the latter half of the 10th century to the 13th century, Tibetan Buddhism began to thrive again, and entered the early Later Macro Period. At the incipient stage of the Period, Tshatsha integrated the shape and style features of Swat in northwestern India, Pala in northeastern India, Kashmir and Gilgit. In the meantime, it, to some extent, was influenced by the arts of Nepal and China. Tshatshas focused on the expressions and postures of Buddhas and Bodhisattvas. As for the appearance, the simple square, round and other geometric shapes dominated, and its process was relatively simple and rough. While, in the late Later Macro Period, the large-scale production of “Tshatsha” gradually started, indicating the removal of early Indian pattern of mass reproduction, and the formation of style characteristics of localization and nationalization.The wide spread of Tshatsha in Tibet is because it satisfies faith demands of ordinary people who could enshrine and worship Buddhas and Bodhisattvas and so on by spending a little money; as a convenient belief means, it is more easily welcomed and accepted by the majority of people.......
占位居中
直播中，去观看