File:Guanyin barmhärtighetens gudinna gjord i Kina av porslin på 1800-talet - Hallwylska museet - 95545.tif
![File:Guanyin barmhärtighetens gudinna gjord i Kina av porslin på 1800-talet - Hallwylska museet - 95545.tif](https://upload.wikimedia.org/wikipedia/commons/thumb/8/88/Guanyin_barmh%C3%A4rtighetens_gudinna_gjord_i_Kina_av_porslin_p%C3%A5_1800-talet_-_Hallwylska_museet_-_95545.tif/lossy-page1-400px-Guanyin_barmh%C3%A4rtighetens_gudinna_gjord_i_Kina_av_porslin_p%C3%A5_1800-talet_-_Hallwylska_museet_-_95545.tif.jpg?20141121032749)
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Captions
Captions
Figur på sockel
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Artist |
Unknown authorUnknown author |
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Title |
Figur på sockel |
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Original caption |
Note: For documentary purposes the original description has been retained. Factual corrections and alternative descriptions are encouraged separately from the original description. Guanyin barmhärtighetens gudinna gjord i Kina av porslin på 1800-talet.Nyckelord: Mytologi, Figur, Kuan-yin, Föremålsbild, keramik, Kinesiskt porslin, Kinesiskt |
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Description |
Svenska: FIGUR. Guanyin med två följeslagare på oval sockel samt på fotställ av trä. Gåva till Wilhelmina von Hallwyl den 1 oktober 1925 från Ellen och Johnny Roosval.Denna ovanliga figur föreställer Bodhisattva Guanyin sittandes på en tron. Guanyin är medkänslans gudinna inom den kinesiska buddismen. Hennes namn betyder bokstavligen »en som lyssnar till [världens] gråt«. UnderSongdynastin avbildades Guanyin både som en manlig och kvinnlig gud, men vid tiden för Mingdynastin hade hon blivit enbart kvinna. Den här Songfiguren är kvinna och bakom henne finns en blombladsformad mandorla (gloria). Ovanför hennes vänstra axel syns en flygande duva, som symboliserar fruktsamhet.Ovanför hennes högra axel syns en flaska med en flugviska inuti, vilka symboliserar fred och rening från okunnighet och mental smärta. Framför henne står två akoluter, den kvinnliga Long Nu och den manlige ShanCai, vilka traditionellt förknippas med Guanyin. Föremålet tillverkades av oglaserat porslin, fläckvis något oxiderat till en rödaktig färg. En stor järnfläck markerar tronens framsida. Porslinet är typiskt för Jingdezhen, men medan det är vanligt att hitta figurer med qingbaiglaserade kappor och oglaserad hud, är det ovanligt att se ett helt oglaserat föremål. Figurinen har daterats tillSödra Songdynastin, en tid när Hangzhou var huvudstad och en god lokal marknad för Jingdezhen. Uttrycket i Guanyins ansikte, med det gåtfulla leendet, liknar det på en delvis qingbaiglaserad figur från en grav i Jiangxi, daterad till 1274. Vid den tiden var vördnaden för den vitklädda Guanyin utbredd, och den här krönta figuren bär en kappa med krage och bälte i midjan. Den övre delen är mönstrad med ett band av lotusblad och ett band av ruyi. Legenden och kulten om Guanyin i sin vita kappa var nära förknippadmed det övre Tianzhuklostret i Hangzhou, den främsta pilgrimsplatsen för Guanyin under Songdynastin. Kläderna på Guanyins akoluter avspeglar också modet under Södra Songdynastin. Long Nu bär en kortare överklädnadmed bälte och krage över en längre kjol. Shan Cai bär en rock som knäpps i mitten, med långa nedhängande ärmar.Figure. Unglazed porcelain figure of White-robed GuanyinSouthern Song dynasty (1127-1279)This unusual figure is the Bodhisattva Guanyin seated on a throne. Guanyin is the Bodhisattva of Compassion in Chinese Buddhism, and her name literally means “one who listens to the cries [of the world]”. During the Song dynasty Guanyin was depicted both as a male and a female deity, but by the Ming dynasty had become solely female. This Song figure is female, and behind her is a petal-shaped mandorla (halo). Above her left shoulder a flying dove embodies fecundity, while above her right shoulder a bottle containing a flywhisk symbolises peace and the cleansing of ignorance and mental afflictions. Before her stand female acolyte Long Nu and male acolyte Shan Cai, traditionally associated with Guanyin. The whole assemblage is made of unglazed porcelain, slightly oxidised to a reddish colour in patches, and with a large iron spot marking the front of the throne. The porcelain is typical of Jingdezhen, but whereas it is common to find figures with qingbai glazed robes and unglazed flesh, it is uncommon to see a wholly unglazed piece. The statue dates to the Southern Song dynasty, a time when the capital city was at Hangzhou, a good local market for Jingdezhen. The expression on Guanyin’s face with its enigmatic smile, resembles that of a partially qingbai-glazed figure from a tomb in Jiangxi dated to 1274. At that period veneration of White-Robed Guanyin flourished, and this crowned figure wears a caped robe belted at the waist, patterned on its upper section with a band of lotus petals and a band of ruyi. The legend and cult of White-Robed Guanyin was closely associated with the Upper Tianzhu Monastery in Hangzhou, the foremost pilgrimage site of Guanyin during the Song dynasty. The garments of Guanyin’s acolytes reflect Southern Song fashion also, Long Nu wearing a shorter belted overgarment with a cape, over a longer skirt, and Shan Cai a centre-fastening robe with long pendant sleeves. |
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Date |
from 1128 until 1279 date QS:P571,+1500-00-00T00:00:00Z/6,P580,+1128-00-00T00:00:00Z/9,P582,+1279-00-00T00:00:00Z/9 |
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Dimensions |
height: 24.6 cm (9.6 in) dimensions QS:P2048,24.6U174728 |
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Collection |
institution QS:P195,Q4346239 |
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Place of creation | China | ||||||||||||||||||||||||||
Source | LSH 95545 (hm_dig12049) | ||||||||||||||||||||||||||
Permission (Reusing this file) |
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current | 03:27, 21 November 2014 | ![]() | 3,744 × 5,616 (32.1 MB) | LSHuploadBot (talk | contribs) | {{LSH artwork |artist= |title= {{Title|Figur på sockel}} |description= {{sv|1=Guan-yin, barmhärtighetens gudinna med två följeslagare å oval sockel samt fotställ af trä. Sittande flankerad av drakflickan Lung Nü och den hängivne följeslagare... |
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Image title | URI |
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Camera manufacturer | Canon |
Camera model | Canon EOS-1Ds Mark III |
Author | Jens Mohr |
Copyright holder | Licensed to the public under Creative Commons Attribution-ShareAlike 3.0 Unported License. |
Exposure time | 1/100 sec (0.01) |
F-number | f/16 |
ISO speed rating | 100 |
Date and time of data generation | 10:16, 2 December 2013 |
Lens focal length | 100 mm |
Width | 3,744 px |
Height | 5,616 px |
Bits per component |
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Compression scheme | LZW |
Pixel composition | RGB |
Orientation | Normal |
Number of components | 3 |
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Horizontal resolution | 300 dpi |
Vertical resolution | 300 dpi |
Data arrangement | chunky format |
Software used | Adobe Photoshop CS5 Macintosh |
File change date and time | 13:50, 13 January 2014 |
Exposure Program | Manual |
Exif version | 2.21 |
Date and time of digitizing | 10:16, 2 December 2013 |
APEX shutter speed | 6.643856 |
APEX aperture | 8 |
APEX exposure bias | 0 |
Maximum land aperture | 3 APEX (f/2.83) |
Subject distance | 1.17 meters |
Metering mode | Pattern |
Flash | Flash did not fire, compulsory flash suppression |
DateTimeOriginal subseconds | 1 |
DateTimeDigitized subseconds | 1 |
Color space | Uncalibrated |
Focal plane X resolution | 3,957.7167019027 |
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Focal plane resolution unit | inches |
Custom image processing | Normal process |
Exposure mode | Manual exposure |
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Scene capture type | Standard |
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