HANGING CLOTHES
I am very happy to get this damaged seated white stone Buddha of the Tang Dynasty. There is no essential difference between the techniques of stone carving and wood carving. I think it is a good way of learning to communicate with the wisdom of the ancients at close range. This statue came from Hebei province, and today we can no longer know its complete appearance. The lotus seat under it, as well as its body and head, was probably destroyed by the two extinction movements since its birth. But in the incompleteness, it can just cause me infinite reverie.
This is a statue that sits in a round posture, in which the Buddha crosses his legs and rests his left leg on his right leg. The monk's kasaya covers the pedestal and hangs down. The expression of this pleated line and emotion can be described by the special term “hanging clothes”. After being invented in the Northern Dynasty, the expression technique of “hanging clothes” is still influencing future generations. This kind of genius technique is one of the most important inventions in the history of sculpture in our country. A simple bassorelievo can achieve such a sense of rhythm. Of course, when it developed to the Tang Dynasty, the expression of “hanging clothes” was obviously different, and this piece was undoubtedly the best work of this kind of art at that time, the lines were relaxed and natural, like flowing water.
Teacher Yang Xin once measured some hanging clothes and found that if the Buddha statue on the hanging clothes seat was allowed to stand up, the clothes under him would definitely drag to the ground. But in fact, the bottom of the clothes of the Buddha statue will not cover the toes, let alone mopping the floor, so obviously this is a detail deliberately enlarged by the craftsman. From an overall point of view, the hanging clothes are located at the lower part of the Buddha statue. He believes that when people look at the Buddha statue, these strong rhythmic details are the closest to them. The Buddha statue is like sitting in a dynamic and vast aura.
This is a statue that sits in a round posture, in which the Buddha crosses his legs and rests his left leg on his right leg. The monk's kasaya covers the pedestal and hangs down. The expression of this pleated line and emotion can be described by the special term “hanging clothes”. After being invented in the Northern Dynasty, the expression technique of “hanging clothes” is still influencing future generations. This kind of genius technique is one of the most important inventions in the history of sculpture in our country. A simple bassorelievo can achieve such a sense of rhythm. Of course, when it developed to the Tang Dynasty, the expression of “hanging clothes” was obviously different, and this piece was undoubtedly the best work of this kind of art at that time, the lines were relaxed and natural, like flowing water.
Teacher Yang Xin once measured some hanging clothes and found that if the Buddha statue on the hanging clothes seat was allowed to stand up, the clothes under him would definitely drag to the ground. But in fact, the bottom of the clothes of the Buddha statue will not cover the toes, let alone mopping the floor, so obviously this is a detail deliberately enlarged by the craftsman. From an overall point of view, the hanging clothes are located at the lower part of the Buddha statue. He believes that when people look at the Buddha statue, these strong rhythmic details are the closest to them. The Buddha statue is like sitting in a dynamic and vast aura.
In fact, I thought of Chinese painting, whether shape or line processing are following the rules of Chinese painting. Paying attention to the sense of rhythm, brushwork and blank space, using the sword as a ghost, very pictorial. Because of its religious attributes, the enlightenment function it carries, and the unique cultural context of the Chinese people, in the creation of Chinese craftsmen, Buddha statues have an ethereal and harmonious beauty, and all external forms serve internal expressions. Even the damaged parts reveal a sense of Zen detachment, peace and harmony.
2021.1
悬裳
很高兴获得了这一件残损的唐代白石佛坐像。石雕和木雕的技法没有本质的区别，能近距离的与古人的智慧交流，我认为是一种很好的学习方式。这件雕像出自河北地区，今天我们已经无法知道它完整的样子了。它底下的莲花座，以及它的身段和头部，很可能毁于自它诞生后的两次灭佛运动中。但在残缺中，也恰恰可以引起我无限的遐想。
这是一个跏趺坐的圆雕造型，佛祖互交二足，将左腿盘放于右腿上。佛祖的袈裟覆盖着台座悬垂下来，这种衣褶线条的表现手法以及情绪的流露可以用“悬裳”这个专用名词来形容。“悬裳”的表现手法从北朝被发明以后，到今天还在影响着后人，这种天才的手法是我国雕塑史中最重要发明之一，简简单单的浅浮雕竟能做到如此的韵律感。当然，发展到唐代的时候，“悬裳”的表现方式有了明显的不同，而这一件无疑是当时这种技艺的上乘之作，线条张弛有度，就像流水一般自然。
阳新老师曾经对一些悬裳做过测量，发现如果让悬裳座的佛像站立起来，他下面的衣服一定会拖到地上。但实际上佛立像的衣服下摆都不会盖住脚趾头，更不会拖地，所以很显然这是被工匠刻意放大的细节。从整体来看，悬裳是处于佛像的下面部分，他认为人们在瞻仰佛像时，这些带有强烈韵律感的细节是距离他们最近的，佛像就像坐在一个有灵动感的，浩大的气场之中。
事实上我想到了中国画，无论是造型还是线条的处理都遵循着中国画的法则。讲究节奏感、笔意和留白，以刀代笔，非常具有绘画性。因其宗教属性，承载的教化功能以及中国人所特有的文化情境，在中国匠人的创造中，佛造像拥有空灵和谐的美感，所有外在的形式都是服务于内在的表达。即使是残件，也透露出了禅意超脱，安宁和谐之感。
这是一个跏趺坐的圆雕造型，佛祖互交二足，将左腿盘放于右腿上。佛祖的袈裟覆盖着台座悬垂下来，这种衣褶线条的表现手法以及情绪的流露可以用“悬裳”这个专用名词来形容。“悬裳”的表现手法从北朝被发明以后，到今天还在影响着后人，这种天才的手法是我国雕塑史中最重要发明之一，简简单单的浅浮雕竟能做到如此的韵律感。当然，发展到唐代的时候，“悬裳”的表现方式有了明显的不同，而这一件无疑是当时这种技艺的上乘之作，线条张弛有度，就像流水一般自然。
阳新老师曾经对一些悬裳做过测量，发现如果让悬裳座的佛像站立起来，他下面的衣服一定会拖到地上。但实际上佛立像的衣服下摆都不会盖住脚趾头，更不会拖地，所以很显然这是被工匠刻意放大的细节。从整体来看，悬裳是处于佛像的下面部分，他认为人们在瞻仰佛像时，这些带有强烈韵律感的细节是距离他们最近的，佛像就像坐在一个有灵动感的，浩大的气场之中。
事实上我想到了中国画，无论是造型还是线条的处理都遵循着中国画的法则。讲究节奏感、笔意和留白，以刀代笔，非常具有绘画性。因其宗教属性，承载的教化功能以及中国人所特有的文化情境，在中国匠人的创造中，佛造像拥有空灵和谐的美感，所有外在的形式都是服务于内在的表达。即使是残件，也透露出了禅意超脱，安宁和谐之感。
2021.1