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用易信"lbl b"lbl b“扫一扫”将文章分享到 圈。> coass="ibx;pad>> > > ao> 0.ph. 6 #dt/R1nSHBoq8LUiph3jqHC6JA==/6598080217800104369.jp "alo <#/s=" &网;nbsp <#/s=" <#s=" 構圖的中心爲身著紅袈裟,端坐于寶樹、寶蓋下之獅子座上的釋迦牟尼佛。佛的周圍聚有菩薩、十大弟子、以及俗衆,在雲上有奏樂wa天人與騎乘飛鳥的神仙。這應該是表現釋迦在古印度摩伽陀國的耆闍崛山(即靈鹫山)上說《法華經》wa場景,由本作我們可窺見當時人們所憧憬的莊嚴淨土。<#br <#/s=" <#s=" <#br <#/s=" <#s=" <#s=" <#a> ao> 0.ph. 6 #dt/BVLQjOsTcdGKWyE7pb4Y1A==/6598="m4022tar 70.jp "alo <#/s=" &网;nbsp <#/s=" <#s=" 局部1<#br   刺繡div撞疾捎冒咨钠娇椊伈迹汤Cdi方法除了佛的螺發與台座、諸菩薩的寶飾與衣紋、十大弟子持物等的一部分采用呈粒狀的「相良繡」以外(相良繡指以繡線做出結球,再將這些結球連接起來或縫上的技法),其他部分均采用「鎖繡」技法(即現在的鎖鏈繡),以螺旋撚的繡線繡成。諸尊及人物以外的空間也都以鎖繡的菱形紋樣填滿,因此,只有從繡線脫落的極少部分才能窺見v撞肌kS著刺繡部位的不同,相良繡的結球顆粒大小、鎖繡用線的粗細或運針方向也隨著改變,透過這些技法表現出了一般繪畫中所不易達到的立體感,由此,我們可以感受到制作者對繡法有深厚的理解及熟練度。<#/s=" <#s=" <#br <#/s=" <#s=" <#s=" <#a> ao> ounh. 6 #dt/ydZ356BeSEUx7l5Bn6W9HQ==/3245969431527669488.jp "alo <#/s=" &网;nbsp 局部2<#/s="   本作的制作時期,跟中國敦煌壁畫、龍門的浮雕、及日本法隆寺金堂壁畫作比較後可知,應不會晚于八世紀初。關于制作地的說法有中國及日本兩說,目前尚無結論。但是,從利用鎖繡去填滿整個空間,及日本「上代」(在此主要指奈良時代)文物中並無相良繡的例子等來推斷,本作出自中國唐代的說法略爲有力。(王朝網路手機版 m.w> g tao #dt.cn)g" /olalooooooaaloaloorinpuid="blog /n0og床 31024960" 2821929268g" /olalooooooaaloaloorinpuid="blogm不ol """"aloooooorar_followAre#-myLikeI:ams reankm btn pew p .par"n:10p$car_fReankm ">推荐>>ar_f>ol aloooooooorar_foeg.163.

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