Excerpt from Bulletin of the Royal Ontario Museum of Archaeology, Vol. 22: September 1954 It is to the Tang Dynasty that our statue belongs. Although small, it is worthy in quality to stand with the great. It is known to have come from cave 18, one of the gems of all the caves, where it was photographed in situ in 1928. The picture shows it as an attendant Bodhisattva standing between the main Buddha of a Buddha group and the statue of a larger Bodhisattva seated on a lotus throne at his right. Its history from then on is ...
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Excerpt from Bulletin of the Royal Ontario Museum of Archaeology, Vol. 22: September 1954 It is to the Tang Dynasty that our statue belongs. Although small, it is worthy in quality to stand with the great. It is known to have come from cave 18, one of the gems of all the caves, where it was photographed in situ in 1928. The picture shows it as an attendant Bodhisattva standing between the main Buddha of a Buddha group and the statue of a larger Bodhisattva seated on a lotus throne at his right. Its history from then on is not known to us until it appeared in the Yamanaka sale of alien property in New York in 1948, when it passed into a private collection. Our statue is in very high relief, which is probably why it was cut from the wall without more damage than the loss of the legs' below the knees. At some time the head was broken from the body, butwith such a clean break that when it was put back in place hardly a crack was apparent. A high knot of hair on top of the head is no longer there, but its absence is hardly noticed. The essential beauty of the figure still grips one. The slender body, with its slight swing to the right and the left hip raised, is nude to the waist. The lower part of the figure is draped with a soft clinging garment like an Indian dhoti, with the upper edge rolled and a ribbon around the hips tied with a bow in front. In the hair over the forehead, and at each Side of the head behind and above the long ears, is a floral ornament, and from those at the sides fall narrow ribbon-like scarves. The left arm is bent to hold the one scarf at the shoulder, while the long end falls from the bent elbow down the side. It is not clear what is the origin of the thin scarf flowing in a long loop from the left hip, in a deep curve across the knees, to be caught up by the right hand, but the beauty of the simple unbroken flow of line created by these scarves is inescapable. A handsome necklace on the chest. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at ... This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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