Chapter 1528 Unparalleled Product
At noon that day, Mr. Wang took Zhou Zhi to have a "big meal" in the working canteen of the National Museum. When they returned to the research institute in the afternoon, the experimental results had come out.
The result obtained by the carbon 14 dating method is between 500 and 600 AD.
Lead isotope dating results between AD 450 and AD 630.
These two results are within everyone’s expectation. In fact, as long as the clear record of the seven years of natural protection behind the statue is within this range, it can already prove its authenticity. The seven years of natural protection is It can be confirmed as the time of creation.
However, the third result is a bit strange. The primary date of thermoluminescence dating is much earlier, between 200 AD and 380 AD.
This era was two hundred to one hundred years before the seventh year of Tianbao. Qi Lao and Wang Lao couldn't help but feel a little confused when they took the inspection form.
Zhou Zhi said: "Is this easy to understand? Because the thermoluminescence dating method measures the ash content of the bricks and tiles in the statue. In my impression, it is the most popular method used by craftsmen. They are all old bricks. The so-called Qin bricks and Han tiles are used to eliminate the fire."
"That's the truth!" Mr. Wang slapped his forehead: "When the Forbidden City was built, the mortar used was hundreds of years old. The old brick powder, if the craftsmen of Tianbao Seven Years used old bricks, wouldn’t they have been fired in 200 or 300 AD?”
“It’s certain now,” Mr. Qi said with a smile. This set The statue is authentic and a national treasure. It was made by Yang Min, the consort and prime minister of the Gaoyang period of the Northern Qi Dynasty, to pray for the royal family and his family. "
This is the naming of the cultural relics, which are basically the three holy statues of the Northern Qi Dynasty with dry lacquer and ramie.
“This is the earliest dry lacquer and ramie sculpture known to have been created in the world. Its style is in the key transitional period from the Northern Wei Dynasty sculptures to the Northern Qi sculptures. It also represents the artistic pinnacle of ancient Chinese Buddhist sculptures, regardless of preservation. The degree of perfection, the exquisiteness of the statue, the artistic value , the year of its creation, it is the first one known today, and it is a well-deserved national treasure. "
"It is said that India has a tradition of "walking statues", which are used to welcome Buddha statues during religious celebrations. , the Buddha statue must be removed from the temple, similar to the current circumambulation. "Jin Shen is the Buddha. The image expert began to explain to the students and young staff around him: "We can still see the 'walking image' ceremony appearing in countries such as India and Sri Lanka." Luck, if the statue is carved in stone, its weight will be known. Buddhism was introduced to China. Later, the tradition of walking statues also became popular in China. "
"On the other hand, the scale of temples in China became larger and larger, and the production of Buddhist statues became taller and taller. Therefore, it was difficult to obtain stone or wood. The method was widely used, and the lacquered statues became very popular. ”
"The earliest written records about the ramie statues come from "The Collection of Tripitaka" and "Bian Zheng Lun". It is mentioned that in the fourth century AD, Dai Andao, a regular servant of the Eastern Jin Dynasty, first used the ramie technique to build five statues when building Zhaoyin Temple. "Buddha statue."
"The subsequent "Guanghong Ming Collection" mentioned that Emperor Wen of Liang Dynasty made a thin statue of ramie with eight feet in length. "It is recorded that Chen Shangshu and Yuan Xian made ten ramie statues. "Luoyang Jialan Ji" records that Meng Zhonghui of the Northern Wei Dynasty made Chinese ramie statues in Luoyang, and they were magical. "This shows that no matter the north or the south, the ramie technique was used to create statues at that time. It has become a relatively common phenomenon."
"The Sui Dynasty's "Extended Biography of Eminent Monks" records "the northwest of the capital." In the ruined Ningguan Temple, there is a statue of Sakyamuni standing in a bun, six feet high, with extraordinary appearance and light. There is also a statue of Shi Zhilin in Renxiao Temple in Runzhou, which has five human figures in the front and rear, and one body in a bun. ', "Bian Zheng Lun" records that Shangshu's right servant shot Lu Guogong Yu Qingze built a statue of Lu Shena in Xiangzhou, which was even "one hundred and twenty feet high, with a strange appearance and a special response", which opened the use of ramie The history of craftsmanship in the construction of giant Buddha statues. "
"In the Tang Dynasty, giant statues and group statues were written more and more. "The Continuing Biography of Eminent Monks" said that in the early Tang Dynasty, Shamen Zhizhou of Nanwu Prefecture made Maitreya and his bodyguards. "The Biography of Master Ci'en" says that in the 23rd year of Zhenguan, Xuanzang built more than 200 statues decorated with treasures in Da Ci'en Temple."
"Old Tang Book" records that Wu Zetian destroyed the Qianyuan Hall in the Eastern Capital in the third year of Chui Gong and built it in the Ming and Tang Dynasties. It was 294 feet high, 300 feet east, west, south and three hundred feet each. It was divided into three floors, carved with wood and made of tiles. Zunqi;"
"And built in its place The Thousand-foot-tall Gongde Hall also houses a large statue of a monk. "Chao Ye Qian Zai" records that the statue is "nine hundred feet high, with a nose like a ten-hand ship" and a "little finger" that holds dozens of people sitting side by side. It can be said to be an unprecedented large statue, its construction methods and techniques, It is now difficult for us to imagine and restore them.”
“Because these statues have all disappeared in the long river of history. The earliest statues that exist today can only date back to the Sui Dynasty and Tang Dynasty.”
< br>"This kind of The way of statues has also affected the surrounding areas. For example, Master Xuanzang recorded in "The Records of the Western Regions of the Tang Dynasty" that he saw a Buddha statue with a fold in it more than ten miles southwest of the royal city of Khotan, which was passed down from the Kingdom of Qiuci. In terms of direction, the Western Regions at that time. Regional use of clip-on statues and their manufacturing techniques It should have been passed down from the Chinese mainland. Later, Song Zanning's "History of Monks" also said: "On February 8th of each year in Jinxiatai and Lingwu, monks wear Buddha statues, surrounded by attendants, and sing and dance to guide them. This is called a tour." City. 'It can be seen from Gansu, Su and Northern Xinjiang regions. The statues with ribbons were used for portraits and were still popular in the tenth century. "
"When the lawyer Jianzhen of Dayun Temple in Yangzhou and his disciples such as Rubao and Situo went to the island country in the eighth century, they also made them popular. He brought this sculpture technology with him and brought it to the Nara Tang Dynasty. The temple produced the Jōroku Honzon Lushena Buddha, the Jōroku Medicine Master, and the Thousand-Armed Avalokitesvara. Their construction skills are so exquisite that they are still regarded as national treasures by the island countries. Later, many exquisite statues were developed in the island countries, such as Nara. Todaiji Temple’s Hokage Hall, shaped in Nairobi The main figure of the Liang Dynasty is a dry lacquer statue with nine bodies, three eyes and eight arms. The main arm is held together with a crystal orb. It wears a silver curly grass openwork crown and is inlaid with more than 26,000 jewels. ”
"However, in terms of artistic achievements, the luxurious statue of Guanyin is a bit far behind compared to these three simple and unpretentious Northern Qi statues." Jin Shen looked at the three saint statues and marveled: "The face One point more is too fat, one point less is too thin; one point more smile is close to charming, one point less is close to arrogance; body shape One point more means it's richer, one point less means it's drier... Now, everything is just right! The craftsmanship of the statue craftsmen is really amazing, this is a masterpiece!"
" Only lacquer statues can be so perfect, right?" Mr. Wang admired the statues: "Think about it, no matter it is Gold, copper, stone and wood will not give you a chance to repair it, but the lacquerware is different, right?"
"The wax body before the lost wax method can also be made perfect," Mr. Qi said. : "But once it is cast and formed, it is also impossible to make larger additions. It is better to make a statue with a ramie It is convenient for the craftsmen to carve it carefully."
After speaking, he sighed again: "But preservation has become a big problem, so that except for this set of Huayan Three Saints from the Northern Qi Dynasty, no one else can. The previous statues have never been found again.”
(End of this chapter)