The Shandong Museum has a stone Buddha statue. Because the Buddha is carved in the middle of the crown, it is named "The Buddha Statue" (see photo).
The "Crested Buddha Statue" is 120.5 cm high and is engraved with a huge round head light. The Buddha is well dressed, wearing a high crown, a cloaked belt, and a long skirt; the decoration is also very gorgeous, with a necklace and a bead. The bodhisattva is as long as the body, the clothes are slightly thin and close-fitting, the clothes are pleated and not thick, and the overall appearance of the Eastern Wei style influenced by the late Northern Wei Dynasty, and the north-south thin and transparent image of the statue, about 1500 years ago.
As a prosperous development of the Silk Road along the coast of Buddhism in the Shandong region, the “Shaguan Bodhisattva Image†is of great significance for studying the spread of Buddhist culture and the development of Buddhist statues in Shandong. Buddhism was introduced to China about the time of the Han Dynasty, and there were two routes of transmission by land and sea. The Maritime Silk Road is an important way for Buddhism to be introduced into the Central Plains from the Indian Peninsula to the southeast coast of China, and then to the Central Plains and then to North Korea and Japan. In the early spread of Buddhism, many foreign or Chinese monks took the Maritime Silk Road. They stopped in China's port cities, and some simply built temples to promote the Dharma. The famous Bodhidharma and Faxian. Located in the coastal area of ​​Shandong, it is one of the earliest areas of Buddhism in China. The spread and development of Buddhism is very prosperous. At present, there are a large number of Buddhist statues with exquisite shapes and unique styles.
The Buddhist statues in Shandong make full use of the traffic conditions such as the Maritime Silk Road, and combine the artistic essences of Southeast Asia, Central Asia and other places to reflect the cultural inclusiveness, openness and creativity. During the Northern Dynasties, with the analysis of the inscriptions, the statues of Maitreya in Shandong were the most, and the number of individual Bodhisattva images accounted for a large proportion in Buddhist statues, and the local area could reach more than 60%. There is no inscription on the "Luanguan Bodhisattva" to prove its identity, but from the face to the body, it is close to the Eastern Wei Tianping three years (536 years) unearthed from Qingxing Longxing Temple. Xing Changzheng made Sakyamuni statue and Nizhi Ming made three statues. Threatening Bodhisattva.
The statue with the "crown crown" is very rare in the world. So far, only two cases have been found in the stone carvings of the Northern Dynasties in Qingzhou, Shandong Province. This statue of Bodhisattva is one of the best preserved ones. “è‰å† †refers to a hat decorated with crepe, which first appeared in the Han Dynasty. It was a hat worn by the attendant who was often accompanied by the emperor. During the Wei, Jin and Southern and Northern Dynasties, the power of the servants became increasingly powerful, even surpassing the prime minister. The "crown crown", which is the identity of the servant, has gradually become a symbol of power, and has been sought after by ordinary officials, so that "every meeting will be held." During the Sui and Tang Dynasties, the wearing of the "crown crown" was strictly regulated and limited to a small number of officials; after the Tang Dynasty, officials no longer wore crowns. Regarding the material material that was clearly identified as "Yu Guan", it was originally the two stone statues of the Shuguan Buddha unearthed in Shandong. It has also been found in many gold medals in the Jin Dynasty. Some people think that the gold medal is the decoration on the official hat, but still There is no definitive evidence.
Why do the official hats decorate the crepe? The Eastern Han Dynasty should believe that è‰ has the characteristics of “high drinking and squatting in the mouthâ€, Dai Daiguan is hailed as a ray of light and silent dedication. It can be seen that this meaning of the crown should be based on Confucian morality.
Bodhisattva is an idol of Buddhist worshippers. Why does the Bodhisattva also decorate the crown? Perhaps because the monks at that time compared the Buddha to the emperor, they carved the crown of the Buddha in the Buddha's crown. From unearthing, shelling, to ascending trees, and singing, the life of the dragon symbolizes the resurrection of life and the cycle of things. As early as the Shang and Zhou Dynasties, the crepe on the bronzes was very common. During this period, people regarded è‰ as a spiritual thing in nature, and as a ritual object, they were portrayed on the ritual instrument as a decorative pattern, in order to pray for a good weather and good harvest. In the Han Dynasty, the tomb of the aristocrats in the tombs often contained a piece of jade, which was made into a skull shape. In addition to believing that the jade could keep the body from decaying, it also prayed that the body could be resurrected like a dragonfly. In the early days of China, Taoism was a metaphor for the emergence of human beings into a fairy, and it became a symbol of immortality and immortality. Early Chinese Buddhism accepted the local folk fairy thoughts and Taoist concepts, and regarded the Buddha and Bodhisattva as gods. Therefore, decorating the sacred lines on the crown of the Buddha is also an excellent example of the Chineseization of Buddhist statues.
After thousands of years of tempering and baptism, the "Yuan Guan Bodhisattva" as the classic of the Buddhist statues of the Southern and Northern Dynasties in Qingzhou, still shines with the glory of the heyday. However, behind the Buddha's wise smile, there is still a tortuous story.
In 1976, a villager in Boxing County, Shandong Province, inadvertently dug up some Buddha statues while excavating the foundation of the foundation. These Buddha statues are neatly placed in the pit. When the county cultural relics department heard the news and rushed to the land, many Buddha statues had been used as stone materials by the villagers for other purposes. After several years of hard work, the cultural relics workers completed the rescue, collection and restoration of these batches of Buddha statues, and finally obtained 73 pieces of statues and seats. One of them is the “Luanguan Bodhisattva Imageâ€. It was the local cultural relics found in three villagers three times in three years, and then stitched into a broken Buddha statue. However, in the middle of a heavy rain in July 1994, the statue of the Bodhisattva Guanzhong, which was collected in the Cultural Relics Management Office of Boxing County, was missing. In the following years, there was no news until December 1999, a mysterious letter. Revealed the fascination of the "Yuanguan Bodhisattva" - Mr. Yang Wei, an archaeologist of the Chinese Academy of Social Sciences, received a catalogue of the exhibition of the Japan Meixiu Museum, which was sent anonymously from Guangzhou. On that page, there is a copy of the domestic archaeological journal, one of which has the word "National Treasure" on a piece of white paper. It turned out that the "Yuanguan Bodhisattva" was stolen and transferred to the British cultural relics market. In 1995, it was purchased by the Japan Meixiu Museum and became the exhibit of the museum. After being identified as stolen cultural relics in China, the Chinese government tried to use diplomatic means to recover the national treasure. With the help of international friends, the Meixiu Museum agreed to return the cultural relics without compensation, and proposed to go to the Meixiu Museum in Japan every five years. The Chinese side promised. This is a condition that is conducive to the exchanges and friendship between the two sides. In January 2008, the "Yuan Guan Bodhisattva", which has been wandering for 14 years, finally returned to its hometown of Shandong and entered the Shandong Museum.
Nowadays, the "Yuanguan Bodhisattva" stands quietly in the exhibition hall of the Shandong Museum, telling the twists and turns of overseas wandering and returning to the homeland, witnessing the historical changes and cultural exchanges and collisions. "Still with a smile, expressing people's yearning for world peace and a better life."
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