Nigatsudo Sutra brûlé. Artiste : l'Artiste non identifié. Culture : le Japon. Dimensions : 9 3/4 x 21 1/8 in. (24,8 x 53,7 cm). Date : ca. 744. Ce fragment de la guirlande de fleurs (SUTRA) Kegonkyo provient d'un ensemble de 60 handscrolls a fait don au temple de Todaiji à Nara en 744. Endommagé par un incendie à la temple Nigatsudo Hall, les sections sont connus aujourd'hui comme Nigatsudo Nigatsudo yakegyo brûlées (Sutras). L'écriture sainte, capturant les bords brûlés l'idée bouddhiste que tout est impermanent, a fait de ces vestiges surtout estimé. Ces fragments constituent également certaines des premières survivi

• Contributeur: Album / Alamy Banque D'Images
• ID de l’image: PAR43R
• Taille du fichier: 39,2 MB (2,2 MB Téléchargement compressé)
• Autorisations: Modèle - non | Propriété - non
• Dimensions: 4400 x 3112 px | 37,3 x 26,3 cm | 14,7 x 10,4 inches | 300dpi
• Photographe: Album

Informations supplémentaires

Cette image peut avoir des imperfections car il s’agit d’une image historique ou de reportage.

Nigatsudo Burned Sutra. Artist: Unidentified Artist. Culture: Japan. Dimensions: 9 3/4 x 21 1/8 in. (24.8 x 53.7 cm). Date: ca. 744. This fragment of the Flower Garland Sutra (Kegonkyo) comes from a set of sixty handscrolls donated to the temple Todaiji in Nara in 744. Damaged by a fire at the temple's Nigatsudo Hall, the surviving sections are known today as Nigatsudo Burned Sutras (Nigatsudo yakegyo). The scripture's singed edges, capturing the Buddhist idea that everything is impermanent, has made these remnants especially prized. Such fragments also represent some of the earliest surviving examples of the practice of transcribing Buddhist texts using precious materials. The copying of religious writings was thought to confer spiritual merit on all those involved in the project, including the donors, scribes, and craftsmen who prepared the materials, and so was done in great numbers during this period. The characters are written in a special form of "regular script" (kaisho) that, while written quickly, is balanced and even, with each stroke clearly visible to maximize legibility. The thickened downward diagonal strokes and exaggerated hooks at the ends of other strokes lend a sense of ornamentation and elegance. Museum: Metropolitan Museum of Art, New York, USA.

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