The Guanyin icon from Khara-Khoto, now in the Hermitage
Museum, is the only painting I know where the image
of the Bodhisattva of Compassion is combined with
what appears, at the first glance, as a “genre” scene:
Tanguts dancing and playing musical instruments by an
open grave, horses standing near the grave-pit, a banner
(bunchuq) behind them. This composition has no parallels
among any Chinese or Central Asian pieces of art I
know. This article presents an attempt to explain the
semantics of the icon within the contexts of the Buddhist
artistic and religious tradition and the Tangut culture...
22–24 апреля 2024 г. в ИВР РАН пройдет Третья Международная научная конференция «Рукописное наследие Востока», посвященная 140-летию со дня рождения Б.Я. Владимирцова (1884–1931).
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