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...
ИВР РАН проводит 29 октября с. г., во вторник, в Зеленом зале Ново-Михайловского дворца (Дворцовая наб., д. 18) научную конференцию, посвященную памяти Всеволода Львовича Вихновича (1937–2022). Предлагаем вашему вниманию программу.
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