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...
В рамках IX Всероссийского молодежного научного форума «Наука будущего – наука молодых» проводится IX Всероссийский конкурс научно-исследовательских работ студентов и аспирантов.
PDF-файлы
