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The placement of the 108 Buddha statues looks messy, but after a closer look, you can feel that the placement of these Buddha statues seems to be very meaningful.

However, Yang Jing can’t see what this placement represents. After all, he understands Taoist knowledge, but he doesn’t know much about Buddhism. For Buddhism, he just understands some comparisons. The superficial things, the more profound things are not clear.

Therefore, Yang Jing can only feel that the placement of these Buddha statues is very meaningful. If you ask him to say one, two or three, he will be completely finished.

These Buddha statues have different shapes, but they are all based on the shapes of the Buddhist powers such as Sakyamuni, Guanyin, Manjusri, Samantabhadra, Heavenly King, and Mudu. The size ranges from a height of about twenty centimeters to a height of nearly one meter.

Yang Jing grabbed a Buddha statue close to 60 centimeters high on the outermost periphery. The shape of this Buddha statue was Samantabhadra. As soon as he started, Yang Jing felt heavy, and immediately understood that this Buddha statue was the most popular gilt bronze Buddha statue in the Tang Dynasty.

Gilt is to combine gold and mercury into a gold amalgam, and apply it to the surface of copperware, and then heat it to evaporate the mercury, and the gold will adhere to the surface of the device. As China's oldest metal inlay method, gilding has a long history of more than two thousand years and unique craftsmanship. It is one of the glorious achievements of China's ancient technology.

The statues of Buddha, cast in copper or bronze, with gilt and movable surfaces, are commonly known as "gilt bronze Buddha statues." This kind of Buddha statues were usually used by palaces and temples in ancient China.

Buddhism was introduced into China since the Han Dynasty. At the beginning, it was only regarded as a kind of immortal art, and its popularity was not widespread. After the Western Jin Dynasty, the society was turbulent, wars continued, and the people didn’t live up to their lives. Therefore, Buddhism's belief in “surpassing life and death and suffering, and getting rid of all worries, and getting the ultimate relief” has been widely spread among the people. The Xiongnu, Xianbei, Jie, Di, Qiang and other ethnic minorities entered the Central Plains, and their cultural traditions and Buddhism originating from the Western Regions are more likely to identify with each other. Therefore, Buddhism grew rapidly during the period of the Sixteen Kingdoms and penetrated into all social strata.

During the period of the Sixteen Kingdoms, the earliest eminent monks appeared in China, and they were strongly supported by the Hu rulers. These eminent monks not only systematically translated a large number of Mahayana Kongzong Buddhist scriptures, but also cultivated a generation of outstanding scholars who built Chinese Buddhism, such as Seng Zhao and Zhu Daosheng. The Chinese Buddhist art reached its most glorious era. Early grotto temples such as Mogao Grottoes, Bingling Temple Grottoes, Maijishan Grottoes were excavated in this era. Existing Buddhist statues also began to be seen at this time, and a large number of bronze gilts also appeared. Golden Buddha statue crafts.

The earliest gilt bronze Buddha statues were first seen in the late Eastern Han Dynasty, and they were mostly called Jinren during the early spread of Buddhism. During the period of the Sixteen Kingdoms, it developed with the rise of Buddhist temples. Most of them were provided in palaces or Buddhist temples, and it became more and more prosperous from the Northern and Southern Dynasties to the Tang Dynasty.

During the Han Dynasty and the Sixteen Kingdoms period, the Buddha statue had a square face, a peaceful face, straight hair, and a sitting posture. Most Buddhas of this period were single and small in size.

In the Northern Dynasty, that is, after the Northern Wei Dynasty, the head of the Buddha statue was covered with a bowl, long face and thin, high nose and big ears, closed eyes and concentrating, clear face, high forehead and bun, in a spiral style, draped in a robe, and right shoulder. Some slumped down, others sat cross-legged with palms facing up. The Buddha seat is either the Xumi seat with a short waist or the four-legged square seat. Some have their heads pierced with light, and some are backlit behind them, all pointed, with flame patterns around them. Another notable feature of the statues of the Northern Wei Dynasty is that the main Buddha is often surrounded by one or two bodhisattvas, mostly in standing postures.

A bronze cast statue in the Sui and Tang Dynasties, with a lotus crown on the head, round face, fat cheeks, high forehead, wearing a monk's branch, draped robes, a pleated skirt under the wide clothes, hanging over the feet. Under the seat, there is a double-layer four-legged bed or a single-layer four-legged bed, and the nape or backlight is a thick, pointed frieze.

If you distinguish carefully, the style of the gilt bronze statues of the Tang Dynasty is slightly different from that of the Sui Dynasty.

The gilt bronze Buddha statues of the Tang dynasty are mostly full-faced, with a spiral or water wave hairstyle on the head. Compared with the Sui Dynasty, the meat bun is taller, with drooping ears, and looks solemn and kind. The figure is well-proportioned, reasonable structure, plump, plump, and exposed chest muscles are undulating and realistic.

Moreover, the gilt bronze Buddha statues of the Tang Dynasty naturally stretch out and have a strong sense of dynamics. The clothes are decorated with over-shoulder, right-shoulder and bob-belt styles, and more are square-necked drooping styles. The texture of the clothes is soft and thin, and the clothes are smooth. .

Finally, the pedestals of the gilt bronze Buddha statues of the Tang Dynasty were mostly corset, with hexagonal, octagonal, round or flower-shaped bases. The most important point is that most of the gilt bronze Buddha statues of the Tang Dynasty were gilded red.

Just like the gilt bronze Buddha statue of Samantabhadra in his hand, the surface is slightly reddish, and the style is very consistent with the characteristics of the gilt bronze Buddha statue of the Tang Dynasty.

The most important thing is that this Buddha statue has always been in this tomb. Unlike the gilt bronze Buddha statues that are commonly seen on the market, it has long been known for how many years it has been spread outside and how many people have passed it. Therefore, the appearance of this Buddha statue is excellent.

If it weren't for the gilt bronze Buddha found here~www.readwn.com~, Yang Jing would doubt that this Buddha is a new work of high imitation.

From the current point of view, the value of gilt bronze Buddha statues is mostly extremely high, especially the gilt bronze Buddha statues of the Sui and Tang dynasties. Once they appear in auctions, they will often become the finale. And the gilt bronze Buddha statue in his hand is so good, it was cast during the Wu Zhou period, and once it was taken out, it would definitely cause a sensation.

And there are a total of one hundred and seven gilt bronze Buddha statues of similar appearance to this Samantabhadra!

There is no doubt that with these exquisite gilt bronze Buddha statues, after the opening of your own private museum, a Tang Dynasty gilt bronze Buddha statue exhibition hall is absolutely indispensable! Although so many gilt bronze Buddha statues of the Tang Dynasty are from the Wu and Zhou period, they will definitely make those who love gilt bronze Buddha statues linger.

These are absolutely good things, nothing to say, all are taken away!

Yang Jing is very clear that if there are no special circumstances, the things brought out from here can never be seen.

After all, according to China’s laws, everything here belongs to the state, and private individuals have no right to keep these treasures. Even entering here by yourself is a crime.

However, Yang Jing is not worried, who will let him have a big baby in his hands?

Yang Jing had never thought of keeping the Fang Chuanguo Yuxi in his own hands, and since the Chuanguo Yuxi could not be left, then using this Fang Chuanguo Yuxi in exchange for the remaining treasures, presumably the country could agree to it. After all, these treasures will not be taken abroad, but will remain in domestic museums for external exhibitions forever.

I worked so hard to find the jade seal for the country and use these treasures as rewards. I think the country will not disagree.

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