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Guanyin can also be found in Thailand's Temple of the Emerald Buddha, Wat Huay Pla Kang (where the huge statue of her is often mistakenly called the "Big Buddha"), and Myanmar's Shwedagon Pagoda. Statues of Guanyin are a widely depicted subject of Asian art and are found in the Asian art sections of most museums in the world.
Map of the West Lake in Hangzhou, China, with the location of Lingyin Temple Buddhist monks chanting at Lingyin Temple, Hangzhou, October 2010.. Lingyin Temple (simplified Chinese: 灵隐寺; traditional Chinese: 靈隱寺; pinyin: Língyǐn Sì) is a prominent Chan Buddhist temple near Hangzhou that is renowned for its many pagodas and grottos. [1]
Sitting Statue of Saint Guanyin. Statue of Saint Guanyin sits in the lotus posture with a lotus or the Yujingping in hand, wearing Keyura, necklaces and decorations and a precious crown on the head. [1] There is a sitting statue of Amitabha (阿彌陀佛) on the crown, which is the main symbol of Guanyin. [1]
To the right of the statue of Guan Gong, in a red and gold robe, is Guan Gong’s son, Guan Ping. On the left, holding a huge weapon and wearing a fearsome expression, is Zhou Cang, fabled to be Guan Gong’s loyal general and bodyguard. On hearing of Guan Gong’s death, he immediately committed suicide as a further demonstration of his loyalty.
Statues used by triads tend to hold the halberd in the left hand, and statues in police stations tend to hold the halberd in the right hand. This signifies which side Guan Yu is worshipped, by the righteous people or vice versa. The appearance of Guan Yu's face for the triads is usually more stern and threatening than the usual statue.
The statue was designed by Han Meilin, and finished construction in 2016. [1] It stood at 58 metres tall, weighs 1,197 tonnes, and is made of around 4,000 bronze strips. [ 2 ] The project began in 2013 when Han Meilin visited Jingzhou for inspiration, and personally oversaw the designing and installing of the statue.
Chinese ritual bronzes from the Shang and Western Zhou dynasties come from a period of over a thousand years from c. 1500 BC, and have exerted a continuing influence over Chinese art. They are cast with complex patterned and zoomorphic decoration, but avoid the human figure, unlike the huge figures only recently discovered at Sanxingdui .
These new types, which were grouped in large sets, possibly corresponding to a change in Zhou ritual practice. [39] [43] Animal decorations were replaced by geometric forms such as ribbing and bands of lozenge shapes. Conversely, legs and handles became larger and more elaborate, and were often topped with animal heads. [44] Western Zhou guǐ ...
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