[{"data":1,"prerenderedAt":45},["ShallowReactive",2],{"artwork-san-da-shi-tu-pu-xian-yi-ming-222142":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":20,"material":13,"size":21,"collection":22,"collections":23,"showCount":24,"zanCount":25,"manualWeight":26,"mainColor":27,"tagLinks":28},222142,"san-da-shi-tu-pu-xian-yi-ming-222142","三大士图-普贤","明","佚名","法海寺","普賢菩薩圖位於水月觀音圖之東。普賢菩薩梵文為“三曼多跋羅”，即普遍賢善之意，通常作釋迦佛的右脅侍，專司“理德”，表“大行”。普賢的特徵是頭戴五佛寶冠，乘騎六牙白象，一般手執蓮花，上有利劍”。同一菩薩，不同經書，對手持法物有不同解釋。法海寺壁畫普賢是右手持蓮花，蓮花上置一寶卷。\n普賢的坐騎六牙白象，並不是自然界中真實動物，六牙白像是一種象徵，表示到達彼岸的六種方法。六牙白象雖非真實動物，但壁畫中的六牙白象，捲曲蹲坐的姿態，具有大威力感。再細看白象眼睛是淚汪汪的，具有情感，強化了它的性善柔順，“佛眼淚眼”，突出了普賢的“大慈”形象。感染力很強，沒有高超的繪畫技巧，是不會引起觀眾共鳴的。\n普賢菩薩的左下部繪一信士，稱最勝老人。最勝老人是古印度念佛行者、施主、供養人的尊稱。老人身著綠袍，兩腳分開，雙手胸前相合，目視前方，長髯自然下垂，在沉思，在默禱，像在祝願十方世界救出眾生、脫離苦海。壁畫上這一信士和文殊右下部那一信士，東西對稱，他們同是老人，信仰一致，願望相同，而一仰望一沉思，一扶杖抬手一雙合十，一動一靜，神態各異，反映了現實生活的多樣性，也反映了壁畫構思的巧秒。",[12,13,14,15,16,17,18,19],"高清","壁画","设色","工笔","宗教","人物","象","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbe8d5a14d19329266f0933f5ed0a3b3.jpg","摹本的尺寸規格分別是壁畫約四分之一和二分之一；","",[],126,3,0,"37474F",[29,31,33,35,37,39,41,43],{"name":12,"slug":30},"gao-qing",{"name":13,"slug":32},"bi-hua",{"name":14,"slug":34},"she-se",{"name":15,"slug":36},"gong-bi",{"name":16,"slug":38},"zong-jiao",{"name":17,"slug":40},"ren-wu",{"name":18,"slug":42},"xiang",{"name":19,"slug":44},"yi-mao",1777535396638]