Šákja
| Republika Šákja Śākya Gaṇarājya
| |||||||
geografie
| |||||||
| obyvatelstvo | |||||||
sluneční kult Šákjů, védské náboženství, šramanové | |||||||
| státní útvar | |||||||
| státní útvary a území | |||||||
| |||||||
Šákja je jméno rodu, který vládl v severní Indii v době narození Buddhy Gautamy (asi 6. st. př. n. l.), který je také nejznámějším Šákjou. Sám Buddha Gautama byl dle legend korunním princem krále Šuddhódany, vládce státu Šákjů. Tehdejší Indie byla rozdělena do šestnácti menších celků zvaných mahádžanapady a Šákjové byli jedním z nich. Podle některých teorií historiků vzešli Šákjové ze Skytů, kteří sloužili v armádách perských Achaimenovců při jejich tažení do Indie.
Buddha Gautama (Šákjamuni) je nejznámější příslušník rodu Šákjů
Externí odkazy
Obrázky, zvuky či videa k tématu Šákja ve Wikimedia Commons - Mince Šákjů
Média použitá na této stránce
No flag.svg
No official flag.
No official flag.
Mahayanabuddha.jpg
Autor:
Seated Buddha, probably Amitabha (Amituo). Buddhist images executed in dry lacquer were highly valued by the Chinese because of their costly and time-consuming process of production. There are so few surviving examples that this seated Buddha is especially precious. To fashion the body of the image, the craftsman made a rough form of the sculpture in clay and then applied at least three layers of hemp cloth, each secured with a paste made of raw lacquer (the sap from the lac tree, Rhus verniciflua) and a fine powder of bone, horn, shell, ceramic, stone, or carbon. Each layer had to dry thoroughly before the next could be added. The clay core was then removed from the lacquered image. The head and hands were likely modeled separately, using the same technique as that used for the body, and then attached to the sculpture. The surface was finished with several coatings of pure lacquer and then painted. Portrayed as a youthful figure, the Buddha sits in the full lotus position, with his legs tightly interlocked, though the lower part of the sculpture is missing. The position of the damaged arms suggests that the hands performed the "contemplation" gesture. The columnar form and lean gracefulness of the figure recall the style of Buddhist sculptures of the late Six Dynasties, but the attempt to render anatomical differentiation and, in particular, the emotional impact of the Buddha's expression are distinguishing features of early Tang style. The traces of brilliant red and blue, vividly combined to form a stylized floral pattern in the hem of the undergarment crossing the chest, and the remains of shimmering gilt on the surface are evidence of the sumptuous effect of this once colorful figure.
Autor:
Neznámý
,
Licence: CC BY 2.0
Seated Buddha, probably Amitabha (Amituo). Buddhist images executed in dry lacquer were highly valued by the Chinese because of their costly and time-consuming process of production. There are so few surviving examples that this seated Buddha is especially precious. To fashion the body of the image, the craftsman made a rough form of the sculpture in clay and then applied at least three layers of hemp cloth, each secured with a paste made of raw lacquer (the sap from the lac tree, Rhus verniciflua) and a fine powder of bone, horn, shell, ceramic, stone, or carbon. Each layer had to dry thoroughly before the next could be added. The clay core was then removed from the lacquered image. The head and hands were likely modeled separately, using the same technique as that used for the body, and then attached to the sculpture. The surface was finished with several coatings of pure lacquer and then painted. Portrayed as a youthful figure, the Buddha sits in the full lotus position, with his legs tightly interlocked, though the lower part of the sculpture is missing. The position of the damaged arms suggests that the hands performed the "contemplation" gesture. The columnar form and lean gracefulness of the figure recall the style of Buddhist sculptures of the late Six Dynasties, but the attempt to render anatomical differentiation and, in particular, the emotional impact of the Buddha's expression are distinguishing features of early Tang style. The traces of brilliant red and blue, vividly combined to form a stylized floral pattern in the hem of the undergarment crossing the chest, and the remains of shimmering gilt on the surface are evidence of the sumptuous effect of this once colorful figure.
.png)
Mahajanapadas (c. 500 BCE).png
Autor: Avantiputra7, Licence: CC BY-SA 3.0
Map of places mentioned in ancient Buddhist Texts (like Anguttara Nikaya), Ramayana and Mahabharata.
Autor: Avantiputra7, Licence: CC BY-SA 3.0
Map of places mentioned in ancient Buddhist Texts (like Anguttara Nikaya), Ramayana and Mahabharata.
Sources:
- (2005) The Hindu Equilibrium: India C.1500 B.C. - 2000 A.D., Oxford University Press, p. xxxviii ISBN: 978-0-19-927579-3.
- Approximate boundaries are described by H.C. Raychaudhuri (p. 96-150), and https://books.google.com/books?id=8qvY8pxVxcwC&pg=PA386
- Habib, Irfan, and Habib, Faiz (1995). "A Map of India 600-320 B.C." in Proceedings of the Indian History Congress, vol. 56, pp. 95–104. www.jstor.org/stable/44158590
- Kenoyer, J. M. (1995), “Interaction Systems, Specialised Crafts and Culture Change: The Indus Valley Tradition and the Indo-Gangetic Tradition in South Asia”, in G. Erdosy, The Indo-Aryans of Ancient South Asia: Language, Material Culture, and Ethnicity, Berlin: Walter de Gruyter, ISBN 9783110144475
- Raychaudhuri, H.C. (1972), Political History of Ancient India: From the Accession of Parikshit to the Extinction of the Gupta Dynasty, Calcutta: University of Calcutta.
- Schwartzberg, J. E. (1992), A Historical Atlas of South Asia: University of Oxford Press
- Singh, U. (2009), A History of Ancient and Medieval India: From the Stone Age to the 12th Century, Delhi: Longman, ISBN 978-81-317-1677-9
- Background from http://www2.demis.nl/mapserver/mapper.asp