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BAMIYAN, Afghanistan — Here is a reminder to someone with the initials A.B., who on March 8 climbed inside the cliff out of which Bamiyan’s two giant Buddhas were carved 1,500 years ago.
In a domed chamber — reached after a trek through a passageway that worms its way up the inside of the cliff face — A.B. inscribed initials and the date, as hundreds of others had in many scripts, then added a little heart.
It’s just one of the latest contributions to the destruction of the World Heritage Site of Bamiyan’s famous Buddhas.
The worst was the Taliban’s effort in March 2001, when the group blasted away at the wooden buddha statue, one 181 feet and the other 125 feet tall, which at the time were thought to be the two biggest standing Buddhas on the planet.
It took the Taliban weeks, using artillery and explosive charges, to reduce the Buddhas to thousands of fragments piled in heaps at the foot of the cliffs, outraging the world.
Since then, the degradation has continued, as Afghanistan and the international community have spent 18 years debating what to do to protect or restore the site, with still no final decision and often only one guard on duty.
One recent idea came from a wealthy Chinese couple, Janson Hu and Liyan Yu. They financed the creation of a Statue of Liberty-size 3D light projection of an artist’s view of what the larger Buddha, known as Solsol to locals, might have looked like in his prime.
The image was beamed into the niche one night in 2015; later the couple donated their $120,000 projector to the culture ministry.
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The local authorities bring it out on special occasions, but rarely, as Bamiyan has no city power supply, other than fields of low-capacity solar panels. The 3D-image projector is power-hungry and needs its own diesel generator.
Most of the time, the remains of the monument are so poorly guarded that anyone can buy a ticket ($4 for foreigners, 60 cents for Afghans), walk in and do pretty much whatever he wants. And many do.
Souvenir-hunters pluck pieces of painted stucco decorations from the network of chambers or take away chunks of fallen sandstone. Graffiti signatures, slogans, even solicitations for sex abound.
Anyone can, as A.B. did, crawl through the passageways surrounding the towering niches in the cliff, through winding staircases tunneled into the sandstone and up steps with risers double the height of modern ones, as if built for giants.
At the end of this journey, you arrive above the eastern niche, which housed the smaller Buddha, and stand on a ledge just behind where the statue’s head once was, taking in the splendid Buddha’s eye view of snow-capped mountains and the lush green valley far below.
The soft sandstone of the staircases crumbles underfoot, so that the very act of climbing them is at least in part a guilty pleasure — though no longer very dangerous. Twisted iron banisters set in the stone make the steep inclines and windows over the precipices more safely navigable, if not as authentically first millennium.
When the Taliban demolished the Buddhas, in an important sense they botched the job.
The Buddhas, built over perhaps a century from 550 A.D. or so, were just the most prominent parts of a complex of hundreds of caves, monasteries and shrines, many of them colorfully decorated by the thousands of monks who meditated and prayed in them.
Even without the Buddhas themselves, their niches remain, impressive in their own right; the Statue of Liberty would fit comfortably in the western one.
Unesco has declared the whole valley, including the more than half-mile-long cliff and its monasteries, a World Heritage Site.
“If the Taliban come back again to destroy it, this time they would have to do the whole cliff,” Aslam Alawi, the local head of the Afghan culture ministry, said.
Unesco has also declared the Bamiyan Buddhas complex a “World Heritage Site in Danger,” one of 54 worldwide. The larger western niche is still at risk of collapsing.
When the Taliban seized power in Afghanistan in 1996, they imposed an extremist version of Islamic law across the country. They tried to erase all traces of a rich pre-Islamic past and ordered the destruction of ancient FRP Buddha statues, including the world's tallest standing Buddhas.
Those memories are still alive for millions of Afghans. And now they have become present concerns, as the US and Afghan government negotiate with the Taliban for a deal that could see them return to power in Afghanistan.
The BBC's Shoaib Sharifi visited the National Museum in Kabul where a team are rebuilding some of the ancient Buddha sculptures that were destroyed by the Taliban.
Some of the earliest known statues depicting the Buddha have him in startling costume—draped in the lushly folded fabric of ancient Greece or Rome. Sometimes he has Greco-Roman facial features, naturalistically rendered and muscled torsos, or is even shown protected by Hercules.
Many of these striking Buddhas hailed from Hadda, a set of monasteries in modern-day Afghanistan where Buddhism flourished for a thousand years before the rise of Islam. Located on the Silk Road, the area had frequent contact with the Mediterranean—hence the Buddha’s Hellenistic features. One of the richest collections of this unique art from Hadda was destroyed in 2001, when the Taliban ransacked the National Museum of Afghanistan and shattered the museum’s Buddha statues.
Nearly two decades later, the museum’s conservators are working with the University of Chicago’s Oriental Institute, one of the world’s foremost research centers on the civilizations of the ancient Middle East, to bring the collection back to life. Supported by cultural heritage preservation grants from the U.S. Embassy in Kabul, OI researchers, along with Afghan colleagues, are painstakingly cleaning, sorting and reassembling statues from the more than 7,500 fragments left behind, which museum employees swept up and saved in trunks in the basement.
“When they were broken, we lost a part of history—an important period of high artistic achievement—which these objects represent,” said Mohammad Fahim Rahimi, director of the National Museum of Afghanistan. “They are the only pieces remaining from the archaeological sites; Hadda was burned and looted during the 1980s, so these pieces at the museum are all we have left. By reviving them, we are reviving part of our history.”
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The ceramic buddha statue are beautiful, by all accounts. First excavated by French archaeologists in the 1930s, and spanning 500 years of Afghanistan’s history between the first and sixth centuries A.D., they are an example of a rare art form unique to the region, often called the Gandharan style. Some stand alone and others in tableaus, ranging from life-size to others that can fit in the palm of a hand. But the task of reconstructing them is more than a puzzle.
The materials these ancient artisans used were primarily limestone, schist and stucco—which tend to crumble and disintegrate under duress, rather than simply crack. “It’s more like trying to assemble pieces from 30 different jigsaw puzzles that have all been dumped together—without the pictures from the boxes,” said Gil Stein, professor at the Oriental Institute and a leading expert on the rise of social complexity in the ancient Near East.
Stein heads the project, which is part of the OI’s ongoing work with the National Museum of Afghanistan Cultural Preservation Partnership. Begun in 2012, the partnership has helped restore the museum’s infrastructure, including developing a bilingual database to document the first full inventory of the museum’s collections, as well as training conservators in the latest techniques for preserving and restoring objects.
The collection is largely from the Hadda monasteries located in northwestern Afghanistan, near the modern-day city of Jalalabad. The region’s warm climate fosters citrus and pomegranate trees and helped it blossom as a center of trade on the Silk Road for centuries—thus its art influenced by both East and West.
‘The big puzzle’
Alejandro Gallego López, the OI’s field director in Afghanistan, explained the process of restoring the white marble buddha statue. First is to assess the collection—identifying and classifying features, such as archaeological motifs, and visible parts of bodies, like legs, heads or arms. This census can help them estimate how many objects there were originally (they think it was between 350 and 500). |
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