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The Collection: Buddha Sculptures & Figurines | Thousand Arms Guanyin
Design Concept:
In 1996, when Loretta H. Yang and Chang Yi visited the Buddhist grottoes near the desert oasis of Dunhuang in western China, the moment they saw the Thousand-armed, Thousand-eyed Guanyin fresco in Cave 3 at Mogao, painted during the Yuan Dynasty (1271–1368) and slowly disappearing under the relentless weathering of the desert sandstorms, Yang vowed to recreate the image in glass as a way of handing down to future generations the wisdom and compassion it has accumulated over the centuries. This piece of glass relief constitutes a novel approach to the representation of one of the most cherished images of Far-eastern Buddhism. The layout of the sculpture retains the proportions of the original mural, and the layered glass technique gives the impression of Guanyin (Avalokitesvara in Sanskrit) emerging from the wall of the cave. The emphasis of this series is on perfect proportion and precise detail, presenting considerable challenges in terms of technique. On the reverse side is engraved the Great Compassion Dharani, a popular incantation in Chinese Buddhism. The unique transparent nimbus represents the wisdom and compassion of Guanyin illuminating the world. The image exudes an air of boundless compassion, quelling the anxiety of a troubled heart. Several decades later, Yang is planning to complete the series with a Thousand-armed, Thousand-eyed Guanyin 450 cm tall.
1996年，楊惠姍與張毅踏上了敦煌荒漠，親眼所見敦煌石窟中漸漸剝落的元代千手千眼觀音壁畫，帶給他們一種單純而巨大的悸動：望著壁畫逐漸因自然風化而消失，於是楊惠姍，許下今生大願──以琉璃材質立體重現第三窟元代千手千眼壁畫，將此千年累積的慈悲與智慧永遠流傳下去。 千手千眼觀音係以琉璃浮雕形式表現，從美術上來說，以單面浮雕形式表現千手觀音乃是全新嘗試，雕塑佈局除仍須保持與原壁畫的比例外，琉璃厚薄的掌握形成了空間層次分明的美感，更有將千手千眼觀音從敦煌莫高第三窟壁畫上躍然而出的意象，《唯有慈悲》作品以強調絕對完美的比例呈現，和繁複精確的細節講究，在雕塑技術上是相當大的挑戰。觀音身後為經文《千手千眼無礙大悲心陀羅尼》又簡稱《大悲咒》，環形琉璃背光為單獨製作，以透亮設計形式呈現「光」的概念，象徵千手觀音的智慧慈悲大力量，光耀人間。透過佛像，讓生命的不安或焦慮，能在佛像無盡的慈悲撫照之下，找到心情的出口。 今生大願歷時至第25年，這項行為藝術創作仍在持續進行中。從彩塑造像至全琉璃造像，「今生大願」的最終，楊惠姍希望燒製出一尊高450公分高的琉璃千手千眼觀音像，將第三窟壁畫立體重現的決心，逐步實踐，永不休止。
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