The locations of these 108 Buddha statues look messy, but after looking carefully, you can feel that the locations of these Buddha statues seem to have a profound meaning.

However, Yang Jing couldn't see what this placement represents. After all, he knew Taoist knowledge, but he did not know much about some things in Buddhism. For Buddhism, he only understood some things that were relatively superficial, but he would not be clear about the most profound things.

So Yang Jing could only feel that the location of these Buddha statues had a deep meaning. If you ask him to say something, he would be completely finished.

These Buddha statues are of different shapes, but they are mainly composed of the shapes of Buddhist powers such as Sakyamuni, Guanyin, Manjushri, Samantabhadra, Heavenly King, and Mother Du. The size ranges from about twenty centimeters to nearly one meter high.

Yang Jing grabbed a Buddha statue at the outermost height of nearly 60 centimeters. The shape of this Buddha statue was Samantabhadra Bodhisattva. As soon as he started, Yang Jing felt heavy and immediately understood that this Buddha statue was the most popular gilded bronze Buddha statue in the Tang Dynasty.

Gilding is a method of synthesizing gold and mercury into a gold mercury agent on the surface of a copper ware, and then heating it to evaporate the mercury, and the gold will adhere to the surface of the ware without taking off. Gilding, as the oldest metal utensil inlaid method in China, has a long history and unique craftsmanship skills for more than 2,000 years. It is one of the brilliant achievements of ancient Chinese technology.

The Buddha statues cast in copper or bronze with gilded surfaces, commonly known as "gilded bronze Buddha statues". In ancient China, this kind of Buddha statue was usually used for palaces and temples.

Buddhism was introduced to China from the Han Dynasty. In the early days, it was only regarded as a kind of magical Taoist art and was not widely popular. After the Western Jin Dynasty, society was in turmoil, wars continued, and people were not living. Therefore, the belief that Buddhism "transcends life and death, eliminates all troubles, and obtains ultimate liberation" was widely spread among the people. Ethnic minorities such as the Xiongnu, Xianbei, Jie, Di, and Qiang entered the Central Plains, and their cultural traditions and Buddhism originated from the Western Regions were easier to recognize each other. Therefore, Buddhism grew rapidly during the Sixteen Kingdoms period and penetrated into all social classes.

During the Sixteen Kingdoms period, the earliest group of monks appeared in China, and they received strong support from the rulers of the Hu tribe. These monks not only systematically translated a large number of Mahayana Buddhist scriptures, but also cultivated a generation of outstanding scholars such as Seng Zhao and Zhu Daosheng who built Chinese Buddhism. This made Chinese Buddhist art reach the most glorious era. Early grotto temples such as Mogao Grottoes, Bingling Temple Grottoes, and Maijishan Grottoes were excavated in this era. Existing Buddhist statues were also seen at this time, and a large number of copper gilt Buddha statues and crafts appeared.

The earliest gilded bronze Buddha statues were first seen in the late Eastern Han Dynasty and were mostly called Jin people during the initial Buddhist period. During the Sixteen Kingdoms period, they developed with the rise of Buddhist temples, and were mostly offered to the palace or Buddhist temples, and they became increasingly prosperous from the Southern and Northern Dynasties to the Tang Dynasty.

During the Han Dynasty and the Sixteen Kingdoms period, Buddha statues had square faces, calm faces and straight hair, which were sitting postures. Most of the Buddhas during this period were single and had a smaller size.

In the Northern Dynasties, that is, after the Northern Wei Dynasty, the Buddha statue head was covered with a bowl, with a long face and thin face, a tall nose and big ears, closed eyes and concentrated mind, a clear face, a high forehead, a bun, a spiral, wearing a cassock, and a right shoulder. Some sat cross-legged, with palms facing upwards. The Buddha seat was either a Sumeru seat with a shorter waist or a four-legged square seat. Some heads were lit with neck light, while some were back light, all with pointed backs, and flame patterns were made around. Another prominent feature of the Northern Wei statue is that the main Buddha is often one to two Bodhisattvas on both sides, and most of them are standing postures.

During the Sui and Tang Dynasties, there was a bronze statue with a lotus crown on his head, a round face, a fat cheek, a high forehead, a monk's back, a cassock, a wide dress, a pleated skirt, and a hangover on both feet. There is a double-layer four-legged high bed or a single-layer four-legged four-legged, and the neck or backlight is a thicker pointed lintel.

If you distinguish it carefully, the style of the gilded bronze Buddha statues in the Tang Dynasty is slightly different from that in the Sui Dynasty.

Most of the gilded bronze Buddha statues in the Tang Dynasty had plump faces, with a snail-shaped or water-wave hairstyle on their heads. The bun was towering compared to the Sui Dynasty, with big ears drooping, and a solemn but kind-hearted look. The body proportions were even, the structure was reasonable, the body was plump and full, and the exposed chest muscles were fluctuating and changing, which was more realistic.

Moreover, the gilded bronze Buddha statues of the Tang Dynasty naturally stretched out, with a strong sense of dynamicity. The clothes were all-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder-shoulder

Finally, the pedestals of the gold-plated bronze Buddha statues of the Tang Dynasty were mostly tufted waists, with hexagonal, octagonal, round or flower-shaped base edges. The most critical point is that most of the gold-plated bronze Buddha statues of the Tang Dynasty were gilded and red.

It is like the gilded bronze Buddha statue of Samantabhadra Bodhisattva in my hand, with a slightly red surface and a very consistent style of the gilded bronze Buddha statue of the Tang Dynasty.

The most important thing is that this Buddha statue has been staying in this tomb. Unlike the gilded bronze Buddha statues that are common on the market, I have long known how many years it has been circulated outside and how many people have passed through. Therefore, this Buddha statue has excellent quality.

If it weren't for the gilded bronze Buddha statue found here, Yang Jing would have suspected that this Buddha statue was a new imitation work.

From the current point of view, the value of gilded bronze Buddha statues is very high, especially the gilded bronze Buddha statues from the Sui and Tang Dynasties. Once they appear at auctions, they will often become the finale. The gilded bronze Buddha statue in my hand is so good that it was cast during the Wuzhou period. Once taken out, it will definitely cause a sensation.

And there are 107 gilded bronze Buddha statues with similar qualities like Samantabhadra Bodhisattva!

There is no doubt that with these exquisite gilded bronze Buddha statues, after their own private museum is opened, a gilded bronze Buddha statue exhibition hall in the Tang Dynasty is absolutely indispensable! Although so many gilded bronze Buddha statues of the Tang Dynasty are from the Wuzhou period, they will definitely make those who love gilded bronze Buddha statues linger.

These are absolutely good things, and if you don’t say anything, you will take them all away!

Yang Jing knew very well that if there were no special circumstances, the things brought out from here would never be visible.

After all, according to Chinese laws, all the things here belong to the state, and private individuals do not have the right to leave these treasures. Even entering here by themselves is a crime.

But Yang Jing was not worried. Who made him have a huge treasure in his hand?

Yang Jing never thought of keeping that imperial seal in his hands. Since the imperial seal cannot be kept, the country will probably agree to the remaining treasures by using this imperial seal in exchange for the remaining treasures. After all, these treasures will not be taken abroad, but will stay in domestic museums for exhibitions forever.
Chapter completed!