大威德唐卡主尊的面相

肃火斤

资料来自 喜马网站图片更新

Vajrabhairava: Stacked Faces or Circular Faces

有描绘了9张面孔是两个不同的系统Vajrabhairava。第一个系统被称为[1]堆积面（zhal TSEG），第二个是所谓的[2]通告面（zhal KOR） 。第一，堆积面被认为是较旧的系统，可以发现主要是在绘画和雕塑的描述，马尔巴噶举，萨迦Jonang和帕噶举的传统 。圆面的第二个系统是描绘在格鲁派传统 。

有场合通函面对Vajrabhairav​​a描绘，可以在萨迦派的拨动和娥传统发现。然而，这些实例是罕见的，孤立的，该未成年人的登记册或在一个较大的Vajrabhairav​​a中心人物或其他Anuttarayoga禅修本尊画的中等形象化的描述。这些成分通常包含​​数十个二级神数字。

九Vajrabhairava 堆积面是指由面部中央水牛的头放在一个单一的愤怒面对左，右两侧的神。堆积上述三个更加愤怒的面孔。同样以上的三面。在双方高层的两个愤怒的面孔，和中间的顶面是文殊菩萨，橙色的颜色，稍和平 ，稍微愤怒。这种倾向，或三面三个层次的配置，被称为堆积面 。

九Vajrabhairava 圆形面是指由面部中央与水牛三个额外的面孔放在眼前的右侧，放置立即左侧的三个面， 。中央水牛面对以上的两个更多的面孔在另一个的上面。文殊菩萨的橙色面对的是确定为最高的脸 。这个方向是所谓循环面孔。

在15和16世纪，有许多教师声称比其他系统的正统的萨迦派和格鲁派传统的辩证之间的交流。早期的例子，从印度和尼泊尔的绘画和雕塑使用堆叠的人脸系统。西藏早期绘画可以识别，也描绘Vajrabhairav​​a两种形式与次要人物，也描绘了神与圆形的面孔的例子。似乎都在旧西藏肖像形式与一个比其他优势。

这是宗喀巴在14世纪推广为一体的三个主要（Anuttarayoga）在藏传佛教格鲁派传统的禅修实践的通知面神Vajrabhairav​​a。作为一般规则，在佛教密宗肖像的研究 - 同在一个圆形的方向的脸上描绘的Vajrabhairav​​a任何手段，它最有可能属于格鲁派肖像程序。与堆积面的方向Vajrabhairav​​a描绘属于一个萨迦，马尔巴噶举或Jonang肖像方案。
(机器翻译)

Stacked Faces

附件01.

肃火斤

附件02.

肃火斤

附件03. Stacked Faces 原图

肃火斤

附件03. Stacked Faces 原图

肃火斤

附件03. Stacked Faces 原图

肃火斤

附件03. Stacked Faces 原图

肃火斤

Circular Faces

附件01.

肃火斤

Circular Faces 原图

肃火斤

Circular Faces 原图

肃火斤

Circular Faces 原图

zhangguoqing

好像萨迦派、宁玛派大威德头面分布与格鲁传承的有较大区别。

肃火斤

Vajrabhairava: Stacked Faces or Circular Faces 解说词原文

There are two different systems for depicting the nine faces of Vajrabhairava. The first system is called [1] Stacked Faces (zhal tseg) and the second is called [2] Circular Faces (zhal kor). The first, Stacked Faces is considered the older system and can be found depicted primarily in the paintings and sculpture of the Sakya, Marpa Kagyu, Jonang and Shangpa Kagyu Traditions. The second system of Circular Faces is depicted in the Gelug Tradition.

There are occasions where Circular Faced depictions of Vajrabhairava can be found in the Bodong and Ngor Traditions of Sakya. However these instances are rare and isolated to the minor registers or secondary figurative depictions in a larger painting with a central figure of Vajrabhairava or another Anuttarayoga meditational deity. These compositions typically contain dozens of secondary deity figures.

Vajrabhairava with nine Stacked Faces is defined by the central face of the deity having a buffalo head with a single wrathful face placed to the right and left sides. Stacked above that are three more wrathful faces. Again above that are three faces. The top level has two wrathful faces at the sides and the middle top face is that of Manjushri, orange in colour, slightly peaceful and slightly wrathful. This orientation, or configuration, of three levels of three faces is called Stacked Faces.

Vajrabhairava with nine Circular Faces is defined by the central face being that of a buffalo with three additional faces placed to the immediate right side and three more faces placed to the immediate left side. Above the central buffalo face are two more faces one above the other. The orange face of Manjushri is identified as the uppermost face. This orientation is called Circular Faces.

In the 15th and 16th centuries there were a number of dialectic exchanges between teachers of the Sakya and Gelug traditions claiming the orthodoxy of one system over the other. Early examples of paintings and sculpture from both India and Nepal use the Stacked Face system. Early Tibetan paintings can be identified that also depict both forms of Vajrabhairava with examples of minor figures that also depict the deity with the circular faces. Both appear to be old Tibetan iconographic forms with one more dominant than the other.

It was Tsongkapa in the 14th century that popularized the deity Vajrabhairava with Circular Faces as one of the three principal (Anuttarayoga) meditational practices in the Gelug Tradition of Tibetan Buddhism. As a general rule in the study of Buddhist Tantric iconography - any depiction of Vajrabhairava with the faces in a circular orientation means that it most likely belongs to a Gelug iconographic program. Depiction of Vajrabhairava with a stacked face orientation belong to a Sakya, Marpa Kagyu or Jonang iconographic program.

肃火斤

顶礼 大威德金刚圣尊

肃火斤

补图,

yetijkd

顶礼 大威德金刚圣尊