耆那教徒会议厅建筑群东窗的十个元素 - 美国大都会艺术博物馆展品查阅

品名（中）	耆那教徒会议厅建筑群东窗的十个元素
品名（英）	Ten Elements for East Window of an Architectural Ensemble from a Jain Meeting Hall
入馆年号	1916年，16.133.2a–j
策展部门	亚洲艺术（Asian Art）
创作者
创作年份	公元 1576 - 公元 1599
创作地区
分类	雕塑（Sculpture）
尺寸	整体 (.a): 18 1/2 x 43 x 21 1/2 英寸 (47 x 109.2 x 54.6 厘米) 整体 (.b): 44 x 20 x 4 英寸 (111.8 x 50.8 x 10.2 厘米) 整体 (.c): 43 x 23 x 8 英寸 (109.2 x 58.4 x 20.3 厘米) 整体 (.d): 17 x 39 1/2 x 10 英寸 (43.2 x 100.3 x 25.4 厘米) 整体 (.e): 15 1/4 x 40 x 18 1/2 英寸 (38.7 x 101.6 x 47 厘米) 整体 (.f): 47 x 50 x 25 英寸 (119.4 x 127 x 63.5 厘米) 整体 (.g): 7 3/8 x 2 3/4 x 2 英寸 (18.7 x 7 x 5.1 厘米) 整体 (.h): 8 1/4 x 2 1/4 x 2 英寸 (21 x 5.7 x 5.1 厘米) 整体 (.i): 7 1/2 x 2 1/2 x 1 3/4 英寸 (19.1 x 6.4 x 4.4 厘米) 整体 (.j): 7 1/2 x 2 1/2 x 1 3/8 英寸 (19.1 x 6.4 x 3.5 厘米)
介绍（中）	这个建筑群的雕刻木制圆顶，阳台和支架属于古吉拉特邦帕坦的Vadi Parshvanatha Jain寺庙的gudha-mandapa（会议和祈祷大厅）。这座寺庙于 1596 年 5 月 13 日投入使用。在二十世纪初对寺庙进行翻新和扩建期间，这部分建筑被丢弃了;帕坦的原始结构没有幸存下来。它的一些元素 - 特别是向圆顶上升起的八个音乐家和舞者的大型人物 - 已经丢失，只能从早期的照片中知道。圆顶周围雕刻的人物是ashtakikpalas（方向的八个摄政者）。颜料的痕迹表明，该结构的内部曾经被粉刷过。博物馆结构在原始曼达帕中的位置是不确定的; 它可能位于平屋顶的顶部，并允许阳光进入建筑物。在这个装置中，四个侧面中的一个，已经有很多石膏修复，被省略了，以便可以轻松查看合奏。将蝙蝠和鸟类从曼达帕内部拒之门外的原始金属烤架没有幸存下来;它已被更宽的木格栅所取代。这种特别精细和精致的早期古吉拉特木雕是十六世纪伟大的莫卧儿皇帝阿克巴的工匠在法塔赫布尔-西克里（胜利之城）的一些建筑物和阿格拉红堡的后宫中翻译成石头的类型。
介绍（英）	The carved wooden dome, balconies and supports of this architectural ensemble belonged to the gudha-mandapa (meeting and prayer hall) of the Vadi Parshvanatha Jain temple in Patan, Gujarat. The temple was dedicated on May 13, 1596. During the renovation and enlargement of the temple in the early twentieth century, this portion of the building was discarded; nothing of the original structure survives in Patan. Some of its elements—in particular, the eight large figures of musicians and dancers that rose toward the dome—were lost and are known only from early photographs. The figures carved around the dome are the ashtakikpalas (eight regents of the directions). Traces of pigment suggest that the interior of the structure was once painted. The location of the Museum's structure in the original mandapa is uncertain; it probably rested on top of the flat roof and allowed sunlight into the building. In this installation, one of the four sides, which has had a great many plaster restorations, has been left off so that the ensemble can be easily viewed. The original metal grillwork that kept bats and birds from the interior of the mandapa has not survived; it has been replaced with wider wooden grating. This particularly fine and elaborate early Gujarati wood carving is the type that was translated into stone by craftsmen of the great Mughal emperor Akbar in the sixteenth century on some buildings at Fatehpur-Sikri (City of Victory) and at the harem at the Red Fort in Agra.