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I am confident that this will remain one of the most striking images of your trip to Sri Lanka.
Gal Vihara的点评
点评：A visit to Polonnaruwa cannot be considered complete without admiring this series of four Buddhas, carved in various poses onto a vast rock face of hard gneiss.
The rock face was part of the great monastery known as Alahana Pirivena, of which other significant ruins remain; the most famous being the slender "image house" called Lankatilaka.
The establishment of this monastic complex was also due to the initiative of King Parakramabahu I "the Great", who reigned from 1153 to 1186 and was responsible for Polonnaruwa’s most majestic structures.
When viewed with sufficient awareness, the four Buddhas invite historical and artistic reflections that go beyond the admiration — however well-deserved — for this astonishing work.
The remains of brick walls in front of the rock face suggest that each of the four statues was originally housed in its own "image house" ("patimaghara" or "pilimage"), likely adorned with frescoes and sheltered by a wooden roof.
Based on both contemporary chronicles and archaeological evidence, it's inferred also that the statues themselves looked very different from how they appear today, as they were originally covered in gold leaf. Consequently, it takes a fair amount of imagination to reconstruct the site's original appearance.
From left to right, the four statues are arranged as follows:
- A large seated Buddha in the lotus position (Padmasana), in a meditative posture (Dhyana Mudra). Behind him are a "makara" (mythical sea monster) arch and a halo (siraspatha). Lions are carved onto the pedestal, and four more little Buddhas appear in small chambers on the sides: a feature suggesting the influence of Mahayana Buddhism (a tradition originally foreign to the Sinhalese), which venerates multiple Buddhas and bodhisattvas.
- A seated Buddha, also in meditation but smaller in size than the first one, set within a rock-hewn niche. Flanking him are two divine figures, interpreted as Vishnu (on the left) and Brahma (on the right).
- A large standing Buddha with arms folded across the chest, striking the "para dukkha dukkhitha", ie "sorrow for the sorrow of others". However, some scholars believe that the figure depicted here may be his disciple Ananda rather than the Buddha himself.
- A colossal reclining Buddha in the "parinirvana" pose; ie, representing the moment when, at the end of physical life, one’s "mental aggregates" permanently dissolve. That this posture signifies death rather than sleep is evidenced by the fact that the Buddha’s upper foot is slightly drawn back.
Ultimately, I believe the Gal Vihara will remain one of the most striking images of your trip to Sri Lanka.
The rock face was part of the great monastery known as Alahana Pirivena, of which other significant ruins remain; the most famous being the slender "image house" called Lankatilaka.
The establishment of this monastic complex was also due to the initiative of King Parakramabahu I "the Great", who reigned from 1153 to 1186 and was responsible for Polonnaruwa’s most majestic structures.
When viewed with sufficient awareness, the four Buddhas invite historical and artistic reflections that go beyond the admiration — however well-deserved — for this astonishing work.
The remains of brick walls in front of the rock face suggest that each of the four statues was originally housed in its own "image house" ("patimaghara" or "pilimage"), likely adorned with frescoes and sheltered by a wooden roof.
Based on both contemporary chronicles and archaeological evidence, it's inferred also that the statues themselves looked very different from how they appear today, as they were originally covered in gold leaf. Consequently, it takes a fair amount of imagination to reconstruct the site's original appearance.
From left to right, the four statues are arranged as follows:
- A large seated Buddha in the lotus position (Padmasana), in a meditative posture (Dhyana Mudra). Behind him are a "makara" (mythical sea monster) arch and a halo (siraspatha). Lions are carved onto the pedestal, and four more little Buddhas appear in small chambers on the sides: a feature suggesting the influence of Mahayana Buddhism (a tradition originally foreign to the Sinhalese), which venerates multiple Buddhas and bodhisattvas.
- A seated Buddha, also in meditation but smaller in size than the first one, set within a rock-hewn niche. Flanking him are two divine figures, interpreted as Vishnu (on the left) and Brahma (on the right).
- A large standing Buddha with arms folded across the chest, striking the "para dukkha dukkhitha", ie "sorrow for the sorrow of others". However, some scholars believe that the figure depicted here may be his disciple Ananda rather than the Buddha himself.
- A colossal reclining Buddha in the "parinirvana" pose; ie, representing the moment when, at the end of physical life, one’s "mental aggregates" permanently dissolve. That this posture signifies death rather than sleep is evidenced by the fact that the Buddha’s upper foot is slightly drawn back.
Ultimately, I believe the Gal Vihara will remain one of the most striking images of your trip to Sri Lanka.
翻译：若不欣赏这组雕刻在坚硬片麻岩巨石面上的、姿态各异的四尊佛像，对波隆纳鲁沃的游览便不能算完整。
这块岩石曾是名为“阿拉哈纳·皮里维纳”的大型寺院的一部分，如今那里仍保留着其他重要的遗迹；其中最著名的便是那座被称为“兰卡蒂拉卡”的纤细修长的佛像殿。
这座寺院建筑群的建立同样出自“伟大”的帕拉克拉马巴胡一世国王的倡议。他在位时间为1153年至1186年，正是他主持修建了波隆纳鲁沃最宏伟的建筑。
若以足够的洞察力加以观察，这四尊佛像便能引发人们从历史与艺术层面的深思，而这类思考显然超出了对这一杰出杰作的单纯钦佩——尽管这种钦佩完全合情合理。
岩石表面前的砖墙遗迹表明，最初这四尊雕像各自都被安置在独立的“像屋”（即“帕蒂马格拉”或“皮利马格”）中。这座建筑很可能装饰有壁画，并有木制屋顶作为遮蔽。
根据当时的编年史记载及考古证据可以推断，这些雕像的原本模样与现在截然不同——它们最初表面还覆有金箔。因此，要还原该遗址的原貌需要相当的想象力。
从左至右，四尊雕像的排列顺序如下：
- 一尊盘腿而坐的巨型佛像（莲花坐姿）。以禅定姿势端坐（禅定印）。在他身后有一个“摩伽罗”（神话中的海怪）拱门以及光环（头光）。基座上雕刻着狮子图案，两侧的小龛中还有四尊小佛像：这一特征表明大乘佛教的影响（该传统原本并非僧伽罗人所信奉的），大乘佛教崇拜多位佛陀与菩萨。
——另一尊坐佛，同样处于禅定状态，但体型比第一尊稍小，被安置在岩石开凿而成的壁龛中。在他两旁站着两位神祇，分别被解读为毗湿奴（左侧）和梵天（右侧）。
- 一尊双臂交叉于胸前的巨大立佛，呈现出“para dukkha dukkhitha”的姿态，即“为他人之苦而悲伤”。不过，一些学者认为此处描绘的可能是佛陀的弟子阿难，而非佛陀本人。
- 一尊呈“般涅槃”姿势的巨型卧佛；也就是表现肉体生命终结时的那一刻。一个人的“精神聚合体”会永久消散。这一姿态意味着死亡而非睡眠，佛陀的脚稍微向后缩这一事实便证明了这一点。
最终，我相信加尔维哈拉将成为您斯里兰卡之旅中最令人印象深刻的景象之一。
这块岩石曾是名为“阿拉哈纳·皮里维纳”的大型寺院的一部分，如今那里仍保留着其他重要的遗迹；其中最著名的便是那座被称为“兰卡蒂拉卡”的纤细修长的佛像殿。
这座寺院建筑群的建立同样出自“伟大”的帕拉克拉马巴胡一世国王的倡议。他在位时间为1153年至1186年，正是他主持修建了波隆纳鲁沃最宏伟的建筑。
若以足够的洞察力加以观察，这四尊佛像便能引发人们从历史与艺术层面的深思，而这类思考显然超出了对这一杰出杰作的单纯钦佩——尽管这种钦佩完全合情合理。
岩石表面前的砖墙遗迹表明，最初这四尊雕像各自都被安置在独立的“像屋”（即“帕蒂马格拉”或“皮利马格”）中。这座建筑很可能装饰有壁画，并有木制屋顶作为遮蔽。
根据当时的编年史记载及考古证据可以推断，这些雕像的原本模样与现在截然不同——它们最初表面还覆有金箔。因此，要还原该遗址的原貌需要相当的想象力。
从左至右，四尊雕像的排列顺序如下：
- 一尊盘腿而坐的巨型佛像（莲花坐姿）。以禅定姿势端坐（禅定印）。在他身后有一个“摩伽罗”（神话中的海怪）拱门以及光环（头光）。基座上雕刻着狮子图案，两侧的小龛中还有四尊小佛像：这一特征表明大乘佛教的影响（该传统原本并非僧伽罗人所信奉的），大乘佛教崇拜多位佛陀与菩萨。
——另一尊坐佛，同样处于禅定状态，但体型比第一尊稍小，被安置在岩石开凿而成的壁龛中。在他两旁站着两位神祇，分别被解读为毗湿奴（左侧）和梵天（右侧）。
- 一尊双臂交叉于胸前的巨大立佛，呈现出“para dukkha dukkhitha”的姿态，即“为他人之苦而悲伤”。不过，一些学者认为此处描绘的可能是佛陀的弟子阿难，而非佛陀本人。
- 一尊呈“般涅槃”姿势的巨型卧佛；也就是表现肉体生命终结时的那一刻。一个人的“精神聚合体”会永久消散。这一姿态意味着死亡而非睡眠，佛陀的脚稍微向后缩这一事实便证明了这一点。
最终，我相信加尔维哈拉将成为您斯里兰卡之旅中最令人印象深刻的景象之一。
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