8636 KB46 KB201120252024Kozicz, GeraldLuo, Dištevilka:115/116letnik:29str. 31-59DOI:10.35469/poligrafi.2024.441ISSN:1318-8828COBISSID_HOST:225898243URN:URN:NBN:SI:doc-RGROPQ5HenDruštvo za primerjalno religiologijoZnanstveno-raziskovalno središče KoperPoligrafiBuddhismbudizemdinastija QuingmirrorogledaloQuing dynastySkušek collectionSkuškova zbirkaYamaYamantaka-VajrabhairavaThe Adamantine terrifier on the dresser|From 1920 to 1963, a collection of Chinese art–mostly from the Qing Dynasty (1644–1911)–was continuously presented at the changing addresses of Ivan and his wife Tsuneko Kondo-Kawase, who finally adopted the full Slovene name of Mari-ja Skušek after her baptism in 1927. The collection had been assembled in Beijing where Ivan Skušek had arrived in 1914 and been a prisoner of war from 1917, and it was then shipped to Ljubljana after his release in 1920. Photographs and a film document how their private rooms were turned into exhibition rooms. They had quite a spectacular arrangement of metalworks on a dresser in front of a mirror. In all locations in Ljubljana where the Skušeks lived, one wrathful figure was always in the centre of the group: Vajrabhairava, the Adamantine Terrifier. The following article examines the significance of this Buddhist deity in the context of Buddhism in China. It inspects the function and meaning of the dresser, in particular the symbolism of the mirror in relation to the Yamantaka group of tantric deities, among whom Vajrabhairava assumes the highest position. It further addresses Marija Skušek’s possible role as the actual curator, raising the question about a possible socio-religious concept behind the configuration of the figuresMed letoma 1920 in 1963 je bila v vseh domovanjih Ivana Skuška in njegove žene Tsuneko Kondo Kawase, ki je po krstu leta 1927 prevzela slovensko ime in priimek Marija Skušek, ves čas na ogled zbirka kitajskih predmetov, večinoma iz obdobja dinastije Qing. Zbirka je nastala v Pekingu, kamor je Ivan Skušek prispel leta 1914 in kjer je bil do leta 1917 vojni ujetnik, po izpustitvi pa jo je leta 1920 dal prepeljati v Ljubljano. Fotografije in filmski posnetki dokumentirajo, kako sta z ženo svoje zasebne sobe preuredila v razstavne prostore. Na komodi sta pred ogle-dalom razstavila izjemen aranžma kovinskih predmetov. Na vseh ljubljanskih lo-kacijah, kjer sta bivala, je v središču tega aranžmaja vedno stala ista jezna figurica: Vajrabhairava, Diamantni strašni. V članku preučujemo pomen tega budističnega božanstva v kontekstu bu-dizma na Kitajskem. Analiziramo funkcijo in pomen komode, zlasti simboliko ogledala v povezavi s tantričnimi božanstvi iz skupine Yamantaka, med katerimi Vajrabhairava zaseda najvišji položaj. Posebno pozornost namenjamo možnosti, da je bila dejanska kuratorka zbirke Marija Skušek, kar odpira vprašanje, ali je razpo-stavitev figuric odražala specifičen družbeno-religiozni konceptTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaZnanstveno-raziskovalno središče Koper