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2701 - 2725 of 3617 Records
Cave 5
- Title Translation: 第五窟
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: Cave 5 is a small Tang dynasty cave whose front wall is now missing so that its original plan and contents are now unknown. Two seated images remain, a Buddha and bodhisattva.
618 - 907
Cave 6
- Title Translation: 第六窟
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: Cave 6 is a small square cave of the Tang period that had nine sculpted images on the interior, with a central seated Buddha on the back and side walls accompanied by bodhisattvas and disciples. On the exterior the traces of two guardian figures appear at the sides of the entrance. The exterior still has a small porch in front.
618 - 907
Cave 14
- Title Translation: 第十四窟
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: Cave 14 is a Tang cave that had finely carved sculptures, many of which are now in collections outside China
618 - 907
Cave 16
- Title Translation: 第十六窟
- Period: Northern Qi, 550-577 C.E.
- Project: Tianlongshan Caves
- Work Description: Cave 16 is the most important Northern Qi cave at the Tianlongshan site. The porch still has elements of post and lintel construction and bracketing supporting the overhanging eave that derive from construction in wood. The interior had fine sculptures that partially remain. The cave is now inaccessible from the path, which may account for its relatively good state of preservation.
550 - 577
Bodhisattva Seated, 3D model
- Title Translation: 坐菩萨 , 3D 模型
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: The bodhisattva figure is seated in a pose of royal ease, with right leg bent out to the side and with the foot resting on the throne beside the left knee. The head is a modern replacement for the original head, now in the Barnes Foundation Museum.
618 - 907
Buddha Head, 3D model
- Title Translation: 佛头 , 3D 模型
- Period: Sui, 581-618 C.E.
- Project: Tianlongshan Caves
- Work Description: The head is believed to be from the Sui dynasty cave, Cave 8.
581 - 618
Buddha Head, 3D model
- Title Translation: 佛头 , 3D 模型
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: This finely carved head of the Buddha is from the east wall of Cave 18.
618 - 907
Bodhisattva Head, 3D model
- Title Translation: 菩萨头 , 3D 模型
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: The head has a full youthful feminine face with raised arching brows, full cheeks and small mouth. The seated bodhisattva figure from which it was taken still remains on the north wall of Cave 21.
618 - 907
Musician, 3D model
- Title Translation: 乐伎 , 3D 模型
- Period: Northern Qi, 550-577 C.E.
- Project: Tianlongshan Caves
- Work Description: This is the upper part of a musician playing the panpipes that was seated at the base of the Buddha niche on the east wall of Cave 16.
550 - 577
Buddha Head, 3D model
- Title Translation: 佛头 , 3D 模型
- Period: Eastern Wei, 534-550 C.E.
- Project: Tianlongshan Caves
- Work Description: This head is from the main Buddha image on the north wall of Cave 2.
534 - 550
Bodhisattva Head, 3D model
- Title Translation: 菩萨头 , 3D 模型
- Period: Eastern Wei, 534-550 C.E.
- Project: Tianlongshan Caves
- Work Description: The head appears to be from a standing bodhisattva on the west wall of Cave 2.
534 - 550
Guardian Standing
- Title Translation: 天王、护法力士立像
- Period: Northern Qi, 550-577 C.E.
- Project: Tianlongshan Caves
- Work Description: The site of Tianlongshan Caves is located about 40 kilometres southwest of Taiyuan city in Shanxi Province. 25 caves have survived to this day. Taiyuan, historically called Jinyang, was the auxiliary capital of the Eastern Wei (534-550 CE) and Northern Qi (550-577 CE) dynasties. The royal members of the Northern Qi were devout Buddhists. Emperors Houzhu (565-577 CE) and Youzhu (570-578 CE) had many Buddhist monasteries constructed in Jinyang, which made this capital a Buddhist centre in addition to a political hub of the time. This Heavenly King (Lokapāla) statue of the Northern Qi dynasty originally belonged to Tianlongshan Cave 10, which has a front corridor and a rear chamber. Its head formerly belonged to the Vajrapāṇibalin standing on the west side of the corridor, while the body of the Heavenly King originally stood on the west side of the front wall inside the cave. The head of the statue is carved with tightly knitted eyebrows, round bulging eyes, a high straight nose, a gaping mouth showing the upper teeth biting the lower lip, tense cubic face muscles, and a fierce and very spirited countenance. The low regal crown on the head is finely carved with motifs featuring wish-fulfilling gems, scrolling clouds and tassels. Old photographs showing the original appearance of this Heavenly King reveal that he previously had a long-shaft trident spear in his right hand and a jewelled crown on his head. The right knee is flexed, but left leg is straight – hinting a sense of motion, where the feet are on a hill-shaped pedestal with a demon crouching at the front. The upper body is bare apart from a torc over the chest, some string-like criss-cross ornaments around his neck and waist, and a streamer around the shoulders. The lower body is wrapped in a long skirt girded by a leather belt. Traces of red pigment are still visible on the surface of the present statue. This statue was stolen from the cave and taken to Japan in the early 20th century. In 1932, it was exhibited by Yamanaka & Co. Ltd in Japan. Later, it was acquired by Yurinkan Museum in Kyoto and then by a private collector in Taiwan. The chequered and proven provenance has made this extremely rare Heavenly King statue of the Northern Dynasties even rarer. It is among the gems of our Museum collection.
550 - 577
Fragment: portion of torso and right forearm
- Title Translation: 碎片：躯干和右前臂的一部分
- Period: Northern Wei, Tang, 386–534 C.E., 618–907 C.E.
- Project: Longmen Other Caves
386 - 907
Fengxian Temple (Fengxiansi)
- Title Translation: 奉先寺
- Period: Tang, 618–907 C.E.
- Project: Longmen Other Caves
- Work Description: This imposing group of nine monumental images carved into the hard, gray limestone of Fengxian Temple at Longmen is a spectacular display of innovative style and iconography. Sponsored by the Emperor Gaozong and his wife, the future Empress Wu, the high relief sculptures are widely spaced in a semi-circle. The central Vairocana Buddha (more than 55 feet high including its pedestal) is flanked on either side by a bodhisattva, a heavenly king, and a thunderbolt holder (vajrapani). Vairocana represents the primordial Buddha who generates and presides over all the Buddhas of the infinite universes that form Buddhist cosmology. This idea—of the power of one supreme deity over all the others—resonated in the vast Tang Empire which was dominated by the Emperor at its summit and supported by his subordinate officials. These monumental sculptures intentionally mirrored the political situation. The dignity and imposing presence of Buddha and the sumptuous appearance of his attendant bodhisattvas is significant in this context. The Buddha, monks and bodhisattvas (above) display new softer and rounder modeling and serene facial expressions. In contrast, the heavenly guardians and the vajrapani are more engaging and animated. Notice the realistic musculature of the heavenly guardians and the forceful poses of the vajrapani.
618 - 907
Fengxian Temple (Fengxiansi)
- Title Translation: 奉先寺
- Period: Tang, 618–907 C.E.
- Project: Longmen Other Caves
- Work Description: This imposing group of nine monumental images carved into the hard, gray limestone of Fengxian Temple at Longmen is a spectacular display of innovative style and iconography. Sponsored by the Emperor Gaozong and his wife, the future Empress Wu, the high relief sculptures are widely spaced in a semi-circle. The central Vairocana Buddha (more than 55 feet high including its pedestal) is flanked on either side by a bodhisattva, a heavenly king, and a thunderbolt holder (vajrapani). Vairocana represents the primordial Buddha who generates and presides over all the Buddhas of the infinite universes that form Buddhist cosmology. This idea—of the power of one supreme deity over all the others—resonated in the vast Tang Empire which was dominated by the Emperor at its summit and supported by his subordinate officials. These monumental sculptures intentionally mirrored the political situation. The dignity and imposing presence of Buddha and the sumptuous appearance of his attendant bodhisattvas is significant in this context. The Buddha, monks and bodhisattvas (above) display new softer and rounder modeling and serene facial expressions. In contrast, the heavenly guardians and the vajrapani are more engaging and animated. Notice the realistic musculature of the heavenly guardians and the forceful poses of the vajrapani.
618 - 907
Fengxian Temple (Fengxiansi)
- Title Translation: 奉先寺
- Period: Tang, 618–907 C.E.
- Project: Longmen Other Caves
- Work Description: This imposing group of nine monumental images carved into the hard, gray limestone of Fengxian Temple at Longmen is a spectacular display of innovative style and iconography. Sponsored by the Emperor Gaozong and his wife, the future Empress Wu, the high relief sculptures are widely spaced in a semi-circle. The central Vairocana Buddha (more than 55 feet high including its pedestal) is flanked on either side by a bodhisattva, a heavenly king, and a thunderbolt holder (vajrapani). Vairocana represents the primordial Buddha who generates and presides over all the Buddhas of the infinite universes that form Buddhist cosmology. This idea—of the power of one supreme deity over all the others—resonated in the vast Tang Empire which was dominated by the Emperor at its summit and supported by his subordinate officials. These monumental sculptures intentionally mirrored the political situation. The dignity and imposing presence of Buddha and the sumptuous appearance of his attendant bodhisattvas is significant in this context. The Buddha, monks and bodhisattvas (above) display new softer and rounder modeling and serene facial expressions. In contrast, the heavenly guardians and the vajrapani are more engaging and animated. Notice the realistic musculature of the heavenly guardians and the forceful poses of the vajrapani.
618 - 907
Fengxian Temple (Fengxiansi), Vairocana Buddha
- Title Translation: 奉先寺 , 毗卢遮那佛
- Period: Tang, 618–907 C.E.
- Project: Longmen Other Caves
- Work Description: This imposing group of nine monumental images carved into the hard, gray limestone of Fengxian Temple at Longmen is a spectacular display of innovative style and iconography. Sponsored by the Emperor Gaozong and his wife, the future Empress Wu, the high relief sculptures are widely spaced in a semi-circle. The central Vairocana Buddha (more than 55 feet high including its pedestal) is flanked on either side by a bodhisattva, a heavenly king, and a thunderbolt holder (vajrapani). Vairocana represents the primordial Buddha who generates and presides over all the Buddhas of the infinite universes that form Buddhist cosmology. This idea—of the power of one supreme deity over all the others—resonated in the vast Tang Empire which was dominated by the Emperor at its summit and supported by his subordinate officials. These monumental sculptures intentionally mirrored the political situation. The dignity and imposing presence of Buddha and the sumptuous appearance of his attendant bodhisattvas is significant in this context. The Buddha, monks and bodhisattvas (above) display new softer and rounder modeling and serene facial expressions. In contrast, the heavenly guardians and the vajrapani are more engaging and animated. Notice the realistic musculature of the heavenly guardians and the forceful poses of the vajrapani.
618 - 907
Fengxian Temple (Fengxiansi)
- Title Translation: 奉先寺
- Period: Tang, 618–907 C.E.
- Project: Longmen Other Caves
- Work Description: This imposing group of nine monumental images carved into the hard, gray limestone of Fengxian Temple at Longmen is a spectacular display of innovative style and iconography. Sponsored by the Emperor Gaozong and his wife, the future Empress Wu, the high relief sculptures are widely spaced in a semi-circle. The central Vairocana Buddha (more than 55 feet high including its pedestal) is flanked on either side by a bodhisattva, a heavenly king, and a thunderbolt holder (vajrapani). Vairocana represents the primordial Buddha who generates and presides over all the Buddhas of the infinite universes that form Buddhist cosmology. This idea—of the power of one supreme deity over all the others—resonated in the vast Tang Empire which was dominated by the Emperor at its summit and supported by his subordinate officials. These monumental sculptures intentionally mirrored the political situation. The dignity and imposing presence of Buddha and the sumptuous appearance of his attendant bodhisattvas is significant in this context. The Buddha, monks and bodhisattvas (above) display new softer and rounder modeling and serene facial expressions. In contrast, the heavenly guardians and the vajrapani are more engaging and animated. Notice the realistic musculature of the heavenly guardians and the forceful poses of the vajrapani.
618 - 907
Fengxian Temple (Fengxiansi)
- Title Translation: 奉先寺
- Period: Tang, 618–907 C.E.
- Project: Longmen Other Caves
- Work Description: This imposing group of nine monumental images carved into the hard, gray limestone of Fengxian Temple at Longmen is a spectacular display of innovative style and iconography. Sponsored by the Emperor Gaozong and his wife, the future Empress Wu, the high relief sculptures are widely spaced in a semi-circle. The central Vairocana Buddha (more than 55 feet high including its pedestal) is flanked on either side by a bodhisattva, a heavenly king, and a thunderbolt holder (vajrapani). Vairocana represents the primordial Buddha who generates and presides over all the Buddhas of the infinite universes that form Buddhist cosmology. This idea—of the power of one supreme deity over all the others—resonated in the vast Tang Empire which was dominated by the Emperor at its summit and supported by his subordinate officials. These monumental sculptures intentionally mirrored the political situation. The dignity and imposing presence of Buddha and the sumptuous appearance of his attendant bodhisattvas is significant in this context. The Buddha, monks and bodhisattvas (above) display new softer and rounder modeling and serene facial expressions. In contrast, the heavenly guardians and the vajrapani are more engaging and animated. Notice the realistic musculature of the heavenly guardians and the forceful poses of the vajrapani.
618 - 907
Arhat (Luohan)
- Title Translation: 罗汉
- Period: Liao, 907-1125 C.E.
- Project: Yixian Arhat
- Work Description: Life-size, seated figure of a 'luohan' (arhat), with hands on lap, on a plinth with perforated front, the robes green and brown with stripes bordered blue. Made of lead-glazed stoneware.
907
1125
1125
Wenshu, Bodhisattva of Wisdom at a Writing Table
- Title Translation: 文殊，写字台上的智慧菩萨
- Period: Yuan, 1354 C.E.
- Project: Guangsheng Temple Murals
1354
Pratyekabuddha Standing, 3D model
- Title Translation: 立缘觉佛 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Buddha Head, 3D model
- Title Translation: 佛头 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Bodhisattva Standing, 3D model
- Title Translation: 菩萨立像 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Bodhisattva Head, 3D model
- Title Translation: 菩萨头 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Both the Eastern Wei (535–50) and the Northern Qi dynasties were ruled from a capital at Ye (presentday Linzhang) in southern Hebei province; both sponsored the construction of new cave temples. The complex built at Xiangtangshan (not far from the capital) dates from the Northern Qi period. It consists of two sites: the three enormous cave temples at the top of the mountain are known as Northern Xiangtangshan, while an additional seven smaller shrines, about nine miles to the south, are known as Southern Xiangtangshan. This head comes from the southern site, which was constructed slightly later.
550 - 577