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48 Harvard Art Museums 36 National Museum of Asian Art 33 Osaka City Museum of Fine Arts 32 private collection 31 unknown 29 Tokyo National Museum 21 Museum Rietberg 20 University of Pennsylvania, Museum of Archaeology and Anthropology 16 Nelson-Atkins Museum of Art 14 Nezu Art Museum 13 Asian Art Museum of San Francisco 10 Cleveland Museum of Art 10 Columbia University 10 Metropolitan Museum of Art 8 Museo nazionale d’arte orientale 8 Rijksmuseum voor Volkenkunde 7 Art Institute of Chicago 7 Honolulu Museum of Art 7 Museum of Fine Arts, Boston 7 San Diego Museum of Art 6 Barnes Foundation 6 British Museum 6 Koninklijk Instituut voor het Kunstpatrimonium 6 National Museum of China 6 Philadelphia Museum of Art 5 Tsz Shan Monastery Buddhist Art Museum 5 Victoria and Albert Museum 4 Museum für Ostasiatische Kunst 4 Museum of Far Eastern Antiquities 4 Royal Ontario Museum 4 University of Tokyo, Museum of Art and History 3 Cincinnati Art Museum 3 Columbia University, Avery Architectural and Fine Arts Library 2 Clark Art Institute 2 Detroit Institute of Arts 2 Idemitsu Museum of Art 2 J. J. Lally & Co. New York 2 Kyushu National Museum 2 Masaki Art Museum 2 Miho Museum 2 Minneapolis Institute of Arts 2 Museum of Oriental Ceramics, Osaka 2 Nara National Museum 2 National Gallery of Victoria 2 Ohara Museum of Art 2 Rijksmuseum 2 Seattle Art Museum 2 Villa I Tatti 2 Virginia Museum of Fine Arts 2 Wadsworth Atheneum 1 Aurora Art Museum 1 Brooklyn Museum of Art 1 Cernuschi Museum 1 Guimet Museum 1 Kosetsu Museum of Art 1 Morgan Library & Museum 1 Nezu Museum 1 Palace Museum 1 Portland Art Museum 1 Rhode Island School of Design, Museum of Art
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

Flying Divinity, 3D model
  • Title Translation: 飞天 , 3D 模型
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The flying divinity or apsaras holds an alms bowl over its head.
534 - 550

Buddha, 3D model
  • Title Translation: 佛坐像 , 3D 模型
  • Period: Tang dynasty, 618 – 907 C.E.
  • Project: Dispersed Buddhist Sculptures
  • Work Description: Following its introduction from India centuries earlier, Buddhism flourished in China under the powerfully cosmopolitan Tang dynasty. Characteristic of Tang style in its robust, tapered physique, this monumental figure exhibits iconographic features distinctive to the Buddha: tightly curled hair covering a cranial mound symbolizes his enlightenment; and a forehead depression that originally held a stone or jewel represents wisdom. The articulated folds of the deity’s flowing robe integrate Indian sensuality with a distinctly Tang blend of realism and linear elegance. Capping the deity’s right shoulder, this garment discreetly modifies a fully bare-chested style described in Indian monastic texts. The stepped pedestal rises from a base encircled by lotus petals pure white flowers that rise from muddy water and thereby evoke Buddhist beliefs in purity and the search for enlightenment. Above, musicians encircling the tapered stem evoke an ideal, celestial realm. Together with two attendant bodhisattvas in the Art Institute collection (1930.84 and 1930.85), this sculpture came to the museum in 1930 with a note of its discovery in a temple known as Cangfosi in northern Hebei province. Neither archaeological nor written records have been located to confirm this reported site. The scale and stone medium of these figures suggest that they were commissioned for a cave temple or shrine—a chamber carved into the face of a mountain or cliff. Source: Art Institute of Chicago, CC0 (https://www.artic.edu/artworks/9613/head-of-guanyin)
618