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Bodhisattva Standing
  • Title Translation: 立菩萨
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: This standing bodhisattva is unusually well-preserved and can be identified with a figure on the north wall in historic photographs of Cave 18.
618 - 907

Bodhisattva Head
  • Title Translation: 菩萨头
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The head is from the seated bodhisattva on the north wall, west side, Cave 18, as recorded in historical photographs. The topknot and nose are restored.
618 - 907

Bodhisattva Standing
  • Title Translation: 立菩萨
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: This standing bodhisattva is from the west wall of Cave 14. Its head is now in the Tokyo National Museum.
618 - 907

Bodhisattva Head
  • Title Translation: 菩萨头
  • Period: Northern Qi, 550-577 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The crowned bodhisattva head, believed to be from Cave 1, is partially covered with brown pigment and shows signs of damage and restoration.
550 - 577

Bodhisattva Head
  • Title Translation: 菩萨头
  • Period: Northern Qi, 550-577 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The bodhisattva head from the east wall of Cave 10 wears a crown with floral panels and jeweled tassels.
550 - 577

Bodhisattva Relief
  • Title Translation: 菩萨浮雕
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The bodhisattva Manjusri was located on the east wall of Cave 2 near the front of the cave, opposite a relief figure of Vimalakirti.
534 - 550

Bodhisattva Standing
  • Title Translation: 立菩萨
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The bodhisattva stands with right hand raised holding something with the thumb and forefinger.
618 - 907

Bodhisattva Head
  • Title Translation: 菩萨头
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: This head, whose current location is unknown, is believed to be the original head of the standing bodhisattva in the Asian Art Museum, San Francisco.
618 - 907

Bodhisattva Head, 3D model
  • Title Translation: 菩萨头 , 3D 模型
  • Period: Northern Qi, 550-577 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The large head is from the cross-ankled Maitreya bodhisattva image in the east wall niche of Cave 10.
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 unusually well-preserved bodhisattva figure seated in royal ease has one hand raised, holding a jewel.
618 - 907

Longmen Binyang Central Cave, south wall bodhisattvas
  • Title Translation: 龙门宾阳中洞 , 南壁菩萨
  • Period: Northern Wei, 386–534 C.E.
  • Project: Longmen Binyang Central Cave
  • Work Description: The Longmen Caves are located outside the city of Luoyang, China, about 500 miles southeast of the modern-day capital in Beijing. Established in the late fifth century, the site consists of 2,345 caves, and over 100,000 individual Buddhist statues, ranging in height from a few inches to over 56 feet. For more than 250 years, Chinese Buddhists from all walks of life sponsored the addition of Buddhist statues and inscriptions to the site, most significantly from the late Northern Wei (386-534) through the Tang dynasty (618-907). Binyang Central Cave is one of the earliest at Longmen and a major monument of Chinese Buddhism. Begun around the year 501, it was commissioned by the youthful Emperor Xuanwu (483-515) and dedicated to his father, Emperor Xiaowen, who died in 499 at age thirty-three. The cave is one of the major monuments of Chinese Buddhism. MEasuring roughly 30 feet in each dimension, its principal image is 28-foot-high seated Buddha largly filling the back of the cave and accompanied by smaller standing figures—disciples, Buddhas, and bodhisattva—on either side. The exit wall contained some of the finest stone relief carvings of the era, including depictions of two imperial processions, and a number of stories from Buddhist scriptures. After cave-making was discontinued for nearly a thousand years, the Longmen site was "discovered" by foreign scholars in the late 1800s. The publication of their studies with photos attracted international attention to the artistic quality of the sculptures. The publications ultimately led to the looting of much of the site in the early part of the twentieth century. In response to demand from art dealers, collectors, and museums around the globe, local stonecutters removed countless works from the caves, often breaking them into numerous fragments in the process. Pieces from the greater Longmen complex can now be found scattered throughout the world. In Binyang Central Cave, several heads and large portions of the relief carvings were cut or burned out of the walls. Fragments from Binyang Central Cave now reside in museums in the US and Japan, as well as in storage at the Longmen Research Institute in China. Many shattered pieces are identifiable today with the evidence of historical photographs and rubbings taken of the reliefs before their removal.
386 - 534

Bodhisattva Standing, 3D model
  • Title Translation: 立菩萨 , 3D 模型
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The figure is likely to be from one of the smaller caves at Tianlongshan where it stood as an attendant to the Buddha with hands held together in reverence.
618 - 907

Bodhisattva Standing, 3D model
  • Title Translation: 立菩萨 , 3D 模型
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The figure is likely to be from one of the smaller caves at Tianlongshan where it stood as an attendant to the Buddha with hands held together in reverence.
618 - 907

Skanda Bodhisattva in Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom)
  • Title Translation: 智化殿韦陀菩萨
  • Period: Ming, c. 1444 C.E.
  • Project: Beijing Zhihua Temple
  • Work Description: Skanda, known as Weituo in Chinese, is a devoted guardian of Buddhist monasteries who protects the teachings of Buddhism. He is always depicted as a young and robust warrior in full armor.
1444

Dazhi Hall (Dazhidian, Hall of Great Wisdom), altar
  • Title Translation: 大智殿 , 祭坛
  • Period: Ming, c. 1444 C.E.
  • Project: Beijing Zhihua Temple
  • Work Description: The Dazhi Hall is located east of the Zhihua Hall and opposite from the Sutra Hall. The hall initially enshrined three bodhisattvas, Avolokiteśvara attended by Mañjuśrī and Samantabhadra on an altar. Though different in function and interior layout, the Dazhi Hall has the exact measurements and structure as the Sutra Hall, its counterpart across from the courtyard.
1444

Lower Guangsheng Temple, back hall (or Daxiong Bodian), Buddha Triad
  • Title Translation: 广胜下寺 , 后殿 (即大雄宝殿), 佛三尊
  • Period: Eastern Han, Yuan, 147 C.E., 1271-1368 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The lower temple is made up by the temple gate, front hall, back hall (or Daxiong Temple), the buttress hall and other buildings that were all built in the Yuan Dynasty. The temple gate is rather high. It is 3-bay wide and 3-bay long with single-eaved gable and hip roof. Canopies added to the front and back eaves make it like a pavilion with double eaves. The front hall is five-bay wide with only two pillars supporting the whole hall. The back hall (or Daxiong Temple) was built in the second year (1309) of the Zhida reign of the Yuan Dynasty. It is 7-bay wide with 9 purlins, 8 rafters and a single-eaved overhanging gable roof. The main statues in the hall are Amitabha Buddha, Sakyamuni Buddha, Bhaisajyaguru Buddha, Manjusri Bodhisattva, and Samantabhadra Bodhisattva. They were all made in the Yuan Dynasty. Murals were once covered on the walls, but they were removed and shipped to the United States in 1928. The mural on the south wall recorded the performance of Yuan Drama. It is rare reference material for study on Chinese dramas.
147
1368

Lower Guangsheng Temple, back hall (or Daxiong Bodian), mural fragments
  • Title Translation: 广胜下寺 , 后殿 (即大雄宝殿), 壁画碎片
  • Period: Eastern Han, Yuan, 147 C.E., 1271-1368 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The lower temple is made up by the temple gate, front hall, back hall (or Daxiong Temple), the buttress hall and other buildings that were all built in the Yuan Dynasty. The temple gate is rather high. It is 3-bay wide and 3-bay long with single-eaved gable and hip roof. Canopies added to the front and back eaves make it like a pavilion with double eaves. The front hall is five-bay wide with only two pillars supporting the whole hall. The back hall (or Daxiong Temple) was built in the second year (1309) of the Zhida reign of the Yuan Dynasty. It is 7-bay wide with 9 purlins, 8 rafters and a single-eaved overhanging gable roof. The main statues in the hall are Amitabha Buddha, Sakyamuni Buddha, Bhaisajyaguru Buddha, Manjusri Bodhisattva, and Samantabhadra Bodhisattva. They were all made in the Yuan Dynasty. Murals were once covered on the walls, but they were removed and shipped to the United States in 1928. The mural on the south wall recorded the performance of Yuan Drama. It is rare reference material for study on Chinese dramas.
147
1368

Lower Guangsheng Temple, back hall (or Daxiong Bodian), Buddha Triad
  • Title Translation: 广胜下寺 , 后殿 (即大雄宝殿), 佛三尊
  • Period: Eastern Han, Yuan, 147 C.E., 1271-1368 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The lower temple is made up by the temple gate, front hall, back hall (or Daxiong Temple), the buttress hall and other buildings that were all built in the Yuan Dynasty. The temple gate is rather high. It is 3-bay wide and 3-bay long with single-eaved gable and hip roof. Canopies added to the front and back eaves make it like a pavilion with double eaves. The front hall is five-bay wide with only two pillars supporting the whole hall. The back hall (or Daxiong Temple) was built in the second year (1309) of the Zhida reign of the Yuan Dynasty. It is 7-bay wide with 9 purlins, 8 rafters and a single-eaved overhanging gable roof. The main statues in the hall are Amitabha Buddha, Sakyamuni Buddha, Bhaisajyaguru Buddha, Manjusri Bodhisattva, and Samantabhadra Bodhisattva. They were all made in the Yuan Dynasty. Murals were once covered on the walls, but they were removed and shipped to the United States in 1928. The mural on the south wall recorded the performance of Yuan Drama. It is rare reference material for study on Chinese dramas.
147
1368

Lower Guangsheng Temple, back hall (or Daxiong Bodian), Buddha Triad
  • Title Translation: 广胜下寺 , 后殿 (即大雄宝殿), 佛三尊
  • Period: Eastern Han, Yuan, 147 C.E., 1271-1368 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The lower temple is made up by the temple gate, front hall, back hall (or Daxiong Temple), the buttress hall and other buildings that were all built in the Yuan Dynasty. The temple gate is rather high. It is 3-bay wide and 3-bay long with single-eaved gable and hip roof. Canopies added to the front and back eaves make it like a pavilion with double eaves. The front hall is five-bay wide with only two pillars supporting the whole hall. The back hall (or Daxiong Temple) was built in the second year (1309) of the Zhida reign of the Yuan Dynasty. It is 7-bay wide with 9 purlins, 8 rafters and a single-eaved overhanging gable roof. The main statues in the hall are Amitabha Buddha, Sakyamuni Buddha, Bhaisajyaguru Buddha, Manjusri Bodhisattva, and Samantabhadra Bodhisattva. They were all made in the Yuan Dynasty. Murals were once covered on the walls, but they were removed and shipped to the United States in 1928. The mural on the south wall recorded the performance of Yuan Drama. It is rare reference material for study on Chinese dramas.
147
1368

Water God's Temple (Shuishen Temple) of the Guangsheng Monastery, Ming Ying King Hall (or Mingyingwang Temple), exterior
  • Title Translation: 广胜寺水神庙 , 明应王殿, 外部
  • Period: Eastern Han, Ming, 147 C.E., 1368-1644 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The Water God's Temple has two yards: the front yard and the back yard, and includes the Temple Gate, the Door of Amenity, the Ming Ying King Hall and wing-rooms of cave dwellings. The Ming Ying King Hall is 5-bay wide and 5-bay long with a cloister around and a double-eaved gable hip roof. Beams inside are of common style. The hall houses statues of Water God Ming Ying King and his eleven attendants. Their facial features, clothes and gestures are all of Yuan style. Frescoes about people praying for the rain and other historical stories covered the walls, occupying an area of 197 square meters. The pictures of dramas at the eastern end of the south wall show a complete set of stage property for the performers: costumes, stage instruments, musical instruments, makeup, curtain, stage, and so on. The drawing was strictly arranged, the color was simple but profound, and dramatis personae were expressive. This fresco reflects the true condition of Yuan Drama in its peak time; it is a rare fine work of Yuan frescoes in China.
147
1644

Water God's Temple (Shuishen Temple) of the Guangsheng Monastery, exterior
  • Title Translation: 广胜寺水神庙 , 外部
  • Period: Eastern Han, Ming, 147 C.E., 1368-1644 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The Water God's Temple has two yards: the front yard and the back yard, and includes the Temple Gate, the Door of Amenity, the Ming Ying King Hall and wing-rooms of cave dwellings. The Ming Ying King Hall is 5-bay wide and 5-bay long with a cloister around and a double-eaved gable hip roof. Beams inside are of common style. The hall houses statues of Water God Ming Ying King and his eleven attendants. Their facial features, clothes and gestures are all of Yuan style. Frescoes about people praying for the rain and other historical stories covered the walls, occupying an area of 197 square meters. The pictures of dramas at the eastern end of the south wall show a complete set of stage property for the performers: costumes, stage instruments, musical instruments, makeup, curtain, stage, and so on. The drawing was strictly arranged, the color was simple but profound, and dramatis personae were expressive. This fresco reflects the true condition of Yuan Drama in its peak time; it is a rare fine work of Yuan frescoes in China.
147
1644

Lower Guangsheng Temple, back hall (or Daxiong Bodian), Buddha Triad
  • Title Translation: 广胜下寺 , 后殿 (即大雄宝殿), 佛三尊
  • Period: Eastern Han, Yuan, 147 C.E., 1271-1368 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The lower temple is made up by the temple gate, front hall, back hall (or Daxiong Temple), the buttress hall and other buildings that were all built in the Yuan Dynasty. The temple gate is rather high. It is 3-bay wide and 3-bay long with single-eaved gable and hip roof. Canopies added to the front and back eaves make it like a pavilion with double eaves. The front hall is five-bay wide with only two pillars supporting the whole hall. The back hall (or Daxiong Temple) was built in the second year (1309) of the Zhida reign of the Yuan Dynasty. It is 7-bay wide with 9 purlins, 8 rafters and a single-eaved overhanging gable roof. The main statues in the hall are Amitabha Buddha, Sakyamuni Buddha, Bhaisajyaguru Buddha, Manjusri Bodhisattva, and Samantabhadra Bodhisattva. They were all made in the Yuan Dynasty. Murals were once covered on the walls, but they were removed and shipped to the United States in 1928. The mural on the south wall recorded the performance of Yuan Drama. It is rare reference material for study on Chinese dramas.
147
1368

Upper Guangsheng Temple, Amitabha Hall (or Mito Hall), Maitreya Buddha
  • Title Translation: 广胜上寺 , 阿弥陀堂, 弥勒佛
  • Period: Eastern Han, Ming, 147 C.E., 1368-1644 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The upper temple complex comprises the mountain gate, the Flying Rainbow Tower, the Amitabha Hall, the Great Hall, the Vairochana Hall, the Kwan-yin Hall, the Ksitigarbha Hall, as well as wing-rooms and corridors, among other features. The Mountain Gate, situated at the entrance, is flanked by two guardian warriors. Just beyond the gate stands the impressive Flying Rainbow Tower, constructed from colored glaze bricks. Originally built during the Eastern Han Dynasty (25-220) and later restored in the Ming Dynasty (1368-1644), this thirteen-story tower soars to a height of 47.31 meters, featuring an octagonal plan. The tower is adorned with tri-colored glaze in yellow, green, and blue, creating a splendid and vibrant spectacle. Elaborate wooden square blocks and intricately carved designs of Buddha, Bodhisattvas, guardian warriors, flowers, birds, and animals adorn the eaves and pillars. Corridors encircle the first story, while the tower’s interior houses only the stairs leading to the tenth floor, showcasing remarkable architectural and artistic prowess.
147
1644

Lower Guangsheng Temple, back hall (or Daxiong Bodian), west wall
  • Title Translation: 广胜下寺 , 后殿 (即大雄宝殿), 西墙
  • Period: Eastern Han, Yuan, 147 C.E., 1271-1368 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The lower temple is made up by the temple gate, front hall, back hall (or Daxiong Temple), the buttress hall and other buildings that were all built in the Yuan Dynasty. The temple gate is rather high. It is 3-bay wide and 3-bay long with single-eaved gable and hip roof. Canopies added to the front and back eaves make it like a pavilion with double eaves. The front hall is five-bay wide with only two pillars supporting the whole hall. The back hall (or Daxiong Temple) was built in the second year (1309) of the Zhida reign of the Yuan Dynasty. It is 7-bay wide with 9 purlins, 8 rafters and a single-eaved overhanging gable roof. The main statues in the hall are Amitabha Buddha, Sakyamuni Buddha, Bhaisajyaguru Buddha, Manjusri Bodhisattva, and Samantabhadra Bodhisattva. They were all made in the Yuan Dynasty. Murals were once covered on the walls, but they were removed and shipped to the United States in 1928. The mural on the south wall recorded the performance of Yuan Drama. It is rare reference material for study on Chinese dramas.
147
1368

Upper Guangsheng Temple, Amitabha Hall (or Mito Hall), fresco
  • Title Translation: 广胜上寺 , 阿弥陀堂, 壁画
  • Period: Eastern Han, Ming, 147 C.E., 1368-1644 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The upper temple complex comprises the mountain gate, the Flying Rainbow Tower, the Amitabha Hall, the Great Hall, the Vairochana Hall, the Kwan-yin Hall, the Ksitigarbha Hall, as well as wing-rooms and corridors, among other features. The Mountain Gate, situated at the entrance, is flanked by two guardian warriors. Just beyond the gate stands the impressive Flying Rainbow Tower, constructed from colored glaze bricks. Originally built during the Eastern Han Dynasty (25-220) and later restored in the Ming Dynasty (1368-1644), this thirteen-story tower soars to a height of 47.31 meters, featuring an octagonal plan. The tower is adorned with tri-colored glaze in yellow, green, and blue, creating a splendid and vibrant spectacle. Elaborate wooden square blocks and intricately carved designs of Buddha, Bodhisattvas, guardian warriors, flowers, birds, and animals adorn the eaves and pillars. Corridors encircle the first story, while the tower’s interior houses only the stairs leading to the tenth floor, showcasing remarkable architectural and artistic prowess.
147
1644