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Fengxian Temple (Fengxiansi), Vaiśravana and Vajrapāṇi
- Title Translation: 奉先寺 , 毗沙门与金刚手菩萨
- 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)
- 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
Disciple, 3D model
- Title Translation: 弟子
- Period: Sui Dynasty, 589-618 C.E.
- Project: Xiangtangshan Caves
- Work Description: “Expressing serene dignity, these youthful monks stand erect, their eyes downcast and hands firmly joined in reverent prayer. Their long earlobes allude to earrings that were worn by the Buddha as a young Indian prince and to his rejection of material wealth. Characteristic of Sui dynasty sculpture, the monks’ sharply defined facial features and the folds of their robes enhance the figures’ flat, understated modeling. Each of their robes was originally painted with rectangles of different colors, signifying the patchwork mantle worn by the Buddha and by pious monks who emulated his humble values. Only shadowy traces of these pigments are now evident.” — Art Institute of Chicago, Monk, accessed February 28, 2025, https://www.artic.edu/artworks/11094/monk.
589 - 618
Capital music from the Zhihua Temple (Zhihuasi Jing yinyue), music performance
- Title Translation: 智化寺京音乐 , 音乐表演
- Period: Ming, Qing, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: Benefiting from Wang Zhen’s unprecedented power at the court, the temple was able to hire skilled monk musicians to play during Buddhist ceremonies and other ritual activities for the members of the court. However, with Wang’s death in 1449, the temple lost its prestigious status, and during Emperor Jingdi’s reign (1450-1456), the monks began to perform ritual music outside the temple to make a living. Thus Capital music of Zhihua Temple also became popular among the people. When Emperor Yingzong retook the throne in 1457, he at once set out to honor Wang Zhen with statues and steles and rituals performed at the temple. The music of Zhihua Temple gradually increased in importance. The comprehensive instrumental ensemble, rigorous training, and elegant performance style of the Zhihua Temple’s music group inspired other temples in Beijing through the succeeding Qing. During the reign of Emperors Daoguang and Xianfeng (1821-1861), Zhihua Temple became such a center for Beijing music that spread to numerous temples in the region including but not limited to: Tianxian Nunnery, Chengshou Temple, Shuiyue Nunnery, Dizang Temple, Xizhao Temple, Guandi Temple, Huoshen Temple, Jiuding Niangniang Temple, and Puning Temple. Jing ceremonial music consists of three parts: vocalization of text, wind instruments, and percussion instruments, called by monk musicians the “three gateways.” The most prominent of these is the musical gateway of the wind instruments that greatly distinguished capital music of Zhihua Temple from other temple music or folk music performance. The Jing music ensemble of the Zhihua Temple is composed of nine performers and thirteen or fourteen musical instruments, including two pipes, two flutes, two sheng, two sets of cloud chimes, one drum, a set of small cymbals, 2 mounted gongs, two larger cymbals (nao and bo) and a bell. Several members of the troupe will play more than one instrument during a performance.
1444
Guardian Lion
- Title Translation: 唐龍門浮雕石獅子
- Period: Tang, 618–907 C.E.
- Project: Longmen Other Caves
- Work Description: Provenance: Wanfo (Ten Thousand Buddha) Cave, Longmen Caves, Luoyang, China [see note 1]; about 1930, removed from Wanfo Cave by local stonemasons, including Wang Kui and sold, probably by Ma Longtu (antiques dealer), Luoyang, to a Beijing dealer [see note 2]. By 1931, C. T. Loo and Co., New York [see note 3]; 1940, sold by Loo to the MFA. (Accession Date: March 7, 1940)NOTES: [1] Photographed in situ in 1907 or 1908 and published by Edouard Chavannes, Mission Archeologique dans la Chine Septentrionale (Paris, 1909), no. 305, pl. CLXXXII. The companion lion is in the collection of the Nelson-Atkins Museum of Art. [2] According to Gong Dazhong, Longmen Shiku Yishu (The Art of Longmen Caves) (Beijing: Renmin Meishu Chubanshe, 2002), pp. 58-60. [3] Dealer C. T. Loo lent the lion to the Fogg Art Museum at Harvard University from December 2, 1931 until September 1935.
618 - 907
Pratyekabuddha Head, 3D model
- Title Translation: 辟支佛(缘觉)头 , 3D模型
- Period: Northern Qi, c. 580 C.E.
- Project: Xiangtangshan Caves
580
Monster Squatting Caryatid, 3D model
- Title Translation: 鬼神蹲女像柱 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Disciple Head, 3D model
- Title Translation: 弟子头 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Monster Kneeling, 3D model
- Title Translation: 跪鬼神 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Musician Panpipes, 3D model
- Title Translation: 排箫乐伎 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Apsaras Head, 3D model
- Title Translation: 飞天头 , 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: Although the Northern Qi was a shortlived state in northeastern China, it once served as a major center for the development of Buddhism. Its rulers were fervent followers of Buddhism and patrons of innumerable temple building projects. A major focus of their efforts was the great rock-cut cave complex at Xiangtangshan on the border between Hebei and Henan. This head once belonged to a colossal statue at this site. Its rounded, rather youthful face and smooth contours are typical of the stylistic development of the time.
550 - 577
Bodhisattva Standing, 3D model
- Title Translation: 菩萨立像 , 3D模型
- Period: Sui, 581-518 C.E.
- Project: Xiangtangshan Caves
- Work Description: Bodhisattva in standing position, head and hands turned away. Draped in a tightly enveloping dhoti and a long shawl, falling over the shoulders and arm, thin ornamental folds.
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
- Work Description: Carved out of one piece of stone, this bodhisattva stands barefooted on a base and wears a long gown, ornate jewelry, and a large rosette-shaped crown. The rounded, solid form and the solemn facial expression convey the deity's grace and compassion, and mark an artistic departure from the foreign influence of India and Central Asia toward a new, distinguished Chinese style. This statue comes from Xiangtangshan (Mountains of Resounding Halls), a Buddhist cave complex built on a hillside near Handan in Hebei province, and is one of the earliest Buddhist statues built in this complex. Its construction was funded by Emperor Gao Yang of the Northern Qi dynasty.
550 - 577
Pratyekabuddha Head
- Title Translation: 辟支佛(缘觉)头
- Period: Northern Qi, c. 580 C.E.
- Project: Xiangtangshan Caves
580
Monster Kneeling
- Title Translation: 跪鬼神
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Monster Head
- Title Translation: 鬼神头
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: This leonine head of a beast originates from a group of Buddhist cave temples in northern China known collectively as Xiangtangshan, or the “Mountain of Echoing Halls.” Commissioned in the sixth century by rulers of the Northern Qi dynasty, the Xiangtangshan Caves are believed to have been an important place of worship for the royal family. The masterfully carved images are a vivid testament to the power, religious piety, and political aspirations of these royal patrons, who believed that the construction of temples and making of Buddhist images generated spiritual merit for the state. Although demons and monsters were generally thought to be harmful, their representations in Buddhist contexts were intended to demonstrate the efficacy of Buddha’s teachings in subduing evil. This head originally belonged to a winged monster, shown crouching beneath the weight of a massive altar at the center of the cave, reminding worshippers that Buddhism had the power to tame malevolent creatures and bring them into the service of good.
550 - 577
Bodhisattva Head
- Title Translation: 菩萨头
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Pratyekabuddha Head
- Title Translation: 辟支佛(缘觉)头
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Bodhisattva Hand
- Title Translation: 菩萨手
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Pratyekabuddha Head
- Title Translation: 辟支(缘觉)佛头
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577