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1326 - 1350 of 3618 Records
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
Bodhisattva Lotus Pedestal, 3D model
- Title Translation: 菩萨莲花台 , 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: This head once belonged to a towering bodhisattva who presided over the entrance to the Central Cave at Northern Xiangtangshan. This site, which consists of only three cave temples with colossal figural sculptures, was once strategically located on the route between the capital at Ye and Jinyang, in Shanxi province. At the beginning of the Northern Qi period, it may have been a place for meditation or other Buddhist activities.
550 - 577
Musician Pipa, 3D model
- Title Translation: 琵琶乐伎 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Seated Atlante, 3D model
- Title Translation: 坐男像柱 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Pratyekabuddha Standing, 3D model
- Title Translation: 辟支(缘觉)佛头 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Statue of Pratyekabuddha made of hard stone, colored and darkened by age. There are traces of dark red and brown paint and slight traces of green and blue on the piece. It is a standing figure, the hands holding a lotus bud, with heavy hands and large neck. The draperies are very massive and simple. The statue has a slightly upturned face with eyes almost closed with long ears and a cap-like arrangement of hair. It has bare feet with no pedesta but there is a tang that extends below the statuel. C113, C150 and C151 are from Cave #2 of the Southern Xiangtangshan. C113 and C151 may not from the same group judging from their different execution.
550 - 577
Bodhisattva Head, 3D model
- Title Translation: 菩萨头 , 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: This is the head of the bodhisattva Maitreya, who is thought to be waiting in a heaven for the moment when he will be born to become the next Buddha on this earth. The expression on his face is serene as he waits in meditative bliss. Ribbons stream down the sides of his head from the beautifully articulated crown. Heavy earrings pull his earlobes down to his shoulders.
550 - 577
Bodhisattva Seated, 3D model
- Title Translation: 菩萨坐像 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: With beautifully stylized drapery and heavy ornaments, this bodhisattva looks powerful and introspective, seated in a yogic posture of meditation. His right hand is held up in a gesture that means, “Do not be afraid.” His left hand is in the gift-giving gesture. These hand positions simultaneously reassure supplicants and promise them that their pious wishes will be granted.
550 - 577
Buddha Head, 3D model
- Title Translation: 佛头 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Traces of pigment accentuate the eyebrows, eyes and mouth of this huge head. The hairstyle is typical of the historical Buddha Sakyamuni, with tight curls and the prominent usnisa or topknot. The mark on the forehead, expressing wisdom and openness, originally incorporated an impressive jewel. Once part of a monumental figure in a cave complex, the head would have looked down from high. Its symmetrical composition and serene expression would have inspired Buddhist followers standing below.
550 - 577
Bodhisattva Head
- Title Translation: 菩萨头
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Monster Squatting
- Title Translation: 蹲鬼神
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Bodhisattva Lotus Pedestal
- Title Translation: 菩萨莲花台
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
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(缘觉)佛头
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Stone head of a Pratyekabuddha. Dark bistre colored marble with a greenish yellow patina. From a large statue, approximately life size. Ancient head covering in spiral peak form.
550 - 577