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1776 - 1800 of 3650 Records
Eleven-headed Guanyin (Ekadasamukha)
- Title Translation: 十一面观音 (依卡达萨穆哈)
- Period: Tang, 703 C.E.
- Project: Guangzhai Temple Qibaotai Pagoda
- Work Description: This image is one of a group of relief-carved stone Buddhist plinths from Huatasi temple, Xian (also known as Baoqingsi). The symmetrically arranged body and the flowing drapery lines are particularly beautiful, making this an important fundamental piece in the study of Chinese early Tang period Buddhist sculpture.
703
Niche of a Buddha Triad
- Title Translation: 佛三圣龛
- Period: Tang, 703 C.E.
- Project: Guangzhai Temple Qibaotai Pagoda
- Work Description: This niche belongs to a set of thirty stone reliefs from Baoqing Temple, and is one of the most representative stone carvings from the Tang dynasty (618–907). Baoqing Temple was a temple located near the south gate of the Chang’an capital during the Ming dynasty (1368–1644). Today, the only structure that remains of the temple is a stone pagoda which held stone niches, including this one. These carvings, which were stored in the main hall of the temple, had originally been part of the Qibaotai pagoda in Guangzhai Temple, a temple in the Guangzhai district located immediately south of the Daming Palace in Chang’an during the Tang dynasty. This information is found on multiple niches from the series in the form of inscriptions, alongside carvings suggesting that they were created in the early eighth century (703–4, 724).The Guangzhai Temple was allegedly founded in 677 at the location where a Buddhist relic (cremated remains of the Buddha’s body) had been discovered. The Qibotai, on the other hand, was constructed by Empress Wu Zetian (r. 690–705), the only empress regnant in Chinese history, who also installed a series of stone Buddhist reliefs as decoration.This series of Buddhist reliefs features two styles of composition: ones depicting a buddha triad, and ones that depict a single buddha or deity. The former type can be classified further into three depending on the pose and/or hand gesture (mudra) of the central buddha: a buddha seated with legs folded performing the bhumisparsha mudra (Jp. gōma-in) that symbolizes the expulsion of evil, a buddha seated with legs folded performing the abhaya mudra (Jp. semui-in) that symbolizes fearlessness, and a seated buddha with feet touching the ground performing the abhaya mudra. Single-image niches typically feature the bodhisattva Ekadashamukha, the eleven-headed manifestation of Avalokiteshvara (Jp. Kannon). According to the inscriptions on the works, the triads featuring a central buddha with legs folded performing the abhaya mudra represent the buddha Amitabha, while the ones with a buddha seated with feet touching the ground performing the same mudra represented Maitreya Buddha. There are also variations in iconography among the buddhas performing the bhumisparsha mudra; some wear crowns, while others sit upon a shumi pedestal or a lotus pedestal. These may have roots in representations of the historic Buddha, Shakyamuni, that were popular in India at the time.This particular niche depicts a central buddha seated with both feet touching the ground, suggesting that it is an image of Maitreya, flanked by two attendants. At the top, a pair of heavenly beings are depicted in shallow relief to either side of a parasol that hangs above the central buddha. The rectangular space at the bottom bears inscriptions indicating that this particular work was dedicated by Yang Sixu, the duke of Guoguo (Guoguo-gong 虢国公).
703
Qibaotai Pagoda/Baoqing Temple Buddhist Niches
- Title Translation: 七宝台塔/宝庆寺佛龛
- Period: Tang, 703 C.E.
- Project: Guangzhai Temple Qibaotai Pagoda
703
Fengxian Temple (Fengxiansi), Vairocana Buddha
- Title Translation: 奉先寺 , 毗卢遮那佛
- Period: Tang, 618–907 C.E.
- Project: Sculptures in Longmen 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: Sculptures in Longmen 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: Sculptures in Longmen 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: Sculptures in Longmen 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: Sculptures in Longmen 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: Sculptures in Longmen 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
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 Seated, 3D model
- Title Translation: 菩萨坐像 , 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: Head of the Bodhisattva Mahasthamaprapta (Dashizhi)
550 - 577
Monster Head, 3D model
- Title Translation: 鬼神头 , 3D模型
- 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
Buddha Hand, 3D model
- Title Translation: 佛手 , 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
- Work Description: Figure of a demon, intended to serve as a support for an engaged column. Body with wings, large horns, three fingers, and two toes; with shoulders hunched and arms braced on thighs.
550 - 577
Guardian Head, 3D model
- Title Translation: 天王、护法力士头 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Disciple Hands, 3D model
- Title Translation: 弟子手 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Old pictures have shown that this fragmented piece originally belonged to the left acolyte disciple of a grouping featuring Śākyamuni Buddha flanked by two Bodhisattvas and two disciples in the large niche at the front of the central pillar. This disciple’s lean and rather aged face suggests that he is Mahākāśyapa, one of the ten principal disciples of Śākyamuni. He was deemed the foremost in ascetic dhūta practice. Before the Buddha passed away, he entrusted Mahākāśyapa with the task of imparting the Buddhist Dharma. After the Buddha entered parinirvāṇa, Mahākāśyapa became the head of the monastic community and convened the First Council at Rājagṛha for compiling Buddhist canon. Thereafter, he continued to lead the monastic community for more than two decades. Although fragmented, this work is amazingly realistic. The left hand with palm up is holding a reliquary, while the fingers of the right hand are pressing against the lid. Both hands are soft and fleshy, as if boneless. The fingers are nimble, and the curvature of each finger differs. It is worth noting that the carver did not illustrate the knuckles, but rather, greatly emphasising the softness and texture of the hands. The fingernails are also finely represented. The hands look fleshy but not chubby; the gesture natural and lively. Overall, the carver’s superb artistry is well demonstrated.
550 - 577
Pratyekabuddha Standing
- Title Translation: 立缘觉佛
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Bodhisattva Seated
- Title Translation: 菩萨坐像
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Monster Kneeling
- Title Translation: 跪鬼神
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Musician Flute
- Title Translation: 长笛乐伎
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Monster Kneeling
- Title Translation: 菩萨立像
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Standing Bodhisattva, robed, holding flywhisk and unidentified object.
550 - 577
Pratyekabuddha Standing
- Title Translation: 辟支(缘觉)佛头
- 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
Lions Relief
- Title Translation: 狮子浮雕
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Among the niches in this altar frontal that contain images of the Buddha, the scene at the top right is from the Lotus Sutra, a fundemental Mahayana Buddhist text. When this doctorine was preached by Sakyamuni, the Buddha of the present era, to a great assembly of celestial and earthly beings, the relics of Prabhutaratna, the Buddha of the past, arose and Prabhutaratna materialized. The relief carving also includes an incense burner between two seated lions. The lion as a Buddhist guardian figure has been a common motif in Chinese art since the introduction of Buddhism in China.
550 - 577
Monster Kneeling
- Title Translation: 跪鬼神
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577