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Bodhisattva Avalokiteshvara (Guanyin) Head
- Title Translation: 观世音菩萨（观音）头
- Period: Northern Wei, 493–534 C.E.
- Project: Longmen Other Caves
- Work Description: Large head of Guanyin with high headdress; lower extremities of ear lobes broken, and nose and lips repaired; fragment of statue, probably in high relief. Stand.
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.
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.
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.
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.
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.
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.
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.
Six Steeds of Zhao Mausoleum ("Zhaoling Liujun"), site environment - Northern Sima Gate Ruins
- Title Translation: 昭陵六骏 , 唐昭陵遺址公園 - 全景 - 北司马门遗址
- Period: Tang, 636 C.E.
- Project: Six Horses of Tang Taizong
- Work Description: The Six Horses reliefs were engraved in the 10th year of Zhenguan in the Tang Dynasty (636 AD). In order to commemorate the six war horses he rode in the founding war of the emperial China, King Li Shimin of the Tang Dynasty ordered the painter Yan Liben to draw the figures of the six horses, and then the engraver Yan Lide copied and carved them on the stone. The great calligrapher Ouyang Xun of the time made the Tang The hymn book written by Taizong himself is on the upper corner of the original stone. After they were carved, they were placed in the altar at the northern foot of Zhaoling. In order, they are "Teqinqiao", "Qingzhui", "Shivachi", "Saluzi", "Quanmaojun" and "Baitiwu". Among them, two horses, "Sa Lu Zi" and "Fist Mao Jun", were dispersed overseas in 1914 and are now in the Museum of Archeology and Anthropology at the University of Pennsylvania (Penn Museum) in the United States. Each piece of Zhaoling Six Horses is 2.5 meters high and 3 meters wide. The six horses are vividly reproduced on the stone slab in the form of high relief. Three of them are standing and three are galloping. They have handsome postures, valiant charm, vivid shapes, and expressive eyebrows. It can be said that "the king of Qin conquered the world with his cavalry, and the six horses were outstanding in painting but also worried." Mr. Lu Xun praised Six Horses as an "unprecedented" masterpiece.
Six Steeds of Zhao Mausoleum ("Zhaoling Liujun"), Ming Tang Temple Commemorative Stele
- Title Translation: 昭陵六骏 , 明唐祠紀事碑
- Period: Tang, 636 C.E.
- Project: Six Horses of Tang Taizong
- Work Description: The Six Horses reliefs were engraved in the 10th year of Zhenguan in the Tang Dynasty (636 AD). In order to commemorate the six war horses he rode in the founding war of the emperial China, King Li Shimin of the Tang Dynasty ordered the painter Yan Liben to draw the figures of the six horses, and then the engraver Yan Lide copied and carved them on the stone. The great calligrapher Ouyang Xun of the time made the Tang The hymn book written by Taizong himself is on the upper corner of the original stone. After they were carved, they were placed in the altar at the northern foot of Zhaoling. In order, they are "Teqinqiao", "Qingzhui", "Shivachi", "Saluzi", "Quanmaojun" and "Baitiwu". Among them, two horses, "Sa Lu Zi" and "Fist Mao Jun", were dispersed overseas in 1914 and are now in the Museum of Archeology and Anthropology at the University of Pennsylvania (Penn Museum) in the United States. Each piece of Zhaoling Six Horses is 2.5 meters high and 3 meters wide. The six horses are vividly reproduced on the stone slab in the form of high relief. Three of them are standing and three are galloping. They have handsome postures, valiant charm, vivid shapes, and expressive eyebrows. It can be said that "the king of Qin conquered the world with his cavalry, and the six horses were outstanding in painting but also worried." Mr. Lu Xun praised Six Horses as an "unprecedented" masterpiece.
Six Steeds of Zhao Mausoleum ("Zhaoling Liujun"), site environment
- Title Translation: 昭陵六骏 , 唐昭陵遺址公園內環境
- Period: Tang, 636 C.E.
- Project: Six Horses of Tang Taizong
- Work Description: The Six Horses reliefs were engraved in the 10th year of Zhenguan in the Tang Dynasty (636 AD). In order to commemorate the six war horses he rode in the founding war of the emperial China, King Li Shimin of the Tang Dynasty ordered the painter Yan Liben to draw the figures of the six horses, and then the engraver Yan Lide copied and carved them on the stone. The great calligrapher Ouyang Xun of the time made the Tang The hymn book written by Taizong himself is on the upper corner of the original stone. After they were carved, they were placed in the altar at the northern foot of Zhaoling. In order, they are "Teqinqiao", "Qingzhui", "Shivachi", "Saluzi", "Quanmaojun" and "Baitiwu". Among them, two horses, "Sa Lu Zi" and "Fist Mao Jun", were dispersed overseas in 1914 and are now in the Museum of Archeology and Anthropology at the University of Pennsylvania (Penn Museum) in the United States. Each piece of Zhaoling Six Horses is 2.5 meters high and 3 meters wide. The six horses are vividly reproduced on the stone slab in the form of high relief. Three of them are standing and three are galloping. They have handsome postures, valiant charm, vivid shapes, and expressive eyebrows. It can be said that "the king of Qin conquered the world with his cavalry, and the six horses were outstanding in painting but also worried." Mr. Lu Xun praised Six Horses as an "unprecedented" masterpiece.
Six Steeds of Zhao Mausoleum ("Zhaoling Liujun"), Tang Taizong Zhaoling Map Stele
- Title Translation: 昭陵六骏 , 唐太宗昭陵圖碑
- Period: Tang, 636 C.E.
- Project: Six Horses of Tang Taizong
- Work Description: The Six Horses reliefs were engraved in the 10th year of Zhenguan in the Tang Dynasty (636 AD). In order to commemorate the six war horses he rode in the founding war of the emperial China, King Li Shimin of the Tang Dynasty ordered the painter Yan Liben to draw the figures of the six horses, and then the engraver Yan Lide copied and carved them on the stone. The great calligrapher Ouyang Xun of the time made the Tang The hymn book written by Taizong himself is on the upper corner of the original stone. After they were carved, they were placed in the altar at the northern foot of Zhaoling. In order, they are "Teqinqiao", "Qingzhui", "Shivachi", "Saluzi", "Quanmaojun" and "Baitiwu". Among them, two horses, "Sa Lu Zi" and "Fist Mao Jun", were dispersed overseas in 1914 and are now in the Museum of Archeology and Anthropology at the University of Pennsylvania (Penn Museum) in the United States. Each piece of Zhaoling Six Horses is 2.5 meters high and 3 meters wide. The six horses are vividly reproduced on the stone slab in the form of high relief. Three of them are standing and three are galloping. They have handsome postures, valiant charm, vivid shapes, and expressive eyebrows. It can be said that "the king of Qin conquered the world with his cavalry, and the six horses were outstanding in painting but also worried." Mr. Lu Xun praised Six Horses as an "unprecedented" masterpiece.
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.
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.
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.
Six Steeds of Zhao Mausoleum ("Zhaoling Liujun"), emperor statue and sculptures
- Title Translation: 昭陵六骏 , 皇帝雕像和雕塑
- Period: Tang, 636 C.E.
- Project: Six Horses of Tang Taizong
- Work Description: The Six Horses reliefs were engraved in the 10th year of Zhenguan in the Tang Dynasty (636 AD). In order to commemorate the six war horses he rode in the founding war of the emperial China, King Li Shimin of the Tang Dynasty ordered the painter Yan Liben to draw the figures of the six horses, and then the engraver Yan Lide copied and carved them on the stone. The great calligrapher Ouyang Xun of the time made the Tang The hymn book written by Taizong himself is on the upper corner of the original stone. After they were carved, they were placed in the altar at the northern foot of Zhaoling. In order, they are "Teqinqiao", "Qingzhui", "Shivachi", "Saluzi", "Quanmaojun" and "Baitiwu". Among them, two horses, "Sa Lu Zi" and "Fist Mao Jun", were dispersed overseas in 1914 and are now in the Museum of Archeology and Anthropology at the University of Pennsylvania (Penn Museum) in the United States. Each piece of Zhaoling Six Horses is 2.5 meters high and 3 meters wide. The six horses are vividly reproduced on the stone slab in the form of high relief. Three of them are standing and three are galloping. They have handsome postures, valiant charm, vivid shapes, and expressive eyebrows. It can be said that "the king of Qin conquered the world with his cavalry, and the six horses were outstanding in painting but also worried." Mr. Lu Xun praised Six Horses as an "unprecedented" masterpiece.
Bodhisattva Head, 3D model
- Title Translation: 菩萨头 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
Bodhisattva Seated, 3D model
- Title Translation: 菩萨坐像 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
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)
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.
Buddha Hand, 3D model
- Title Translation: 佛手 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
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.
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
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.
Pratyekabuddha Standing
- Title Translation: 立缘觉佛
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves