CENTER FOR THE ART OF EAST ASIA
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71 Nelson-Atkins Museum of Art 60 Philadelphia Museum of Art 54 Harvard Art Museums 40 National Museum of Asian Art 33 Osaka City Museum of Fine Arts 32 private collection 31 unknown 29 Tokyo National Museum 23 Museum Rietberg 20 University of Pennsylvania, Museum of Archaeology and Anthropology 19 Metropolitan Museum of Art 14 Nezu Art Museum 13 Asian Art Museum of San Francisco 12 Cleveland Museum of Art 12 Museum of Fine Arts, Boston 11 British Museum 10 Columbia University 10 Museo nazionale d’arte orientale 8 Rijksmuseum voor Volkenkunde 7 Honolulu Museum of Art 7 San Diego Museum of Art 6 Barnes Foundation 6 Koninklijk Instituut voor het Kunstpatrimonium 6 National Museum of China 6 Victoria and Albert Museum 5 Cincinnati Art Museum 5 Tsz Shan Monastery Buddhist Art Museum 4 Art Institute of Chicago 4 Museum für Ostasiatische Kunst 4 Museum of Far Eastern Antiquities 4 Royal Ontario Museum 4 University of Tokyo, Museum of Art and History 3 Columbia University, Avery Architectural and Fine Arts Library 2 Clark Art Institute 2 Detroit Institute of Arts 2 Guimet Museum 2 Harvard Library 2 Idemitsu Museum of Art 2 J. J. Lally & Co. New York 2 Kyushu National Museum 2 Masaki Art Museum 2 Miho Museum 2 Minneapolis Institute of Arts 2 Museum of Oriental Ceramics, Osaka 2 Nara National Museum 2 Ohara Museum of Art 2 Rijksmuseum 2 Seattle Art Museum 2 Villa I Tatti 2 Virginia Museum of Fine Arts 2 Wadsworth Atheneum 1 Aurora Art Museum 1 Brooklyn Museum of Art 1 Cernuschi Museum 1 Kosetsu Museum of Art 1 Morgan Library & Museum 1 Nezu Museum 1 Palace Museum 1 Portland Art Museum 1 Rhode Island School of Design, Museum of Art
Cave 2
  • Title Translation: 第二窟
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 2 and 3, the paired caves, are believed to be from the Eastern Wei period and are the earliest caves at Tianlongshan. They are located on the eastern side of the Tianlongshan caves site and below the upper level caves. Cave 2 is on the right. The caves are distinctive for the many relief carvings on the walls and ceiling, most of which have been removed.

Cave 3
  • Title Translation: 第三窟
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Like Cave 2, Cave 3 has a square plan with Buddha and bodhisattva images with relief carvings on three walls.

Cave 3
  • Title Translation: 第三窟
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Like Cave 2, Cave 3 has a square plan with Buddha and bodhisattva images with relief carvings on three walls.

Cave 3
  • Title Translation: 第三窟
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Like Cave 2, Cave 3 has a square plan with Buddha and bodhisattva images with relief carvings on three walls.

Cave 4
  • Title Translation: 第四窟
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 4 is a small cave of the Tang dynasty. The existing porch in front of the entrance is about 1.5 meters wide. There were originally seven sculpted figures in the cave, a seated Buddha on the back wall, two seated bodhisattvas in the corners on the east and west side, and four standing figures. Most have been cut away.

Cave 4
  • Title Translation: 第四窟
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 4 is a small cave of the Tang dynasty. The existing porch in front of the entrance is about 1.5 meters wide. There were originally seven sculpted figures in the cave, a seated Buddha on the back wall, two seated bodhisattvas in the corners on the east and west side, and four standing figures. Most have been cut away.

Cave 4
  • Title Translation: 第四窟
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 4 is a small cave of the Tang dynasty. The existing porch in front of the entrance is about 1.5 meters wide. There were originally seven sculpted figures in the cave, a seated Buddha on the back wall, two seated bodhisattvas in the corners on the east and west side, and four standing figures. Most have been cut away.

Cave 5
  • Title Translation: 第五窟
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 5 is a small Tang dynasty cave whose front wall is now missing so that its original plan and contents are now unknown. Two seated images remain, a Buddha and bodhisattva.

Longmen Binyang Central Cave, north wall bodhisattva
  • Title Translation: 龙门宾阳中洞 , 北壁菩萨
  • 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.

Longmen Binyang Central Cave, entrance north side upper portion
  • Title Translation: 龙门宾阳中洞 , 入口北侧上部
  • 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.

Longmen Binyang Central Cave, Exterior view of Caves 104, 140, and 159 of Longmen Grottoes (Three Binyang Caves)
  • Title Translation: 龙门宾阳中洞 , 龙门石窟第104、 140、159窟(宾阳三洞）外景
  • 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.

Longmen Binyang Central Cave, The outer wall of Cave 140 (Binyang Central Cave) (both sides of the cave door, including Caves 114-117, 155, 156, 164, 165, 173, 174, 176-179)
  • Title Translation: 龙门宾阳中洞 , 第140窟（宾阳中洞）外壁（窟门两侧，包括第114~117、 155. 156、 164、165、 173、174、176～179窟)
  • 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.

Longmen Binyang Central Cave, North Wall of Cave 140 and the North Wall of the doorway
  • Title Translation: 龙门宾阳中洞 , 第140窟北壁及门道北壁
  • 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.

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.

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.

Buddha Head
  • Title Translation: 佛头
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The source of this head was probably a smaller cave at Tianlongshan.

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.

Guardian Head
  • Title Translation: 天王、护法力士头
  • Period: Northern Qi, 550-577 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The head is from a figure dressed in military garb, formerly standing inside Cave 16 on the east side of the entrance.

Buddha Head
  • Title Translation: 佛头
  • Period: Northern Qi, 550-577 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The large head is from the niche on the west wall of Cave 1.

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.

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.

Buddha Head
  • Title Translation: 佛头
  • Period: unknown, unknown
  • Project: Tianlongshan Caves
  • Work Description: Because the Buddha head appears to be carved of limestone with the upper portion restored, it cannot be identified with any of the Tianlongshan caves.

Buddha Head
  • Title Translation: 佛头
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The snail shell curls of the hair are unusual on Tang dynasty Buddhas at Tianlongshan. The specific cave from which it comes is uncertain.

Dragon Finial
  • Title Translation: 龙顶
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The head of a dragon is a finial from the top of a column in Cave 2.

Flying Divinity
  • Title Translation: 飞天
  • Period: Northern Qi, 550-577 C.E.
  • Project: Tianlongshan Caves
  • Work Description: This heavenly musician from Cave16 plays the sheng, a wind instrument consisting of a cluster of bamboo pipes joined at the bottom.