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1001 - 1025 of 3127 Records
Northern Xiangtangshan, North Cave, interior
- Title Translation: 北响堂山北洞 , 内部
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The North Cave, also known as the Great Buddha Cave, is the largest and earliest of the Xiangtangshan caves. It has a masterful design that encompasses concepts of time and space in a Buddhist cosmology, and it can be associated with the founding of the Northern Qi dynasty. The facade is damaged from natural erosion and a severe earthquake in the sixteenth century. The entrance has been reconstructed of blocks of stone. There are traces of what appears to have been a domed roof at the top, above the three windows that provide light to the cave interior. Inside the cave there is a massive four-sided central pillar, into which the three principal Buddha images of colossal size, representing the Buddhas of the Three Ages—Past, Present, and Future—are carved. Each of the seated Buddhas is flanked by two standing bodhisattvas. Around the walls and at the top of the central pillar are smaller Buddhas, bodhisattvas, and other divinities, including earth spirits, heavenly apsarases, and also demons vividly rendered in high relief. Deities and nature spirits from countless realms and ages of the cosmos are thus seen to be brought together by the power of the Dharma or Buddhist wisdom. The carving is masterful with figural sculptures, flaming haloes, and domed stupa-shaped niches surrounded by lotus blossoms, glowing jewels, and ornamental patterns, all worked and finished with great skill. There are small caves on either side of the North Cave courtyard. The one on the south side also appears to be of Northern Qi origin. The main images are now damaged or removed, and additional carvings were added to the east wall in the Song. The central Buddha figure, now headless is seated on a square Sumeru throne with a lotus flower base. Behind him, there is a large flaming aureole carved in relief. He was accompanied by six attendant figures, two of which were free-standing and are now missing. Traces of the other four figures still remain.
Northern Xiangtangshan, North Cave, interior
- Title Translation: 北响堂山北洞 , 内部
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The North Cave, also known as the Great Buddha Cave, is the largest and earliest of the Xiangtangshan caves. It has a masterful design that encompasses concepts of time and space in a Buddhist cosmology, and it can be associated with the founding of the Northern Qi dynasty. The facade is damaged from natural erosion and a severe earthquake in the sixteenth century. The entrance has been reconstructed of blocks of stone. There are traces of what appears to have been a domed roof at the top, above the three windows that provide light to the cave interior. Inside the cave there is a massive four-sided central pillar, into which the three principal Buddha images of colossal size, representing the Buddhas of the Three Ages—Past, Present, and Future—are carved. Each of the seated Buddhas is flanked by two standing bodhisattvas. Around the walls and at the top of the central pillar are smaller Buddhas, bodhisattvas, and other divinities, including earth spirits, heavenly apsarases, and also demons vividly rendered in high relief. Deities and nature spirits from countless realms and ages of the cosmos are thus seen to be brought together by the power of the Dharma or Buddhist wisdom. The carving is masterful with figural sculptures, flaming haloes, and domed stupa-shaped niches surrounded by lotus blossoms, glowing jewels, and ornamental patterns, all worked and finished with great skill. There are small caves on either side of the North Cave courtyard. The one on the south side also appears to be of Northern Qi origin. The main images are now damaged or removed, and additional carvings were added to the east wall in the Song. The central Buddha figure, now headless is seated on a square Sumeru throne with a lotus flower base. Behind him, there is a large flaming aureole carved in relief. He was accompanied by six attendant figures, two of which were free-standing and are now missing. Traces of the other four figures still remain.
Northern Xiangtangshan, South Cave, east wall, north side, attendants
- Title Translation: 北响堂山南洞 , 东壁、北侧、侍从
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The South Cave at Northern Xiangtangshan, like the Middle Cave, preserves its original stupa-form with domed roof and a porch in front. An additional small cave is carved into the dome. The main chamber is an open chamber space with images set around three walls. Each altar has a central Buddha surrounded by six standing figures including bodhisattvas, disciples and pratyekabuddhas. Smaller Buddhas appear in rows on the upper level of the cave. On the ceiling a large lotus blossom is carved in relief. The work on the cave appears to have been begun, then interrupted, and resumed later by different craftsmen. The main sculpted images show signs of having been created in two stages, with the later mode of carving evident in the group of images on the back wall. The stylistic difference is also evident in the appearance of the heads of figures taken from the cave and now located in museums and private collections outside China. In addition to its sculptural art, the South Cave is very important for its extensive engravings of Buddhist scriptures in stone. These are located inside the cave on the entrance wall, inside the porch, on the exterior wall of the porch, and extending onto the north wall of the courtyard. At the end of the sutra texts, the dedicatory stele of Tang Yong records that the engravings were carried out in the years from 568-572.
Northern Xiangtangshan, South Cave, east wall, altar, south side
- Title Translation: 北响堂山南洞 , 东壁、祭坛、南侧
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The South Cave at Northern Xiangtangshan, like the Middle Cave, preserves its original stupa-form with domed roof and a porch in front. An additional small cave is carved into the dome. The main chamber is an open chamber space with images set around three walls. Each altar has a central Buddha surrounded by six standing figures including bodhisattvas, disciples and pratyekabuddhas. Smaller Buddhas appear in rows on the upper level of the cave. On the ceiling a large lotus blossom is carved in relief. The work on the cave appears to have been begun, then interrupted, and resumed later by different craftsmen. The main sculpted images show signs of having been created in two stages, with the later mode of carving evident in the group of images on the back wall. The stylistic difference is also evident in the appearance of the heads of figures taken from the cave and now located in museums and private collections outside China. In addition to its sculptural art, the South Cave is very important for its extensive engravings of Buddhist scriptures in stone. These are located inside the cave on the entrance wall, inside the porch, on the exterior wall of the porch, and extending onto the north wall of the courtyard. At the end of the sutra texts, the dedicatory stele of Tang Yong records that the engravings were carried out in the years from 568-572.
Northern Xiangtangshan, South Cave, east wall, bodhisattva, south side
- Title Translation: 北响堂山南洞 , 东壁、菩萨、南侧
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The South Cave at Northern Xiangtangshan, like the Middle Cave, preserves its original stupa-form with domed roof and a porch in front. An additional small cave is carved into the dome. The main chamber is an open chamber space with images set around three walls. Each altar has a central Buddha surrounded by six standing figures including bodhisattvas, disciples and pratyekabuddhas. Smaller Buddhas appear in rows on the upper level of the cave. On the ceiling a large lotus blossom is carved in relief. The work on the cave appears to have been begun, then interrupted, and resumed later by different craftsmen. The main sculpted images show signs of having been created in two stages, with the later mode of carving evident in the group of images on the back wall. The stylistic difference is also evident in the appearance of the heads of figures taken from the cave and now located in museums and private collections outside China. In addition to its sculptural art, the South Cave is very important for its extensive engravings of Buddhist scriptures in stone. These are located inside the cave on the entrance wall, inside the porch, on the exterior wall of the porch, and extending onto the north wall of the courtyard. At the end of the sutra texts, the dedicatory stele of Tang Yong records that the engravings were carried out in the years from 568-572.
Bodhisattva Avalokiteshvara (Guanyin) with 11 heads
- Title Translation: 十一头观世音菩萨
- Period: Tang, 703 C.E.
- Project: Guangzhai Temple Qibaotai Pagoda
- Work Description: High relief carving of Guanyin of Eleven Heads standing on a lotus pedestal set within a recessed niche, which is decorated with two flying celestial beings, or apsaras. In relief within a recess. Color, gray, with gray-brown patina. Limestone.
Gathering of Buddhas and Bodhisattvas
- Title Translation: 诸佛菩萨云集
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
The Eleven-Headed Bodhisattva Avalokiteśvara in a Niche
- Title Translation: 十一面观音龛
- Period: Tang, 703 C.E.
- Project: Guangzhai Temple Qibaotai Pagoda
Buddha with Two Attendants in a Niche
- Title Translation: 如来三尊佛龛
- Period: Tang, 703 C.E.
- Project: Guangzhai Temple Qibaotai Pagoda
Cave 8
- Title Translation: 第八窟
- Period: Sui, 581-618 C.E.
- Project: Tianlongshan Caves
- Work Description: Cave 8 is the largest of the caves at Tianlongshan with the exception of Cave 9, the colossal Buddha cave. It is the only central pillar cave at the site and the only cave known to be of the Sui dynasty (581-618). It has a porch three bays wide that is largely preserved. The traces of two guardian figures standing at the sides of the entrance can still be seen. At the right side of the porch there is a stele with a long inscription dated to the fourth year of the kaihuang reign period, or 584. It records the persecution of Buddhism in the preceding Northern Zhou period after the conquest of Northern Qi, and its restoration with the rise of the Sui dynasty. The cave is dedicated by a Sui official to the well-being of the Sui emperor Wen (r. 581-604) and his son Yang Guang, the prince of Jin. The main chamber of Cave 8 is square in plan with a large square central pillar. It has three niches around the back and side walls and four niches on the central pillar, each with a central seated Buddha and standing attendants.
Cave 8
- Title Translation: 第八窟
- Period: Sui, 581-618 C.E.
- Project: Tianlongshan Caves
- Work Description: Cave 8 is the largest of the caves at Tianlongshan with the exception of Cave 9, the colossal Buddha cave. It is the only central pillar cave at the site and the only cave known to be of the Sui dynasty (581-618). It has a porch three bays wide that is largely preserved. The traces of two guardian figures standing at the sides of the entrance can still be seen. At the right side of the porch there is a stele with a long inscription dated to the fourth year of the kaihuang reign period, or 584. It records the persecution of Buddhism in the preceding Northern Zhou period after the conquest of Northern Qi, and its restoration with the rise of the Sui dynasty. The cave is dedicated by a Sui official to the well-being of the Sui emperor Wen (r. 581-604) and his son Yang Guang, the prince of Jin. The main chamber of Cave 8 is square in plan with a large square central pillar. It has three niches around the back and side walls and four niches on the central pillar, each with a central seated Buddha and standing attendants.
Cave 8
- Title Translation: 第八窟
- Period: Sui, 581-618 C.E.
- Project: Tianlongshan Caves
- Work Description: Cave 8 is the largest of the caves at Tianlongshan with the exception of Cave 9, the colossal Buddha cave. It is the only central pillar cave at the site and the only cave known to be of the Sui dynasty (581-618). It has a porch three bays wide that is largely preserved. The traces of two guardian figures standing at the sides of the entrance can still be seen. At the right side of the porch there is a stele with a long inscription dated to the fourth year of the kaihuang reign period, or 584. It records the persecution of Buddhism in the preceding Northern Zhou period after the conquest of Northern Qi, and its restoration with the rise of the Sui dynasty. The cave is dedicated by a Sui official to the well-being of the Sui emperor Wen (r. 581-604) and his son Yang Guang, the prince of Jin. The main chamber of Cave 8 is square in plan with a large square central pillar. It has three niches around the back and side walls and four niches on the central pillar, each with a central seated Buddha and standing attendants.
Cave 8
- Title Translation: 第八窟
- Period: Sui, 581-618 C.E.
- Project: Tianlongshan Caves
- Work Description: Cave 8 is the largest of the caves at Tianlongshan with the exception of Cave 9, the colossal Buddha cave. It is the only central pillar cave at the site and the only cave known to be of the Sui dynasty (581-618). It has a porch three bays wide that is largely preserved. The traces of two guardian figures standing at the sides of the entrance can still be seen. At the right side of the porch there is a stele with a long inscription dated to the fourth year of the kaihuang reign period, or 584. It records the persecution of Buddhism in the preceding Northern Zhou period after the conquest of Northern Qi, and its restoration with the rise of the Sui dynasty. The cave is dedicated by a Sui official to the well-being of the Sui emperor Wen (r. 581-604) and his son Yang Guang, the prince of Jin. The main chamber of Cave 8 is square in plan with a large square central pillar. It has three niches around the back and side walls and four niches on the central pillar, each with a central seated Buddha and standing attendants.
Cave 9
- Title Translation: 第九窟
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: Cave 9 was cut into the eastern edge of the western section at Tianlongshan in the Tang dynasty. It consists of a huge niche with two levels. The upper level is set back and has a massive colossal Maitreya Buddha image more than 7.5 meters high, seated with his back against the cliff and his head reaching nearly to the cliff top. The lower level has three large bodhisattvas carved in the round, a central standing eleven-headed Avalokitesvara (Guanyin) and two seated bodhisattvas at the sides, each riding on an animal. The Guanyin figure stands 5.5 meters high. Its head is a modern replacement for the original one. The bodhisattva on the east side, mounted on an elephant, is Samantabhadra (Puxian), and the one on the west side, sitting on a lion, is Manjusri (Wenshu). The large group of carvings is protected by a tall wooden structure that was reconstructed in recent times. The original building, believed to be from the Tang, was repaired in the tenth century, as recorded on the stele dated 975 preserved at the site.
Cave 9
- Title Translation: 第九窟
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: Cave 9 was cut into the eastern edge of the western section at Tianlongshan in the Tang dynasty. It consists of a huge niche with two levels. The upper level is set back and has a massive colossal Maitreya Buddha image more than 7.5 meters high, seated with his back against the cliff and his head reaching nearly to the cliff top. The lower level has three large bodhisattvas carved in the round, a central standing eleven-headed Avalokitesvara (Guanyin) and two seated bodhisattvas at the sides, each riding on an animal. The Guanyin figure stands 5.5 meters high. Its head is a modern replacement for the original one. The bodhisattva on the east side, mounted on an elephant, is Samantabhadra (Puxian), and the one on the west side, sitting on a lion, is Manjusri (Wenshu). The large group of carvings is protected by a tall wooden structure that was reconstructed in recent times. The original building, believed to be from the Tang, was repaired in the tenth century, as recorded on the stele dated 975 preserved at the site.
Cave 9
- Title Translation: 第九窟
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: Cave 9 was cut into the eastern edge of the western section at Tianlongshan in the Tang dynasty. It consists of a huge niche with two levels. The upper level is set back and has a massive colossal Maitreya Buddha image more than 7.5 meters high, seated with his back against the cliff and his head reaching nearly to the cliff top. The lower level has three large bodhisattvas carved in the round, a central standing eleven-headed Avalokitesvara (Guanyin) and two seated bodhisattvas at the sides, each riding on an animal. The Guanyin figure stands 5.5 meters high. Its head is a modern replacement for the original one. The bodhisattva on the east side, mounted on an elephant, is Samantabhadra (Puxian), and the one on the west side, sitting on a lion, is Manjusri (Wenshu). The large group of carvings is protected by a tall wooden structure that was reconstructed in recent times. The original building, believed to be from the Tang, was repaired in the tenth century, as recorded on the stele dated 975 preserved at the site.
Cave 9
- Title Translation: 第九窟
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: Cave 9 was cut into the eastern edge of the western section at Tianlongshan in the Tang dynasty. It consists of a huge niche with two levels. The upper level is set back and has a massive colossal Maitreya Buddha image more than 7.5 meters high, seated with his back against the cliff and his head reaching nearly to the cliff top. The lower level has three large bodhisattvas carved in the round, a central standing eleven-headed Avalokitesvara (Guanyin) and two seated bodhisattvas at the sides, each riding on an animal. The Guanyin figure stands 5.5 meters high. Its head is a modern replacement for the original one. The bodhisattva on the east side, mounted on an elephant, is Samantabhadra (Puxian), and the one on the west side, sitting on a lion, is Manjusri (Wenshu). The large group of carvings is protected by a tall wooden structure that was reconstructed in recent times. The original building, believed to be from the Tang, was repaired in the tenth century, as recorded on the stele dated 975 preserved at the site.
Cave 9
- Title Translation: 第九窟
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: Cave 9 was cut into the eastern edge of the western section at Tianlongshan in the Tang dynasty. It consists of a huge niche with two levels. The upper level is set back and has a massive colossal Maitreya Buddha image more than 7.5 meters high, seated with his back against the cliff and his head reaching nearly to the cliff top. The lower level has three large bodhisattvas carved in the round, a central standing eleven-headed Avalokitesvara (Guanyin) and two seated bodhisattvas at the sides, each riding on an animal. The Guanyin figure stands 5.5 meters high. Its head is a modern replacement for the original one. The bodhisattva on the east side, mounted on an elephant, is Samantabhadra (Puxian), and the one on the west side, sitting on a lion, is Manjusri (Wenshu). The large group of carvings is protected by a tall wooden structure that was reconstructed in recent times. The original building, believed to be from the Tang, was repaired in the tenth century, as recorded on the stele dated 975 preserved at the site.
Cave 9
- Title Translation: 第九窟
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: Cave 9 was cut into the eastern edge of the western section at Tianlongshan in the Tang dynasty. It consists of a huge niche with two levels. The upper level is set back and has a massive colossal Maitreya Buddha image more than 7.5 meters high, seated with his back against the cliff and his head reaching nearly to the cliff top. The lower level has three large bodhisattvas carved in the round, a central standing eleven-headed Avalokitesvara (Guanyin) and two seated bodhisattvas at the sides, each riding on an animal. The Guanyin figure stands 5.5 meters high. Its head is a modern replacement for the original one. The bodhisattva on the east side, mounted on an elephant, is Samantabhadra (Puxian), and the one on the west side, sitting on a lion, is Manjusri (Wenshu). The large group of carvings is protected by a tall wooden structure that was reconstructed in recent times. The original building, believed to be from the Tang, was repaired in the tenth century, as recorded on the stele dated 975 preserved at the site.
Cave 9
- Title Translation: 第九窟
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: Cave 9 was cut into the eastern edge of the western section at Tianlongshan in the Tang dynasty. It consists of a huge niche with two levels. The upper level is set back and has a massive colossal Maitreya Buddha image more than 7.5 meters high, seated with his back against the cliff and his head reaching nearly to the cliff top. The lower level has three large bodhisattvas carved in the round, a central standing eleven-headed Avalokitesvara (Guanyin) and two seated bodhisattvas at the sides, each riding on an animal. The Guanyin figure stands 5.5 meters high. Its head is a modern replacement for the original one. The bodhisattva on the east side, mounted on an elephant, is Samantabhadra (Puxian), and the one on the west side, sitting on a lion, is Manjusri (Wenshu). The large group of carvings is protected by a tall wooden structure that was reconstructed in recent times. The original building, believed to be from the Tang, was repaired in the tenth century, as recorded on the stele dated 975 preserved at the site.
Cave 10
- Title Translation: 第十窟
- Period: Northern Qi, 550-577 C.E.
- Project: Tianlongshan Caves
- Work Description: Cave 10 is a Northern Qi cave that is just west of the colossal sculptures and wooden structure of Cave 9. It is accessible through an opening in the east wall adjacent to Cave 9. The entrance porch is now high above path in front of the cave. Still partially preserved on the west side, it has one large pillar remaining on the west side. The entrance porch has two guardian figures standing outside, one of which mostly remains. Like the other caves of the Northern Qi period at Tianlongshan, this is one of the larger caves, its interior a square chamber more than three meters on each side with figures carved on four walls. There are recessed niches on the back and side walls that contain most of the principle sculptural images. Smaller figures of musicians and lions appear along the front of the low altar.
Buddha Head
- Title Translation: 佛头
- Period: Northern Qi, 550-577 C.E.
- Project: Tianlongshan Caves
- Work Description: This Buddha head is from main image in the niche on the west wall of Cave 16.
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 formerly in Cave 17 on the east wall, north side. The body is now in the Nelson Atkins Museums of Art.
Buddha Head
- Title Translation: 佛头
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: The Buddha head is believed to be from the north wall of Cave 5.
Bodhisattva Standing
- Title Translation: 立菩萨
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: historical photographs show that the standing figure is from the east wall of Cave 14. The hands in front of the torso were already missing in the last century. The head is now in the British Museum.