CENTER FOR THE ART OF EAST ASIA
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71 Nelson-Atkins Museum of Art 61 Philadelphia Museum of Art 53 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 Tsz Shan Monastery Buddhist Art Museum 4 Cincinnati Art Museum 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 Art Institute of Chicago 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 National Gallery of Victoria 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
Northern Xiangtangshan, South Cave, east wall, south side
  • Title Translation: 北响堂山南洞 , 东壁、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, north side
  • Title Translation: 北响堂山南洞 , 东壁、北侧
  • 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, north wall, altar base, east side, relief of monk, drummer, and sheng
  • Title Translation: 北响堂山南洞 , 北壁、坛基、东侧、僧鼓笙浮雕
  • 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.

Buddha Head
  • Title Translation: 佛头
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The head is that of the seated Maitreya Buddha on the east wall of Cave 6.

Bodhisattva Relief
  • Title Translation: 菩萨浮雕
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The relief sculpture is a composite of numerous fragments.

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

Bodhisattva Standing
  • Title Translation: 立菩萨
  • Period: unknown, unknown
  • Project: Tianlongshan Caves
  • Work Description: The reddish sandstone figure is not known to be from any of the Tianlongshan caves.

Guardian Standing
  • Title Translation: 天王、护法力士立像
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The muscular body and fierce expression of this door guardian from Cave 17 create a vivid impression of strength.

Bodhisattva Standing
  • Title Translation: 立菩萨
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: This figure and the other standing bodhisattva in the Nelson-Atkins Museum of Art are a pair that once stood on opposite walls of Cave 4.

Flying Divinity
  • Title Translation: 飞天
  • Period: unknown, unknown
  • Project: Tianlongshan Caves
  • Work Description: The flying figure is very similar to apsarases from Caves 2 and 3, but it cannot be attributed to any known cave.

Flying Divinity
  • Title Translation: 飞天
  • Period: unknown, unknown
  • Project: Tianlongshan Caves
  • Work Description: The flying divinity carving is not known to be from any existing cave at Tianlongshan.

Flying Divinity
  • Title Translation: 飞天
  • Period: unknown, unknown
  • Project: Tianlongshan Caves
  • Work Description: The flying divinity is attributed to Tianlongshan, but it is not known to be from any existing cave at the site.

Lion Torso
  • Title Translation: 狮身
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The lion is believed to be the mount of the bodhisattva Manjusri formerly in Cave 20.

Flying Divinity
  • Title Translation: 飞天
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The fluttering scarves and clouds surrounding the figure give it a sense of flight and movement.

Flying Divinity
  • Title Translation: 飞天
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The heavenly figure in flight looking backward is from the ceiling of Cave 3.

Disciple Relief
  • Title Translation: 弟子浮雕
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The elderly disciple Kasyapa, together with the youthful Ananda, represent the Buddha's initial monastic followers.

Flying Divinity
  • Title Translation: 飞天
  • Period: unknown, unknown
  • Project: Tianlongshan Caves
  • Work Description: The flying divinity playing a drum is not known to be from any existing Tianlongshan cave.

Disciple Relief
  • Title Translation: 弟子浮雕
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Two figures of disciples, one youthful and one elderly, frequently appear together as attendants of the Buddha.

Disciple Relief
  • Title Translation: 弟子浮雕
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The elderly disciple Kasyapa holds an incense burner in his hands.

Devotee Relief
  • Title Translation: 信徒浮雕
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The devotees hold an incense burner and long-stemmed lotus buds as offerings.

Bodhisattva Torso
  • Title Translation: 菩萨身
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The torso appears to be from a standing bodhisattva on the east wall of Cave 6.

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 one of the military-looking guardian figures on the west side of the porch outside of Cave 16.

Bodhisattva Standing
  • Title Translation: 立菩萨
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The figure is likely to be from one of the smaller caves at Tianlongshan where it stood as an attendant to the Buddha with hands held together in reverence.

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.

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 figure is from the south wall west side of Cave 10. Its head is not original.