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Tianlongshan Caves
- Title Translation: 天龙山石窟
- Period: Eastern Wei, Northern Qi, Sui, Tang, 534-907 C.E.
- Project: Tianlongshan Caves
Tianlongshan Caves
- Title Translation: 天龙山石窟
- Period: Eastern Wei, Northern Qi, Sui, Tang, 534-907 C.E.
- Project: Tianlongshan Caves
Flying Divinity, 3D model
- Title Translation: 飞天 , 3D 模型
- Period: Eastern Wei, 534-550 C.E.
- Project: Tianlongshan Caves
- Work Description: The flying divinity hovering above clouds is one of four such figures carved in relief on the ceiling of Cave 3.
Disciple Relief, 3D model
- Title Translation: 弟子浮雕 , 3D 模型
- 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, 3D model
- Title Translation: 信徒浮雕 , 3D 模型
- Period: Eastern Wei, 534-550 C.E.
- Project: Tianlongshan Caves
- Work Description: Relief carvings of Buddhist worshipers appeared on the lower level of the walls of Caves 2 and 3.
Buddha Head, 3D model
- Title Translation: 佛头 , 3D 模型
- 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.
Seated Maitreya
- Title Translation: 弥勒坐像
- Period: Northern Wei, Tang, 386–534 C.E., 618–907 C.E.
- Project: Longmen Other Caves
Fengxian Temple (Fengxiansi), Vairocana Buddha
- Title Translation: 奉先寺 , 毗卢遮那佛
- 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.
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.
Guanyin Bodhisattva
- Title Translation: 观音菩萨
- Period: Yuan, 1279-1368 C.E.
- Project: Dispersed Buddhist Sculptures
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
Bodhisattva Seated
- Title Translation: 菩萨坐像
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves