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Upper Guangsheng Temple, Sakyamuni Hall (or Daxiong Bodian), iron luohan images
  • Title Translation: 广胜上寺 , 大雄宝殿, 铁罗汉像
  • Period: Eastern Han, Ming, 147 C.E., 1368-1644 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The upper temple complex comprises the mountain gate, the Flying Rainbow Tower, the Amitabha Hall, the Great Hall, the Vairochana Hall, the Kwan-yin Hall, the Ksitigarbha Hall, as well as wing-rooms and corridors, among other features. The Mountain Gate, situated at the entrance, is flanked by two guardian warriors. Just beyond the gate stands the impressive Flying Rainbow Tower, constructed from colored glaze bricks. Originally built during the Eastern Han Dynasty (25-220) and later restored in the Ming Dynasty (1368-1644), this thirteen-story tower soars to a height of 47.31 meters, featuring an octagonal plan. The tower is adorned with tri-colored glaze in yellow, green, and blue, creating a splendid and vibrant spectacle. Elaborate wooden square blocks and intricately carved designs of Buddha, Bodhisattvas, guardian warriors, flowers, birds, and animals adorn the eaves and pillars. Corridors encircle the first story, while the tower’s interior houses only the stairs leading to the tenth floor, showcasing remarkable architectural and artistic prowess.
147
1644

Upper Guangsheng Temple, Vairocana Hall (or Pilu Temple or Tianzhongtian Temple) and incense burner
  • Title Translation: 广胜上寺 , 毗卢殿（或毗卢寺或天中天寺）和香炉
  • Period: Eastern Han, Ming, 147 C.E., 1368-1644 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The upper temple complex comprises the mountain gate, the Flying Rainbow Tower, the Amitabha Hall, the Great Hall, the Vairochana Hall, the Kwan-yin Hall, the Ksitigarbha Hall, as well as wing-rooms and corridors, among other features. The Mountain Gate, situated at the entrance, is flanked by two guardian warriors. Just beyond the gate stands the impressive Flying Rainbow Tower, constructed from colored glaze bricks. Originally built during the Eastern Han Dynasty (25-220) and later restored in the Ming Dynasty (1368-1644), this thirteen-story tower soars to a height of 47.31 meters, featuring an octagonal plan. The tower is adorned with tri-colored glaze in yellow, green, and blue, creating a splendid and vibrant spectacle. Elaborate wooden square blocks and intricately carved designs of Buddha, Bodhisattvas, guardian warriors, flowers, birds, and animals adorn the eaves and pillars. Corridors encircle the first story, while the tower’s interior houses only the stairs leading to the tenth floor, showcasing remarkable architectural and artistic prowess.
147
1644

Upper Guangsheng Temple, Sakyamuni Hall (or Daxiong Bodian), interior
  • Title Translation: 广胜上寺 , 大雄宝殿, 内部
  • Period: Eastern Han, Ming, 147 C.E., 1368-1644 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The upper temple complex comprises the mountain gate, the Flying Rainbow Tower, the Amitabha Hall, the Great Hall, the Vairochana Hall, the Kwan-yin Hall, the Ksitigarbha Hall, as well as wing-rooms and corridors, among other features. The Mountain Gate, situated at the entrance, is flanked by two guardian warriors. Just beyond the gate stands the impressive Flying Rainbow Tower, constructed from colored glaze bricks. Originally built during the Eastern Han Dynasty (25-220) and later restored in the Ming Dynasty (1368-1644), this thirteen-story tower soars to a height of 47.31 meters, featuring an octagonal plan. The tower is adorned with tri-colored glaze in yellow, green, and blue, creating a splendid and vibrant spectacle. Elaborate wooden square blocks and intricately carved designs of Buddha, Bodhisattvas, guardian warriors, flowers, birds, and animals adorn the eaves and pillars. Corridors encircle the first story, while the tower’s interior houses only the stairs leading to the tenth floor, showcasing remarkable architectural and artistic prowess.
147
1644

Bodhisattva Avalokiteshvara (Guanyin) Head
  • Title Translation: 观世音菩萨（观音）头
  • Period: Northern Wei, 493–534 C.E.
  • Project: Sculptures in Longmen 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.
493 - 534

Standing Eleven-headed Kannon (Ekādaśamukha Avalokiteśvara)
  • Title Translation: 十一面观音 (依卡达萨穆哈)
  • Period: Tang, 703 C.E.
  • Project: Guangzhai Temple Qibaotai Pagoda
  • Work Description: This image is one of the seven statues of Eleven-Headed Guanyin (Jūichimen Kannon) from the statue group in Baoqinsi Temple in China’s present-day Xi’an, Shaanxi Province. The right hand holds a seal with the words “Extinguish Sin.” This attribute reflects belief in Avalokiteśvara’s capacities at expiating bad karma.
703

Bodhisattva Seated
  • Title Translation: 菩萨坐像
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
550 - 577

Monster Kneeling
  • Title Translation: 菩萨立像
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: Standing Bodhisattva, robed, holding flywhisk and unidentified object.
550 - 577

Bodhisattva Head
  • Title Translation: 菩萨头
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: This is the head of the bodhisattva Maitreya, who is thought to be waiting in a heaven for the moment when he will be born to become the next Buddha on this earth. The expression on his face is serene as he waits in meditative bliss. Ribbons stream down the sides of his head from the beautifully articulated crown. Heavy earrings pull his earlobes down to his shoulders.
550 - 577

Bodhisattva Seated
  • Title Translation: 菩萨坐像
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: With beautifully stylized drapery and heavy ornaments, this bodhisattva looks powerful and introspective, seated in a yogic posture of meditation. His right hand is held up in a gesture that means, “Do not be afraid.” His left hand is in the gift-giving gesture. These hand positions simultaneously reassure supplicants and promise them that their pious wishes will be granted.
550 - 577

Northern Xiangtangshan, Middle Cave, archway
  • Title Translation: 北响堂山中洞 , 拱道
  • Period: Northern Qi, Ming, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: The Middle Cave, the second largest of the caves in scale, still has its impressive entrance and large stone porch largely preserved. In recent times, a wooden porch-like structure was added to the front of the cave. Above the eaves of the porch and carved into the stone mountainside, there is a domed roof with a fenced harmika or platform at the top. The single-story stupa with domed roof is a distinctive feature of the design of the Xiangtangshan caves and appears on the walls of the North Cave and on many smaller stone carvings of the middle and late sixth century. Tall armored guardian figures stand under the stone eaves of the porch, and large lions support the columns flanking the door. Walking into the cave, visitors pass under the gaze of two tall bodhisattvas who face the entrance. The Middle Cave, like the great North Cave, has a large central pillar. However, it has only a single large niche deeply cut into the front of the pillar to form an altar on which a Buddha sits on a lotus throne accompanied by two tall standing disciple figures and two bodhisattvas. The base of the central pillar has relief figures of Spirit Kings, lions, and incense burners, much like the North Cave. The cave walls were originally left largely plain, but devotees of the Ming dynasty (1368-1644) added a row of seated Buddhas contained in shallow niches that encircle cave's interior.
550 - 577

Southern Xiangtangshan, seated bodhisattva
  • Title Translation: 南响堂山洞穴群 , 坐菩萨
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: The two main groups of caves are known as Northern and Southern Xiangtangshan. The Northern Group, Bei Xiangtang, is the earliest and largest in scale and has three caves begun with imperial sponsorship; the Southern Group, Nan Xiangtang, has smaller caves numbered from one to seven; and a third site at Shuiyusi, also known as Xiao Xiangtang or “Little Xiangtang,” has one Northern Qi cave with sculptures.
550 - 577

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.
534 - 550

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.
618 - 907

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.
618 - 907

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.
618 - 907

Bodhisattva Head
  • Title Translation: 菩萨头
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The head of the bodhisattva is missing its topknot. Other heads from Cave 18 have had the topknot restored.
618 - 907

Bodhisattva Head
  • Title Translation: 菩萨头
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The head has been attributed to Cave 18.
618 - 907

Bodhisattva Head
  • Title Translation: 菩萨头
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Bodhisattva head likely to be from Buddha niche on east wall of Cave 16.
618 - 907

Longmen Binyang Central Cave, north wall disciple and bodhisattvas
  • Title Translation: 龙门宾阳中洞 , 北壁弟子菩萨
  • 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.
386 - 534

Longmen Binyang Central Cave, central Buddha and northwest corner
  • Title Translation: 龙门宾阳中洞 , 中央大佛及西北角
  • 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.
386 - 534

Dazhi Hall (Dazhidian, Hall of Great Wisdom), three seated bodhisattvas
  • Title Translation: 大智殿 , 三坐菩萨
  • Period: Ming, c. 1444 C.E.
  • Project: Beijing Zhihua Temple
  • Work Description: The Dazhi Hall is located east of the Zhihua Hall and opposite from the Sutra Hall. The hall initially enshrined three bodhisattvas, Avolokiteśvara attended by Mañjuśrī and Samantabhadra on an altar. Though different in function and interior layout, the Dazhi Hall has the exact measurements and structure as the Sutra Hall, its counterpart across from the courtyard.
1444

Dazhi Hall (Dazhidian, Hall of Great Wisdom), seated bodhisattva
  • Title Translation: 大智殿 , 坐菩萨
  • Period: Ming, c. 1444 C.E.
  • Project: Beijing Zhihua Temple
  • Work Description: The Dazhi Hall is located east of the Zhihua Hall and opposite from the Sutra Hall. The hall initially enshrined three bodhisattvas, Avolokiteśvara attended by Mañjuśrī and Samantabhadra on an altar. Though different in function and interior layout, the Dazhi Hall has the exact measurements and structure as the Sutra Hall, its counterpart across from the courtyard.
1444

Lower Guangsheng Temple, front hall (or former Buddha's Temple), interior
  • Title Translation: 广胜下寺 , 前殿(或前佛寺)、内部
  • Period: Eastern Han, Yuan, 147 C.E., 1271-1368 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The lower temple is made up by the temple gate, front hall, back hall (or Daxiong Temple), the buttress hall and other buildings that were all built in the Yuan Dynasty. The temple gate is rather high. It is 3-bay wide and 3-bay long with single-eaved gable and hip roof. Canopies added to the front and back eaves make it like a pavilion with double eaves. The front hall is five-bay wide with only two pillars supporting the whole hall. The back hall (or Daxiong Temple) was built in the second year (1309) of the Zhida reign of the Yuan Dynasty. It is 7-bay wide with 9 purlins, 8 rafters and a single-eaved overhanging gable roof. The main statues in the hall are Amitabha Buddha, Sakyamuni Buddha, Bhaisajyaguru Buddha, Manjusri Bodhisattva, and Samantabhadra Bodhisattva. They were all made in the Yuan Dynasty. Murals were once covered on the walls, but they were removed and shipped to the United States in 1928. The mural on the south wall recorded the performance of Yuan Drama. It is rare reference material for study on Chinese dramas.
147
1368

Lower Guangsheng Temple, back hall (or Daxiong Bodian), façade
  • Title Translation: 广胜下寺 , 后殿 (即大雄宝殿), 正面
  • Period: Eastern Han, Yuan, 147 C.E., 1271-1368 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The lower temple is made up by the temple gate, front hall, back hall (or Daxiong Temple), the buttress hall and other buildings that were all built in the Yuan Dynasty. The temple gate is rather high. It is 3-bay wide and 3-bay long with single-eaved gable and hip roof. Canopies added to the front and back eaves make it like a pavilion with double eaves. The front hall is five-bay wide with only two pillars supporting the whole hall. The back hall (or Daxiong Temple) was built in the second year (1309) of the Zhida reign of the Yuan Dynasty. It is 7-bay wide with 9 purlins, 8 rafters and a single-eaved overhanging gable roof. The main statues in the hall are Amitabha Buddha, Sakyamuni Buddha, Bhaisajyaguru Buddha, Manjusri Bodhisattva, and Samantabhadra Bodhisattva. They were all made in the Yuan Dynasty. Murals were once covered on the walls, but they were removed and shipped to the United States in 1928. The mural on the south wall recorded the performance of Yuan Drama. It is rare reference material for study on Chinese dramas.
147
1368

Lower Guangsheng Temple, back hall (or Daxiong Bodian), mural fragments
  • Title Translation: 广胜下寺 , 后殿 (即大雄宝殿), 壁画碎片
  • Period: Eastern Han, Yuan, 147 C.E., 1271-1368 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The lower temple is made up by the temple gate, front hall, back hall (or Daxiong Temple), the buttress hall and other buildings that were all built in the Yuan Dynasty. The temple gate is rather high. It is 3-bay wide and 3-bay long with single-eaved gable and hip roof. Canopies added to the front and back eaves make it like a pavilion with double eaves. The front hall is five-bay wide with only two pillars supporting the whole hall. The back hall (or Daxiong Temple) was built in the second year (1309) of the Zhida reign of the Yuan Dynasty. It is 7-bay wide with 9 purlins, 8 rafters and a single-eaved overhanging gable roof. The main statues in the hall are Amitabha Buddha, Sakyamuni Buddha, Bhaisajyaguru Buddha, Manjusri Bodhisattva, and Samantabhadra Bodhisattva. They were all made in the Yuan Dynasty. Murals were once covered on the walls, but they were removed and shipped to the United States in 1928. The mural on the south wall recorded the performance of Yuan Drama. It is rare reference material for study on Chinese dramas.
147
1368