Showing
2926 - 2950 of 3048 Records
Fengxian Temple (Fengxiansi)
- Title Translation: 奉先寺
- Period: Tang, 618–907 C.E.
- Project: Sculptures in Longmen 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.
618 - 907
Fengxian Temple (Fengxiansi)
- Title Translation: 奉先寺
- Period: Tang, 618–907 C.E.
- Project: Sculptures in Longmen 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.
618 - 907
Fengxian Temple (Fengxiansi)
- Title Translation: 奉先寺
- Period: Tang, 618–907 C.E.
- Project: Sculptures in Longmen 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.
618 - 907
Figure of Wei Mo Chi from the Longmen Grottoes
- Title Translation: 龙门石窟韦莫池像
- 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
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.
618 - 907
Cave 6
- Title Translation: 第六窟
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: Cave 6 is a small square cave of the Tang period that had nine sculpted images on the interior, with a central seated Buddha on the back and side walls accompanied by bodhisattvas and disciples. On the exterior the traces of two guardian figures appear at the sides of the entrance. The exterior still has a small porch in front.
618 - 907
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.
618 - 907
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.
618 - 907
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.
550 - 577
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.
550 - 577
Cave 16
- Title Translation: 第十六窟
- Period: Northern Qi, 550-577 C.E.
- Project: Tianlongshan Caves
- Work Description: Cave 16 is the most important Northern Qi cave at the Tianlongshan site. The porch still has elements of post and lintel construction and bracketing supporting the overhanging eave that derive from construction in wood. The interior had fine sculptures that partially remain. The cave is now inaccessible from the path, which may account for its relatively good state of preservation.
550 - 577
Cave 18
- Title Translation: 第十八窟
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: Cave 18 is one of the most important Tang dynasty caves. Its remaining sculptures are better preserved than the sculptures in many other caves. Though they are damaged and a few completely removed, they still show the excellent quality of the carving as well as the arrangements and poses of the figures to a large extent. In recent years the cave was sealed to protect its contents.
618 - 907
Tianlongshan Caves
- Title Translation: 天龙山石窟
- Period: Eastern Wei, Northern Qi, Sui, Tang, 534-907 C.E.
- Project: Tianlongshan Caves
- Work Description: The main site of Tianlongshan is located near the top of the mountain, 1,700 meters above sea level, on two sectors of a fissured sandstone cliff. The caves extend horizontally for about 500 meters across the two adjoining cliffs that are known as the Eastern and Western Peaks. The Tianlongshan grottoes are mostly of small and medium scale, square chambers with images on raised altars principally around the back and side walls. One of the caves is a central pillar cave with image niches cut into the central pillar and the walls around it, and there are also colossal images carved into the cliffside where a large multistory pavilion is built over them. Caves 1-8 and the four upper level caves are in the east sector of the site, and Caves 9-21 in the west sector. This is a general view of caves (including Cave 1-8 ) on the eastern peak.
534 - 907
Western Peak
- Title Translation: 西峰
- Period: Northern Qi, Tang, 550-907 C.E.
- Project: Tianlongshan Caves
- Work Description: The main site of Tianlongshan is located near the top of the mountain, 1,700 meters above sea level, on two sectors of a fissured sandstone cliff. The caves extend horizontally for about 500 meters across the two adjoining cliffs that are known as the Eastern and Western Peaks. The Tianlongshan grottoes are mostly of small and medium scale, square chambers with images on raised altars principally around the back and side walls. One of the caves is a central pillar cave with image niches cut into the central pillar and the walls around it, and there are also colossal images carved into the cliffside where a large multistory pavilion is built over them. Caves 1-8 and the four upper level caves are in the east sector of the site, and Caves 9-21 in the west sector. This is a general view of caves (including Cave 1-8 ) on the eastern peak.
550 - 577
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.
534 - 550
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.
534 - 550
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. he cave has a square plan with seated Buddha and bodhisattva images on the back and side walls. Relief figures of Vimalakirti and Manjusri appear at the sides of the main niche on the east wall, and two disciples dressed in monks' robes on the front wall flanking the doorway. The four sloping sides of the ceiling also have relief carvings of four flying apsarases, cloud patterns, and lotus blossoms around a large central lotus. Now only the central lotus remains on the ceiling.
534 - 550
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.
534 - 550
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.
618 - 907
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.
618 - 907
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.
618 - 907
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.
550 - 577
Cave 11
- Title Translation: 第十一窟
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: Cave 11 is a poorly preserved small Tang cave less than a meter square to the west and above Cave 10. Moving onward to the southwest, a figure of a monk carved in high relief appears on the cliff high above the path, standing as though paying respects to one of the two relief stupas flanking the entrance to Cave 12. The stupas are square single-story structures with a domed roof, and each has niche displaying a seated figure and two attendants. Similar in design to the many funerary stupas seen at Baoshan near Anyang, they may also be funerary in nature, commemorating deceased monks and nuns and containing their ashes.
618 - 907
Cave 11
- Title Translation: 第十一窟
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: Cave 11 is a poorly preserved small Tang cave less than a meter square to the west and above Cave 10. Moving onward to the southwest, a figure of a monk carved in high relief appears on the cliff high above the path, standing as though paying respects to one of the two relief stupas flanking the entrance to Cave 12. The stupas are square single-story structures with a domed roof, and each has niche displaying a seated figure and two attendants. Similar in design to the many funerary stupas seen at Baoshan near Anyang, they may also be funerary in nature, commemorating deceased monks and nuns and containing their ashes.
618 - 907
Cave 14
- Title Translation: 第十四窟
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: Cave 14 is a Tang cave that had finely carved sculptures, many of which are now in collections outside China
618 - 907