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Water God's Temple (Shuishen Temple) of the Guangsheng Monastery, Ming Ying King Hall (or Mingyingwang Temple), interior
  • Title Translation: 广胜寺水神庙 , 明应王殿, 内部
  • Period: Eastern Han, Ming, 147 C.E., 1368-1644 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The Water God's Temple has two yards: the front yard and the back yard, and includes the Temple Gate, the Door of Amenity, the Ming Ying King Hall and wing-rooms of cave dwellings. The Ming Ying King Hall is 5-bay wide and 5-bay long with a cloister around and a double-eaved gable hip roof. Beams inside are of common style. The hall houses statues of Water God Ming Ying King and his eleven attendants. Their facial features, clothes and gestures are all of Yuan style. Frescoes about people praying for the rain and other historical stories covered the walls, occupying an area of 197 square meters. The pictures of dramas at the eastern end of the south wall show a complete set of stage property for the performers: costumes, stage instruments, musical instruments, makeup, curtain, stage, and so on. The drawing was strictly arranged, the color was simple but profound, and dramatis personae were expressive. This fresco reflects the true condition of Yuan Drama in its peak time; it is a rare fine work of Yuan frescoes in China.
147
1644

Water God's Temple (Shuishen Temple) of the Guangsheng Monastery, Ming Ying King Hall (or Mingyingwang Temple), fresco
  • Title Translation: 广胜寺水神庙 , 明应王殿, 壁画
  • Period: Eastern Han, Ming, 147 C.E., 1368-1644 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The Water God's Temple has two yards: the front yard and the back yard, and includes the Temple Gate, the Door of Amenity, the Ming Ying King Hall and wing-rooms of cave dwellings. The Ming Ying King Hall is 5-bay wide and 5-bay long with a cloister around and a double-eaved gable hip roof. Beams inside are of common style. The hall houses statues of Water God Ming Ying King and his eleven attendants. Their facial features, clothes and gestures are all of Yuan style. Frescoes about people praying for the rain and other historical stories covered the walls, occupying an area of 197 square meters. The pictures of dramas at the eastern end of the south wall show a complete set of stage property for the performers: costumes, stage instruments, musical instruments, makeup, curtain, stage, and so on. The drawing was strictly arranged, the color was simple but profound, and dramatis personae were expressive. This fresco reflects the true condition of Yuan Drama in its peak time; it is a rare fine work of Yuan frescoes in China.
147
1644

Water God's Temple (Shuishen Temple) of the Guangsheng Monastery, Ming Ying King Hall (or Mingyingwang Temple), eave
  • Title Translation: 广胜寺水神庙 , 明应王殿, 屋檐
  • Period: Eastern Han, Ming, 147 C.E., 1368-1644 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The Water God's Temple has two yards: the front yard and the back yard, and includes the Temple Gate, the Door of Amenity, the Ming Ying King Hall and wing-rooms of cave dwellings. The Ming Ying King Hall is 5-bay wide and 5-bay long with a cloister around and a double-eaved gable hip roof. Beams inside are of common style. The hall houses statues of Water God Ming Ying King and his eleven attendants. Their facial features, clothes and gestures are all of Yuan style. Frescoes about people praying for the rain and other historical stories covered the walls, occupying an area of 197 square meters. The pictures of dramas at the eastern end of the south wall show a complete set of stage property for the performers: costumes, stage instruments, musical instruments, makeup, curtain, stage, and so on. The drawing was strictly arranged, the color was simple but profound, and dramatis personae were expressive. This fresco reflects the true condition of Yuan Drama in its peak time; it is a rare fine work of Yuan frescoes in China.
147
1644

Upper Guangsheng Temple, Sakyamuni Hall (or Daxiong Bodian) and incense burner
  • Title Translation: 广胜上寺 , 大雄宝殿和香炉
  • 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

Water God's Temple (Shuishen Temple) of the Guangsheng Monastery, Ming Ying King Hall (or Mingyingwang Temple), stele
  • Title Translation: 广胜寺水神庙 , 明应王殿, 石碑
  • Period: Eastern Han, Ming, 147 C.E., 1368-1644 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The Water God's Temple has two yards: the front yard and the back yard, and includes the Temple Gate, the Door of Amenity, the Ming Ying King Hall and wing-rooms of cave dwellings. The Ming Ying King Hall is 5-bay wide and 5-bay long with a cloister around and a double-eaved gable hip roof. Beams inside are of common style. The hall houses statues of Water God Ming Ying King and his eleven attendants. Their facial features, clothes and gestures are all of Yuan style. Frescoes about people praying for the rain and other historical stories covered the walls, occupying an area of 197 square meters. The pictures of dramas at the eastern end of the south wall show a complete set of stage property for the performers: costumes, stage instruments, musical instruments, makeup, curtain, stage, and so on. The drawing was strictly arranged, the color was simple but profound, and dramatis personae were expressive. This fresco reflects the true condition of Yuan Drama in its peak time; it is a rare fine work of Yuan frescoes in China.
147
1644

Upper Guangsheng Temple, Vairocana Hall (or Pilu Temple or Tianzhongtian Temple), Buddha Triad
  • Title Translation: 广胜上寺 , 毗卢殿（或毗卢寺或天中天寺）, 佛三尊
  • 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), Buddha Triad's throne base
  • Title Translation: 广胜上寺 , 毗卢殿（或毗卢寺或天中天寺）, 佛三尊座底座
  • 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, tour map
  • Title Translation: 广胜上寺 , 游览地图
  • 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

Eleven-headed Guanyin, Bodhisattva of Compassion
  • Title Translation: 十一面观世音菩萨
  • Period: Tang, 703 C.E.
  • Project: Guangzhai Temple Qibaotai Pagoda
703

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
703

Seated Buddha and Bodhisattvas
  • Title Translation: 三佛龛
  • Period: Tang, 703 C.E.
  • Project: Guangzhai Temple Qibaotai Pagoda
  • Work Description: This work is one of the thirty-two existing examples from the statue group in Baoqingsi Temple, Xi’an, Shaanxi, China. It was distinctively expressed in early Tang style which absorbed the Indian influence. The middle statue was presented with hands and fingers in the position of Sokuchi’in mudra. This pose is related to the statue of Śākyamuni in Budh Gaya in India where he had completed self-discipline and enlightened to the truth.
703

Bodhisattva Standing, 3D model
  • Title Translation: 菩萨立像 , 3D模型
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
550 - 577

Bodhisattva Head, 3D model
  • Title Translation: 菩萨头 , 3D模型
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: Both the Eastern Wei (535–50) and the Northern Qi dynasties were ruled from a capital at Ye (presentday Linzhang) in southern Hebei province; both sponsored the construction of new cave temples. The complex built at Xiangtangshan (not far from the capital) dates from the Northern Qi period. It consists of two sites: the three enormous cave temples at the top of the mountain are known as Northern Xiangtangshan, while an additional seven smaller shrines, about nine miles to the south, are known as Southern Xiangtangshan. This head comes from the southern site, which was constructed slightly later.
550 - 577

Bodhisattva Hand, 3D model
  • Title Translation: 菩萨手 , 3D模型
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
550 - 577

Bodhisattva Head, 3D model
  • Title Translation: 菩萨头 , 3D模型
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: Stone head of a bodhisattva made of light colored stone with traces of red and yellow pigment. This head would have originally been part of a colossal statue. The piece is a companion to C353 and very similar to it, the principal differences being that the hair is arranged in a number of plaits and the crown is more elaborate. It is believed to originally come from the North Cave of Northern Xiangtangshan.
550 - 577

Bodhisattva Head, 3D model
  • Title Translation: 菩萨头 , 3D模型
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: Stone head of a bodhisattva made of light colored stone with traces of red and light green pigment. This head would have originally been part of a colossal statue. The urna, represented by a round socket, would have originally contained some kind of precious stone or crystal sphere. The hair is smooth and parted in the middle. The crown has three peaks with a fillet around the base of the ushnisha. C353 and C354 are a pair from the North Cave of Northern Xiangtangshan.
550 - 577

Bodhisattva Hand, 3D model
  • Title Translation: 菩萨手 , 3D模型
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
550 - 577

Bodhisattva Hand, 3D model
  • Title Translation: 菩萨手 , 3D模型
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
550 - 577

Bodhisattva Head
  • Title Translation: 菩萨头
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
550 - 577

Bodhisattva Standing Guanyin
  • Title Translation: 观世音菩萨
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: Statue of a standing bodhisattva made of dark stone, brown and stained with age, with traces of red, green and blue pigment. The bodhisattva has a long face, plump cheeks, eyes nearly closed, with very long lobed ears, unpierced. There is a jeweled tiara with small a aureole in front on which is carved a tiny standing figure of Amida Buddha. There are streamers from the headdress with elaborately draped scarfs and jewels hanging down over the skirt. The statue is bare foot with no pedestal but does have a tang that comes out the bottom of the piece. C113, C150 and C151 are a set and come from Cave #2 of the Southern Xiangtangshan cave complex.
550 - 577

Northern Xiangtangshan, Middle Cave, façade
  • Title Translation: 北响堂山中洞 , 外墙
  • 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

Bodhisattva Standing
  • Title Translation: 立菩萨
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: This standing bodhisattva is unusually well-preserved and can be identified with a figure on the north wall in historic photographs of Cave 18.
618 - 907

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 on the north wall, west side, Cave 18, as recorded in historical photographs. The topknot and nose are restored.
618 - 907

Bodhisattva Standing
  • Title Translation: 立菩萨
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: This standing bodhisattva is from the west wall of Cave 14. Its head is now in the Tokyo National Museum.
618 - 907

Bodhisattva Head
  • Title Translation: 菩萨头
  • Period: Northern Qi, 550-577 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The crowned bodhisattva head, believed to be from Cave 1, is partially covered with brown pigment and shows signs of damage and restoration.
550 - 577