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47 Harvard Art Museums 32 Osaka City Museum of Fine Arts 32 private collection 31 unknown 26 National Museum of Asian Art 21 Museum Rietberg 19 University of Pennsylvania, Museum of Archaeology and Anthropology 16 Nelson-Atkins Museum of Art 14 Nezu Art Museum 13 Asian Art Museum of San Francisco 13 Tokyo National Museum 10 Cleveland Museum of Art 10 Columbia University 10 Metropolitan Museum of Art 8 Museo nazionale d’arte orientale 8 Rijksmuseum voor Volkenkunde 7 San Diego Museum of Art 6 Barnes Foundation 6 British Museum 6 Honolulu Museum of Art 6 Koninklijk Instituut voor het Kunstpatrimonium 6 National Museum of China 6 Philadelphia Museum of Art 6 Victoria and Albert Museum 5 Tsz Shan Monastery Buddhist 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 Idemitsu Museum of Art 2 J. J. Lally & Co. New York 2 Masaki Art Museum 2 Miho Museum 2 Minneapolis Institute of Arts 2 Museum of Fine Arts, Boston 2 Museum of Oriental Ceramics, Osaka 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 Guimet Museum 1 Kosetsu Museum of Art 1 Morgan Library & Museum 1 Palace Museum 1 Portland Art Museum 1 Rhode Island School of Design, Museum of Art
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

Buddha Head, 3D model
  • Title Translation: 佛头 , 3D模型
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
550 - 577

Buddha Head, 3D model
  • Title Translation: 佛头 , 3D模型
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
550 - 577

Buddha Seated, 3D model
  • Title Translation: 佛坐像 , 3D模型
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: The simple clothing worn by this Buddha echoes the modest robes worn by the historical Buddha when he reached enlightenment after an intense period of meditation. Behind the figure is an ornate halo or aureole, decorated with flowers and an inner ring of lotus petals. The symmetrical composition of the sculpture intensifies the calmness reflected in the Buddha's face. Traces of red, black and green pigment on the head hint at the brightly coloured surface of the figure in earlier times.
550 - 577

Monster Kneeling
  • Title Translation: 跪鬼神
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: This kneeling monster from the cave-temple complex at Xiangtangshan was originally placed below some wall niches on the perimeter. With its grotesque face and body, it is among the most imaginative sculptures of the period.
550 - 577

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

Western Paradise
  • Title Translation: 西方极乐世界
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: High relief carving of Western Paradise. Amitabha presides over a lotus pond that contains flowers opening to reveal newborn souls. Numerous deities and celestial attendants fill in the tableau.
550 - 577

Musician Sheng
  • Title Translation: 笙乐伎
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: Simply rounded forms chiseled from gray limestone create this engaging relief of a celestial musician, known as an apsaras in Sanskrit or tianjen in Chinese, depicted playing the sheng. This instrument is a mouth organ consisting of a number of bamboo pipes of different lengths, a pipe for blowing in air, and fingering keyholes.1 The musician gently holds the sheng in both hands, and his closed eyes and beatific expression convey a sense of rapture in its heavenly sounds. Apsarases, usually represented as females, are flying celestials, often musicians or dancers, hovering in attendance to Buddhas and bodhisattvas in paradise scenes. Paradise cults offered Buddhist believers salvation in the form of rebirth into a paradise where attainment of nirvana was easy and certain. The available evidence from the mid-sixth century and later, such as the large relief depicting the Paradise of Amitabha now in the Freer Gallery of Art, Washington, D.C., as well as a number of votive stelae, indicate the rising influence of paradise cults in China at this time.2 By the mid-sixth century, more ascetic ethereal forms with complex cascades of drapery and scarves had shifted to the rounded, more expansive forms defined by closer fitting and simpler garments, as in this example. Xiangtangshan, one of the important early Buddhist cave temple complexes in northern China, which was opened in the mid-sixth century, preserves excellent examples of these later stylistic features. The Xiangtangshan cave temples are believed to have been established by two Northern Qi emperors, both great devotees of the Buddhist religion. These caves temples lie across the frontier of two provinces: the northern group of caves is in Wuan prefecture, Henan province, and the southern group in Zixian prefecture, Hebei province.3 The Shumei musician was probably removed from a wall of the northern temple group at Xiangtangshan. Examples of sculpture from Xiangtangshan are extremely rare outside of China; two more fragmentary relief sculptures are in a private collection in Japan: the head and shoulders of a lute player and a flute player, both of which share stylistic features with the Shumei example.4 ALJ 1. Sheng became visible in tombs at least as early as the Western Han period, with examples preserved in lacquered wood in Tombs 1 and 3 at Mawangdui, Changsha, Hunan province, c. 168 B.C. (see Pirazzoli-t'Serstevens 1982, p. 54). The instrument was also quite common in tombs during the Three Kingdoms-Six Dynasties period. 2. See Pal 1984, pp. 272-73; Wright 1971, p. 59 and n.2; and Davidson 1954, pp. 58-61. The large relief now in the Freer Gallery was probably taken from Cave II of the southern group of Buddhist cave temples at Xiangtangshan and shows remarkable resemblance to composition found at Borobudur (see Soper 1960, p. 95). For an additional Northern Qi example see Shanghai 1996, no. 38. 3. Mizuno and Nagahiro 1937, pp. 1-10. 4. Ibid., introductory essay, pl. 4. Both the fragmentary lute player and the flute player are in the collection of Shoichi Fujiki, Tarazuka, Japan.
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

Buddha Hand
  • Title Translation: 佛手
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
550 - 577

Buddha Seated
  • Title Translation: 佛坐像
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: The simple clothing worn by this Buddha echoes the modest robes worn by the historical Buddha when he reached enlightenment after an intense period of meditation. Behind the figure is an ornate halo or aureole, decorated with flowers and an inner ring of lotus petals. The symmetrical composition of the sculpture intensifies the calmness reflected in the Buddha's face. Traces of red, black and green pigment on the head hint at the brightly coloured surface of the figure in earlier times.
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

Buddha Head
  • Title Translation: 佛头
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The source of this head was probably a smaller cave at Tianlongshan.
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

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 a figure dressed in military garb, formerly standing inside Cave 16 on the east side of the entrance.
550 - 577

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

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

Bodhisattva Head
  • Title Translation: 菩萨头
  • Period: Northern Qi, 550-577 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The bodhisattva head from the east wall of Cave 10 wears a crown with floral panels and jeweled tassels.
550 - 577

Buddha Head
  • Title Translation: 佛头
  • 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.
618 - 907

Dragon Finial
  • Title Translation: 龙顶
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The head of a dragon is a finial from the top of a column in Cave 2.
534 - 550

Flying Divinity
  • Title Translation: 飞天
  • Period: Northern Qi, 550-577 C.E.
  • Project: Tianlongshan Caves
  • Work Description: This heavenly musician from Cave16 plays the sheng, a wind instrument consisting of a cluster of bamboo pipes joined at the bottom.
550 - 577

Bodhisattva Relief
  • Title Translation: 菩萨浮雕
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The bodhisattva Manjusri was located on the east wall of Cave 2 near the front of the cave, opposite a relief figure of Vimalakirti.
534 - 550

Buddha Head
  • Title Translation: 佛头
  • Period: Northern Qi, 550-577 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The head with hair rendered as raised curls is from the Buddha on the west Wall of Cave 10.
550 - 577