Showing
326 - 350 of 400 Records
Bodhisattva Standing
- Title Translation: 立菩萨
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: The bodhisattva standing in a pose of reverence is from the west wall of Cave 17. The head is not original.
618 - 907
Bodhisattva Seated
- Title Translation: 坐菩萨
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: This fine large figure once occupied a lotus throne beside the principle Buddha image in Cave 21. It has a head made in the last century as a replacement for the original one, now in the Metropolitan Museum of Art.
618 - 907
Bodhisattva Seated
- Title Translation: 坐菩萨
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: The bodhisattva figure is seated in a pose of royal ease, with right leg bent out to the side and with the foot resting on the throne beside the left knee. The head is a modern replacement for the original head, now in the Barnes Foundation Museum.
618 - 907
Bodhisattva Head
- Title Translation: 菩萨头
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: The head and jewelry are very similar to those of a seated figure once located on the north wall of Cave 17.
618 - 907
Bodhisattva Seated
- Title Translation: 坐菩萨
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: This finely carved headless figure sits in a posture of royal ease.
618 - 907
Bodhisattva Head
- Title Translation: 菩萨头
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: The head is believed to be from the east wall of Cave 4.
618 - 907
Bodhisattva Head, 3D model
- Title Translation: 菩萨头 , 3D 模型
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: The head is from the standing bodhisattva figure on the east wall of Cave 14.
618 - 907
Bodhisattva Standing, 3D model
- Title Translation: 立菩萨 , 3D 模型
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: The bodhisattva, one of a pair of standing bodhisattvas from Cave 4, holds a loop of his long trailing scarf in one hand.
618 - 907
Bodhisattva Head, 3D model
- Title Translation: 菩萨头 , 3D 模型
- 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
Bodhisattva Standing, 3D model
- Title Translation: 立菩萨 , 3D 模型
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: The bodhisattva standing in a pose of reverence is from the west wall of Cave 17. The head is not original.
618 - 907
Bodhisattva Standing, 3D model
- Title Translation: 立菩萨 , 3D 模型
- 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 Relief, 3D model
- Title Translation: 菩萨浮雕 , 3D 模型
- Period: Eastern Wei, 534-550 C.E.
- Project: Tianlongshan Caves
- Work Description: The bodhisattva holds his hands together in anjalimudra, a gesture of reverence.
534 - 550
Monster Kneeling, 3D model
- Title Translation: 跪鬼神 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Bodhisattva Standing, 3D model
- Title Translation: 菩萨立像 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Statue of bodhisattva made of hard, dark-grey limestone which has stained and discolored with age. There are traces of green, red and blue pigment on the piece. It is almost identical with C113 but there is no figure in the aureole of the tiara. C113, C150 and C151 are from Cave #2 of the Southern Xiangtangshan. C150 could be from the front shrine, one of the three shrines surrounded by the central pillar.
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 Standing, 3D model
- Title Translation: 菩萨立像 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: This free-standing Bodhisattva is related to the image style of the Xiangtangshan cave temples and stylistically dates to about the same time, ca. 560s–70s during the Northern Qi Dynasty in northeastern China. It possesses the characteristically columnar form of the Xiangtangshan sculptures, though the jewel forms appear slightly more subdued than usual. The posture is frontal and unbending, indicating, as with the Xiangtangshan sculptures in general, a sense of inner, irrevocable solidity and firmness. The human body is disclosed in its most primordial shape with thin, close-fitting robes smoothing out the surfaces. Jewelry makes its own symmetric patterns of heavy, raised, textured pearl chains, X-crossed in shape as they cover the frontal expanse and contrast with the sharp edges of the bands of the hems and long shoulder scarves that descend as a framing statement to the lotus pedestal. A youthful, serene face appears remote and distant, though still human, above the rather massive form. Impressive in its monumentality, this bodhisattva exemplifies the sixth-century style of early Buddhist art in China. He stands on a lotus pedestal, which signals his transcendent nature as a being that has surpassed the mundane human state in knowledge and compassion. The mass of his body and the equal distribution of weight on both feet impart an iconic quality to this object of worship.
550 - 577
Musician Sheng
- Title Translation: 菩萨头
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: This magnificent sculpture comes from an important complex of mountainside Buddhist shrines hewn from the living rock at Xiangtangshan in Hebei province. It originally belonged to a full-length statue of a bodhisattva (an enlightened being who has postponed nirvana in order to help achieve salvation for others); the vase in the center of the crown may identify the figure as Mahāsthāmaprāpta, one of the Eight Great Bodhisattvas of Mahayana Buddhism. The principal grottoes at Xiangtangshan were carved during the short-lived Northern Qi dynasty (550-77), which ruled much of northern China prior to the reunification of the country in 589 under the Sui (589-618).
550 - 577
Bodhisattva Standing
- Title Translation: 菩萨立像
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Statue of bodhisattva made of hard, dark-grey limestone which has stained and discolored with age. There are traces of green, red and blue pigment on the piece. It is almost identical with C113 but there is no figure in the aureole of the tiara. C113, C150 and C151 are from Cave #2 of the Southern Xiangtangshan. C150 could be from the front shrine, one of the three shrines surrounded by the central pillar.
550 - 577
Bodhisattva Hand
- Title Translation: 菩萨手
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
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
Northern Xiangtangshan, South Cave, east wall, north side, bodhisattva
- Title Translation: 北响堂山南洞 , 东壁,北侧, 菩萨
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The South Cave at Northern Xiangtangshan, like the Middle Cave, preserves its original stupa-form with domed roof and a porch in front. An additional small cave is carved into the dome. The main chamber is an open chamber space with images set around three walls. Each altar has a central Buddha surrounded by six standing figures including bodhisattvas, disciples and pratyekabuddhas. Smaller Buddhas appear in rows on the upper level of the cave. On the ceiling a large lotus blossom is carved in relief. The work on the cave appears to have been begun, then interrupted, and resumed later by different craftsmen. The main sculpted images show signs of having been created in two stages, with the later mode of carving evident in the group of images on the back wall. The stylistic difference is also evident in the appearance of the heads of figures taken from the cave and now located in museums and private collections outside China. In addition to its sculptural art, the South Cave is very important for its extensive engravings of Buddhist scriptures in stone. These are located inside the cave on the entrance wall, inside the porch, on the exterior wall of the porch, and extending onto the north wall of the courtyard. At the end of the sutra texts, the dedicatory stele of Tang Yong records that the engravings were carried out in the years from 568-572.
550 - 577
Sangharama Bodhisattva in Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom)
- Title Translation: 智化殿伽蓝菩萨
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: Sangharama, also known by the name Guan Yu, refers to a "temple" or "monastery." In Chinese Buddhism, Guan Yu is revered by most practising Buddhists as a heavenly protector of the Buddhist dharma.
1444
Dizang Bodhisattva with the Ten Kings of Hell Mural from Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom), Elder Min and five of Ten Kings of Hell
- Title Translation: 智化殿壁画"地藏菩萨与十府冥王" , 闵长者和冥府五王
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
1444
Dazhi Hall (Dazhidian, Hall of Great Wisdom), Manjusuri
- Title Translation: 大智殿 , 文殊
- 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), three seated bodhisattvas
- Title Translation: 大智殿 , 普贤
- 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