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376 - 400 of 3048 Records
Buddha Head, 3D model
- Title Translation: ä½å¤“ , 3D ęØ”å
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: This impressive head is from the principle image of Cave 14, the seated Maitreya Buddha on the north wall.
618 - 907
Bodhisattva Head, 3D model
- Title Translation: č©čØ夓 , 3D ęØ”å
- Period: Northern Qi, 550-577 C.E.
- Project: Tianlongshan Caves
- Work Description: This head, in a private collection, is believed to be from the niche on the north wall of Cave 16.
550 - 577
Buddha Head, 3D model
- Title Translation: ä½å¤“ , 3D ęØ”å
- Period: Eastern Wei, 534-550 C.E.
- Project: Tianlongshan Caves
- Work Description: The Buddha head is from the main image on the east wall of Cave 2.
534 - 550
Cave 2
- Title Translation: ē¬¬äŗēŖ , 3DęØ”å
- 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
Six Steeds of Zhao Mausoleum ("Zhaoling Liujun")
- Title Translation: ęéµå éŖ
- Period: Tang, 636 C.E.
- Project: Six Horses of Tang Taizong
- Work Description: The Six Horses reliefs were engraved in the 10th year of Zhenguan in the Tang Dynasty (636 AD). In order to commemorate the six war horses he rode in the founding war of the emperial China, King Li Shimin of the Tang Dynasty ordered the painter Yan Liben to draw the figures of the six horses, and then the engraver Yan Lide copied and carved them on the stone. The great calligrapher Ouyang Xun of the time made the Tang The hymn book written by Taizong himself is on the upper corner of the original stone. After they were carved, they were placed in the altar at the northern foot of Zhaoling. In order, they are "Teqinqiao", "Qingzhui", "Shivachi", "Saluzi", "Quanmaojun" and "Baitiwu". Among them, two horses, "Sa Lu Zi" and "Fist Mao Jun", were dispersed overseas in 1914 and are now in the Museum of Archeology and Anthropology at the University of Pennsylvania (Penn Museum) in the United States. Each piece of Zhaoling Six Horses is 2.5 meters high and 3 meters wide. The six horses are vividly reproduced on the stone slab in the form of high relief. Three of them are standing and three are galloping. They have handsome postures, valiant charm, vivid shapes, and expressive eyebrows. It can be said that "the king of Qin conquered the world with his cavalry, and the six horses were outstanding in painting but also worried." Mr. Lu Xun praised Six Horses as an "unprecedented" masterpiece.
636
Six Steeds of Zhao Mausoleum ("Zhaoling Liujun"), stone relief
- Title Translation: ęéµå éŖ , ęµ®éē³
- Period: Tang, 636 C.E.
- Project: Six Horses of Tang Taizong
- Work Description: The Six Horses reliefs were engraved in the 10th year of Zhenguan in the Tang Dynasty (636 AD). In order to commemorate the six war horses he rode in the founding war of the emperial China, King Li Shimin of the Tang Dynasty ordered the painter Yan Liben to draw the figures of the six horses, and then the engraver Yan Lide copied and carved them on the stone. The great calligrapher Ouyang Xun of the time made the Tang The hymn book written by Taizong himself is on the upper corner of the original stone. After they were carved, they were placed in the altar at the northern foot of Zhaoling. In order, they are "Teqinqiao", "Qingzhui", "Shivachi", "Saluzi", "Quanmaojun" and "Baitiwu". Among them, two horses, "Sa Lu Zi" and "Fist Mao Jun", were dispersed overseas in 1914 and are now in the Museum of Archeology and Anthropology at the University of Pennsylvania (Penn Museum) in the United States. Each piece of Zhaoling Six Horses is 2.5 meters high and 3 meters wide. The six horses are vividly reproduced on the stone slab in the form of high relief. Three of them are standing and three are galloping. They have handsome postures, valiant charm, vivid shapes, and expressive eyebrows. It can be said that "the king of Qin conquered the world with his cavalry, and the six horses were outstanding in painting but also worried." Mr. Lu Xun praised Six Horses as an "unprecedented" masterpiece.
636
Six Steeds of Zhao Mausoleum ("Zhaoling Liujun"), emperor statue
- Title Translation: ęéµå éŖ , ēåøéå
- Period: Tang, 636 C.E.
- Project: Six Horses of Tang Taizong
- Work Description: The Six Horses reliefs were engraved in the 10th year of Zhenguan in the Tang Dynasty (636 AD). In order to commemorate the six war horses he rode in the founding war of the emperial China, King Li Shimin of the Tang Dynasty ordered the painter Yan Liben to draw the figures of the six horses, and then the engraver Yan Lide copied and carved them on the stone. The great calligrapher Ouyang Xun of the time made the Tang The hymn book written by Taizong himself is on the upper corner of the original stone. After they were carved, they were placed in the altar at the northern foot of Zhaoling. In order, they are "Teqinqiao", "Qingzhui", "Shivachi", "Saluzi", "Quanmaojun" and "Baitiwu". Among them, two horses, "Sa Lu Zi" and "Fist Mao Jun", were dispersed overseas in 1914 and are now in the Museum of Archeology and Anthropology at the University of Pennsylvania (Penn Museum) in the United States. Each piece of Zhaoling Six Horses is 2.5 meters high and 3 meters wide. The six horses are vividly reproduced on the stone slab in the form of high relief. Three of them are standing and three are galloping. They have handsome postures, valiant charm, vivid shapes, and expressive eyebrows. It can be said that "the king of Qin conquered the world with his cavalry, and the six horses were outstanding in painting but also worried." Mr. Lu Xun praised Six Horses as an "unprecedented" masterpiece.
636
Six Steeds of Zhao Mausoleum ("Zhaoling Liujun"), digital reconstruction
- Title Translation: ęéµå éŖ , ę°åéå»ŗ
- Period: Tang, 636 C.E.
- Project: Six Horses of Tang Taizong
- Work Description: The Six Horses reliefs were engraved in the 10th year of Zhenguan in the Tang Dynasty (636 AD). In order to commemorate the six war horses he rode in the founding war of the emperial China, King Li Shimin of the Tang Dynasty ordered the painter Yan Liben to draw the figures of the six horses, and then the engraver Yan Lide copied and carved them on the stone. The great calligrapher Ouyang Xun of the time made the Tang The hymn book written by Taizong himself is on the upper corner of the original stone. After they were carved, they were placed in the altar at the northern foot of Zhaoling. In order, they are "Teqinqiao", "Qingzhui", "Shivachi", "Saluzi", "Quanmaojun" and "Baitiwu". Among them, two horses, "Sa Lu Zi" and "Fist Mao Jun", were dispersed overseas in 1914 and are now in the Museum of Archeology and Anthropology at the University of Pennsylvania (Penn Museum) in the United States. Each piece of Zhaoling Six Horses is 2.5 meters high and 3 meters wide. The six horses are vividly reproduced on the stone slab in the form of high relief. Three of them are standing and three are galloping. They have handsome postures, valiant charm, vivid shapes, and expressive eyebrows. It can be said that "the king of Qin conquered the world with his cavalry, and the six horses were outstanding in painting but also worried." Mr. Lu Xun praised Six Horses as an "unprecedented" masterpiece.
636
Buddha Head, 3D model
- Title Translation: ä½å¤“ , 3DęØ”å
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: At the Xiangtangshan Buddhist sites in Hebei province, cave-temple construction and image-making were supported by the Northern Qi imperial court and nobility. Under the constant shadow of political uncertainty and the theory of the "Law of the Decadence" (or mofa, the deterioration of the True Law after the historical Buddhaās attainment of nirvana), the Buddhist faith was embraced as the ideal for rulership. The Buddhaās smile offers reassurance and consolation.
550 - 577
Disciple Mahakasyapa, 3D model
- Title Translation: éØå¾ę©čÆčæ¦å¶ , 3DęØ”å
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Mahakasyapa, the disciple of Shakyamuni, is presented with closed eyes in an expression of meditative concentration. He is holding a reliquary for the Buddhaās ashes, which symbolize the Buddha entering final spiritual attainment (nirvana) at death. The artistic simplicity exemplifies the spiritual content of this figure.
550 - 577
Buddha Head, 3D model
- Title Translation: ä½å¤“ , 3DęØ”å
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Monster Kneeling, 3D model
- Title Translation: č·Ŗ鬼ē„ , 3DęØ”å
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Musician Flute, 3D model
- Title Translation: éæē¬ä¹ä¼ , 3DęØ”å
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Monster Kneeling, 3D model
- Title Translation: č·Ŗ鬼ē„ , 3DęØ”å
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Buddha Head, 3D model
- Title Translation: ä½å¤“ , 3DęØ”å
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Buddha Hand, 3D model
- Title Translation: ä½ę , 3DęØ”å
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Bodhisattva Standing, 3D model
- Title Translation: č©čØē«å , 3DęØ”å
- 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
Pratyekabuddha Head, 3D model
- Title Translation: č¾ęÆä½(ē¼č§)夓 , 3DęØ”å
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Bodhisattva Hand, 3D model
- Title Translation: č©čØę , 3DęØ”å
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Bodhisattva Standing, 3D model
- Title Translation: č©čØē«å , 3DęØ”å
- 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. 560sā70s 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
Monster Kneeling
- Title Translation: č·Ŗ鬼ē„
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Musician Sheng
- Title Translation: č©čØ夓
- 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 MahaĢsthaĢmapraĢpta, 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
Guardian King
- Title Translation: 天ēćę¤ę³å士
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Buddha Head
- Title Translation: ä½å¤“
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: According to Buddhist tradition, when the young prince Sakyamuni resolved to seek spiritual enlightenment, he discarded his courtly garments and cut off his long hair. In Indian and East Asian sculpture, the tonsured Buddha is occasionally shown as bald, but more often he is portrayed as seen here, with a head of tiny, snail-shaped curls. This head of a Buddha was originally part of an impressive sculptural diorama of life-size figures carved into the living rock at Xiangtangshan (Mountain of Echoing Halls), a site not far from the Northern Qi capital of Ye. More than ten caves were excavated at Xiangtangshan during the third quarter of the sixth century, under the patronage of the Northern Qi ruling family and nobles.
550 - 577
Bodhisattva Standing
- Title Translation: č©čØē«å
- 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