CENTER FOR THE ART OF EAST ASIA
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27 unknown 23 Tokyo National Museum 21 National Museum of Asian Art 15 private collection 13 Osaka City Museum of Fine Arts 11 Nelson-Atkins Museum of Art 8 Museum Rietberg 8 University of Pennsylvania, Museum of Archaeology and Anthropology 7 Metropolitan Museum of Art 7 Nezu Art Museum 6 Asian Art Museum of San Francisco 6 Koninklijk Instituut voor het Kunstpatrimonium 6 Museum of Fine Arts, Boston 6 National Museum of China 5 Cleveland Museum of Art 4 Columbia University 4 Museo nazionale d’arte orientale 4 Rijksmuseum voor Volkenkunde 4 San Diego Museum of Art 4 Victoria and Albert Museum 3 British Museum 3 Cincinnati Art Museum 3 Harvard Art Museums 3 Tsz Shan Monastery Buddhist Art Museum 2 Art Institute of Chicago 2 Barnes Foundation 2 Guimet Museum 2 Kyushu National Museum 2 Museum für Ostasiatische Kunst 2 Museum of Far Eastern Antiquities 2 Nara National Museum 2 National Gallery of Victoria 2 Philadelphia Museum of Art 2 University of Tokyo, Museum of Art and History 1 Aurora Art Museum 1 Brooklyn Museum of Art 1 Cernuschi Museum 1 Clark Art Institute 1 Columbia University, Avery Architectural and Fine Arts Library 1 Detroit Institute of Arts 1 J. J. Lally & Co. New York 1 Masaki Art Museum 1 Miho Museum 1 Minneapolis Institute of Arts 1 Morgan Library & Museum 1 Museum of Oriental Ceramics, Osaka 1 Nezu Museum 1 Ohara Museum of Art 1 Portland Art Museum 1 Rijksmuseum 1 Royal Ontario Museum 1 Seattle Art Museum 1 Villa I Tatti 1 Virginia Museum of Fine Arts 1 Wadsworth Atheneum

193 figures
Buddha Triad from Rulai Hall (Rulaidian, Tathagatha Hall or Shakyamuni Hall), Shakyamuni Buddha
  • Title Translation: 如来殿三圣 , 释迦牟尼佛
  • Period: Ming, c. 1444 C.E.
  • Project: Beijing Zhihua Temple
  • Work Description: Shakyamuni Buddha is the large central figure, finely carved, covered in gold, and more than four meters high. He displays the same pose as the central Buddha in the Zhihua Hall, with right hand touching the earth in front of him. On the walls around there are countless Buddhist figures set into small niches. Shakyamuni is accompanied by two tall, crowned figures, standing at his sides, who wear long richly ornamented robes, unlike the plain robe of the Buddha. The robes have painted patterns of birds, peonies, dragons, and lions that simulate embroidery and finely woven textiles. The figure at the Buddha’s right or west side is Indra 帝释天, the king of Hindu gods, who holds a large scepter. The one at the Buddha’s left, is the Hindu god Brahma 大梵天. The appearance of the Buddha together with Hindu gods Brahma and Indra is very unusual in Chinese Buddhist art, but can be identified with textual accounts of the Buddha’s life. The earth-touching pose, bhumisparsha mudra, is associated with a key event in the prince Sakyamuni’s life, his achievement of enlightenment through profound meditation years after renouncing his privileged existence in order to seek the truth. Many depictions of the Buddha in the history of Asian art depict him seated in this pose to represent the moment, when on the verge of attaining enlightenment, the demon god Mara summoned a hoard of subordinate demons to distract him. By touching the earth, Shakyamuni called upon the earth goddess to witness his merit and overcome the demons. In the Rulai Hall, however, Mara’s demons are absent. The presence of the gods Brahma and Indra refer not to the moment prior to the enlightenment, but to events following the Buddha’s enlightenment when Brahma and Indra, along with many other gods, came to the Buddha to implore him to show others the way to achieve wisdom in a world full of ignorance. The Buddha therefore began to teach and gathered a following of disciples.
1444

Buddha Triad from Wanfo Pavilion (Wanfoge, Ten Thousand Buddhas Pavilion), Shakyamuni Buddha
  • Title Translation: 万佛阁三圣 , 释迦牟尼佛
  • Period: Ming, c. 1444 C.E.
  • Project: Beijing Zhihua Temple
  • Work Description: The three figures on the ground level of the Rulai Hall are located directly below three other large Buddha sculptural images in the upper level, called the Wanfoge (Ten-thousand Buddha Pavilion). Of these sculptures, the central figure is artistically similar to the Shakyamuni in the lower level. It too is a very large golden figure displaying finely modeled features and wearing the same kind of robe and earrings. In addition, this Buddha wears a five-petaled jeweled crown, large necklace and additional jewelry on his arms and ankles. He sits on a larger multilevel, thousand-petaled lotus throne set on an elaborately carved base that indicate his superior status or importance. His hands are held up in front of his chest, with the index finger of the left hand raised and the right hand closed over it. This is the mudra called the “wisdom fist” and is the gesture of the Buddha Vairocana who is the dharmakaya Buddha. A large coffered ceiling with central dragon was formerly situated directly above him. The two other large Buddha sculptures in the Wanfoge are labeled as Sakyamuni Buddha and Rochana Buddha, and together with the central Vairochana they are identified as the Three Bodies of the Buddha. Rochana represents the Buddha body as sambhogakaya or baoshen, body of reward, an idealized vision worshipped by believers emerged.
1444

Buddha Triad from Wanfo Pavilion (Wanfoge, Ten Thousand Buddhas Pavilion), Rocana Buddha
  • Title Translation: 万佛阁三圣 , 卢舍那佛
  • Period: Ming, c. 1444 C.E.
  • Project: Beijing Zhihua Temple
  • Work Description: The three figures on the ground level of the Rulai Hall are located directly below three other large Buddha sculptural images in the upper level, called the Wanfoge (Ten-thousand Buddha Pavilion). Of these sculptures, the central figure is artistically similar to the Shakyamuni in the lower level. It too is a very large golden figure displaying finely modeled features and wearing the same kind of robe and earrings. In addition, this Buddha wears a five-petaled jeweled crown, large necklace and additional jewelry on his arms and ankles. He sits on a larger multilevel, thousand-petaled lotus throne set on an elaborately carved base that indicate his superior status or importance. His hands are held up in front of his chest, with the index finger of the left hand raised and the right hand closed over it. This is the mudra called the “wisdom fist” and is the gesture of the Buddha Vairocana who is the dharmakaya Buddha. A large coffered ceiling with central dragon was formerly situated directly above him. The two other large Buddha sculptures in the Wanfoge are labeled as Sakyamuni Buddha and Rochana Buddha, and together with the central Vairochana they are identified as the Three Bodies of the Buddha. Rochana represents the Buddha body as sambhogakaya or baoshen, body of reward, an idealized vision worshipped by believers emerged.
1444

Buddha Triad from Wanfo Pavilion (Wanfoge, Ten Thousand Buddhas Pavilion), throne of Vairocana Buddha
  • Title Translation: 万佛阁三圣 , 毗卢遮那佛
  • Period: Ming, c. 1444 C.E.
  • Project: Beijing Zhihua Temple
  • Work Description: The three figures on the ground level of the Rulai Hall are located directly below three other large Buddha sculptural images in the upper level, called the Wanfoge (Ten-thousand Buddha Pavilion). Of these sculptures, the central figure is artistically similar to the Shakyamuni in the lower level. It too is a very large golden figure displaying finely modeled features and wearing the same kind of robe and earrings. In addition, this Buddha wears a five-petaled jeweled crown, large necklace and additional jewelry on his arms and ankles. He sits on a larger multilevel, thousand-petaled lotus throne set on an elaborately carved base that indicate his superior status or importance. His hands are held up in front of his chest, with the index finger of the left hand raised and the right hand closed over it. This is the mudra called the “wisdom fist” and is the gesture of the Buddha Vairocana who is the dharmakaya Buddha. A large coffered ceiling with central dragon was formerly situated directly above him. The two other large Buddha sculptures in the Wanfoge are labeled as Sakyamuni Buddha and Rochana Buddha, and together with the central Vairochana they are identified as the Three Bodies of the Buddha. Rochana represents the Buddha body as sambhogakaya or baoshen, body of reward, an idealized vision worshipped by believers emerged.
1444

Buddha Triad from Wanfo Pavilion (Wanfoge, Ten Thousand Buddhas Pavilion), interior digital reconstruction
  • Title Translation: 万佛阁三圣 , 室内数字重建图
  • Period: Ming, c. 1444 C.E.
  • Project: Beijing Zhihua Temple
  • Work Description: The three figures on the ground level of the Rulai Hall are located directly below three other large Buddha sculptural images in the upper level, called the Wanfoge (Ten-thousand Buddha Pavilion). Of these sculptures, the central figure is artistically similar to the Shakyamuni in the lower level. It too is a very large golden figure displaying finely modeled features and wearing the same kind of robe and earrings. In addition, this Buddha wears a five-petaled jeweled crown, large necklace and additional jewelry on his arms and ankles. He sits on a larger multilevel, thousand-petaled lotus throne set on an elaborately carved base that indicate his superior status or importance. His hands are held up in front of his chest, with the index finger of the left hand raised and the right hand closed over it. This is the mudra called the “wisdom fist” and is the gesture of the Buddha Vairocana who is the dharmakaya Buddha. A large coffered ceiling with central dragon was formerly situated directly above him. The two other large Buddha sculptures in the Wanfoge are labeled as Sakyamuni Buddha and Rochana Buddha, and together with the central Vairochana they are identified as the Three Bodies of the Buddha. Rochana represents the Buddha body as sambhogakaya or baoshen, body of reward, an idealized vision worshipped by believers emerged.
1444

Revolving Sutra Cabinet (Zhuanlun Jingzang, or Scripture Cabinet) in Sutra Hall (Zangdian, or Scripture Hall), Leviathan at the corner
  • Title Translation: 藏殿转轮经藏 , 利维坦
  • Period: Ming, c. 1444 C.E.
  • Project: Beijing Zhihua Temple
  • Work Description: “Revolving Sutra Cabinet” (zhuanlun jingzang) is an octagonal sutra cabinet. It has a stone plinth supporting the wooden cabinets and does not revolve. A Vairocana Buddha seated on a lotus is positioned right at the center on top of the sutra cabinet. The off-center position of the sutra cabinet turns out to be a calculated decision, as it creates enough space and angle for a visitor to see the Vairocana Buddha right before s/he enters the hall.
1444

Wanfo Pavilion (Wanfoge, Ten Thousand Buddhas Pavilion), interior
  • Title Translation: 万佛阁 , 室内
  • Period: Ming, c. 1444 C.E.
  • Project: Beijing Zhihua Temple
  • Work Description: The upper level of Rulai Hall is the Wanfo Pavilion (Ten Thousand Buddhas Pavilion), which is a smaller 3-bay-by-3-bay structure. The Pavilion features the “Three Bodies of the Buddha” (sanshen fo), with Buddha Vairocana at the center accompanied by Śākyamuni to its left and Rocana Buddha (Luzhena fao) to its right. While the lower-level ceiling is flat, consisting of square panels (tianhua), the ceiling on the second level features a magnificent coffered ceiling (zaojing), now installed in the Chinese gallery of the Nelson Atkins Museum of Art. Rulai Hall and Wanfo Pavilion together form the religious center of the temple.
1444

Bodhisattva Avalokiteshvara (Guanyin) Head
  • Title Translation: 观世音菩萨（观音）头
  • Period: Northern Wei, 493–534 C.E.
  • Project: Sculptures in Longmen Caves
  • Work Description: Large head of Guanyin with high headdress; lower extremities of ear lobes broken, and nose and lips repaired; fragment of statue, probably in high relief. Stand.
493 - 534

Guardian Lion
  • Title Translation: 守护狮
  • Period: Tang, 618–907 C.E.
  • Project: Sculptures in Longmen Caves
  • Work Description: Provenance: Wanfo (Ten Thousand Buddha) Cave, Longmen Caves, Luoyang, China [see note 1]; about 1930, removed from Wanfo Cave by local stonemasons, including Wang Kui and sold, probably by Ma Longtu (antiques dealer), Luoyang, to a Beijing dealer [see note 2]. By 1931, C. T. Loo and Co., New York [see note 3]; 1940, sold by Loo to the MFA. (Accession Date: March 7, 1940) NOTES: [1] Photographed in situ in 1907 or 1908 and published by Edouard Chavannes, Mission Archeologique dans la Chine Septentrionale (Paris, 1909), no. 305, pl. CLXXXII. The companion lion is in the collection of the Nelson-Atkins Museum of Art. [2] According to Gong Dazhong, Longmen Shiku Yishu (The Art of Longmen Caves) (Beijing: Renmin Meishu Chubanshe, 2002), pp. 58-60. [3] Dealer C. T. Loo lent the lion to the Fogg Art Museum at Harvard University from December 2, 1931 until September 1935.
618 - 907

Buddha with Two Attendants in a Niche
  • Title Translation: 如来三尊佛龛
  • Period: Tang, 703 C.E.
  • Project: Guangzhai Temple Qibaotai Pagoda
703

Standing Eleven-headed Kannon (Ekādaśamukha Avalokiteśvara)
  • Title Translation: 十一面观音 (依卡达萨穆哈)
  • Period: Tang, 703 C.E.
  • Project: Guangzhai Temple Qibaotai Pagoda
  • Work Description: This image is one of the seven statues of Eleven-Headed Guanyin (Jūichimen Kannon) from the statue group in Baoqinsi Temple in China’s present-day Xi’an, Shaanxi Province. The right hand holds a seal with the words “Extinguish Sin.” This attribute reflects belief in Avalokiteśvara’s capacities at expiating bad karma.
703

Disciple Standing
  • Title Translation: 弟子
  • Period: Northern Qi, 589-618 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: Expressing serene dignity, these youthful monks stand erect, their eyes downcast and hands firmly joined in reverent prayer. Their long earlobes allude to earrings that were worn by the Buddha as a young Indian prince and to his rejection of material wealth. Characteristic of Sui dynasty sculpture, the monks’ sharply defined facial features and the folds of their robes enhance the figures’ flat, understated modeling. Each of their robes was originally painted with rectangles of different colors, signifying the patchwork mantle worn by the Buddha and by pious monks who emulated his humble values. Only shadowy traces of these pigments are now evident.
589 - 618

Buddha Head
  • Title Translation: 佛头
  • 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 Buddha’s attainment of nirvana), the Buddhist faith was embraced as the ideal for rulership. The Buddha’s smile offers reassurance and consolation.
550 - 577

Monster Squatting Caryatid
  • Title Translation: 鬼神蹲女像柱
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
550 - 577

Disciple Mahakasyapa
  • Title Translation: 门徒摩诃迦叶
  • 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 Buddha’s ashes, which symbolize the Buddha entering final spiritual attainment (nirvana) at death. The artistic simplicity exemplifies the spiritual content of this figure.
550 - 577

Disciple Ananda Head
  • Title Translation: 弟子阿难头
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
550 - 577

Monster Kneeling
  • Title Translation: 跪鬼神
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
550 - 577

Pratyekabuddha Head
  • Title Translation: 缘觉佛头
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
550 - 577

Monster Kneeling
  • Title Translation: 跪鬼神
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: Figure of a demon, intended to serve as a support for an engaged column. Body with wings, large horns, three fingers, and two toes; with shoulders hunched and arms braced on thighs.
550 - 577

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

Apsaras Hand Jewel
  • Title Translation: 飞天手饰
  • 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
  • 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

Monster Squatting Human
  • Title Translation: 鬼神蹲人
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
550 - 577

Guardian Torso
  • Title Translation: 天王、护法力士躯干
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
550 - 577

Disciple Ananda Standing
  • Title Translation: 弟子阿难立像
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
550 - 577