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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 believed to be from a standing bodhisattva on the west wall of Cave 17.
618 - 907

Bodhisattva Lion, 3D model
  • Title Translation: 菩萨狮子 , 3D 模型
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 20 contained this bodhisattva Manjusri seated on a lion. The lion has been heavily restored.
618 - 907

Buddha Seated
  • Title Translation: 坐佛
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The sculpture has recently been attributed to the upper level Cave 3.
618 - 907

Six Steeds of Zhao Mausoleum ("Zhaoling Liujun"), stone relief
  • Title Translation: 昭陵六骏 , 浮雕石
  • 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

Eleven-headed Guanyin (Ekadasamukha)
  • 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 a group of relief-carved stone Buddhist plinths from Huatasi temple, Xian (also known as Baoqingsi). The symmetrically arranged body and the flowing drapery lines are particularly beautiful, making this an important fundamental piece in the study of Chinese early Tang period Buddhist sculpture.
703

Niche of a Buddha Triad
  • Title Translation: 佛三圣龛
  • Period: Tang, 703 C.E.
  • Project: Guangzhai Temple Qibaotai Pagoda
  • Work Description: This niche belongs to a set of thirty stone reliefs from Baoqing Temple, and is one of the most representative stone carvings from the Tang dynasty (618–907). Baoqing Temple was a temple located near the south gate of the Chang’an capital during the Ming dynasty (1368–1644). Today, the only structure that remains of the temple is a stone pagoda which held stone niches, including this one. These carvings, which were stored in the main hall of the temple, had originally been part of the Qibaotai pagoda in Guangzhai Temple, a temple in the Guangzhai district located immediately south of the Daming Palace in Chang’an during the Tang dynasty. This information is found on multiple niches from the series in the form of inscriptions, alongside carvings suggesting that they were created in the early eighth century (703–4, 724).The Guangzhai Temple was allegedly founded in 677 at the location where a Buddhist relic (cremated remains of the Buddha’s body) had been discovered. The Qibotai, on the other hand, was constructed by Empress Wu Zetian (r. 690–705), the only empress regnant in Chinese history, who also installed a series of stone Buddhist reliefs as decoration.This series of Buddhist reliefs features two styles of composition: ones depicting a buddha triad, and ones that depict a single buddha or deity. The former type can be classified further into three depending on the pose and/or hand gesture (mudra) of the central buddha: a buddha seated with legs folded performing the bhumisparsha mudra (Jp. gōma-in) that symbolizes the expulsion of evil, a buddha seated with legs folded performing the abhaya mudra (Jp. semui-in) that symbolizes fearlessness, and a seated buddha with feet touching the ground performing the abhaya mudra. Single-image niches typically feature the bodhisattva Ekadashamukha, the eleven-headed manifestation of Avalokiteshvara (Jp. Kannon). According to the inscriptions on the works, the triads featuring a central buddha with legs folded performing the abhaya mudra represent the buddha Amitabha, while the ones with a buddha seated with feet touching the ground performing the same mudra represented Maitreya Buddha. There are also variations in iconography among the buddhas performing the bhumisparsha mudra; some wear crowns, while others sit upon a shumi pedestal or a lotus pedestal. These may have roots in representations of the historic Buddha, Shakyamuni, that were popular in India at the time.This particular niche depicts a central buddha seated with both feet touching the ground, suggesting that it is an image of Maitreya, flanked by two attendants. At the top, a pair of heavenly beings are depicted in shallow relief to either side of a parasol that hangs above the central buddha. The rectangular space at the bottom bears inscriptions indicating that this particular work was dedicated by Yang Sixu, the duke of Guoguo (Guoguo-gong 虢国公).
703

Qibaotai Pagoda/Baoqing Temple Buddhist Niches
  • Title Translation: 七宝台塔/宝庆寺佛龛
  • Period: Tang, 703 C.E.
  • Project: Guangzhai Temple Qibaotai Pagoda
703

Fengxian Temple (Fengxiansi), Vairocana Buddha
  • Title Translation: 奉先寺 , 毗卢遮那佛
  • Period: Tang, 618–907 C.E.
  • Project: Sculptures in Longmen Caves
  • Work Description: This imposing group of nine monumental images carved into the hard, gray limestone of Fengxian Temple at Longmen is a spectacular display of innovative style and iconography. Sponsored by the Emperor Gaozong and his wife, the future Empress Wu, the high relief sculptures are widely spaced in a semi-circle. The central Vairocana Buddha (more than 55 feet high including its pedestal) is flanked on either side by a bodhisattva, a heavenly king, and a thunderbolt holder (vajrapani). Vairocana represents the primordial Buddha who generates and presides over all the Buddhas of the infinite universes that form Buddhist cosmology. This idea—of the power of one supreme deity over all the others—resonated in the vast Tang Empire which was dominated by the Emperor at its summit and supported by his subordinate officials. These monumental sculptures intentionally mirrored the political situation. The dignity and imposing presence of Buddha and the sumptuous appearance of his attendant bodhisattvas is significant in this context. The Buddha, monks and bodhisattvas (above) display new softer and rounder modeling and serene facial expressions. In contrast, the heavenly guardians and the vajrapani are more engaging and animated. Notice the realistic musculature of the heavenly guardians and the forceful poses of the vajrapani.
618 - 907

Fengxian Temple (Fengxiansi)
  • Title Translation: 奉先寺
  • Period: Tang, 618–907 C.E.
  • Project: Sculptures in Longmen Caves
  • Work Description: This imposing group of nine monumental images carved into the hard, gray limestone of Fengxian Temple at Longmen is a spectacular display of innovative style and iconography. Sponsored by the Emperor Gaozong and his wife, the future Empress Wu, the high relief sculptures are widely spaced in a semi-circle. The central Vairocana Buddha (more than 55 feet high including its pedestal) is flanked on either side by a bodhisattva, a heavenly king, and a thunderbolt holder (vajrapani). Vairocana represents the primordial Buddha who generates and presides over all the Buddhas of the infinite universes that form Buddhist cosmology. This idea—of the power of one supreme deity over all the others—resonated in the vast Tang Empire which was dominated by the Emperor at its summit and supported by his subordinate officials. These monumental sculptures intentionally mirrored the political situation. The dignity and imposing presence of Buddha and the sumptuous appearance of his attendant bodhisattvas is significant in this context. The Buddha, monks and bodhisattvas (above) display new softer and rounder modeling and serene facial expressions. In contrast, the heavenly guardians and the vajrapani are more engaging and animated. Notice the realistic musculature of the heavenly guardians and the forceful poses of the vajrapani.
618 - 907

Fengxian Temple (Fengxiansi)
  • Title Translation: 奉先寺
  • Period: Tang, 618–907 C.E.
  • Project: Sculptures in Longmen Caves
  • Work Description: This imposing group of nine monumental images carved into the hard, gray limestone of Fengxian Temple at Longmen is a spectacular display of innovative style and iconography. Sponsored by the Emperor Gaozong and his wife, the future Empress Wu, the high relief sculptures are widely spaced in a semi-circle. The central Vairocana Buddha (more than 55 feet high including its pedestal) is flanked on either side by a bodhisattva, a heavenly king, and a thunderbolt holder (vajrapani). Vairocana represents the primordial Buddha who generates and presides over all the Buddhas of the infinite universes that form Buddhist cosmology. This idea—of the power of one supreme deity over all the others—resonated in the vast Tang Empire which was dominated by the Emperor at its summit and supported by his subordinate officials. These monumental sculptures intentionally mirrored the political situation. The dignity and imposing presence of Buddha and the sumptuous appearance of his attendant bodhisattvas is significant in this context. The Buddha, monks and bodhisattvas (above) display new softer and rounder modeling and serene facial expressions. In contrast, the heavenly guardians and the vajrapani are more engaging and animated. Notice the realistic musculature of the heavenly guardians and the forceful poses of the vajrapani.
618 - 907

Fengxian Temple (Fengxiansi)
  • Title Translation: 奉先寺
  • Period: Tang, 618–907 C.E.
  • Project: Sculptures in Longmen Caves
  • Work Description: This imposing group of nine monumental images carved into the hard, gray limestone of Fengxian Temple at Longmen is a spectacular display of innovative style and iconography. Sponsored by the Emperor Gaozong and his wife, the future Empress Wu, the high relief sculptures are widely spaced in a semi-circle. The central Vairocana Buddha (more than 55 feet high including its pedestal) is flanked on either side by a bodhisattva, a heavenly king, and a thunderbolt holder (vajrapani). Vairocana represents the primordial Buddha who generates and presides over all the Buddhas of the infinite universes that form Buddhist cosmology. This idea—of the power of one supreme deity over all the others—resonated in the vast Tang Empire which was dominated by the Emperor at its summit and supported by his subordinate officials. These monumental sculptures intentionally mirrored the political situation. The dignity and imposing presence of Buddha and the sumptuous appearance of his attendant bodhisattvas is significant in this context. The Buddha, monks and bodhisattvas (above) display new softer and rounder modeling and serene facial expressions. In contrast, the heavenly guardians and the vajrapani are more engaging and animated. Notice the realistic musculature of the heavenly guardians and the forceful poses of the vajrapani.
618 - 907

Fengxian Temple (Fengxiansi)
  • Title Translation: 奉先寺
  • Period: Tang, 618–907 C.E.
  • Project: Sculptures in Longmen Caves
  • Work Description: This imposing group of nine monumental images carved into the hard, gray limestone of Fengxian Temple at Longmen is a spectacular display of innovative style and iconography. Sponsored by the Emperor Gaozong and his wife, the future Empress Wu, the high relief sculptures are widely spaced in a semi-circle. The central Vairocana Buddha (more than 55 feet high including its pedestal) is flanked on either side by a bodhisattva, a heavenly king, and a thunderbolt holder (vajrapani). Vairocana represents the primordial Buddha who generates and presides over all the Buddhas of the infinite universes that form Buddhist cosmology. This idea—of the power of one supreme deity over all the others—resonated in the vast Tang Empire which was dominated by the Emperor at its summit and supported by his subordinate officials. These monumental sculptures intentionally mirrored the political situation. The dignity and imposing presence of Buddha and the sumptuous appearance of his attendant bodhisattvas is significant in this context. The Buddha, monks and bodhisattvas (above) display new softer and rounder modeling and serene facial expressions. In contrast, the heavenly guardians and the vajrapani are more engaging and animated. Notice the realistic musculature of the heavenly guardians and the forceful poses of the vajrapani.
618 - 907

Fengxian Temple (Fengxiansi)
  • Title Translation: 奉先寺
  • Period: Tang, 618–907 C.E.
  • Project: Sculptures in Longmen Caves
  • Work Description: This imposing group of nine monumental images carved into the hard, gray limestone of Fengxian Temple at Longmen is a spectacular display of innovative style and iconography. Sponsored by the Emperor Gaozong and his wife, the future Empress Wu, the high relief sculptures are widely spaced in a semi-circle. The central Vairocana Buddha (more than 55 feet high including its pedestal) is flanked on either side by a bodhisattva, a heavenly king, and a thunderbolt holder (vajrapani). Vairocana represents the primordial Buddha who generates and presides over all the Buddhas of the infinite universes that form Buddhist cosmology. This idea—of the power of one supreme deity over all the others—resonated in the vast Tang Empire which was dominated by the Emperor at its summit and supported by his subordinate officials. These monumental sculptures intentionally mirrored the political situation. The dignity and imposing presence of Buddha and the sumptuous appearance of his attendant bodhisattvas is significant in this context. The Buddha, monks and bodhisattvas (above) display new softer and rounder modeling and serene facial expressions. In contrast, the heavenly guardians and the vajrapani are more engaging and animated. Notice the realistic musculature of the heavenly guardians and the forceful poses of the vajrapani.
618 - 907

Buddha Head
  • Title Translation: 佛头
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The head is that of the seated Maitreya Buddha on the east wall of Cave 6.
618 - 907

Guardian Standing
  • Title Translation: 天王、护法力士立像
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The muscular body and fierce expression of this door guardian from Cave 17 create a vivid impression of strength.
618 - 907

Bodhisattva Standing
  • Title Translation: 立菩萨
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: This figure and the other standing bodhisattva in the Nelson-Atkins Museum of Art are a pair that once stood on opposite walls of Cave 4.
618 - 907

Lion Torso
  • Title Translation: 狮身
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The lion is believed to be the mount of the bodhisattva Manjusri formerly in Cave 20.
618 - 907

Bodhisattva Torso
  • Title Translation: 菩萨身
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The torso appears to be from a standing bodhisattva on the east wall of Cave 6.
618 - 907

Bodhisattva Standing
  • Title Translation: 立菩萨
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The figure is likely to be from one of the smaller caves at Tianlongshan where it stood as an attendant to the Buddha with hands held together in reverence.
618 - 907

Buddha Head
  • Title Translation: 佛头
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The cave from which this head originated has not been identified.
618 - 907

Bodhisattva Head
  • Title Translation: 菩萨头
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The head of the bodhisattva is missing its topknot. Other heads from Cave 18 have had the topknot restored.
618 - 907

Cave 16
  • Title Translation: 第十六窟
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 16 is the most important Northern Qi cave at the Tianlongshan site. The porch still has elements of post and lintel construction and bracketing supporting the overhanging eave that derive from construction in wood. The interior had fine sculptures that partially remain. The cave is now inaccessible from the path, which may account for its relatively good state of preservation.
618 - 907

Cave 6
  • Title Translation: 第六窟
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 6 is a small square cave of the Tang period that had nine sculpted images on the interior, with a central seated Buddha on the back and side walls accompanied by bodhisattvas and disciples.
618 - 907

Cave 6
  • Title Translation: 第六窟
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 6 is a small square cave of the Tang period that had nine sculpted images on the interior, with a central seated Buddha on the back and side walls accompanied by bodhisattvas and disciples.
618 - 907

Cave 9
  • Title Translation: 第九窟
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 9 was cut into the eastern edge of the western section at Tianlongshan in the Tang dynasty. It consists of a huge niche with two levels. The upper level is set back and has a massive colossal Maitreya Buddha image more than 7.5 meters high, seated with his back against the cliff and his head reaching nearly to the cliff top. The lower level has three large bodhisattvas carved in the round, a central standing eleven-headed Avalokitesvara (Guanyin) and two seated bodhisattvas at the sides, each riding on an animal. The Guanyin figure stands 5.5 meters high. Its head is a modern replacement for the original one. The bodhisattva on the east side, mounted on an elephant, is Samantabhadra (Puxian), and the one on the west side, sitting on a lion, is Manjusri (Wenshu). The large group of carvings is protected by a tall wooden structure that was reconstructed in recent times. The original building, believed to be from the Tang, was repaired in the tenth century, as recorded on the stele dated 975 preserved at the site.
618 - 907