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751 - 775 of 3450 Records
Cave 16
- Title Translation: 第十六窟
- Period: Northern Qi, 550-577 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.
550 - 577
Cave 16
- Title Translation: 第十六窟
- Period: Northern Qi, 550-577 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.
550 - 577
Cave 3
- Title Translation: 第三窟
- Period: Eastern Wei, 534-550 C.E.
- Project: Tianlongshan Caves
- Work Description: Like Cave 2, Cave 3 has a square plan with Buddha and bodhisattva images with relief carvings on three walls.
534 - 550
Cave 17
- Title Translation: 第十七窟
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: Cave 17 directly adjacent to Cave 16 to the west, is one of the most important Tang dynasty caves and had a stele carved on the east side of the porch whose inscription is now entirely unreadable. The porch formerly had two muscular lishi figures guarding the entrance that are now missing. The interior chamber is about two meters square in plan with a low altar around three walls on which there were thirteen fine sculptural images—three seated Buddhas, four standing bodhisattvas, and six seated bodhisattvas. The figures are distinctive in their appearance, and they were well preserved a century ago. As a result, they were targeted, and numerous fragments taken from Cave 17 are known in museums outside China. To the west of Cave 17 and slightly below are two small carved relief stupas that were probably made to hold relics of the deceased. The openings in the stupa chamber are now empty.
618 - 907
Cave 18
- Title Translation: 第十八窟
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: Cave 18 is one of the most important Tang dynasty caves. Its remaining sculptures are better preserved than the sculptures in many other caves. Though they are damaged and a few completely removed, they still show the excellent quality of the carving as well as the arrangements and poses of the figures to a large extent. In recent years the cave was sealed to protect its contents.
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
Flying Divinity
- Title Translation: 飞天
- Period: Eastern Wei, 534-550 C.E.
- Project: Tianlongshan Caves
- Work Description: The flying divinity hovering above clouds is one of four such figures carved in relief on the ceiling of Cave 3.
534 - 550
Longmen Binyang South Cave , Amitabha Buddha statue
- Title Translation: 龙门宾阳南洞
- Period: Northern Wei, 386–534 C.E.
- Project: Longmen Binyang Central Cave
- Work Description: The Longmen Caves are located outside the city of Luoyang, China, about 500 miles southeast of the modern-day capital in Beijing. Established in the late fifth century, the site consists of 2,345 caves, and over 100,000 individual Buddhist statues, ranging in height from a few inches to over 56 feet. For more than 250 years, Chinese Buddhists from all walks of life sponsored the addition of Buddhist statues and inscriptions to the site, most significantly from the late Northern Wei (386-534) through the Tang dynasty (618-907).
386 - 534
Vimalakīrti relief, scanning in progress
- Title Translation: 维摩诘浮雕 , 扫描进行中
- Period: Northern Wei, c. 520 C.E.
- Project: Longmen Binyang Central Cave
- Work Description: The Longmen Caves are located outside the city of Luoyang, China, about 500 miles southeast of the modern-day capital in Beijing. Established in the late fifth century, the site consists of 2,345 caves, and over 100,000 individual Buddhist statues, ranging in height from a few inches to over 56 feet. For more than 250 years, Chinese Buddhists from all walks of life sponsored the addition of Buddhist statues and inscriptions to the site, most significantly from the late Northern Wei (386-534) through the Tang dynasty (618-907). Binyang Central Cave is one of the earliest at Longmen and a major monument of Chinese Buddhism. Begun around the year 501, it was commissioned by the youthful Emperor Xuanwu (483-515) and dedicated to his father, Emperor Xiaowen, who died in 499 at age thirty-three. The cave is one of the major monuments of Chinese Buddhism. MEasuring roughly 30 feet in each dimension, its principal image is 28-foot-high seated Buddha largly filling the back of the cave and accompanied by smaller standing figures—disciples, Buddhas, and bodhisattva—on either side. The exit wall contained some of the finest stone relief carvings of the era, including depictions of two imperial processions, and a number of stories from Buddhist scriptures. After cave-making was discontinued for nearly a thousand years, the Longmen site was "discovered" by foreign scholars in the late 1800s. The publication of their studies with photos attracted international attention to the artistic quality of the sculptures. The publications ultimately led to the looting of much of the site in the early part of the twentieth century. In response to demand from art dealers, collectors, and museums around the globe, local stonecutters removed countless works from the caves, often breaking them into numerous fragments in the process. Pieces from the greater Longmen complex can now be found scattered throughout the world. In Binyang Central Cave, several heads and large portions of the relief carvings were cut or burned out of the walls. Fragments from Binyang Central Cave now reside in museums in the US and Japan, as well as in storage at the Longmen Research Institute in China. Many shattered pieces are identifiable today with the evidence of historical photographs and rubbings taken of the reliefs before their removal.
520
Longmen Binyang Central Cave, south wall and central Buddha
- Title Translation: 龙门宾阳中洞 , 南壁和中央大佛
- Period: Northern Wei, 386–534 C.E.
- Project: Longmen Binyang Central Cave
- Work Description: The Longmen Caves are located outside the city of Luoyang, China, about 500 miles southeast of the modern-day capital in Beijing. Established in the late fifth century, the site consists of 2,345 caves, and over 100,000 individual Buddhist statues, ranging in height from a few inches to over 56 feet. For more than 250 years, Chinese Buddhists from all walks of life sponsored the addition of Buddhist statues and inscriptions to the site, most significantly from the late Northern Wei (386-534) through the Tang dynasty (618-907). Binyang Central Cave is one of the earliest at Longmen and a major monument of Chinese Buddhism. Begun around the year 501, it was commissioned by the youthful Emperor Xuanwu (483-515) and dedicated to his father, Emperor Xiaowen, who died in 499 at age thirty-three. The cave is one of the major monuments of Chinese Buddhism. MEasuring roughly 30 feet in each dimension, its principal image is 28-foot-high seated Buddha largly filling the back of the cave and accompanied by smaller standing figures—disciples, Buddhas, and bodhisattva—on either side. The exit wall contained some of the finest stone relief carvings of the era, including depictions of two imperial processions, and a number of stories from Buddhist scriptures. After cave-making was discontinued for nearly a thousand years, the Longmen site was "discovered" by foreign scholars in the late 1800s. The publication of their studies with photos attracted international attention to the artistic quality of the sculptures. The publications ultimately led to the looting of much of the site in the early part of the twentieth century. In response to demand from art dealers, collectors, and museums around the globe, local stonecutters removed countless works from the caves, often breaking them into numerous fragments in the process. Pieces from the greater Longmen complex can now be found scattered throughout the world. In Binyang Central Cave, several heads and large portions of the relief carvings were cut or burned out of the walls. Fragments from Binyang Central Cave now reside in museums in the US and Japan, as well as in storage at the Longmen Research Institute in China. Many shattered pieces are identifiable today with the evidence of historical photographs and rubbings taken of the reliefs before their removal.
386 - 534
Longmen Binyang Central Cave, south wall and central Buddha
- Title Translation: 龙门宾阳中洞 , 南壁和中央大佛
- Period: Northern Wei, 386–534 C.E.
- Project: Longmen Binyang Central Cave
- Work Description: The Longmen Caves are located outside the city of Luoyang, China, about 500 miles southeast of the modern-day capital in Beijing. Established in the late fifth century, the site consists of 2,345 caves, and over 100,000 individual Buddhist statues, ranging in height from a few inches to over 56 feet. For more than 250 years, Chinese Buddhists from all walks of life sponsored the addition of Buddhist statues and inscriptions to the site, most significantly from the late Northern Wei (386-534) through the Tang dynasty (618-907). Binyang Central Cave is one of the earliest at Longmen and a major monument of Chinese Buddhism. Begun around the year 501, it was commissioned by the youthful Emperor Xuanwu (483-515) and dedicated to his father, Emperor Xiaowen, who died in 499 at age thirty-three. The cave is one of the major monuments of Chinese Buddhism. MEasuring roughly 30 feet in each dimension, its principal image is 28-foot-high seated Buddha largly filling the back of the cave and accompanied by smaller standing figures—disciples, Buddhas, and bodhisattva—on either side. The exit wall contained some of the finest stone relief carvings of the era, including depictions of two imperial processions, and a number of stories from Buddhist scriptures. After cave-making was discontinued for nearly a thousand years, the Longmen site was "discovered" by foreign scholars in the late 1800s. The publication of their studies with photos attracted international attention to the artistic quality of the sculptures. The publications ultimately led to the looting of much of the site in the early part of the twentieth century. In response to demand from art dealers, collectors, and museums around the globe, local stonecutters removed countless works from the caves, often breaking them into numerous fragments in the process. Pieces from the greater Longmen complex can now be found scattered throughout the world. In Binyang Central Cave, several heads and large portions of the relief carvings were cut or burned out of the walls. Fragments from Binyang Central Cave now reside in museums in the US and Japan, as well as in storage at the Longmen Research Institute in China. Many shattered pieces are identifiable today with the evidence of historical photographs and rubbings taken of the reliefs before their removal.
386 - 534
Longmen Binyang Central Cave, exterior
- Title Translation: 龙门宾阳中洞 , 外部
- Period: Northern Wei, 386–534 C.E.
- Project: Longmen Binyang Central Cave
- Work Description: The Longmen Caves are located outside the city of Luoyang, China, about 500 miles southeast of the modern-day capital in Beijing. Established in the late fifth century, the site consists of 2,345 caves, and over 100,000 individual Buddhist statues, ranging in height from a few inches to over 56 feet. For more than 250 years, Chinese Buddhists from all walks of life sponsored the addition of Buddhist statues and inscriptions to the site, most significantly from the late Northern Wei (386-534) through the Tang dynasty (618-907). Binyang Central Cave is one of the earliest at Longmen and a major monument of Chinese Buddhism. Begun around the year 501, it was commissioned by the youthful Emperor Xuanwu (483-515) and dedicated to his father, Emperor Xiaowen, who died in 499 at age thirty-three. The cave is one of the major monuments of Chinese Buddhism. MEasuring roughly 30 feet in each dimension, its principal image is 28-foot-high seated Buddha largly filling the back of the cave and accompanied by smaller standing figures—disciples, Buddhas, and bodhisattva—on either side. The exit wall contained some of the finest stone relief carvings of the era, including depictions of two imperial processions, and a number of stories from Buddhist scriptures. After cave-making was discontinued for nearly a thousand years, the Longmen site was "discovered" by foreign scholars in the late 1800s. The publication of their studies with photos attracted international attention to the artistic quality of the sculptures. The publications ultimately led to the looting of much of the site in the early part of the twentieth century. In response to demand from art dealers, collectors, and museums around the globe, local stonecutters removed countless works from the caves, often breaking them into numerous fragments in the process. Pieces from the greater Longmen complex can now be found scattered throughout the world. In Binyang Central Cave, several heads and large portions of the relief carvings were cut or burned out of the walls. Fragments from Binyang Central Cave now reside in museums in the US and Japan, as well as in storage at the Longmen Research Institute in China. Many shattered pieces are identifiable today with the evidence of historical photographs and rubbings taken of the reliefs before their removal.
386 - 534
Longmen Binyang Central Cave, entrance north side upper portion
- Title Translation: 龙门宾阳中洞 , 中央大佛及西北角
- Period: Northern Wei, 386–534 C.E.
- Project: Longmen Binyang Central Cave
- Work Description: The Longmen Caves are located outside the city of Luoyang, China, about 500 miles southeast of the modern-day capital in Beijing. Established in the late fifth century, the site consists of 2,345 caves, and over 100,000 individual Buddhist statues, ranging in height from a few inches to over 56 feet. For more than 250 years, Chinese Buddhists from all walks of life sponsored the addition of Buddhist statues and inscriptions to the site, most significantly from the late Northern Wei (386-534) through the Tang dynasty (618-907). Binyang Central Cave is one of the earliest at Longmen and a major monument of Chinese Buddhism. Begun around the year 501, it was commissioned by the youthful Emperor Xuanwu (483-515) and dedicated to his father, Emperor Xiaowen, who died in 499 at age thirty-three. The cave is one of the major monuments of Chinese Buddhism. MEasuring roughly 30 feet in each dimension, its principal image is 28-foot-high seated Buddha largly filling the back of the cave and accompanied by smaller standing figures—disciples, Buddhas, and bodhisattva—on either side. The exit wall contained some of the finest stone relief carvings of the era, including depictions of two imperial processions, and a number of stories from Buddhist scriptures. After cave-making was discontinued for nearly a thousand years, the Longmen site was "discovered" by foreign scholars in the late 1800s. The publication of their studies with photos attracted international attention to the artistic quality of the sculptures. The publications ultimately led to the looting of much of the site in the early part of the twentieth century. In response to demand from art dealers, collectors, and museums around the globe, local stonecutters removed countless works from the caves, often breaking them into numerous fragments in the process. Pieces from the greater Longmen complex can now be found scattered throughout the world. In Binyang Central Cave, several heads and large portions of the relief carvings were cut or burned out of the walls. Fragments from Binyang Central Cave now reside in museums in the US and Japan, as well as in storage at the Longmen Research Institute in China. Many shattered pieces are identifiable today with the evidence of historical photographs and rubbings taken of the reliefs before their removal.
386 - 534
Longmen Binyang Central Cave, central Buddha, night view
- Title Translation: 龙门宾阳中洞 , 中央大佛，夜景
- Period: Northern Wei, 386–534 C.E.
- Project: Longmen Binyang Central Cave
- Work Description: The Longmen Caves are located outside the city of Luoyang, China, about 500 miles southeast of the modern-day capital in Beijing. Established in the late fifth century, the site consists of 2,345 caves, and over 100,000 individual Buddhist statues, ranging in height from a few inches to over 56 feet. For more than 250 years, Chinese Buddhists from all walks of life sponsored the addition of Buddhist statues and inscriptions to the site, most significantly from the late Northern Wei (386-534) through the Tang dynasty (618-907). Binyang Central Cave is one of the earliest at Longmen and a major monument of Chinese Buddhism. Begun around the year 501, it was commissioned by the youthful Emperor Xuanwu (483-515) and dedicated to his father, Emperor Xiaowen, who died in 499 at age thirty-three. The cave is one of the major monuments of Chinese Buddhism. MEasuring roughly 30 feet in each dimension, its principal image is 28-foot-high seated Buddha largly filling the back of the cave and accompanied by smaller standing figures—disciples, Buddhas, and bodhisattva—on either side. The exit wall contained some of the finest stone relief carvings of the era, including depictions of two imperial processions, and a number of stories from Buddhist scriptures. After cave-making was discontinued for nearly a thousand years, the Longmen site was "discovered" by foreign scholars in the late 1800s. The publication of their studies with photos attracted international attention to the artistic quality of the sculptures. The publications ultimately led to the looting of much of the site in the early part of the twentieth century. In response to demand from art dealers, collectors, and museums around the globe, local stonecutters removed countless works from the caves, often breaking them into numerous fragments in the process. Pieces from the greater Longmen complex can now be found scattered throughout the world. In Binyang Central Cave, several heads and large portions of the relief carvings were cut or burned out of the walls. Fragments from Binyang Central Cave now reside in museums in the US and Japan, as well as in storage at the Longmen Research Institute in China. Many shattered pieces are identifiable today with the evidence of historical photographs and rubbings taken of the reliefs before their removal.
386 - 534
Longmen Binyang Central Cave, south wall
- Title Translation: 龙门宾阳中洞 , 南壁
- Period: Northern Wei, 386–534 C.E.
- Project: Longmen Binyang Central Cave
- Work Description: The Longmen Caves are located outside the city of Luoyang, China, about 500 miles southeast of the modern-day capital in Beijing. Established in the late fifth century, the site consists of 2,345 caves, and over 100,000 individual Buddhist statues, ranging in height from a few inches to over 56 feet. For more than 250 years, Chinese Buddhists from all walks of life sponsored the addition of Buddhist statues and inscriptions to the site, most significantly from the late Northern Wei (386-534) through the Tang dynasty (618-907). Binyang Central Cave is one of the earliest at Longmen and a major monument of Chinese Buddhism. Begun around the year 501, it was commissioned by the youthful Emperor Xuanwu (483-515) and dedicated to his father, Emperor Xiaowen, who died in 499 at age thirty-three. The cave is one of the major monuments of Chinese Buddhism. MEasuring roughly 30 feet in each dimension, its principal image is 28-foot-high seated Buddha largly filling the back of the cave and accompanied by smaller standing figures—disciples, Buddhas, and bodhisattva—on either side. The exit wall contained some of the finest stone relief carvings of the era, including depictions of two imperial processions, and a number of stories from Buddhist scriptures. After cave-making was discontinued for nearly a thousand years, the Longmen site was "discovered" by foreign scholars in the late 1800s. The publication of their studies with photos attracted international attention to the artistic quality of the sculptures. The publications ultimately led to the looting of much of the site in the early part of the twentieth century. In response to demand from art dealers, collectors, and museums around the globe, local stonecutters removed countless works from the caves, often breaking them into numerous fragments in the process. Pieces from the greater Longmen complex can now be found scattered throughout the world. In Binyang Central Cave, several heads and large portions of the relief carvings were cut or burned out of the walls. Fragments from Binyang Central Cave now reside in museums in the US and Japan, as well as in storage at the Longmen Research Institute in China. Many shattered pieces are identifiable today with the evidence of historical photographs and rubbings taken of the reliefs before their removal.
386 - 534
Revolving Sutra Cabinet (Zhuanlun Jingzang, or Scripture Cabinet) in Sutra Hall (Zangdian, or Scripture Hall), white marble base
- Title Translation: 藏殿转轮经藏 , 白色大理石底座
- 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
Revolving Sutra Cabinet (Zhuanlun Jingzang, or Scripture Cabinet) in Sutra Hall (Zangdian, or Scripture Hall)
- Title Translation: 藏殿转轮经藏
- 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
Buddha Triad from Rulai Hall (Rulaidian, Tathagatha Hall or Shakyamuni Hall), Brahma Buddha
- Title Translation: 如来殿三圣 , 大梵天
- 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 Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom)
- Title Translation: 智化殿三世佛
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: The main altar of the Zhihua Hall is no longer in its original form, and the three large seated Buddhas that originally occupied the space were removed and are now believed to be in the Dajue Temple. The Zhihua Hall now houses three Buddha images that once occupied the Dabei Hall at the back of the temple. These sculptures are smaller in size than the former ones, but are likely quite similar in appearance. The three Buddhas are depicted sitting with legs crossed in front on lotus thrones. The elaborate throne bases are believed to be of the Qing dynasty (1644-1911). They each wear a robe draped over the left shoulder that falls diagonally across the front of the torso and under the right arm leaving the chest, right shoulder, and arm exposed. They have curling hair and a jewel-like protuberance on the ushnisha on the top of the head. They are distinguished by the position of their hands. The central Buddha has his right hand reaching forward with fingers pointed downward in the gesture of touching the earth (bhumishparsha mudra). The Buddha to his left has the right hand raised in the gesture of granting absence of fear (abhaya mudra) The Buddha at his right side has both hands has both hands held in front of the chest in gesture of teaching, known as turning the wheel of the law (dharmachakra mudra). The three are identified as The Buddhas of the Three Ages—Shakyamuni (the central historical Buddha), Dipankara (Buddha of the Past), and Maitreya (Buddha of the Future). From the time of Shakyamuni’s life and his teachings to his disciples, the belief in the Buddha as the Enlightened One grew into a religion that spread across Asia and expanded doctrinally to include a universe of many Buddhas of countless ages in time and realms of the universe. The Zhihua Temple sculptures illustrate various aspects of these religious concepts.
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), 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 Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom), Maitreya (Buddha of the Future)
- Title Translation: 智化殿三世佛 , 弥勒佛
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: The main altar of the Zhihua Hall is no longer in its original form, and the three large seated Buddhas that originally occupied the space were removed and are now believed to be in the Dajue Temple. The Zhihua Hall now houses three Buddha images that once occupied the Dabei Hall at the back of the temple. These sculptures are smaller in size than the former ones, but are likely quite similar in appearance. The three Buddhas are depicted sitting with legs crossed in front on lotus thrones. The elaborate throne bases are believed to be of the Qing (1644-1911). They each wear a robe draped over the left shoulder that falls diagonally across the front of the torso and under the right arm leaving the chest, right shoulder, and arm exposed. They have curling hair and a jewel-like protuberance on the ushnisha on the top of the head. They are distinguished by the position of their hands. The central Buddha has his right hand reaching forward with fingers pointed downward in the gesture of touching the earth (bhumishparsha mudra). The Buddha to his left has the right hand raised in the gesture of granting absence of fear (abhaya mudra) The Buddha at his right side has both hands has both hands held in front of the chest in gesture of teaching, known as turning the wheel of the law (dharmachakra mudra). The three are identified as The Buddhas of the Three Ages—Shakyamuni (the central historical Buddha), Dipankara (Buddha of the Past), and Maitreya (Buddha of the Future). From the time of Shakyamuni’s life and his teachings to his disciples, the belief in the Buddha as the Enlightened One grew into a religion that spread across Asia and expanded doctrinally to include a universe of many Buddhas of countless ages in time and realms of the universe. The Zhihua Temple sculptures illustrate various aspects of these religious concepts.
1444
Skanda Bodhisattva in Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom), front
- Title Translation: 智化殿韦陀菩萨 , 正面
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: Skanda, known as Weituo in Chinese, is a devoted guardian of Buddhist monasteries who protects the teachings of Buddhism. He is always depicted as a young and robust warrior in full armor.
1444
Buddha Triad from Wanfo Pavilion (Wanfoge, Ten Thousand Buddhas Pavilion), 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 Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom), Maitreya (Buddha of the Future)
- Title Translation: 智化殿三世佛 , 弥勒佛
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: The main altar of the Zhihua Hall is no longer in its original form, and the three large seated Buddhas that originally occupied the space were removed and are now believed to be in the Dajue Temple. The Zhihua Hall now houses three Buddha images that once occupied the Dabei Hall at the back of the temple. These sculptures are smaller in size than the former ones, but are likely quite similar in appearance. The three Buddhas are depicted sitting with legs crossed in front on lotus thrones. The elaborate throne bases are believed to be of the Qing (1644-1911). They each wear a robe draped over the left shoulder that falls diagonally across the front of the torso and under the right arm leaving the chest, right shoulder, and arm exposed. They have curling hair and a jewel-like protuberance on the ushnisha on the top of the head. They are distinguished by the position of their hands. The central Buddha has his right hand reaching forward with fingers pointed downward in the gesture of touching the earth (bhumishparsha mudra). The Buddha to his left has the right hand raised in the gesture of granting absence of fear (abhaya mudra) The Buddha at his right side has both hands has both hands held in front of the chest in gesture of teaching, known as turning the wheel of the law (dharmachakra mudra). The three are identified as The Buddhas of the Three Ages—Shakyamuni (the central historical Buddha), Dipankara (Buddha of the Past), and Maitreya (Buddha of the Future). From the time of Shakyamuni’s life and his teachings to his disciples, the belief in the Buddha as the Enlightened One grew into a religion that spread across Asia and expanded doctrinally to include a universe of many Buddhas of countless ages in time and realms of the universe. The Zhihua Temple sculptures illustrate various aspects of these religious concepts.
1444