CENTER FOR THE ART OF EAST ASIA
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66 Nelson-Atkins Museum of Art 59 Philadelphia Museum of Art 47 Harvard Art Museums 40 National Museum of Asian Art 33 Osaka City Museum of Fine Arts 32 private collection 31 unknown 29 Tokyo National Museum 21 Museum Rietberg 20 University of Pennsylvania, Museum of Archaeology and Anthropology 19 Metropolitan Museum of Art 14 Nezu Art Museum 13 Asian Art Museum of San Francisco 12 Cleveland Museum of Art 10 Columbia University 8 Museo nazionale d’arte orientale 8 Museum of Fine Arts, Boston 8 Rijksmuseum voor Volkenkunde 7 British Museum 7 Honolulu Museum of Art 7 San Diego Museum of Art 6 Barnes Foundation 6 Koninklijk Instituut voor het Kunstpatrimonium 6 National Museum of China 6 Victoria and Albert Museum 5 Tsz Shan Monastery Buddhist Art Museum 4 Cincinnati Art Museum 4 Museum für Ostasiatische Kunst 4 Museum of Far Eastern Antiquities 4 Royal Ontario Museum 4 University of Tokyo, Museum of Art and History 3 Art Institute of Chicago 3 Columbia University, Avery Architectural and Fine Arts Library 2 Clark Art Institute 2 Detroit Institute of Arts 2 Guimet Museum 2 Harvard Library 2 Idemitsu Museum of Art 2 J. J. Lally & Co. New York 2 Kyushu National Museum 2 Masaki Art Museum 2 Miho Museum 2 Minneapolis Institute of Arts 2 Museum of Oriental Ceramics, Osaka 2 Nara National Museum 2 National Gallery of Victoria 2 Ohara Museum of Art 2 Rijksmuseum 2 Seattle Art Museum 2 Villa I Tatti 2 Virginia Museum of Fine Arts 2 Wadsworth Atheneum 1 Aurora Art Museum 1 Brooklyn Museum of Art 1 Cernuschi Museum 1 Kosetsu Museum of Art 1 Morgan Library & Museum 1 Nezu Museum 1 Palace Museum 1 Portland Art Museum 1 Rhode Island School of Design, Museum of Art
Cave 14
  • Title Translation: 第十四窟
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 14 is a Tang cave that had finely carved sculptures, many of which are now in collections outside China
618 - 907

Cave 15
  • Title Translation: 第十五窟
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 15 is a small Tang dynasty cave formerly with muscular guardian figures standing at the entrance. Very few sculptural traces remain inside the cave.
618 - 907

Cave 1
  • Title Translation: 第一窟
  • Period: Northern Qi, 550-577 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 1 is located at the far eastern end of the Tianlongshan caves site more than thirty meters from the the next cave, Cave 2. It is one of the larger caves, believed to be of the Northern Qi period. The facade still has part of the eave over the entrance porch showing architectural elements of posts and brackets and tiled roof carved in stone. The porch is about 3.5 meters wide and has an old stele carved on the right side. There was a dedicatory inscription carved on it, but only a few characters are now legible. The interior is a square chamber with niches on the back and side walls, each formerly containing a seated Buddha and two bodhisattvas.
550 - 577

Cave 1
  • Title Translation: 第一窟
  • Period: Northern Qi, 550-577 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 1 is located at the far eastern end of the Tianlongshan caves site more than thirty meters from the the next cave, Cave 2. It is one of the larger caves, believed to be of the Northern Qi period. The facade still has part of the eave over the entrance porch showing architectural elements of posts and brackets and tiled roof carved in stone. The porch is about 3.5 meters wide and has an old stele carved on the right side. There was a dedicatory inscription carved on it, but only a few characters are now legible. The interior is a square chamber with niches on the back and side walls, each formerly containing a seated Buddha and two bodhisattvas.
550 - 577

Cave 2
  • Title Translation: 第二窟
  • 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

Cave 2
  • Title Translation: 第二窟
  • 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

Cave 2
  • Title Translation: 第二窟
  • 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

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

Rubbing of the Emperor Procession
  • Title Translation: 《皇帝礼佛图》拓片
  • Period: Republican period, 1912–1949 C.E.
  • Project: Longmen Binyang Central Cave
  • Work Description: Rubbing of inscription from votive offering dedicated by donors.
1912
1949

Longmen Binyang Central Cave, Buddha and disciples on the west wall of Cave 140
  • Title Translation: 龙门宾阳中洞 , 第140窟西壁主尊、弟子
  • 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, One of the guardian kings in the lower section of the north side of the East Wall of Cave 140
  • Title Translation: 龙门宾阳中洞 , 第140窟东壁北侧下段神王之一
  • 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

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

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 a seated bodhisattva figure from the back wall of Cave 21 that was formerly in the Idemitsu Museum, Tokyo, and is now in the National Museum of China.
618 - 907

Disciple Relief, 3D model
  • Title Translation: 弟子浮雕 , 3D 模型
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The elderly disciple Kasyapa, together with the youthful Ananda, represent the Buddha's initial monastic followers.
534 - 550

Buddha Head, 3D model
  • Title Translation: 佛头 , 3D 模型
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The head was quite deeply cut from the torso of the central Buddha on the north wall, which still remains in Cave 17.
618 - 907

Buddha Seated
  • Title Translation: 坐佛
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The Buddha sits in meditation with his right hand extended downward in the gesture of bhumispara (earth touching).
618 - 907

Bodhisattva Seated
  • Title Translation: 坐菩萨
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The unusually well-preserved bodhisattva figure seated in royal ease has one hand raised, holding a jewel.
618 - 907

Buddha Head
  • Title Translation: 佛头
  • Period: Sui, 581-618 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The head is believed to be from Cave 8.
581 - 618

Musician
  • Title Translation: 乐伎
  • Period: Northern Qi, 550-577 C.E.
  • Project: Tianlongshan Caves
  • Work Description: This is the upper part of a musician playing the panpipes that was seated at the base of the Buddha niche on the east wall of Cave 16.
550 - 577

Bodhisattva Relief
  • Title Translation: 菩萨浮雕
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The bodhisattva seated in contemplation under a tree represents the awakening of the youthful Prince Sakyamuni's awareness of the suffering of life.
534 - 550