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1601 - 1625 of 3450 Records
Buddha Triad from Rulai Hall (Rulaidian, Tathagatha Hall or Shakyamuni Hall), Indra Buddha
- Title Translation: å¦ę„ę®æäøå£ , éčæ¦ēå°¼, åøé天, å¤§ę¢µå¤©
- 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 Buddhaās right or west side is Indra åøé天, the king of Hindu gods, who holds a large scepter. The one at the Buddhaās left, is the Hindu god Brahma å¤§ę¢µå¤©. 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 Buddhaās life. The earth-touching pose, bhumisparsha mudra, is associated with a key event in the prince Sakyamuniās 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, Maraās 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 Buddhaās 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 Rulai Hall (Rulaidian, Tathagatha Hall or Shakyamuni Hall), Shakyamuni
- Title Translation: å¦ę„ę®æäøå£ , éčæ¦ēå°¼
- 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 Buddhaās right or west side is Indra åøé天, the king of Hindu gods, who holds a large scepter. The one at the Buddhaās left, is the Hindu god Brahma å¤§ę¢µå¤©. 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 Buddhaās life. The earth-touching pose, bhumisparsha mudra, is associated with a key event in the prince Sakyamuniās 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, Maraās 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 Buddhaās 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
Rulai Hall (Rulaidian, Tathagatha Hall or Shakyamuni Hall), exterior
- Title Translation: å¦ę„ę®æ , å¤éØ
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: The Rulai Hall is named for a title given to the historical Buddha Shakyamuni, from whose enlightenment and teachings the Buddhist religion originated. Rulai Hall has two stories and has approximately nine thousand small niches of Buddhas decorating the wall. The Rulai Hall (Hall of ÅÄkyamuni) is on the first floor and the Wanfo Pavilion (Ten Thousand Buddhas Pavilion) is on the secondāenclosed by walls on its east and west.
1444
Buddha Triad from Rulai Hall (Rulaidian, Tathagatha Hall or Shakyamuni Hall), Shakyamuni, Indra, and Brahma Buddha
- Title Translation: å¦ę„ę®æäøå£ , éčæ¦ēå°¼, åøé天, å¤§ę¢µå¤©
- 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 Buddhaās right or west side is Indra åøé天, the king of Hindu gods, who holds a large scepter. The one at the Buddhaās left, is the Hindu god Brahma å¤§ę¢µå¤©. 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 Buddhaās life. The earth-touching pose, bhumisparsha mudra, is associated with a key event in the prince Sakyamuniās 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, Maraās 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 Buddhaās 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 Rulai Hall (Rulaidian, Tathagatha Hall or Shakyamuni Hall), Shakyamuni, Indra, and Brahma Buddha
- Title Translation: å¦ę„ę®æäøå£ , éčæ¦ēå°¼, åøé天, å¤§ę¢µå¤©
- 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 Buddhaās right or west side is Indra åøé天, the king of Hindu gods, who holds a large scepter. The one at the Buddhaās left, is the Hindu god Brahma å¤§ę¢µå¤©. 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 Buddhaās life. The earth-touching pose, bhumisparsha mudra, is associated with a key event in the prince Sakyamuniās 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, Maraās 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 Buddhaās 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 Rulai Hall (Rulaidian, Tathagatha Hall or Shakyamuni Hall), Shakyamuni, Indra, and Brahma Buddha
- Title Translation: å¦ę„ę®æäøå£ , éčæ¦ēå°¼, åøé天, å¤§ę¢µå¤©
- 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 Buddhaās right or west side is Indra åøé天, the king of Hindu gods, who holds a large scepter. The one at the Buddhaās left, is the Hindu god Brahma å¤§ę¢µå¤©. 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 Buddhaās life. The earth-touching pose, bhumisparsha mudra, is associated with a key event in the prince Sakyamuniās 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, Maraās 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 Buddhaās 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 Rulai Hall (Rulaidian, Tathagatha Hall or Shakyamuni Hall), Shakyamuni, Indra, and Brahma Buddha
- Title Translation: å¦ę„ę®æäøå£ , éčæ¦ēå°¼, åøé天, å¤§ę¢µå¤©
- 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 Buddhaās right or west side is Indra åøé天, the king of Hindu gods, who holds a large scepter. The one at the Buddhaās left, is the Hindu god Brahma å¤§ę¢µå¤©. 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 Buddhaās life. The earth-touching pose, bhumisparsha mudra, is associated with a key event in the prince Sakyamuniās 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, Maraās 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 Buddhaās 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 Rulai Hall (Rulaidian, Tathagatha Hall or Shakyamuni Hall), Shakyamuni, Indra, and Brahma Buddha
- Title Translation: å¦ę„ę®æäøå£ , éčæ¦ēå°¼, åøé天, å¤§ę¢µå¤©
- 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 Buddhaās right or west side is Indra åøé天, the king of Hindu gods, who holds a large scepter. The one at the Buddhaās left, is the Hindu god Brahma å¤§ę¢µå¤©. 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 Buddhaās life. The earth-touching pose, bhumisparsha mudra, is associated with a key event in the prince Sakyamuniās 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, Maraās 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 Buddhaās 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
Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom), ceiling
- Title Translation: ęŗåę®æ , 天č±ęæ
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: The Zhihua Hall is a 3-bay-by-3-bay structure (18 x 14.5 meters) with a hip-and-gable roof. It initially housed a Buddha triad with the ÅÄkyamuni Buddha at the center along with eighteen Arhats. The only four interior columns form a spacious central bay before the altar for visitors to see and worship the Buddhas. Above this central area is where the grand coffered ceiling (approx. 5 x 5 meters), now in the Philadelphia Museum of Art, was initially installed.
1444
Sangharama Bodhisattva in Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom)
- Title Translation: ęŗåę®æä¼½čč©čØ
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: Sangharama, also known by the name Guan Yu, refers to a "temple" or "monastery." In Chinese Buddhism, Guan Yu is revered by most practising Buddhists as a heavenly protector of the Buddhist dharma.
1444
Buddha Triad from Wanfo Pavilion (Wanfoge, Ten Thousand Buddhas Pavilion), throne of Vairocana Buddha
- Title Translation: äøä½éäøå£ , ęÆå¢é®é£ä½
- 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 āwisdom fistā 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), Vairocana Buddha
- Title Translation: äøä½éäøå£ , ęÆå¢é®é£ä½
- 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 āwisdom fistā 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), front
- Title Translation: ęŗåę®æäøäøä½ , ę£é¢
- 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 AgesāShakyamuni (the central historical Buddha), Dipankara (Buddha of the Past), and Maitreya (Buddha of the Future). From the time of Shakyamuniās 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), Rocana Buddha
- Title Translation: äøä½éäøå£ , å¢čé£ä½
- 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 āwisdom fistā 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
Coffered Ceiling from Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom), crowned small Buddha
- Title Translation: ęŗåę®æ天č±äøč»äŗ , ę“å å°ä½å
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: The Zhihua monastery is one of the great Buddhist temple compounds in the Chinese capital of Beijing. Conceived on a grand scale, the compound was built in the early 1400s by the eunuch Wang Zhen. This ceiling comes from the second of five main halls on the monastery's central axisāthe Hall of Great Wisdom. To give visitors a sense of the original context, the Museum installed the ceiling with architectural elements reconstructed from measured drawings made at the original site. In the center is a writhing imperial dragon surrounded by clouds, bracketing, and eight canted panels, each bearing a smaller dragon among clouds. Lotuses, apsaras (Buddhist flying musicians), and other Buddhist religious symbols are carved in the surrounding panels. The Chinese name for this central part of the ceiling is tianjing, or "well of heaven." While most of the original red lacquer is well preserved, much of the rich overlay of gold leaf has been lost. A series of model temples supported by cloud-decorated brackets encompass the central element; within these miniature structures are delicately carved sculptures of Buddhas and bodhisattvas. The remainder of the ceiling consists of square panels painted with stylized lotus flowers that show the influence of Tibetan Buddhism (Lamaism). Each bears a character from a North Indian script (called Lantsha by the Tibetans) that symbolically recreates the universe. The model temples and panels may have been added during repairs made in the Kangxi period (1662ā1722).
1444
Coffered Ceiling from Wanfo Pavilion (Wanfoge, Ten Thousand Buddhas Pavilion), pagoda from tiangong louge
- Title Translation: äøä½é天č±äøč»äŗ , å¤©å®«ę„¼éå®å”
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: The ceiling from the Ten Thousand Buddha Hall, at first sold to a coffin-maker, was acquired by Laurence Sickman in 1930 for the newly founded Nelson Atkins Museum of Art in Kansas City. The ceiling is carved cypress wood with gold leaf, showing dragon design carved in relief.
1444
Coffered Ceiling from Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom), tiangong louge zaojing
- Title Translation: ęŗåę®æ天č±äøč»äŗ , å¤©å®«ę„¼éč»äŗ
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: The Zhihua monastery is one of the great Buddhist temple compounds in the Chinese capital of Beijing. Conceived on a grand scale, the compound was built in the early 1400s by the eunuch Wang Zhen. This ceiling comes from the second of five main halls on the monastery's central axis ā the Hall of Great Wisdom.To give visitors a sense of the original context, the Museum installed the ceiling with architectural elements reconstructed from measured drawings made at the original site. In the center is a writhing imperial dragon surrounded by clouds, bracketing, and eight canted panels, each bearing a smaller dragon among clouds. Lotuses, apsaras (Buddhist flying musicians), and other Buddhist religious symbols are carved in the surrounding panels. The Chinese name for this central part of the ceiling is tianjing, or "well of heaven." While most of the original red lacquer is well preserved, much of the rich overlay of gold leaf has been lost.A series of model temples supported by cloud-decorated brackets encompass the central element; within these miniature structures are delicately carved sculptures of Buddhas and bodhisattvas. The remainder of the ceiling consists of square panels painted with stylized lotus flowers that show the influence of Tibetan Buddhism (Lamaism). Each bears a character from a North Indian script (called Lantsha by the Tibetans) that symbolically recreates the universe. The model temples and panels may have been added during repairs made in the Kangxi period (1662ā1722).
1444
Coffered Ceiling from Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom), tiangong louge zaojing
- Title Translation: ęŗåę®æ天č±äøč»äŗ , å¤©å®«ę„¼éč»äŗ
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: The Zhihua monastery is one of the great Buddhist temple compounds in the Chinese capital of Beijing. Conceived on a grand scale, the compound was built in the early 1400s by the eunuch Wang Zhen. This ceiling comes from the second of five main halls on the monastery's central axis ā the Hall of Great Wisdom.To give visitors a sense of the original context, the Museum installed the ceiling with architectural elements reconstructed from measured drawings made at the original site. In the center is a writhing imperial dragon surrounded by clouds, bracketing, and eight canted panels, each bearing a smaller dragon among clouds. Lotuses, apsaras (Buddhist flying musicians), and other Buddhist religious symbols are carved in the surrounding panels. The Chinese name for this central part of the ceiling is tianjing, or "well of heaven." While most of the original red lacquer is well preserved, much of the rich overlay of gold leaf has been lost.A series of model temples supported by cloud-decorated brackets encompass the central element; within these miniature structures are delicately carved sculptures of Buddhas and bodhisattvas. The remainder of the ceiling consists of square panels painted with stylized lotus flowers that show the influence of Tibetan Buddhism (Lamaism). Each bears a character from a North Indian script (called Lantsha by the Tibetans) that symbolically recreates the universe. The model temples and panels may have been added during repairs made in the Kangxi period (1662ā1722).
1444
Coffered Ceiling from Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom), tiangong louge zaojing
- Title Translation: ęŗåę®æ天č±äøč»äŗ , å¤©å®«ę„¼éč»äŗ
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: The Zhihua monastery is one of the great Buddhist temple compounds in the Chinese capital of Beijing. Conceived on a grand scale, the compound was built in the early 1400s by the eunuch Wang Zhen. This ceiling comes from the second of five main halls on the monastery's central axis ā the Hall of Great Wisdom.To give visitors a sense of the original context, the Museum installed the ceiling with architectural elements reconstructed from measured drawings made at the original site. In the center is a writhing imperial dragon surrounded by clouds, bracketing, and eight canted panels, each bearing a smaller dragon among clouds. Lotuses, apsaras (Buddhist flying musicians), and other Buddhist religious symbols are carved in the surrounding panels. The Chinese name for this central part of the ceiling is tianjing, or "well of heaven." While most of the original red lacquer is well preserved, much of the rich overlay of gold leaf has been lost.A series of model temples supported by cloud-decorated brackets encompass the central element; within these miniature structures are delicately carved sculptures of Buddhas and bodhisattvas. The remainder of the ceiling consists of square panels painted with stylized lotus flowers that show the influence of Tibetan Buddhism (Lamaism). Each bears a character from a North Indian script (called Lantsha by the Tibetans) that symbolically recreates the universe. The model temples and panels may have been added during repairs made in the Kangxi period (1662ā1722).
1444
Coffered Ceiling from Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom), tiangong louge zaojing
- Title Translation: ęŗåę®æ天č±äøč»äŗ , å¤©å®«ę„¼éč»äŗ
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: The Zhihua monastery is one of the great Buddhist temple compounds in the Chinese capital of Beijing. Conceived on a grand scale, the compound was built in the early 1400s by the eunuch Wang Zhen. This ceiling comes from the second of five main halls on the monastery's central axis ā the Hall of Great Wisdom.To give visitors a sense of the original context, the Museum installed the ceiling with architectural elements reconstructed from measured drawings made at the original site. In the center is a writhing imperial dragon surrounded by clouds, bracketing, and eight canted panels, each bearing a smaller dragon among clouds. Lotuses, apsaras (Buddhist flying musicians), and other Buddhist religious symbols are carved in the surrounding panels. The Chinese name for this central part of the ceiling is tianjing, or "well of heaven." While most of the original red lacquer is well preserved, much of the rich overlay of gold leaf has been lost.A series of model temples supported by cloud-decorated brackets encompass the central element; within these miniature structures are delicately carved sculptures of Buddhas and bodhisattvas. The remainder of the ceiling consists of square panels painted with stylized lotus flowers that show the influence of Tibetan Buddhism (Lamaism). Each bears a character from a North Indian script (called Lantsha by the Tibetans) that symbolically recreates the universe. The model temples and panels may have been added during repairs made in the Kangxi period (1662ā1722).
1444
Coffered Ceiling from Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom), tiangong louge zaojing
- Title Translation: ęŗåę®æ天č±äøč»äŗ , å¤©å®«ę„¼éč»äŗ
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: The Zhihua monastery is one of the great Buddhist temple compounds in the Chinese capital of Beijing. Conceived on a grand scale, the compound was built in the early 1400s by the eunuch Wang Zhen. This ceiling comes from the second of five main halls on the monastery's central axis ā the Hall of Great Wisdom.To give visitors a sense of the original context, the Museum installed the ceiling with architectural elements reconstructed from measured drawings made at the original site. In the center is a writhing imperial dragon surrounded by clouds, bracketing, and eight canted panels, each bearing a smaller dragon among clouds. Lotuses, apsaras (Buddhist flying musicians), and other Buddhist religious symbols are carved in the surrounding panels. The Chinese name for this central part of the ceiling is tianjing, or "well of heaven." While most of the original red lacquer is well preserved, much of the rich overlay of gold leaf has been lost.A series of model temples supported by cloud-decorated brackets encompass the central element; within these miniature structures are delicately carved sculptures of Buddhas and bodhisattvas. The remainder of the ceiling consists of square panels painted with stylized lotus flowers that show the influence of Tibetan Buddhism (Lamaism). Each bears a character from a North Indian script (called Lantsha by the Tibetans) that symbolically recreates the universe. The model temples and panels may have been added during repairs made in the Kangxi period (1662ā1722).
1444
Buddha Triad from Wanfo Pavilion (Wanfoge, Ten Thousand Buddhas Pavilion), Vairocana Buddha digital reconstruction
- Title Translation: äøä½éäøå£ , ęÆå¢é®é£ä½
- 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 āwisdom fistā 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
Rulai Hall (Rulaidian, Tathagatha Hall or Shakyamuni Hall), scripture cabinets and small Buddha
- Title Translation: å¦ä¾ę®æ , čē»ę©±ļ¼å°ä½å
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: The Rulai Hall is named for a title given to the historical Buddha Shakyamuni, from whose enlightenment and teachings the Buddhist religion originated. Rulai Hall has two stories and has approximately nine thousand small niches of Buddhas decorating the wall. The Rulai Hall (Hall of ÅÄkyamuni) is on the first floor and the Wanfo Pavilion (Ten Thousand Buddhas Pavilion) is on the secondāenclosed by walls on its east and west.
1444
Rulai Hall (Rulaidian, Tathagatha Hall or Shakyamuni Hall), exterior, daytime
- Title Translation: å¦ä¾ę®æ , å¤éØ, ē½å¤©
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: The Rulai Hall is named for a title given to the historical Buddha Shakyamuni, from whose enlightenment and teachings the Buddhist religion originated. Rulai Hall has two stories and has approximately nine thousand small niches of Buddhas decorating the wall. The Rulai Hall (Hall of ÅÄkyamuni) is on the first floor and the Wanfo Pavilion (Ten Thousand Buddhas Pavilion) is on the secondāenclosed by walls on its east and west.
1444
Rulai Hall (Rulaidian, Tathagatha Hall or Shakyamuni Hall), scripture cabinets
- Title Translation: å¦ä¾ę®æ , čē»ę©±
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: The Rulai Hall is named for a title given to the historical Buddha Shakyamuni, from whose enlightenment and teachings the Buddhist religion originated. Rulai Hall has two stories and has approximately nine thousand small niches of Buddhas decorating the wall. The Rulai Hall (Hall of ÅÄkyamuni) is on the first floor and the Wanfo Pavilion (Ten Thousand Buddhas Pavilion) is on the secondāenclosed by walls on its east and west.
1444