CENTER FOR THE ART OF EAST ASIA
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Lower Guangsheng Temple, back hall (or Daxiong Bodian), door entrance
  • Title Translation: 广胜下寺 , 后殿 (即大雄宝殿), 门口
  • Period: Eastern Han, Yuan, 147 C.E., 1271-1368 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The lower temple is made up by the temple gate, front hall, back hall (or Daxiong Temple), the buttress hall and other buildings that were all built in the Yuan Dynasty. The temple gate is rather high. It is 3-bay wide and 3-bay long with single-eaved gable and hip roof. Canopies added to the front and back eaves make it like a pavilion with double eaves. The front hall is five-bay wide with only two pillars supporting the whole hall. The back hall (or Daxiong Temple) was built in the second year (1309) of the Zhida reign of the Yuan Dynasty. It is 7-bay wide with 9 purlins, 8 rafters and a single-eaved overhanging gable roof. The main statues in the hall are Amitabha Buddha, Sakyamuni Buddha, Bhaisajyaguru Buddha, Manjusri Bodhisattva, and Samantabhadra Bodhisattva. They were all made in the Yuan Dynasty. Murals were once covered on the walls, but they were removed and shipped to the United States in 1928. The mural on the south wall recorded the performance of Yuan Drama. It is rare reference material for study on Chinese dramas.
147
1368

Upper Guangsheng Temple, Flying Rainbow Tower (or Feihong Pagoda)
  • Title Translation: 广胜上寺 , 飞虹塔
  • Period: Eastern Han, Ming, 147 C.E., 1368-1644 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The upper temple complex comprises the mountain gate, the Flying Rainbow Tower, the Amitabha Hall, the Great Hall, the Vairochana Hall, the Kwan-yin Hall, the Ksitigarbha Hall, as well as wing-rooms and corridors, among other features. The Mountain Gate, situated at the entrance, is flanked by two guardian warriors. Just beyond the gate stands the impressive Flying Rainbow Tower, constructed from colored glaze bricks. Originally built during the Eastern Han Dynasty (25-220) and later restored in the Ming Dynasty (1368-1644), this thirteen-story tower soars to a height of 47.31 meters, featuring an octagonal plan. The tower is adorned with tri-colored glaze in yellow, green, and blue, creating a splendid and vibrant spectacle. Elaborate wooden square blocks and intricately carved designs of Buddha, Bodhisattvas, guardian warriors, flowers, birds, and animals adorn the eaves and pillars. Corridors encircle the first story, while the tower’s interior houses only the stairs leading to the tenth floor, showcasing remarkable architectural and artistic prowess.
147
1644

Upper Guangsheng Temple, surroundings
  • Title Translation: 广胜上寺 , 周围环境
  • Period: Eastern Han, Ming, 147 C.E., 1368-1644 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The upper temple complex comprises the mountain gate, the Flying Rainbow Tower, the Amitabha Hall, the Great Hall, the Vairochana Hall, the Kwan-yin Hall, the Ksitigarbha Hall, as well as wing-rooms and corridors, among other features. The Mountain Gate, situated at the entrance, is flanked by two guardian warriors. Just beyond the gate stands the impressive Flying Rainbow Tower, constructed from colored glaze bricks. Originally built during the Eastern Han Dynasty (25-220) and later restored in the Ming Dynasty (1368-1644), this thirteen-story tower soars to a height of 47.31 meters, featuring an octagonal plan. The tower is adorned with tri-colored glaze in yellow, green, and blue, creating a splendid and vibrant spectacle. Elaborate wooden square blocks and intricately carved designs of Buddha, Bodhisattvas, guardian warriors, flowers, birds, and animals adorn the eaves and pillars. Corridors encircle the first story, while the tower’s interior houses only the stairs leading to the tenth floor, showcasing remarkable architectural and artistic prowess.
147
1644

Upper Guangsheng Temple, courtyard
  • Title Translation: 广胜上寺 , 庭院
  • Period: Eastern Han, Ming, 147 C.E., 1368-1644 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The upper temple complex comprises the mountain gate, the Flying Rainbow Tower, the Amitabha Hall, the Great Hall, the Vairochana Hall, the Kwan-yin Hall, the Ksitigarbha Hall, as well as wing-rooms and corridors, among other features. The Mountain Gate, situated at the entrance, is flanked by two guardian warriors. Just beyond the gate stands the impressive Flying Rainbow Tower, constructed from colored glaze bricks. Originally built during the Eastern Han Dynasty (25-220) and later restored in the Ming Dynasty (1368-1644), this thirteen-story tower soars to a height of 47.31 meters, featuring an octagonal plan. The tower is adorned with tri-colored glaze in yellow, green, and blue, creating a splendid and vibrant spectacle. Elaborate wooden square blocks and intricately carved designs of Buddha, Bodhisattvas, guardian warriors, flowers, birds, and animals adorn the eaves and pillars. Corridors encircle the first story, while the tower’s interior houses only the stairs leading to the tenth floor, showcasing remarkable architectural and artistic prowess.
147
1644

Water God's Temple (Shuishen Temple) of the Guangsheng Monastery, Ming Ying King Hall (or Mingyingwang Temple), exterior
  • Title Translation: 广胜寺水神庙 , 明应王殿, 外部
  • Period: Eastern Han, Ming, 147 C.E., 1368-1644 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The Water God's Temple has two yards: the front yard and the back yard, and includes the Temple Gate, the Door of Amenity, the Ming Ying King Hall and wing-rooms of cave dwellings. The Ming Ying King Hall is 5-bay wide and 5-bay long with a cloister around and a double-eaved gable hip roof. Beams inside are of common style. The hall houses statues of Water God Ming Ying King and his eleven attendants. Their facial features, clothes and gestures are all of Yuan style. Frescoes about people praying for the rain and other historical stories covered the walls, occupying an area of 197 square meters. The pictures of dramas at the eastern end of the south wall show a complete set of stage property for the performers: costumes, stage instruments, musical instruments, makeup, curtain, stage, and so on. The drawing was strictly arranged, the color was simple but profound, and dramatis personae were expressive. This fresco reflects the true condition of Yuan Drama in its peak time; it is a rare fine work of Yuan frescoes in China.
147
1644

Upper Guangsheng Temple, Sakyamuni Hall (or Daxiong Bodian), iron luohan images
  • Title Translation: 广胜上寺 , 大雄宝殿, 铁罗汉像
  • Period: Eastern Han, Ming, 147 C.E., 1368-1644 C.E.
  • Project: Guangsheng Temple Murals
  • Work Description: The upper temple complex comprises the mountain gate, the Flying Rainbow Tower, the Amitabha Hall, the Great Hall, the Vairochana Hall, the Kwan-yin Hall, the Ksitigarbha Hall, as well as wing-rooms and corridors, among other features. The Mountain Gate, situated at the entrance, is flanked by two guardian warriors. Just beyond the gate stands the impressive Flying Rainbow Tower, constructed from colored glaze bricks. Originally built during the Eastern Han Dynasty (25-220) and later restored in the Ming Dynasty (1368-1644), this thirteen-story tower soars to a height of 47.31 meters, featuring an octagonal plan. The tower is adorned with tri-colored glaze in yellow, green, and blue, creating a splendid and vibrant spectacle. Elaborate wooden square blocks and intricately carved designs of Buddha, Bodhisattvas, guardian warriors, flowers, birds, and animals adorn the eaves and pillars. Corridors encircle the first story, while the tower’s interior houses only the stairs leading to the tenth floor, showcasing remarkable architectural and artistic prowess.
147
1644

Standing Bodhisattva
  • Title Translation: 菩萨立像
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
550 - 577

Guanyin of the Southern Sea
  • Title Translation: 南海观音
  • Period: Liao, Jin, 907-1125 C.E., 1115-1234 C.E.
  • Project: Wooden Bodhisattvas (Guanyin)
  • Work Description: Represented as "Kuan-Yin of the southern seas," the Chinese Buddhist deity of compassion and mercy is seated in a variation of the pose of royal ease (Maharajalila) on a base imitating a craggy rock with his/her right arm resting on his/her folded right knee. The left arm rests on the rock while the left leg hangs down over the rockery onto a lotus blossom. The position of the Guanyin conveys the impression that the Bodhisattva might at any moment awake from deep contemplation and step down. The Bodhisattva's worldly ornaments, such as the high tiara and rich necklaces, are carved, gilded and painted in sumptuous detail.
907
1234

Bodhisattva Head, 3D model
  • Title Translation: 菩萨头 , 3D模型
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
550 - 577

Bodhisattva Seated, 3D model
  • Title Translation: 菩萨坐像 , 3D模型
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
550 - 577

Bodhisattva Head, 3D model
  • Title Translation: 菩萨头 , 3D模型
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: Head of the Bodhisattva Mahasthamaprapta (Dashizhi)
550 - 577

Bodhisattva Seated
  • Title Translation: 菩萨坐像
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
550 - 577

Monster Kneeling
  • Title Translation: 菩萨立像
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: Standing Bodhisattva, robed, holding flywhisk and unidentified object.
550 - 577

Bodhisattva Head
  • Title Translation: 菩萨头
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: This is the head of the bodhisattva Maitreya, who is thought to be waiting in a heaven for the moment when he will be born to become the next Buddha on this earth. The expression on his face is serene as he waits in meditative bliss. Ribbons stream down the sides of his head from the beautifully articulated crown. Heavy earrings pull his earlobes down to his shoulders.
550 - 577

Bodhisattva Seated
  • Title Translation: 菩萨坐像
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: With beautifully stylized drapery and heavy ornaments, this bodhisattva looks powerful and introspective, seated in a yogic posture of meditation. His right hand is held up in a gesture that means, “Do not be afraid.” His left hand is in the gift-giving gesture. These hand positions simultaneously reassure supplicants and promise them that their pious wishes will be granted.
550 - 577

Northern Xiangtangshan, Middle Cave, archway
  • Title Translation: 北响堂山中洞 , 拱道
  • Period: Northern Qi, Ming, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: The Middle Cave, the second largest of the caves in scale, still has its impressive entrance and large stone porch largely preserved. In recent times, a wooden porch-like structure was added to the front of the cave. Above the eaves of the porch and carved into the stone mountainside, there is a domed roof with a fenced harmika or platform at the top. The single-story stupa with domed roof is a distinctive feature of the design of the Xiangtangshan caves and appears on the walls of the North Cave and on many smaller stone carvings of the middle and late sixth century. Tall armored guardian figures stand under the stone eaves of the porch, and large lions support the columns flanking the door. Walking into the cave, visitors pass under the gaze of two tall bodhisattvas who face the entrance. The Middle Cave, like the great North Cave, has a large central pillar. However, it has only a single large niche deeply cut into the front of the pillar to form an altar on which a Buddha sits on a lotus throne accompanied by two tall standing disciple figures and two bodhisattvas. The base of the central pillar has relief figures of Spirit Kings, lions, and incense burners, much like the North Cave. The cave walls were originally left largely plain, but devotees of the Ming dynasty (1368-1644) added a row of seated Buddhas contained in shallow niches that encircle cave's interior.
550 - 577

Stela, 3D model
  • Title Translation: 石碑 , 3D模型
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: Tall thin stela slightly rounded at the top in a dark limestone which has been weathered a golden brown. Both the obverse and reverse are in three registers with niches containing Buddhas and bodhisattvas. The inscription on the obverse gives the date as, "6th year of the Wuping period of the [Northern] Qi Dynasty, fourth moon, eighth day", which corresponds to May 3, 575 CE. The obverse shows Tushita Heaven at the top with Maitreya flanked by monks and bodhisattvas, and Sakyamuni and Prabuhtaratna Buddha in a small stupa above. The scene in the middle depicts a Buddha and a crowned bodhisattva with monks and bodhisattvas on either side. Between them stands a Buddha. Below this is a crowned bodhisattva underneath two trees flanked by monks, bodhisattvas, and pratyekabuddhas. The reverse side depicts Sukhavati, Amitabha Buddha's paradise, at the top, with reborn souls appearing in the foliage above the Buddha. In the center, Vimalakirti, a Buddhist layman, holds a fan as he debates with Manjusri, the Bodhisattva of Wisdom amid a group of seated monks. Below this is a scene from the Lotus Sutra showing Prabhutaratna and Sakyamuni Buddhas preaching together side by side. The sides of the stela show eight Buddhas, a standing Maitreya (with crown) and standing Sakyamuni Buddha with six Buddhas of the Past beneath them (three on each side). This stela probably came from the Xiangtangshan caves in Hebei province.
550 - 577

Southern Xiangtangshan, seated bodhisattva
  • Title Translation: 南响堂山洞穴群 , 坐菩萨
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: The two main groups of caves are known as Northern and Southern Xiangtangshan. The Northern Group, Bei Xiangtang, is the earliest and largest in scale and has three caves begun with imperial sponsorship; the Southern Group, Nan Xiangtang, has smaller caves numbered from one to seven; and a third site at Shuiyusi, also known as Xiao Xiangtang or “Little Xiangtang,” has one Northern Qi cave with sculptures.
550 - 577

Bodhisattva Relief
  • Title Translation: 菩萨浮雕
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The relief sculpture is a composite of numerous fragments.
534 - 550

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

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

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

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

Bodhisattva Head
  • Title Translation: 菩萨头
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The head has been attributed to Cave 18.
618 - 907

Bodhisattva Head
  • Title Translation: 菩萨头
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Bodhisattva head likely to be from Buddha niche on east wall of Cave 16.
618 - 907