CENTER FOR THE ART OF EAST ASIA
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47 Harvard Art Museums 36 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 16 Nelson-Atkins Museum of Art 14 Nezu Art Museum 13 Asian Art Museum of San Francisco 10 Cleveland Museum of Art 10 Columbia University 10 Metropolitan Museum of Art 8 Museo nazionale d’arte orientale 8 Rijksmuseum voor Volkenkunde 7 Honolulu Museum of Art 7 Museum of Fine Arts, Boston 7 San Diego Museum of Art 6 Barnes Foundation 6 British Museum 6 Koninklijk Instituut voor het Kunstpatrimonium 6 National Museum of China 6 Philadelphia Museum of Art 5 Tsz Shan Monastery Buddhist Art Museum 5 Victoria and Albert 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 Cincinnati Art Museum 3 Columbia University, Avery Architectural and Fine Arts Library 2 Clark Art Institute 2 Detroit Institute of Arts 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 Guimet 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 11
  • Title Translation: 第十一窟
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 11 is a poorly preserved small Tang cave less than a meter square to the west and above Cave 10. Moving onward to the southwest, a figure of a monk carved in high relief appears on the cliff high above the path, standing as though paying respects to one of the two relief stupas flanking the entrance to Cave 12. The stupas are square single-story structures with a domed roof, and each has niche displaying a seated figure and two attendants. Similar in design to the many funerary stupas seen at Baoshan near Anyang, they may also be funerary in nature, commemorating deceased monks and nuns and containing their ashes.
618 - 907

Cave 11
  • Title Translation: 第十一窟
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 11 is a poorly preserved small Tang cave less than a meter square to the west and above Cave 10. Moving onward to the southwest, a figure of a monk carved in high relief appears on the cliff high above the path, standing as though paying respects to one of the two relief stupas flanking the entrance to Cave 12. The stupas are square single-story structures with a domed roof, and each has niche displaying a seated figure and two attendants. Similar in design to the many funerary stupas seen at Baoshan near Anyang, they may also be funerary in nature, commemorating deceased monks and nuns and containing their ashes.
618 - 907

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 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 21
  • Title Translation: 第二十一窟
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 21 is the largest Tang dynasty cave with the exception of Cave 9. It now has traces of only a single larger than life-sized seated Buddha on the north (back) wall and five standing attendants (Photograph. Li 2003, color pl. 21). The cave is damaged by a large fissure in the stone that cuts across the east and west walls, thus the stone may not have been suitable for sculpting. It is possible that some of the figures formerly made for the cave were not attached to the walls, but carved separately and placed into the cave.
618 - 907

Tianlongshan Caves
  • Title Translation: 天龙山石窟
  • Period: Eastern Wei, Northern Qi, Sui, Tang, 534-907 C.E.
  • Project: Tianlongshan Caves
534 - 907

Tianlongshan Caves
  • Title Translation: 天龙山石窟
  • Period: Eastern Wei, Northern Qi, Sui, Tang, 534-907 C.E.
  • Project: Tianlongshan Caves
534 - 907

Flying Divinity, 3D model
  • Title Translation: 飞天 , 3D 模型
  • 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

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 holds an incense burner in his hands.
534 - 550

Devotee Relief, 3D model
  • Title Translation: 信徒浮雕 , 3D 模型
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Relief carvings of Buddhist worshipers appeared on the lower level of the walls of Caves 2 and 3.
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 snail shell curls of the hair are unusual on Tang dynasty Buddhas at Tianlongshan. The specific cave from which it comes is uncertain.
618 - 907

Buddha Seated, 3D model
  • Title Translation: 坐佛 , 3D 模型
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Buddhas seated in this pose can be identified as Maitreya, the Buddha of the future. The figure is believed to be from the upper level Cave 3.
618 - 907

Bodhisattva Head, 3D model
  • Title Translation: 菩萨头 , 3D 模型
  • Period: Northern Qi, 550-577 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The crowned bodhisattva head, believed to be from Cave 1, is partially covered with brown pigment and shows signs of damage and restoration.
550 - 577

Vimalakirti Relief, 3D model
  • Title Translation: 维摩诘浮雕 , 3D 模型
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The wise layman Vimalakirti sits holding a fan and originally faced the bodhisattva Manjusri, on the opposite wall of Cave 3.
534 - 550

Devotee Relief, 3D model
  • Title Translation: 信徒浮雕 , 3D 模型
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: A single donor/worshiper dressed in a robe with wide sleeves walks holding a large lotus flower bud on a curving stem.
534 - 550

Buddha Head, 3D model
  • Title Translation: 佛头 , 3D 模型
  • Period: Sui, 581-618 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The Buddha head is from the west side of the central pillar of Cave 8.
581 - 618

Buddha Head, 3D model
  • Title Translation: 佛头 , 3D 模型
  • Period: Sui, 581-618 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The small head is carved of a reddish sandstone and has not been identified with any cave at Tianlongshan.
581 - 618

Finial Bird, 3D model
  • Title Translation: 瑞鸟 , 3D 模型
  • Period: Northern Qi, 550-577 C.E.
  • Project: Tianlongshan Caves
  • Work Description: This bird and its mate came from the north wall of Cave 16 where they flanked the main group of Buddhist figures in the niche.
550 - 577

Bodhisattva Standing, 3D model
  • Title Translation: 立菩萨 , 3D 模型
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The standing bodhisattva is believed to be from the east wall, north side, Cave 18.
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: This finely carved head is from a standing bodhisattva on the west wall of Cave 14. The figure to which it belongs is in the Museum Rietberg.
618 - 907

Buddha Head, 3D model
  • Title Translation: 佛头 , 3D 模型
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The head is from the seated Buddha on the west wall of Cave 18.
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 of the bodhisattva is missing its topknot. Other heads from Cave 18 have had the topknot restored.
618 - 907

Cave 17
  • Title Translation: 第十七窟 , 3D模型
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 17 is a relatively small Tang cave that had numerous fine sculptural images. On the interior there were three seated Buddhas, two standing bodhisattvas, and six seated bodhisattvas around three walls. Many figures and fragments from Cave 17 are known to be in museums outside China.
618 - 907

Buddha Head
  • Title Translation: 佛头
  • Period: Northern Qi, 550-577 C.E.
  • Project: Tianlongshan Caves
  • Work Description: This Buddha head was originally belonged to the seated Buddha worshipped as the principal deity in a niche on the right wall of Tianlongshan Cave 1 in Shanxi Province, constructed in the Northern Qi period (550-577 CE). The cave is carved into the rock face of the eastern peak of Mount Tianlongshan. It comprises a front verandah imitating timber-structure architecture, and a main chamber with truncated pyramidal ceiling. The main chamber has niches carved on three sides. The Buddhas’ heads enshrined in them are all gone. The large niche with an arched opening on the right wall is carved with the one Buddha and two Bodhisattvas Triad. The statue’s body, to which this head belongs, still sits inside this cave. This Buddha head has a slightly domed uṣṇīṣa, smooth plain hair, an oblong face with fleshy round cheeks, a low forehead, relatively close-set eyes with lifted outer corners and curvilinear upper and lower eyelids, lips with droopy corners hinting no smile, and a dignified and solemn countenance. The statue to which this head belongs, as seen inside the cave, wears a kāṣāya with collars hanging down from both shoulders, over an undergarment (saṃkakṣikā) held in placed by a girdle knotted in front of the chest. The status is seated with legs locked in ‘lotus posture’ (padmāsana) on a stepped pedestal. The right elbow is bent, and the right hand, possibly in ‘fearless gesture’ (abhayamudrā), is gone. The missing left hand was likely to be in ‘wish granting gesture’ (varadamudrā). The statue has a robust build with thick broad shoulders, a stout flat chest and a slightly protruding belly. Compare with their Eastern Wei (534-550 CE) predecessors, Buddhist statuary of the Northern Qi period have more delicately depicted facial features and more emphasis on portraying the massiveness and body’s structure, setting a new standard for the new era. This Buddha head of the Northern Qi period from Tianlongshan is a representative example of this trend.
550 - 577