Showing
2251 - 2275 of 3659 Records
Te Qin Biao Steed
- Title Translation: ē¹åéŖ
- Period: Tang, 649 C.E.
- Project: Six Horses of Tang Taizong
649
Quan Mao Gua Steed (replica)
- Title Translation: ę³ęÆéا
- Period: Tang, 649 C.E.
- Project: Six Horses of Tang Taizong
649
Qing Zhui Steed
- Title Translation: ééŖ
- Period: Tang, 649 C.E.
- Project: Six Horses of Tang Taizong
649
Divine Guardian
- Title Translation: å®ę¤ē„
- Period: Tang, 618ā907 C.E.
- Project: Longmen Other Caves
- Work Description: Provenance: From the Longmen caves, Luoyang, Henan, China. 1936, exchanged with Yamanaka and Co., New York, by the MFA. (Accession Date: February 6, 1936)
618 - 907
Buddhist figure seated in Pensive Pose
- Title Translation: ä½ęäŗŗē©ę²ęåå§æ
- Period: Northern Wei, 386ā534 C.E.
- Project: Longmen Other Caves
- Work Description: Provenance: The caves at Longmen, Luoyang, Henan Province, China. 1936, sold by Yamanaka and Company, New York, to the MFA. (Accession Date: October 8, 1936)
386 - 534
Fengxian Temple (Fengxiansi), VaiÅravana and VajrapÄį¹i
- Title Translation: å„å åÆŗ , ęÆę²éØäøéåęč©čØ
- Period: Tang, 618ā907 C.E.
- Project: Longmen Other Caves
- Work Description: This imposing group of nine monumental images carved into the hard, gray limestone of Fengxian Temple at Longmen is a spectacular display of innovative style and iconography. Sponsored by the Emperor Gaozong and his wife, the future Empress Wu, the high relief sculptures are widely spaced in a semi-circle. The central Vairocana Buddha (more than 55 feet high including its pedestal) is flanked on either side by a bodhisattva, a heavenly king, and a thunderbolt holder (vajrapani). Vairocana represents the primordial Buddha who generates and presides over all the Buddhas of the infinite universes that form Buddhist cosmology. This ideaāof the power of one supreme deity over all the othersāresonated in the vast Tang Empire which was dominated by the Emperor at its summit and supported by his subordinate officials. These monumental sculptures intentionally mirrored the political situation. The dignity and imposing presence of Buddha and the sumptuous appearance of his attendant bodhisattvas is significant in this context. The Buddha, monks and bodhisattvas (above) display new softer and rounder modeling and serene facial expressions. In contrast, the heavenly guardians and the vajrapani are more engaging and animated. Notice the realistic musculature of the heavenly guardians and the forceful poses of the vajrapani.
618 - 907
Fengxian Temple (Fengxiansi)
- Title Translation: å„å åÆŗ
- Period: Tang, 618ā907 C.E.
- Project: Longmen Other Caves
- Work Description: This imposing group of nine monumental images carved into the hard, gray limestone of Fengxian Temple at Longmen is a spectacular display of innovative style and iconography. Sponsored by the Emperor Gaozong and his wife, the future Empress Wu, the high relief sculptures are widely spaced in a semi-circle. The central Vairocana Buddha (more than 55 feet high including its pedestal) is flanked on either side by a bodhisattva, a heavenly king, and a thunderbolt holder (vajrapani). Vairocana represents the primordial Buddha who generates and presides over all the Buddhas of the infinite universes that form Buddhist cosmology. This ideaāof the power of one supreme deity over all the othersāresonated in the vast Tang Empire which was dominated by the Emperor at its summit and supported by his subordinate officials. These monumental sculptures intentionally mirrored the political situation. The dignity and imposing presence of Buddha and the sumptuous appearance of his attendant bodhisattvas is significant in this context. The Buddha, monks and bodhisattvas (above) display new softer and rounder modeling and serene facial expressions. In contrast, the heavenly guardians and the vajrapani are more engaging and animated. Notice the realistic musculature of the heavenly guardians and the forceful poses of the vajrapani.
618 - 907
Fengxian Temple (Fengxiansi)
- Title Translation: å„å åÆŗ
- Period: Tang, 618ā907 C.E.
- Project: Longmen Other Caves
- Work Description: This imposing group of nine monumental images carved into the hard, gray limestone of Fengxian Temple at Longmen is a spectacular display of innovative style and iconography. Sponsored by the Emperor Gaozong and his wife, the future Empress Wu, the high relief sculptures are widely spaced in a semi-circle. The central Vairocana Buddha (more than 55 feet high including its pedestal) is flanked on either side by a bodhisattva, a heavenly king, and a thunderbolt holder (vajrapani). Vairocana represents the primordial Buddha who generates and presides over all the Buddhas of the infinite universes that form Buddhist cosmology. This ideaāof the power of one supreme deity over all the othersāresonated in the vast Tang Empire which was dominated by the Emperor at its summit and supported by his subordinate officials. These monumental sculptures intentionally mirrored the political situation. The dignity and imposing presence of Buddha and the sumptuous appearance of his attendant bodhisattvas is significant in this context. The Buddha, monks and bodhisattvas (above) display new softer and rounder modeling and serene facial expressions. In contrast, the heavenly guardians and the vajrapani are more engaging and animated. Notice the realistic musculature of the heavenly guardians and the forceful poses of the vajrapani.
618 - 907
Fengxian Temple (Fengxiansi)
- Title Translation: å„å åÆŗ
- Period: Tang, 618ā907 C.E.
- Project: Longmen Other Caves
- Work Description: This imposing group of nine monumental images carved into the hard, gray limestone of Fengxian Temple at Longmen is a spectacular display of innovative style and iconography. Sponsored by the Emperor Gaozong and his wife, the future Empress Wu, the high relief sculptures are widely spaced in a semi-circle. The central Vairocana Buddha (more than 55 feet high including its pedestal) is flanked on either side by a bodhisattva, a heavenly king, and a thunderbolt holder (vajrapani). Vairocana represents the primordial Buddha who generates and presides over all the Buddhas of the infinite universes that form Buddhist cosmology. This ideaāof the power of one supreme deity over all the othersāresonated in the vast Tang Empire which was dominated by the Emperor at its summit and supported by his subordinate officials. These monumental sculptures intentionally mirrored the political situation. The dignity and imposing presence of Buddha and the sumptuous appearance of his attendant bodhisattvas is significant in this context. The Buddha, monks and bodhisattvas (above) display new softer and rounder modeling and serene facial expressions. In contrast, the heavenly guardians and the vajrapani are more engaging and animated. Notice the realistic musculature of the heavenly guardians and the forceful poses of the vajrapani.
618 - 907
Fengxian Temple (Fengxiansi)
- Title Translation: å„å åÆŗ
- Period: Tang, 618ā907 C.E.
- Project: Longmen Other Caves
- Work Description: This imposing group of nine monumental images carved into the hard, gray limestone of Fengxian Temple at Longmen is a spectacular display of innovative style and iconography. Sponsored by the Emperor Gaozong and his wife, the future Empress Wu, the high relief sculptures are widely spaced in a semi-circle. The central Vairocana Buddha (more than 55 feet high including its pedestal) is flanked on either side by a bodhisattva, a heavenly king, and a thunderbolt holder (vajrapani). Vairocana represents the primordial Buddha who generates and presides over all the Buddhas of the infinite universes that form Buddhist cosmology. This ideaāof the power of one supreme deity over all the othersāresonated in the vast Tang Empire which was dominated by the Emperor at its summit and supported by his subordinate officials. These monumental sculptures intentionally mirrored the political situation. The dignity and imposing presence of Buddha and the sumptuous appearance of his attendant bodhisattvas is significant in this context. The Buddha, monks and bodhisattvas (above) display new softer and rounder modeling and serene facial expressions. In contrast, the heavenly guardians and the vajrapani are more engaging and animated. Notice the realistic musculature of the heavenly guardians and the forceful poses of the vajrapani.
618 - 907
Fengxian Temple (Fengxiansi)
- Title Translation: å„å åÆŗ
- Period: Tang, 618ā907 C.E.
- Project: Longmen Other Caves
- Work Description: This imposing group of nine monumental images carved into the hard, gray limestone of Fengxian Temple at Longmen is a spectacular display of innovative style and iconography. Sponsored by the Emperor Gaozong and his wife, the future Empress Wu, the high relief sculptures are widely spaced in a semi-circle. The central Vairocana Buddha (more than 55 feet high including its pedestal) is flanked on either side by a bodhisattva, a heavenly king, and a thunderbolt holder (vajrapani). Vairocana represents the primordial Buddha who generates and presides over all the Buddhas of the infinite universes that form Buddhist cosmology. This ideaāof the power of one supreme deity over all the othersāresonated in the vast Tang Empire which was dominated by the Emperor at its summit and supported by his subordinate officials. These monumental sculptures intentionally mirrored the political situation. The dignity and imposing presence of Buddha and the sumptuous appearance of his attendant bodhisattvas is significant in this context. The Buddha, monks and bodhisattvas (above) display new softer and rounder modeling and serene facial expressions. In contrast, the heavenly guardians and the vajrapani are more engaging and animated. Notice the realistic musculature of the heavenly guardians and the forceful poses of the vajrapani.
618 - 907
Flying Divinity, 3D model
- Title Translation: é£å¤© , 3D ęØ”å
- Period: Eastern Wei, 534-550 C.E.
- Project: Tianlongshan Caves
- Work Description: The flying divinity or apsaras holds an alms bowl over its head.
534 - 550
Disciple Ananda Head, 3D model
- Title Translation: å¼åéæé¾å¤“ , 3DęØ”å
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Western Paradise, 3D model
- Title Translation: č„æę¹ęä¹äøē , 3DęØ”å
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: High relief carving of Western Paradise. Amitabha presides over a lotus pond that contains flowers opening to reveal newborn souls. Numerous deities and celestial attendants fill in the tableau.
550 - 577
Guardian King, 3D model
- Title Translation: 天ēćę¤ę³å士 , 3DęØ”å
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
River Spirit King, 3D model
- Title Translation: ę²³ēµē , 3DęØ”å
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Pratyekabuddha Head, 3D model
- Title Translation: č¾ęÆ(ē¼č§)ä½å¤“ , 3DęØ”å
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Monster Kneeling, 3D model
- Title Translation: č·Ŗ鬼ē„ , 3DęØ”å
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Disciple Ananda Standing, 3D model
- Title Translation: å¼åéæé¾ē«å , 3DęØ”å
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Disciple Head
- Title Translation: å¼å夓
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Buddha Head
- Title Translation: ä½å¤“
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Bodhisattva Head
- Title Translation: č©čØ夓
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Head of the Bodhisattva Mahasthamaprapta (Dashizhi)
550 - 577
Monster Kneeling
- Title Translation: č·Ŗ鬼ē„
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Bodhisattva Standing
- Title Translation: č©čØē«å
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577
Heavenly Buddhist Gathering
- Title Translation: 天éä¼
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
550 - 577