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Northern Xiangtangshan, North Cave, Little Buddhas
- Title Translation: 北响堂山北洞 , 小佛
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The North Cave, also known as the Great Buddha Cave, is the largest and earliest of the Xiangtangshan caves. It has a masterful design that encompasses conceptTopics of time and space in a Buddhist cosmology, and it can be associated with the founding of the Northern Qi dynasty. The facade is damaged from natural erosion and a severe earthquake in the sixteenth century. The entrance has been reconstructed of blocks of stone. There are traces of what appears to have been a domed roof at the top, above the three windows that provide light to the cave interior. Inside the cave there is a massive four-sided central pillar, into which the three principal Buddha images of colossal size, representing the Buddhas of the Three Ages—Past, Present, and Future—are carved. Each of the seated Buddhas is flanked by two standing bodhisattvas. Around the walls and at the top of the central pillar are smaller Buddhas, bodhisattvas, and other divinities, including earth spirits, heavenly apsarases, and also demons vividly rendered in high relief. Deities and nature spirits from countless realms and ages of the cosmos are thus seen to be brought together by the power of the Dharma or Buddhist wisdom. The carving is masterful with figural sculptures, flaming haloes, and domed stupa-shaped niches surrounded by lotus blossoms, glowing jewels, and ornamental patterns, all worked and finished with great skill. There are small caves on either side of the North Cave courtyard. The one on the south side also appears to be of Northern Qi origin. The main images are now damaged or removed, and additional carvings were added to the east wall in the Song. The central Buddha figure, now headless is seated on a square Sumeru throne with a lotus flower base. Behind him, there is a large flaming aureole carved in relief. He was accompanied by six attendant figures, two of which were free-standing and are now missing. Traces of the other four figures still remain.
Northern Xiangtangshan, North Cave, outside caves, north side
- Title Translation: 北响堂山北洞 , 洞穴外，北侧
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The North Cave, also known as the Great Buddha Cave, is the largest and earliest of the Xiangtangshan caves. It has a masterful design that encompasses conceptTopics of time and space in a Buddhist cosmology, and it can be associated with the founding of the Northern Qi dynasty. The facade is damaged from natural erosion and a severe earthquake in the sixteenth century. The entrance has been reconstructed of blocks of stone. There are traces of what appears to have been a domed roof at the top, above the three windows that provide light to the cave interior. Inside the cave there is a massive four-sided central pillar, into which the three principal Buddha images of colossal size, representing the Buddhas of the Three Ages—Past, Present, and Future—are carved. Each of the seated Buddhas is flanked by two standing bodhisattvas. Around the walls and at the top of the central pillar are smaller Buddhas, bodhisattvas, and other divinities, including earth spirits, heavenly apsarases, and also demons vividly rendered in high relief. Deities and nature spirits from countless realms and ages of the cosmos are thus seen to be brought together by the power of the Dharma or Buddhist wisdom. The carving is masterful with figural sculptures, flaming haloes, and domed stupa-shaped niches surrounded by lotus blossoms, glowing jewels, and ornamental patterns, all worked and finished with great skill. There are small caves on either side of the North Cave courtyard. The one on the south side also appears to be of Northern Qi origin. The main images are now damaged or removed, and additional carvings were added to the east wall in the Song. The central Buddha figure, now headless is seated on a square Sumeru throne with a lotus flower base. Behind him, there is a large flaming aureole carved in relief. He was accompanied by six attendant figures, two of which were free-standing and are now missing. Traces of the other four figures still remain.
Northern Xiangtangshan, North Cave, outside caves, north side
- Title Translation: 北响堂山北洞 , 洞穴外，北侧
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The North Cave, also known as the Great Buddha Cave, is the largest and earliest of the Xiangtangshan caves. It has a masterful design that encompasses conceptTopics of time and space in a Buddhist cosmology, and it can be associated with the founding of the Northern Qi dynasty. The facade is damaged from natural erosion and a severe earthquake in the sixteenth century. The entrance has been reconstructed of blocks of stone. There are traces of what appears to have been a domed roof at the top, above the three windows that provide light to the cave interior. Inside the cave there is a massive four-sided central pillar, into which the three principal Buddha images of colossal size, representing the Buddhas of the Three Ages—Past, Present, and Future—are carved. Each of the seated Buddhas is flanked by two standing bodhisattvas. Around the walls and at the top of the central pillar are smaller Buddhas, bodhisattvas, and other divinities, including earth spirits, heavenly apsarases, and also demons vividly rendered in high relief. Deities and nature spirits from countless realms and ages of the cosmos are thus seen to be brought together by the power of the Dharma or Buddhist wisdom. The carving is masterful with figural sculptures, flaming haloes, and domed stupa-shaped niches surrounded by lotus blossoms, glowing jewels, and ornamental patterns, all worked and finished with great skill. There are small caves on either side of the North Cave courtyard. The one on the south side also appears to be of Northern Qi origin. The main images are now damaged or removed, and additional carvings were added to the east wall in the Song. The central Buddha figure, now headless is seated on a square Sumeru throne with a lotus flower base. Behind him, there is a large flaming aureole carved in relief. He was accompanied by six attendant figures, two of which were free-standing and are now missing. Traces of the other four figures still remain.
Northern Xiangtangshan, North Cave, outside caves, south side
- Title Translation: 北响堂山北洞 , 洞穴外，南侧
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The North Cave, also known as the Great Buddha Cave, is the largest and earliest of the Xiangtangshan caves. It has a masterful design that encompasses conceptTopics of time and space in a Buddhist cosmology, and it can be associated with the founding of the Northern Qi dynasty. The facade is damaged from natural erosion and a severe earthquake in the sixteenth century. The entrance has been reconstructed of blocks of stone. There are traces of what appears to have been a domed roof at the top, above the three windows that provide light to the cave interior. Inside the cave there is a massive four-sided central pillar, into which the three principal Buddha images of colossal size, representing the Buddhas of the Three Ages—Past, Present, and Future—are carved. Each of the seated Buddhas is flanked by two standing bodhisattvas. Around the walls and at the top of the central pillar are smaller Buddhas, bodhisattvas, and other divinities, including earth spirits, heavenly apsarases, and also demons vividly rendered in high relief. Deities and nature spirits from countless realms and ages of the cosmos are thus seen to be brought together by the power of the Dharma or Buddhist wisdom. The carving is masterful with figural sculptures, flaming haloes, and domed stupa-shaped niches surrounded by lotus blossoms, glowing jewels, and ornamental patterns, all worked and finished with great skill. There are small caves on either side of the North Cave courtyard. The one on the south side also appears to be of Northern Qi origin. The main images are now damaged or removed, and additional carvings were added to the east wall in the Song. The central Buddha figure, now headless is seated on a square Sumeru throne with a lotus flower base. Behind him, there is a large flaming aureole carved in relief. He was accompanied by six attendant figures, two of which were free-standing and are now missing. Traces of the other four figures still remain.
Northern Xiangtangshan, North Cave, interior
- Title Translation: 北响堂山北洞 , 内部
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The North Cave, also known as the Great Buddha Cave, is the largest and earliest of the Xiangtangshan caves. It has a masterful design that encompasses conceptTopics of time and space in a Buddhist cosmology, and it can be associated with the founding of the Northern Qi dynasty. The facade is damaged from natural erosion and a severe earthquake in the sixteenth century. The entrance has been reconstructed of blocks of stone. There are traces of what appears to have been a domed roof at the top, above the three windows that provide light to the cave interior. Inside the cave there is a massive four-sided central pillar, into which the three principal Buddha images of colossal size, representing the Buddhas of the Three Ages—Past, Present, and Future—are carved. Each of the seated Buddhas is flanked by two standing bodhisattvas. Around the walls and at the top of the central pillar are smaller Buddhas, bodhisattvas, and other divinities, including earth spirits, heavenly apsarases, and also demons vividly rendered in high relief. Deities and nature spirits from countless realms and ages of the cosmos are thus seen to be brought together by the power of the Dharma or Buddhist wisdom. The carving is masterful with figural sculptures, flaming haloes, and domed stupa-shaped niches surrounded by lotus blossoms, glowing jewels, and ornamental patterns, all worked and finished with great skill. There are small caves on either side of the North Cave courtyard. The one on the south side also appears to be of Northern Qi origin. The main images are now damaged or removed, and additional carvings were added to the east wall in the Song. The central Buddha figure, now headless is seated on a square Sumeru throne with a lotus flower base. Behind him, there is a large flaming aureole carved in relief. He was accompanied by six attendant figures, two of which were free-standing and are now missing. Traces of the other four figures still remain.
Northern Xiangtangshan, South Cave, north wall
- Title Translation: 北响堂山南洞 , 北壁
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The South Cave at Northern Xiangtangshan, like the Middle Cave, preserves its original stupa-form with domed roof and a porch in front. An additional small cave is carved into the dome. The main chamber is an open chamber space with images set around three walls. Each altar has a central Buddha surrounded by six standing figures including bodhisattvas, disciples and pratyekabuddhas. Smaller Buddhas appear in rows on the upper level of the cave. On the ceiling a large lotus blossom is carved in relief. The work on the cave appears to have been begun, then interrupted, and resumed later by different craftsmen. The main sculpted images show signs of having been created in two stages, with the later mode of carving evident in the group of images on the back wall. The stylistic difference is also evident in the appearance of the heads of figures taken from the cave and now located in museums and private collections outside China. In addition to its sculptural art, the South Cave is very important for its extensive engravings of Buddhist scriptures in stone. These are located inside the cave on the entrance wall, inside the porch, on the exterior wall of the porch, and extending onto the north wall of the courtyard. At the end of the sutra texts, the dedicatory stele of Tang Yong records that the engravings were carried out in the years from 568-572.
Northern Xiangtangshan, South Cave, south wall
- Title Translation: 北响堂山南洞 , 南壁
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The South Cave at Northern Xiangtangshan, like the Middle Cave, preserves its original stupa-form with domed roof and a porch in front. An additional small cave is carved into the dome. The main chamber is an open chamber space with images set around three walls. Each altar has a central Buddha surrounded by six standing figures including bodhisattvas, disciples and pratyekabuddhas. Smaller Buddhas appear in rows on the upper level of the cave. On the ceiling a large lotus blossom is carved in relief. The work on the cave appears to have been begun, then interrupted, and resumed later by different craftsmen. The main sculpted images show signs of having been created in two stages, with the later mode of carving evident in the group of images on the back wall. The stylistic difference is also evident in the appearance of the heads of figures taken from the cave and now located in museums and private collections outside China. In addition to its sculptural art, the South Cave is very important for its extensive engravings of Buddhist scriptures in stone. These are located inside the cave on the entrance wall, inside the porch, on the exterior wall of the porch, and extending onto the north wall of the courtyard. At the end of the sutra texts, the dedicatory stele of Tang Yong records that the engravings were carried out in the years from 568-572.
Southern Xiangtangshan, Cave 1, interior, left side, little Buddhas
- Title Translation: 南响堂山第1窟 , 内部, 左侧, 小佛像
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Cave 1, on the lower level southeast side, has dragons entwined around the columns of the entrance and a Buddha niche above the doorway between the two windows. The interior has a central pillar with a large niche on the front where the principal Buddha image sits, still largely intact. Behind his head is a large halo surrounded by flying divinities carved in relief. The Buddha has two of the original attendant figures, disciples dressed in monks’ robes, still standing beside him. The other figures currently on the altar are clay figures made as replacements for those that were removed in the early twentieth century. Above the main image niche in the central pillar there is a relief scene with Buddhas and bodhisattvas gathered in a teaching assembly. Another relief scene with a central seated Buddha appears just opposite, above doorway of the cave. It depicts the Western Paradise of Amitabha Buddha, a pure fragrant land with jeweled trees and lotus ponds where the Buddhist faithful could be reborn in the next life. On the upper level of the cave walls there is a row of niches, each with a seated Buddha and standing bodhisattvas. The lower level is largely filled with engraved passages of the Avatamsaka sutra or “Flower Garland Sutra." The engraved text does not extend onto the right or south wall and appears not to have been completed as originally planned.
Southern Xiangtangshan, Cave 1, interior, right side, little Buddhas
- Title Translation: 南响堂山第1窟 , 内部, 右侧, 小佛像
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Cave 1, on the lower level southeast side, has dragons entwined around the columns of the entrance and a Buddha niche above the doorway between the two windows. The interior has a central pillar with a large niche on the front where the principal Buddha image sits, still largely intact. Behind his head is a large halo surrounded by flying divinities carved in relief. The Buddha has two of the original attendant figures, disciples dressed in monks’ robes, still standing beside him. The other figures currently on the altar are clay figures made as replacements for those that were removed in the early twentieth century. Above the main image niche in the central pillar there is a relief scene with Buddhas and bodhisattvas gathered in a teaching assembly. Another relief scene with a central seated Buddha appears just opposite, above doorway of the cave. It depicts the Western Paradise of Amitabha Buddha, a pure fragrant land with jeweled trees and lotus ponds where the Buddhist faithful could be reborn in the next life. On the upper level of the cave walls there is a row of niches, each with a seated Buddha and standing bodhisattvas. The lower level is largely filled with engraved passages of the Avatamsaka sutra or “Flower Garland Sutra." The engraved text does not extend onto the right or south wall and appears not to have been completed as originally planned.
Southern Xiangtangshan, Cave 1, interior, right side, little Buddhas
- Title Translation: 南响堂山第1窟 , 内部, 右侧, 小佛像
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Cave 1, on the lower level southeast side, has dragons entwined around the columns of the entrance and a Buddha niche above the doorway between the two windows. The interior has a central pillar with a large niche on the front where the principal Buddha image sits, still largely intact. Behind his head is a large halo surrounded by flying divinities carved in relief. The Buddha has two of the original attendant figures, disciples dressed in monks’ robes, still standing beside him. The other figures currently on the altar are clay figures made as replacements for those that were removed in the early twentieth century. Above the main image niche in the central pillar there is a relief scene with Buddhas and bodhisattvas gathered in a teaching assembly. Another relief scene with a central seated Buddha appears just opposite, above doorway of the cave. It depicts the Western Paradise of Amitabha Buddha, a pure fragrant land with jeweled trees and lotus ponds where the Buddhist faithful could be reborn in the next life. On the upper level of the cave walls there is a row of niches, each with a seated Buddha and standing bodhisattvas. The lower level is largely filled with engraved passages of the Avatamsaka sutra or “Flower Garland Sutra." The engraved text does not extend onto the right or south wall and appears not to have been completed as originally planned.
Southern Xiangtangshan, Cave 1, interior, right side, little Buddhas
- Title Translation: 南响堂山第1窟 , 内部, 右侧, 小佛像
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Cave 1, on the lower level southeast side, has dragons entwined around the columns of the entrance and a Buddha niche above the doorway between the two windows. The interior has a central pillar with a large niche on the front where the principal Buddha image sits, still largely intact. Behind his head is a large halo surrounded by flying divinities carved in relief. The Buddha has two of the original attendant figures, disciples dressed in monks’ robes, still standing beside him. The other figures currently on the altar are clay figures made as replacements for those that were removed in the early twentieth century. Above the main image niche in the central pillar there is a relief scene with Buddhas and bodhisattvas gathered in a teaching assembly. Another relief scene with a central seated Buddha appears just opposite, above doorway of the cave. It depicts the Western Paradise of Amitabha Buddha, a pure fragrant land with jeweled trees and lotus ponds where the Buddhist faithful could be reborn in the next life. On the upper level of the cave walls there is a row of niches, each with a seated Buddha and standing bodhisattvas. The lower level is largely filled with engraved passages of the Avatamsaka sutra or “Flower Garland Sutra." The engraved text does not extend onto the right or south wall and appears not to have been completed as originally planned.
Southern Xiangtangshan, Cave 1, interior, right side, little Buddhas
- Title Translation: 南响堂山第1窟 , 内部, 右侧, 小佛像
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Cave 1, on the lower level southeast side, has dragons entwined around the columns of the entrance and a Buddha niche above the doorway between the two windows. The interior has a central pillar with a large niche on the front where the principal Buddha image sits, still largely intact. Behind his head is a large halo surrounded by flying divinities carved in relief. The Buddha has two of the original attendant figures, disciples dressed in monks’ robes, still standing beside him. The other figures currently on the altar are clay figures made as replacements for those that were removed in the early twentieth century. Above the main image niche in the central pillar there is a relief scene with Buddhas and bodhisattvas gathered in a teaching assembly. Another relief scene with a central seated Buddha appears just opposite, above doorway of the cave. It depicts the Western Paradise of Amitabha Buddha, a pure fragrant land with jeweled trees and lotus ponds where the Buddhist faithful could be reborn in the next life. On the upper level of the cave walls there is a row of niches, each with a seated Buddha and standing bodhisattvas. The lower level is largely filled with engraved passages of the Avatamsaka sutra or “Flower Garland Sutra." The engraved text does not extend onto the right or south wall and appears not to have been completed as originally planned.
Southern Xiangtangshan, Cave 2, interior
- Title Translation: 南响堂山第2窟 , 内部
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Cave 2 was severely damaged in the last century and the front wall repaired. Now little remains of the fine sculptures. Several of the greatest sculptural works from Xiangtangshan now in museums outside China are believed to have been from Cave 2. Looters damaged the façade of the cave as part of the removal of the sculptures. They also took the free-standing figures from the main altar on the front of the central pillar. The missing Buddhist figures were initially repaired with clay figures, so that religious observances could continue, but in the middle decades of the century, when the religion was discouraged, the cave site was used for manufacturing and storage. The central pillar of Cave 2 and its remaining images were blasted with dynamite. Only the halo of the Buddha and the flying divinities around it still remain, showing the former position of the principle image. Some of the rows of small relief Buddha figures on the sides of the central pillar still remain along with inscriptions recording donors’ sponsorship the work. Historic photographs indicate that the altar was much like that of Cave 1 with a seated Buddha and six attendant figures. As in Cave 1, there was a carved relief panel of the Western Paradise of Amitabha located on the front wall above the entrance, an important early representation of this popular Buddhist theme in Chinese art. The niches around the walls once had seated Buddha images but are now largely empty.
Southern Xiangtangshan, Cave 2, interior
- Title Translation: 南响堂山第2窟 , 内部
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Cave 2 was severely damaged in the last century and the front wall repaired. Now little remains of the fine sculptures. Several of the greatest sculptural works from Xiangtangshan now in museums outside China are believed to have been from Cave 2. Looters damaged the façade of the cave as part of the removal of the sculptures. They also took the free-standing figures from the main altar on the front of the central pillar. The missing Buddhist figures were initially repaired with clay figures, so that religious observances could continue, but in the middle decades of the century, when the religion was discouraged, the cave site was used for manufacturing and storage. The central pillar of Cave 2 and its remaining images were blasted with dynamite. Only the halo of the Buddha and the flying divinities around it still remain, showing the former position of the principle image. Some of the rows of small relief Buddha figures on the sides of the central pillar still remain along with inscriptions recording donors’ sponsorship the work. Historic photographs indicate that the altar was much like that of Cave 1 with a seated Buddha and six attendant figures. As in Cave 1, there was a carved relief panel of the Western Paradise of Amitabha located on the front wall above the entrance, an important early representation of this popular Buddhist theme in Chinese art. The niches around the walls once had seated Buddha images but are now largely empty.
Southern Xiangtangshan, Cave 2, interior, little Buddhas
- Title Translation: 南响堂山第2窟 , 内部, 小佛
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Cave 2 was severely damaged in the last century and the front wall repaired. Now little remains of the fine sculptures. Several of the greatest sculptural works from Xiangtangshan now in museums outside China are believed to have been from Cave 2. Looters damaged the façade of the cave as part of the removal of the sculptures. They also took the free-standing figures from the main altar on the front of the central pillar. The missing Buddhist figures were initially repaired with clay figures, so that religious observances could continue, but in the middle decades of the century, when the religion was discouraged, the cave site was used for manufacturing and storage. The central pillar of Cave 2 and its remaining images were blasted with dynamite. Only the halo of the Buddha and the flying divinities around it still remain, showing the former position of the principle image. Some of the rows of small relief Buddha figures on the sides of the central pillar still remain along with inscriptions recording donors’ sponsorship the work. Historic photographs indicate that the altar was much like that of Cave 1 with a seated Buddha and six attendant figures. As in Cave 1, there was a carved relief panel of the Western Paradise of Amitabha located on the front wall above the entrance, an important early representation of this popular Buddhist theme in Chinese art. The niches around the walls once had seated Buddha images but are now largely empty.
Southern Xiangtangshan, Cave 2, interior, little Buddhas
- Title Translation: 南响堂山第2窟 , 内部, 小佛
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Cave 2 was severely damaged in the last century and the front wall repaired. Now little remains of the fine sculptures. Several of the greatest sculptural works from Xiangtangshan now in museums outside China are believed to have been from Cave 2. Looters damaged the façade of the cave as part of the removal of the sculptures. They also took the free-standing figures from the main altar on the front of the central pillar. The missing Buddhist figures were initially repaired with clay figures, so that religious observances could continue, but in the middle decades of the century, when the religion was discouraged, the cave site was used for manufacturing and storage. The central pillar of Cave 2 and its remaining images were blasted with dynamite. Only the halo of the Buddha and the flying divinities around it still remain, showing the former position of the principle image. Some of the rows of small relief Buddha figures on the sides of the central pillar still remain along with inscriptions recording donors’ sponsorship the work. Historic photographs indicate that the altar was much like that of Cave 1 with a seated Buddha and six attendant figures. As in Cave 1, there was a carved relief panel of the Western Paradise of Amitabha located on the front wall above the entrance, an important early representation of this popular Buddhist theme in Chinese art. The niches around the walls once had seated Buddha images but are now largely empty.
Southern Xiangtangshan, seated buddha
- Title Translation: 南响堂山洞穴群 , 坐佛
- 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.
Longmen Binyang Central Cave, central Buddha, assisted by two bodhisattvas and two disciples on each side
- Title Translation: 龙门宾阳中洞 , 中央为佛，两侧各有两名菩萨和两名弟子侍立
- 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.
Buddha Head
- Title Translation: 佛头
- Period: Northern Qi, 550-577 C.E.
- Project: Tianlongshan Caves
- Work Description: The handsome Buddha head is one of three from the main niches of Cave 16, created in the Northern Qi period.
Buddha Head
- Title Translation: 佛头
- 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.
Rulai Hall (Rulaidian, Tathagatha Hall or Shakyamuni Hall), scripture cabinets
- Title Translation: 如来殿 , 藏经橱
- 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 Śākyamuni) is on the first floor and the Wanfo Pavilion (Ten Thousand Buddhas Pavilion) is on the second—enclosed by walls on its east and west.
Revolving Sutra Cabinet (Zhuanlun Jingzang, or Scripture Cabinet) in Sutra Hall (Zangdian, or Scripture Hall), crown and ceiling
- Title Translation: 藏殿转轮经藏 , 顶部和天花板
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: “Revolving Sutra Cabinet” (zhuanlun jingzang) is an octagonal sutra cabinet. It has a stone plinth supporting the wooden cabinets and does not revolve. A Vairocana Buddha seated on a lotus is positioned right at the center on top of the sutra cabinet. The off-center position of the sutra cabinet turns out to be a calculated decision, as it creates enough space and angle for a visitor to see the Vairocana Buddha right before s/he enters the hall.
Revolving Sutra Cabinet (Zhuanlun Jingzang, or Scripture Cabinet) in Sutra Hall (Zangdian, or Scripture Hall), elephant figure
- Title Translation: 藏殿转轮经藏 , 大象形象
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: “Revolving Sutra Cabinet” (zhuanlun jingzang) is an octagonal sutra cabinet. It has a stone plinth supporting the wooden cabinets and does not revolve. A Vairocana Buddha seated on a lotus is positioned right at the center on top of the sutra cabinet. The off-center position of the sutra cabinet turns out to be a calculated decision, as it creates enough space and angle for a visitor to see the Vairocana Buddha right before s/he enters the hall.
Revolving Sutra Cabinet (Zhuanlun Jingzang, or Scripture Cabinet) in Sutra Hall (Zangdian, or Scripture Hall), Vairocana Buddha
- Title Translation: 藏殿转轮经藏 , 毗卢遮那佛
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: “Revolving Sutra Cabinet” (zhuanlun jingzang) is an octagonal sutra cabinet. It has a stone plinth supporting the wooden cabinets and does not revolve. A Vairocana Buddha seated on a lotus is positioned right at the center on top of the sutra cabinet. The off-center position of the sutra cabinet turns out to be a calculated decision, as it creates enough space and angle for a visitor to see the Vairocana Buddha right before s/he enters the hall.
Buddha Triad from Rulai Hall (Rulaidian, Tathagatha Hall or Shakyamuni Hall), Shakyamuni Buddha
- Title Translation: 如来殿三圣 , 释迦牟尼佛
- 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 Buddha’s right or west side is Indra 帝释天, the king of Hindu gods, who holds a large scepter. The one at the Buddha’s left, is the Hindu god Brahma 大梵天. 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 Buddha’s life. The earth-touching pose, bhumisparsha mudra, is associated with a key event in the prince Sakyamuni’s 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, Mara’s 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 Buddha’s 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.