CENTER FOR THE ART OF EAST ASIA
DIGITAL COLLECTIONS
List Gallery

Showing  251 - 275 of 275 Records

Relevance Title (A-Z) Title (Z-A) Date (Ascending) Date (Descending)
25 50 100
Showing  251 - 275 of 275 Records
  Map Filter   Date Filter
Active filters
Project: Beijing Zhihua Temple   Remove all  

275 image
Buddha Triad from Wanfo Pavilion (Wanfoge, Ten Thousand Buddhas Pavilion), Vairocana Buddha digital reconstruction
  • Title Translation: 万佛阁三圣 , 毗卢遮那佛
  • 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 “wisdom fist” 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.

Rulai Hall (Rulaidian, Tathagatha Hall or Shakyamuni Hall), scripture cabinets and small Buddha
  • Title Translation: 如來殿 , 藏经橱，小佛像
  • 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.

Rulai Hall (Rulaidian, Tathagatha Hall or Shakyamuni Hall), exterior, daytime
  • Title Translation: 如來殿 , 外部, 白天
  • 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.

Rulai Hall (Rulaidian, Tathagatha Hall or Shakyamuni Hall), scripture cabinets
  • Title Translation: 如來殿 , 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.

Rulai Hall (Rulaidian, Tathagatha Hall or Shakyamuni Hall), first floor ceiling tiles and scripture cabinets
  • Title Translation: 如來殿 , 一楼天花板和藏经橱
  • 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.

Dizang Bodhisattva with the Ten Kings of Hell Mural from Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom), Elder Min and five of Ten Kings of Hell
  • Title Translation: 智化殿壁画"地藏菩萨与十府冥王" , 闵长者和冥府五王
  • Period: Ming, c. 1444 C.E.
  • Project: Beijing Zhihua Temple

Coffered Ceiling from Wanfo Pavilion (Wanfoge, Ten Thousand Buddhas Pavilion), five-clawed dragon digital reconstruction
  • Title Translation: 万佛阁天花与藻井 , 五爪龙数字重建
  • 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.

Buddha Triad from Rulai Hall (Rulaidian, Tathagatha Hall or Shakyamuni Hall), Indra Buddha
  • Title Translation: 如来殿三圣 , 帝释天
  • 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. After the death or parinirvana of Shakyamuni, different ways of perceiving the historical Buddha emerged, at first a distinction between his physical body and the body of his teachings. The human Buddha, remembered in the stories and at the sites of important events of his life, came to be regarded as a transformational and impermanent form, or nirmanakaya. His disciples began to compile the teachings, and this scriptural canon became associated with the term dharmakaya. Through the development of Buddhism as a religion, dharmakaya took on a higher abstract significance as embodiment of the transcendent and timeless essence of Buddhahood and the basis of all other manifestations of a Buddha’s qualities. The universal nature of Buddhahood is represented in the Wanfo Pavillion by the Vairochana Buddha and the 10,000 small Buddha on the surrounding walls.

Coffered Ceiling from Wanfo Pavilion (Wanfoge, Ten Thousand Buddhas Pavilion), coffered ceiling
  • Title Translation: 万佛阁天花与藻井 , 藻井
  • 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.

Rulai Hall (Rulaidian, Tathagatha Hall or Shakyamuni Hall), ceiling, purlins, and column
  • Title Translation: 如来殿 , 天花板、檩条和柱子
  • 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.

Rectangular incense burner
  • Title Translation: 长方形香炉
  • Period: Ming, c. 1444 C.E.
  • Project: Beijing Zhihua Temple
  • Work Description: Formerly in Rulai Hall (Rulaidian, Tathagatha Hall or Shakyamuni Hall)

Coffered Ceiling from Wanfo Pavilion (Wanfoge, Ten Thousand Buddhas Pavilion), pagoda from tiangong louge
  • Title Translation: 万佛阁天花与藻井 , 天宫楼阁宝塔
  • 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.

Coffered Ceiling from Wanfo Pavilion (Wanfoge, Ten Thousand Buddhas Pavilion), central ceiling well
  • Title Translation: 万佛阁天花与藻井 , 中央藻井
  • 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.

Coffered Ceiling from Wanfo Pavilion (Wanfoge, Ten Thousand Buddhas Pavilion), Nelson-Atkins Museum of Art Chinese Galleries
  • Title Translation: 万佛阁天花与藻井 , 纳尔逊·阿特金斯艺术博物馆中国馆
  • 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.

Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom), interior
  • Title Translation: 智化殿 , 内部
  • 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 Śākyamuni 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.

Capital music from the Zhihua Temple (Zhihuasi Jing yinyue), musicians
  • Title Translation: 智化寺京音乐 , 乐手
  • Period: Ming, Qing, c. 1444 C.E.
  • Project: Beijing Zhihua Temple
  • Work Description: Benefiting from Wang Zhen’s unprecedented power at the court, the temple was able to hire skilled monk musicians to play during Buddhist ceremonies and other ritual activities for the members of the court. However, with Wang’s death in 1449, the temple lost its prestigious status, and during Emperor Jingdi’s reign (1450-1456), the monks began to perform ritual music outside the temple to make a living. Thus Capital music of Zhihua Temple also became popular among the people. When Emperor Yingzong retook the throne in 1457, he at once set out to honor Wang Zhen with statues and steles and rituals performed at the temple. The music of Zhihua Temple gradually increased in importance. The comprehensive instrumental ensemble, rigorous training, and elegant performance style of the Zhihua Temple’s music group inspired other temples in Beijing through the succeeding Qing. During the reign of Emperors Daoguang and Xianfeng (1821-1861), Zhihua Temple became such a center for Beijing music that spread to numerous temples in the region including but not limited to: Tianxian Nunnery, Chengshou Temple, Shuiyue Nunnery, Dizang Temple, Xizhao Temple, Guandi Temple, Huoshen Temple, Jiuding Niangniang Temple, and Puning Temple. Jing ceremonial music consists of three parts: vocalization of text, wind instruments, and percussion instruments, called by monk musicians the “three gateways.” The most prominent of these is the musical gateway of the wind instruments that greatly distinguished capital music of Zhihua Temple from other temple music or folk music performance. The Jing music ensemble of the Zhihua Temple is composed of nine performers and thirteen or fourteen musical instruments, including two pipes, two flutes, two sheng, two sets of cloud chimes, one drum, a set of small cymbals, 2 mounted gongs, two larger cymbals (nao and bo) and a bell. Several members of the troupe will play more than one instrument during a performance.

Capital music from the Zhihua Temple (Zhihuasi Jing yinyue), musicians
  • Title Translation: 智化寺京音乐 , 乐手
  • Period: Ming, Qing, c. 1444 C.E.
  • Project: Beijing Zhihua Temple
  • Work Description: Benefiting from Wang Zhen’s unprecedented power at the court, the temple was able to hire skilled monk musicians to play during Buddhist ceremonies and other ritual activities for the members of the court. However, with Wang’s death in 1449, the temple lost its prestigious status, and during Emperor Jingdi’s reign (1450-1456), the monks began to perform ritual music outside the temple to make a living. Thus Capital music of Zhihua Temple also became popular among the people. When Emperor Yingzong retook the throne in 1457, he at once set out to honor Wang Zhen with statues and steles and rituals performed at the temple. The music of Zhihua Temple gradually increased in importance. The comprehensive instrumental ensemble, rigorous training, and elegant performance style of the Zhihua Temple’s music group inspired other temples in Beijing through the succeeding Qing. During the reign of Emperors Daoguang and Xianfeng (1821-1861), Zhihua Temple became such a center for Beijing music that spread to numerous temples in the region including but not limited to: Tianxian Nunnery, Chengshou Temple, Shuiyue Nunnery, Dizang Temple, Xizhao Temple, Guandi Temple, Huoshen Temple, Jiuding Niangniang Temple, and Puning Temple. Jing ceremonial music consists of three parts: vocalization of text, wind instruments, and percussion instruments, called by monk musicians the “three gateways.” The most prominent of these is the musical gateway of the wind instruments that greatly distinguished capital music of Zhihua Temple from other temple music or folk music performance. The Jing music ensemble of the Zhihua Temple is composed of nine performers and thirteen or fourteen musical instruments, including two pipes, two flutes, two sheng, two sets of cloud chimes, one drum, a set of small cymbals, 2 mounted gongs, two larger cymbals (nao and bo) and a bell. Several members of the troupe will play more than one instrument during a performance.

Coffered Ceiling from Wanfo Pavilion (Wanfoge, Ten Thousand Buddhas Pavilion), 3D reconstruction still image
  • Title Translation: 万佛阁天花与藻井 , 3D重建的静态图像
  • 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.

Dazhi Hall (Dazhidian, Hall of Great Wisdom), coffered ceiling
  • Title Translation: 大智殿 , 藻井
  • Period: Ming, c. 1444 C.E.
  • Project: Beijing Zhihua Temple
  • Work Description: The Dazhi Hall is located east of the Zhihua Hall and opposite from the Sutra Hall. The hall initially enshrined three bodhisattvas, Avolokiteśvara attended by Mañjuśrī and Samantabhadra on an altar. Though different in function and interior layout, the Dazhi Hall has the exact measurements and structure as the Sutra Hall, its counterpart across from the courtyard.

Dazhi Hall (Dazhidian, Hall of Great Wisdom), coffered ceiling
  • Title Translation: 大智殿 , 藻井
  • Period: Ming, c. 1444 C.E.
  • Project: Beijing Zhihua Temple
  • Work Description: The Dazhi Hall is located east of the Zhihua Hall and opposite from the Sutra Hall. The hall initially enshrined three bodhisattvas, Avolokiteśvara attended by Mañjuśrī and Samantabhadra on an altar. Though different in function and interior layout, the Dazhi Hall has the exact measurements and structure as the Sutra Hall, its counterpart across from the courtyard.

Dazhi Hall (Dazhidian, Hall of Great Wisdom), Manjusuri
  • Title Translation: 大智殿 , 文殊
  • Period: Ming, c. 1444 C.E.
  • Project: Beijing Zhihua Temple
  • Work Description: The Dazhi Hall is located east of the Zhihua Hall and opposite from the Sutra Hall. The hall initially enshrined three bodhisattvas, Avolokiteśvara attended by Mañjuśrī and Samantabhadra on an altar. Though different in function and interior layout, the Dazhi Hall has the exact measurements and structure as the Sutra Hall, its counterpart across from the courtyard.

Dazhi Hall (Dazhidian, Hall of Great Wisdom), three seated bodhisattvas
  • Title Translation: 大智殿 , 普贤
  • Period: Ming, c. 1444 C.E.
  • Project: Beijing Zhihua Temple
  • Work Description: The Dazhi Hall is located east of the Zhihua Hall and opposite from the Sutra Hall. The hall initially enshrined three bodhisattvas, Avolokiteśvara attended by Mañjuśrī and Samantabhadra on an altar. Though different in function and interior layout, the Dazhi Hall has the exact measurements and structure as the Sutra Hall, its counterpart across from the courtyard.

Dazhi Hall (Dazhidian, Hall of Great Wisdom), Samantabhadra
  • Title Translation: 大智殿 , 文殊
  • Period: Ming, c. 1444 C.E.
  • Project: Beijing Zhihua Temple
  • Work Description: The Dazhi Hall is located east of the Zhihua Hall and opposite from the Sutra Hall. The hall initially enshrined three bodhisattvas, Avolokiteśvara attended by Mañjuśrī and Samantabhadra on an altar. Though different in function and interior layout, the Dazhi Hall has the exact measurements and structure as the Sutra Hall, its counterpart across from the courtyard.

Dazhi Hall (Dazhidian, Hall of Great Wisdom), altar
  • Title Translation: 大智殿 , 祭坛
  • Period: Ming, c. 1444 C.E.
  • Project: Beijing Zhihua Temple
  • Work Description: The Dazhi Hall is located east of the Zhihua Hall and opposite from the Sutra Hall. The hall initially enshrined three bodhisattvas, Avolokiteśvara attended by Mañjuśrī and Samantabhadra on an altar. Though different in function and interior layout, the Dazhi Hall has the exact measurements and structure as the Sutra Hall, its counterpart across from the courtyard.

Coffered Ceiling from Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom), research team conducting scanning
  • Title Translation: 智化殿天花与藻井 , 研究小组进行扫描
  • 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—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 (1662–1722).