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58 Nelson-Atkins Museum of Art 56 Philadelphia Museum of Art 30 unknown 27 National Museum of Asian Art 26 Harvard Art Museums 23 Tokyo National Museum 17 Osaka City Museum of Fine Arts 16 private collection 14 Metropolitan Museum of Art 11 Museum Rietberg 9 University of Pennsylvania, Museum of Archaeology and Anthropology 8 Museum of Fine Arts, Boston 7 Cleveland Museum of Art 7 Nezu Art Museum 6 Asian Art Museum of San Francisco 6 British Museum 6 Koninklijk Instituut voor het Kunstpatrimonium 6 National Museum of China 5 Columbia University 5 Museo nazionale d’arte orientale 4 Cincinnati Art Museum 4 Honolulu Museum of Art 4 Rijksmuseum voor Volkenkunde 4 San Diego Museum of Art 4 Tsz Shan Monastery Buddhist Art Museum 4 Victoria and Albert Museum 3 Barnes Foundation 2 Art Institute of Chicago 2 Guimet Museum 2 Harvard Library 2 Kyushu National Museum 2 Museum für Ostasiatische Kunst 2 Museum of Far Eastern Antiquities 2 Nara National Museum 2 National Gallery of Victoria 2 Royal Ontario Museum 2 University of Tokyo, Museum of Art and History 1 Aurora Art Museum 1 Brooklyn Museum of Art 1 Cernuschi Museum 1 Clark Art Institute 1 Columbia University, Avery Architectural and Fine Arts Library 1 Detroit Institute of Arts 1 Idemitsu Museum of Art 1 J. J. Lally & Co. New York 1 Kosetsu Museum of Art 1 Masaki Art Museum 1 Miho Museum 1 Minneapolis Institute of Arts 1 Morgan Library & Museum 1 Museum of Oriental Ceramics, Osaka 1 Nezu Museum 1 Ohara Museum of Art 1 Palace Museum 1 Portland Art Museum 1 Rhode Island School of Design, Museum of Art 1 Rijksmuseum 1 Seattle Art Museum 1 Villa I Tatti 1 Virginia Museum of Fine Arts 1 Wadsworth Atheneum

3478 image
Longmen Binyang Central Cave, north wall disciple and bodhisattvas
  • Title Translation: 龙门宾阳中洞 , 北壁弟子菩萨
  • 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.

Longmen Binyang Central Cave, lotus ceiling with celestial deities
  • Title Translation: 龙门宾阳中洞 , 莲花天花板与天神
  • 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.

Longmen Binyang Central Cave, bodhisattva feet, detail
  • Title Translation: 龙门宾阳中洞 , 菩萨足，细节
  • 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.

Longmen Binyang Central Cave, southeast corner
  • Title Translation: 龙门宾阳中洞 , 东南角
  • 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.

Longmen Binyang Central Cave, central Buddha and north wall
  • Title Translation: 龙门宾阳中洞 , 中央大佛及北壁
  • 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.

Longmen Binyang Central Cave, south wall
  • Title Translation: 龙门宾阳中洞 , 南壁
  • 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.

Longmen Binyang Central Cave, central Buddha
  • Title Translation: 龙门宾阳中洞 , 中央大佛
  • 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.

Longmen Binyang Central Cave, exterior
  • Title Translation: 龙门宾阳中洞 , 外部
  • 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.

Longmen Binyang Central Cave, exterior reliefs
  • Title Translation: 龙门宾阳中洞 , 外部浮雕
  • 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.

Longmen Binyang Central Cave, south wall standing Buddha
  • Title Translation: 龙门宾阳中洞 , 南壁立佛
  • 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.

Cave 6
  • Title Translation: 第六窟
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 6 is a small square cave of the Tang period that had nine sculpted images on the interior, with a central seated Buddha on the back and side walls accompanied by bodhisattvas and disciples.

Cave 6
  • Title Translation: 第六窟
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 6 is a small square cave of the Tang period that had nine sculpted images on the interior, with a central seated Buddha on the back and side walls accompanied by bodhisattvas and disciples.

Cave 8
  • Title Translation: 第八窟
  • Period: Sui, 581-618 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 8 is the largest of the caves at Tianlongshan with the exception of Cave 9, the colossal Buddha cave. It is the only central pillar cave at the site and the only cave known to be of the Sui dynasty (581-618). It has a porch three bays wide that is largely preserved. The traces of two guardian figures standing at the sides of the entrance can still be seen. At the right side of the porch there is a stele with a long inscription dated to the fourth year of the kaihuang reign period, or 584. It records the persecution of Buddhism in the preceding Northern Zhou period after the conquest of Northern Qi, and its restoration with the rise of the Sui dynasty. The cave is dedicated by a Sui official to the well-being of the Sui emperor Wen (r. 581-604) and his son Yang Guang, the prince of Jin. The main chamber of Cave 8 is square in plan with a large square central pillar. It has three niches around the back and side walls and four niches on the central pillar, each with a central seated Buddha and standing attendants.

Cave 8
  • Title Translation: 第八窟
  • Period: Sui, 581-618 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 8 is the largest of the caves at Tianlongshan with the exception of Cave 9, the colossal Buddha cave. It is the only central pillar cave at the site and the only cave known to be of the Sui dynasty (581-618). It has a porch three bays wide that is largely preserved. The traces of two guardian figures standing at the sides of the entrance can still be seen. At the right side of the porch there is a stele with a long inscription dated to the fourth year of the kaihuang reign period, or 584. It records the persecution of Buddhism in the preceding Northern Zhou period after the conquest of Northern Qi, and its restoration with the rise of the Sui dynasty. The cave is dedicated by a Sui official to the well-being of the Sui emperor Wen (r. 581-604) and his son Yang Guang, the prince of Jin. The main chamber of Cave 8 is square in plan with a large square central pillar. It has three niches around the back and side walls and four niches on the central pillar, each with a central seated Buddha and standing attendants.

Cave 8
  • Title Translation: 第八窟
  • Period: Sui, 581-618 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 8 is the largest of the caves at Tianlongshan with the exception of Cave 9, the colossal Buddha cave. It is the only central pillar cave at the site and the only cave known to be of the Sui dynasty (581-618). It has a porch three bays wide that is largely preserved. The traces of two guardian figures standing at the sides of the entrance can still be seen. At the right side of the porch there is a stele with a long inscription dated to the fourth year of the kaihuang reign period, or 584. It records the persecution of Buddhism in the preceding Northern Zhou period after the conquest of Northern Qi, and its restoration with the rise of the Sui dynasty. The cave is dedicated by a Sui official to the well-being of the Sui emperor Wen (r. 581-604) and his son Yang Guang, the prince of Jin. The main chamber of Cave 8 is square in plan with a large square central pillar. It has three niches around the back and side walls and four niches on the central pillar, each with a central seated Buddha and standing attendants.

Cave 8
  • Title Translation: 第八窟
  • Period: Sui, 581-618 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 8 is the largest of the caves at Tianlongshan with the exception of Cave 9, the colossal Buddha cave. It is the only central pillar cave at the site and the only cave known to be of the Sui dynasty (581-618). It has a porch three bays wide that is largely preserved. The traces of two guardian figures standing at the sides of the entrance can still be seen. At the right side of the porch there is a stele with a long inscription dated to the fourth year of the kaihuang reign period, or 584. It records the persecution of Buddhism in the preceding Northern Zhou period after the conquest of Northern Qi, and its restoration with the rise of the Sui dynasty. The cave is dedicated by a Sui official to the well-being of the Sui emperor Wen (r. 581-604) and his son Yang Guang, the prince of Jin. The main chamber of Cave 8 is square in plan with a large square central pillar. It has three niches around the back and side walls and four niches on the central pillar, each with a central seated Buddha and standing attendants.

Cave 8
  • Title Translation: 第八窟
  • Period: Sui, 581-618 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 8 is the largest of the caves at Tianlongshan with the exception of Cave 9, the colossal Buddha cave. It is the only central pillar cave at the site and the only cave known to be of the Sui dynasty (581-618). It has a porch three bays wide that is largely preserved. The traces of two guardian figures standing at the sides of the entrance can still be seen. At the right side of the porch there is a stele with a long inscription dated to the fourth year of the kaihuang reign period, or 584. It records the persecution of Buddhism in the preceding Northern Zhou period after the conquest of Northern Qi, and its restoration with the rise of the Sui dynasty. The cave is dedicated by a Sui official to the well-being of the Sui emperor Wen (r. 581-604) and his son Yang Guang, the prince of Jin. The main chamber of Cave 8 is square in plan with a large square central pillar. It has three niches around the back and side walls and four niches on the central pillar, each with a central seated Buddha and standing attendants.

Cave 8
  • Title Translation: 第八窟
  • Period: Sui, 581-618 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 8 is the largest of the caves at Tianlongshan with the exception of Cave 9, the colossal Buddha cave. It is the only central pillar cave at the site and the only cave known to be of the Sui dynasty (581-618). It has a porch three bays wide that is largely preserved. The traces of two guardian figures standing at the sides of the entrance can still be seen. At the right side of the porch there is a stele with a long inscription dated to the fourth year of the kaihuang reign period, or 584. It records the persecution of Buddhism in the preceding Northern Zhou period after the conquest of Northern Qi, and its restoration with the rise of the Sui dynasty. The cave is dedicated by a Sui official to the well-being of the Sui emperor Wen (r. 581-604) and his son Yang Guang, the prince of Jin. The main chamber of Cave 8 is square in plan with a large square central pillar. It has three niches around the back and side walls and four niches on the central pillar, each with a central seated Buddha and standing attendants.

Cave 9
  • Title Translation: 第九窟
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 9 was cut into the eastern edge of the western section at Tianlongshan in the Tang dynasty. It consists of a huge niche with two levels. The upper level is set back and has a massive colossal Maitreya Buddha image more than 7.5 meters high, seated with his back against the cliff and his head reaching nearly to the cliff top. The lower level has three large bodhisattvas carved in the round, a central standing eleven-headed Avalokitesvara (Guanyin) and two seated bodhisattvas at the sides, each riding on an animal. The Guanyin figure stands 5.5 meters high. Its head is a modern replacement for the original one. The bodhisattva on the east side, mounted on an elephant, is Samantabhadra (Puxian), and the one on the west side, sitting on a lion, is Manjusri (Wenshu). The large group of carvings is protected by a tall wooden structure that was reconstructed in recent times. The original building, believed to be from the Tang, was repaired in the tenth century, as recorded on the stele dated 975 preserved at the site.

Cave 9
  • Title Translation: 第九窟
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 9 was cut into the eastern edge of the western section at Tianlongshan in the Tang dynasty. It consists of a huge niche with two levels. The upper level is set back and has a massive colossal Maitreya Buddha image more than 7.5 meters high, seated with his back against the cliff and his head reaching nearly to the cliff top. The lower level has three large bodhisattvas carved in the round, a central standing eleven-headed Avalokitesvara (Guanyin) and two seated bodhisattvas at the sides, each riding on an animal. The Guanyin figure stands 5.5 meters high. Its head is a modern replacement for the original one. The bodhisattva on the east side, mounted on an elephant, is Samantabhadra (Puxian), and the one on the west side, sitting on a lion, is Manjusri (Wenshu). The large group of carvings is protected by a tall wooden structure that was reconstructed in recent times. The original building, believed to be from the Tang, was repaired in the tenth century, as recorded on the stele dated 975 preserved at the site.

Cave 9
  • Title Translation: 第九窟
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 9 was cut into the eastern edge of the western section at Tianlongshan in the Tang dynasty. It consists of a huge niche with two levels. The upper level is set back and has a massive colossal Maitreya Buddha image more than 7.5 meters high, seated with his back against the cliff and his head reaching nearly to the cliff top. The lower level has three large bodhisattvas carved in the round, a central standing eleven-headed Avalokitesvara (Guanyin) and two seated bodhisattvas at the sides, each riding on an animal. The Guanyin figure stands 5.5 meters high. Its head is a modern replacement for the original one. The bodhisattva on the east side, mounted on an elephant, is Samantabhadra (Puxian), and the one on the west side, sitting on a lion, is Manjusri (Wenshu). The large group of carvings is protected by a tall wooden structure that was reconstructed in recent times. The original building, believed to be from the Tang, was repaired in the tenth century, as recorded on the stele dated 975 preserved at the site.

Cave 9
  • Title Translation: 第九窟
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 9 was cut into the eastern edge of the western section at Tianlongshan in the Tang dynasty. It consists of a huge niche with two levels. The upper level is set back and has a massive colossal Maitreya Buddha image more than 7.5 meters high, seated with his back against the cliff and his head reaching nearly to the cliff top. The lower level has three large bodhisattvas carved in the round, a central standing eleven-headed Avalokitesvara (Guanyin) and two seated bodhisattvas at the sides, each riding on an animal. The Guanyin figure stands 5.5 meters high. Its head is a modern replacement for the original one. The bodhisattva on the east side, mounted on an elephant, is Samantabhadra (Puxian), and the one on the west side, sitting on a lion, is Manjusri (Wenshu). The large group of carvings is protected by a tall wooden structure that was reconstructed in recent times. The original building, believed to be from the Tang, was repaired in the tenth century, as recorded on the stele dated 975 preserved at the site.

Cave 9
  • Title Translation: 第九窟
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 9 was cut into the eastern edge of the western section at Tianlongshan in the Tang dynasty. It consists of a huge niche with two levels. The upper level is set back and has a massive colossal Maitreya Buddha image more than 7.5 meters high, seated with his back against the cliff and his head reaching nearly to the cliff top. The lower level has three large bodhisattvas carved in the round, a central standing eleven-headed Avalokitesvara (Guanyin) and two seated bodhisattvas at the sides, each riding on an animal. The Guanyin figure stands 5.5 meters high. Its head is a modern replacement for the original one. The bodhisattva on the east side, mounted on an elephant, is Samantabhadra (Puxian), and the one on the west side, sitting on a lion, is Manjusri (Wenshu). The large group of carvings is protected by a tall wooden structure that was reconstructed in recent times. The original building, believed to be from the Tang, was repaired in the tenth century, as recorded on the stele dated 975 preserved at the site.

Cave 9
  • Title Translation: 第九窟
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 9 was cut into the eastern edge of the western section at Tianlongshan in the Tang dynasty. It consists of a huge niche with two levels. The upper level is set back and has a massive colossal Maitreya Buddha image more than 7.5 meters high, seated with his back against the cliff and his head reaching nearly to the cliff top. The lower level has three large bodhisattvas carved in the round, a central standing eleven-headed Avalokitesvara (Guanyin) and two seated bodhisattvas at the sides, each riding on an animal. The Guanyin figure stands 5.5 meters high. Its head is a modern replacement for the original one. The bodhisattva on the east side, mounted on an elephant, is Samantabhadra (Puxian), and the one on the west side, sitting on a lion, is Manjusri (Wenshu). The large group of carvings is protected by a tall wooden structure that was reconstructed in recent times. The original building, believed to be from the Tang, was repaired in the tenth century, as recorded on the stele dated 975 preserved at the site.

Cave 9
  • Title Translation: 第九窟
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 9 was cut into the eastern edge of the western section at Tianlongshan in the Tang dynasty. It consists of a huge niche with two levels. The upper level is set back and has a massive colossal Maitreya Buddha image more than 7.5 meters high, seated with his back against the cliff and his head reaching nearly to the cliff top. The lower level has three large bodhisattvas carved in the round, a central standing eleven-headed Avalokitesvara (Guanyin) and two seated bodhisattvas at the sides, each riding on an animal. The Guanyin figure stands 5.5 meters high. Its head is a modern replacement for the original one. The bodhisattva on the east side, mounted on an elephant, is Samantabhadra (Puxian), and the one on the west side, sitting on a lion, is Manjusri (Wenshu). The large group of carvings is protected by a tall wooden structure that was reconstructed in recent times. The original building, believed to be from the Tang, was repaired in the tenth century, as recorded on the stele dated 975 preserved at the site.