Showing
3426 - 3450 of 3478 Records
Revolving Sutra Cabinet (Zhuanlun Jingzang, or Scripture Cabinet) in Sutra Hall (Zangdian, or Scripture Hall), elephanet figure on the column
- 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), central ceiling coffer
- Title Translation: 藏殿转轮经藏 , 中央吊顶柜
- 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.
Coffered Ceiling from Wanfo Pavilion (Wanfoge, Ten Thousand Buddhas Pavilion), ceiling model digital reconstruction
- Title Translation: 万佛阁天花与藻井 , 天花板模型数字重建
- 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.
Coffered Ceiling from Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom), detail, spotlit
- Title Translation: 智化殿天花与藻井 , 细节
- 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).
Coffered Ceiling from Wanfo Pavilion (Wanfoge, Ten Thousand Buddhas Pavilion), ceiling well digital reconstruction
- Title Translation: 万佛阁天花与藻井 , 天花板藻井数字重建
- 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.
Coffered Ceiling from Wanfo Pavilion (Wanfoge, Ten Thousand Buddhas Pavilion), central five-clawed dragon
- Title Translation: 万佛阁天花与藻井 , 中央五爪龙
- 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.
Revolving Sutra Cabinet (Zhuanlun Jingzang, or Scripture Cabinet) in Sutra Hall (Zangdian, or Scripture Hall), front and side
- Title Translation: 藏殿转轮经藏 , 正面和侧面
- 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.
Coffered Ceiling from Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom), 3D reconstruction still image
- Title Translation: 智化殿天花与藻井 , 3D重建静态图像
- 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).
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), seated bodhisattva
- Title Translation: 大智殿 , 坐菩萨
- 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), entrance
- Title Translation: 大智殿 , 入口
- 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).
Coffered Ceiling from Wanfo Pavilion (Wanfoge, Ten Thousand Buddhas Pavilion), back
- Title Translation: 万佛阁天花与藻井 , 背面
- 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. It is carved cypress wood with gold leaf; dragon design carved in relief.
Coffered Ceiling from Wanfo Pavilion (Wanfoge, Ten Thousand Buddhas Pavilion), back
- Title Translation: 万佛阁天花与藻井 , 背面
- 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. It is carved cypress wood with gold leaf; dragon design carved in relief.
Lower Guangsheng Temple, front hall (or former Buddha's Temple), interior
- Title Translation: 广胜下寺 , 前殿(或前佛寺)、内部
- Period: Eastern Han, Yuan, 147 C.E., 1271-1368 C.E.
- Project: Guangsheng Temple Murals
- Work Description: The lower temple is made up by the temple gate, front hall, back hall (or Daxiong Temple), the buttress hall and other buildings that were all built in the Yuan Dynasty. The temple gate is rather high. It is 3-bay wide and 3-bay long with single-eaved gable and hip roof. Canopies added to the front and back eaves make it like a pavilion with double eaves. The front hall is five-bay wide with only two pillars supporting the whole hall. The back hall (or Daxiong Temple) was built in the second year (1309) of the Zhida reign of the Yuan Dynasty. It is 7-bay wide with 9 purlins, 8 rafters and a single-eaved overhanging gable roof. The main statues in the hall are Amitabha Buddha, Sakyamuni Buddha, Bhaisajyaguru Buddha, Manjusri Bodhisattva, and Samantabhadra Bodhisattva. They were all made in the Yuan Dynasty. Murals were once covered on the walls, but they were removed and shipped to the United States in 1928. The mural on the south wall recorded the performance of Yuan Drama. It is rare reference material for study on Chinese dramas.
Lower Guangsheng Temple, back hall (or Daxiong Bodian), mural fragments
- Title Translation: 广胜下寺 , 后殿 (即大雄宝殿), 壁画碎片
- Period: Eastern Han, Yuan, 147 C.E., 1271-1368 C.E.
- Project: Guangsheng Temple Murals
- Work Description: The lower temple is made up by the temple gate, front hall, back hall (or Daxiong Temple), the buttress hall and other buildings that were all built in the Yuan Dynasty. The temple gate is rather high. It is 3-bay wide and 3-bay long with single-eaved gable and hip roof. Canopies added to the front and back eaves make it like a pavilion with double eaves. The front hall is five-bay wide with only two pillars supporting the whole hall. The back hall (or Daxiong Temple) was built in the second year (1309) of the Zhida reign of the Yuan Dynasty. It is 7-bay wide with 9 purlins, 8 rafters and a single-eaved overhanging gable roof. The main statues in the hall are Amitabha Buddha, Sakyamuni Buddha, Bhaisajyaguru Buddha, Manjusri Bodhisattva, and Samantabhadra Bodhisattva. They were all made in the Yuan Dynasty. Murals were once covered on the walls, but they were removed and shipped to the United States in 1928. The mural on the south wall recorded the performance of Yuan Drama. It is rare reference material for study on Chinese dramas.
Water God's Temple (Shuishen Temple) of the Guangsheng Monastery, Ming Ying King Hall (or Mingyingwang Temple), fresco
- Title Translation: 广胜寺水神庙 , 明应王殿, 壁画
- Period: Eastern Han, Ming, 147 C.E., 1368-1644 C.E.
- Project: Guangsheng Temple Murals
- Work Description: The Water God's Temple has two yards: the front yard and the back yard, and includes the Temple Gate, the Door of Amenity, the Ming Ying King Hall and wing-rooms of cave dwellings. The Ming Ying King Hall is 5-bay wide and 5-bay long with a cloister around and a double-eaved gable hip roof. Beams inside are of common style. The hall houses statues of Water God Ming Ying King and his eleven attendants. Their facial features, clothes and gestures are all of Yuan style. Frescoes about people praying for the rain and other historical stories covered the walls, occupying an area of 197 square meters. The pictures of dramas at the eastern end of the south wall show a complete set of stage property for the performers: costumes, stage instruments, musical instruments, makeup, curtain, stage, and so on. The drawing was strictly arranged, the color was simple but profound, and dramatis personae were expressive. This fresco reflects the true condition of Yuan Drama in its peak time; it is a rare fine work of Yuan frescoes in China.
Water God's Temple (Shuishen Temple) of the Guangsheng Monastery, Ming Ying King Hall (or Mingyingwang Temple), interior
- Title Translation: 广胜寺水神庙 , 明应王殿, 内部
- Period: Eastern Han, Ming, 147 C.E., 1368-1644 C.E.
- Project: Guangsheng Temple Murals
- Work Description: The Water God's Temple has two yards: the front yard and the back yard, and includes the Temple Gate, the Door of Amenity, the Ming Ying King Hall and wing-rooms of cave dwellings. The Ming Ying King Hall is 5-bay wide and 5-bay long with a cloister around and a double-eaved gable hip roof. Beams inside are of common style. The hall houses statues of Water God Ming Ying King and his eleven attendants. Their facial features, clothes and gestures are all of Yuan style. Frescoes about people praying for the rain and other historical stories covered the walls, occupying an area of 197 square meters. The pictures of dramas at the eastern end of the south wall show a complete set of stage property for the performers: costumes, stage instruments, musical instruments, makeup, curtain, stage, and so on. The drawing was strictly arranged, the color was simple but profound, and dramatis personae were expressive. This fresco reflects the true condition of Yuan Drama in its peak time; it is a rare fine work of Yuan frescoes in China.
Water God's Temple (Shuishen Temple) of the Guangsheng Monastery, exterior
- Title Translation: 广胜寺水神庙 , 外部
- Period: Eastern Han, Ming, 147 C.E., 1368-1644 C.E.
- Project: Guangsheng Temple Murals
- Work Description: The Water God's Temple has two yards: the front yard and the back yard, and includes the Temple Gate, the Door of Amenity, the Ming Ying King Hall and wing-rooms of cave dwellings. The Ming Ying King Hall is 5-bay wide and 5-bay long with a cloister around and a double-eaved gable hip roof. Beams inside are of common style. The hall houses statues of Water God Ming Ying King and his eleven attendants. Their facial features, clothes and gestures are all of Yuan style. Frescoes about people praying for the rain and other historical stories covered the walls, occupying an area of 197 square meters. The pictures of dramas at the eastern end of the south wall show a complete set of stage property for the performers: costumes, stage instruments, musical instruments, makeup, curtain, stage, and so on. The drawing was strictly arranged, the color was simple but profound, and dramatis personae were expressive. This fresco reflects the true condition of Yuan Drama in its peak time; it is a rare fine work of Yuan frescoes in China.
Lower Guangsheng Temple, back hall (or Daxiong Bodian), mural fragment
- Title Translation: 广胜下寺 , 后殿 (即大雄宝殿), 壁画碎片
- Period: Eastern Han, Yuan, 147 C.E., 1271-1368 C.E.
- Project: Guangsheng Temple Murals
- Work Description: The lower temple is made up by the temple gate, front hall, back hall (or Daxiong Temple), the buttress hall and other buildings that were all built in the Yuan Dynasty. The temple gate is rather high. It is 3-bay wide and 3-bay long with single-eaved gable and hip roof. Canopies added to the front and back eaves make it like a pavilion with double eaves. The front hall is five-bay wide with only two pillars supporting the whole hall. The back hall (or Daxiong Temple) was built in the second year (1309) of the Zhida reign of the Yuan Dynasty. It is 7-bay wide with 9 purlins, 8 rafters and a single-eaved overhanging gable roof. The main statues in the hall are Amitabha Buddha, Sakyamuni Buddha, Bhaisajyaguru Buddha, Manjusri Bodhisattva, and Samantabhadra Bodhisattva. They were all made in the Yuan Dynasty. Murals were once covered on the walls, but they were removed and shipped to the United States in 1928. The mural on the south wall recorded the performance of Yuan Drama. It is rare reference material for study on Chinese dramas.
Lower Guangsheng Temple, back hall (or Daxiong Bodian), mural fragment
- Title Translation: 广胜下寺 , 后殿 (即大雄宝殿), 壁画碎片
- Period: Eastern Han, Yuan, 147 C.E., 1271-1368 C.E.
- Project: Guangsheng Temple Murals
- Work Description: The lower temple is made up by the temple gate, front hall, back hall (or Daxiong Temple), the buttress hall and other buildings that were all built in the Yuan Dynasty. The temple gate is rather high. It is 3-bay wide and 3-bay long with single-eaved gable and hip roof. Canopies added to the front and back eaves make it like a pavilion with double eaves. The front hall is five-bay wide with only two pillars supporting the whole hall. The back hall (or Daxiong Temple) was built in the second year (1309) of the Zhida reign of the Yuan Dynasty. It is 7-bay wide with 9 purlins, 8 rafters and a single-eaved overhanging gable roof. The main statues in the hall are Amitabha Buddha, Sakyamuni Buddha, Bhaisajyaguru Buddha, Manjusri Bodhisattva, and Samantabhadra Bodhisattva. They were all made in the Yuan Dynasty. Murals were once covered on the walls, but they were removed and shipped to the United States in 1928. The mural on the south wall recorded the performance of Yuan Drama. It is rare reference material for study on Chinese dramas.
Water God's Temple (Shuishen Temple) of the Guangsheng Monastery, Ming Ying King Hall (or Mingyingwang Temple), interior
- Title Translation: 广胜寺水神庙 , 明应王殿, 内部
- Period: Eastern Han, Ming, 147 C.E., 1368-1644 C.E.
- Project: Guangsheng Temple Murals
- Work Description: The Water God's Temple has two yards: the front yard and the back yard, and includes the Temple Gate, the Door of Amenity, the Ming Ying King Hall and wing-rooms of cave dwellings. The Ming Ying King Hall is 5-bay wide and 5-bay long with a cloister around and a double-eaved gable hip roof. Beams inside are of common style. The hall houses statues of Water God Ming Ying King and his eleven attendants. Their facial features, clothes and gestures are all of Yuan style. Frescoes about people praying for the rain and other historical stories covered the walls, occupying an area of 197 square meters. The pictures of dramas at the eastern end of the south wall show a complete set of stage property for the performers: costumes, stage instruments, musical instruments, makeup, curtain, stage, and so on. The drawing was strictly arranged, the color was simple but profound, and dramatis personae were expressive. This fresco reflects the true condition of Yuan Drama in its peak time; it is a rare fine work of Yuan frescoes in China.
Upper Guangsheng Temple, courtyard
- Title Translation: 广胜上寺 , 庭院
- Period: Eastern Han, Ming, 147 C.E., 1368-1644 C.E.
- Project: Guangsheng Temple Murals
- Work Description: The upper temple complex comprises the mountain gate, the Flying Rainbow Tower, the Amitabha Hall, the Great Hall, the Vairochana Hall, the Kwan-yin Hall, the Ksitigarbha Hall, as well as wing-rooms and corridors, among other features. The Mountain Gate, situated at the entrance, is flanked by two guardian warriors. Just beyond the gate stands the impressive Flying Rainbow Tower, constructed from colored glaze bricks. Originally built during the Eastern Han Dynasty (25-220) and later restored in the Ming Dynasty (1368-1644), this thirteen-story tower soars to a height of 47.31 meters, featuring an octagonal plan. The tower is adorned with tri-colored glaze in yellow, green, and blue, creating a splendid and vibrant spectacle. Elaborate wooden square blocks and intricately carved designs of Buddha, Bodhisattvas, guardian warriors, flowers, birds, and animals adorn the eaves and pillars. Corridors encircle the first story, while the tower’s interior houses only the stairs leading to the tenth floor, showcasing remarkable architectural and artistic prowess.
Upper Guangsheng Temple, Sakyamuni Hall (or Daxiong Bodian), ceiling
- Title Translation: 广胜上寺 , 大雄宝殿
- Period: Eastern Han, Ming, 147 C.E., 1368-1644 C.E.
- Project: Guangsheng Temple Murals
- Work Description: The upper temple complex comprises the mountain gate, the Flying Rainbow Tower, the Amitabha Hall, the Great Hall, the Vairochana Hall, the Kwan-yin Hall, the Ksitigarbha Hall, as well as wing-rooms and corridors, among other features. The Mountain Gate, situated at the entrance, is flanked by two guardian warriors. Just beyond the gate stands the impressive Flying Rainbow Tower, constructed from colored glaze bricks. Originally built during the Eastern Han Dynasty (25-220) and later restored in the Ming Dynasty (1368-1644), this thirteen-story tower soars to a height of 47.31 meters, featuring an octagonal plan. The tower is adorned with tri-colored glaze in yellow, green, and blue, creating a splendid and vibrant spectacle. Elaborate wooden square blocks and intricately carved designs of Buddha, Bodhisattvas, guardian warriors, flowers, birds, and animals adorn the eaves and pillars. Corridors encircle the first story, while the tower’s interior houses only the stairs leading to the tenth floor, showcasing remarkable architectural and artistic prowess.
Upper Guangsheng Temple, Sakyamuni Hall (or Daxiong Bodian), main Buddha image
- Title Translation: 广胜上寺 , 大雄宝殿, 主佛像
- Period: Eastern Han, Ming, 147 C.E., 1368-1644 C.E.
- Project: Guangsheng Temple Murals
- Work Description: The upper temple complex comprises the mountain gate, the Flying Rainbow Tower, the Amitabha Hall, the Great Hall, the Vairochana Hall, the Kwan-yin Hall, the Ksitigarbha Hall, as well as wing-rooms and corridors, among other features. The Mountain Gate, situated at the entrance, is flanked by two guardian warriors. Just beyond the gate stands the impressive Flying Rainbow Tower, constructed from colored glaze bricks. Originally built during the Eastern Han Dynasty (25-220) and later restored in the Ming Dynasty (1368-1644), this thirteen-story tower soars to a height of 47.31 meters, featuring an octagonal plan. The tower is adorned with tri-colored glaze in yellow, green, and blue, creating a splendid and vibrant spectacle. Elaborate wooden square blocks and intricately carved designs of Buddha, Bodhisattvas, guardian warriors, flowers, birds, and animals adorn the eaves and pillars. Corridors encircle the first story, while the tower’s interior houses only the stairs leading to the tenth floor, showcasing remarkable architectural and artistic prowess.