CENTER FOR THE ART OF EAST ASIA
DIGITAL COLLECTIONS
List Gallery

Showing  3476 - 3478 of 3478 Records

Relevance Title (A-Z) Title (Z-A) Date (Ascending) Date (Descending)
25 50 100
Showing  3476 - 3478 of 3478 Records
  Map Filter   Date Filter
Active filters
File Format: image   Remove all  

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
Fengxian Temple (Fengxiansi)
  • Title Translation: 奉先寺
  • Period: Tang, 618–907 C.E.
  • Project: Sculptures in Longmen Caves
  • Work Description: This imposing group of nine monumental images carved into the hard, gray limestone of Fengxian Temple at Longmen is a spectacular display of innovative style and iconography. Sponsored by the Emperor Gaozong and his wife, the future Empress Wu, the high relief sculptures are widely spaced in a semi-circle. The central Vairocana Buddha (more than 55 feet high including its pedestal) is flanked on either side by a bodhisattva, a heavenly king, and a thunderbolt holder (vajrapani). Vairocana represents the primordial Buddha who generates and presides over all the Buddhas of the infinite universes that form Buddhist cosmology. This idea—of the power of one supreme deity over all the others—resonated in the vast Tang Empire which was dominated by the Emperor at its summit and supported by his subordinate officials. These monumental sculptures intentionally mirrored the political situation. The dignity and imposing presence of Buddha and the sumptuous appearance of his attendant bodhisattvas is significant in this context. The Buddha, monks and bodhisattvas (above) display new softer and rounder modeling and serene facial expressions. In contrast, the heavenly guardians and the vajrapani are more engaging and animated. Notice the realistic musculature of the heavenly guardians and the forceful poses of the vajrapani.

Fengxian Temple (Fengxiansi)
  • Title Translation: 奉先寺
  • Period: Tang, 618–907 C.E.
  • Project: Sculptures in Longmen Caves
  • Work Description: This imposing group of nine monumental images carved into the hard, gray limestone of Fengxian Temple at Longmen is a spectacular display of innovative style and iconography. Sponsored by the Emperor Gaozong and his wife, the future Empress Wu, the high relief sculptures are widely spaced in a semi-circle. The central Vairocana Buddha (more than 55 feet high including its pedestal) is flanked on either side by a bodhisattva, a heavenly king, and a thunderbolt holder (vajrapani). Vairocana represents the primordial Buddha who generates and presides over all the Buddhas of the infinite universes that form Buddhist cosmology. This idea—of the power of one supreme deity over all the others—resonated in the vast Tang Empire which was dominated by the Emperor at its summit and supported by his subordinate officials. These monumental sculptures intentionally mirrored the political situation. The dignity and imposing presence of Buddha and the sumptuous appearance of his attendant bodhisattvas is significant in this context. The Buddha, monks and bodhisattvas (above) display new softer and rounder modeling and serene facial expressions. In contrast, the heavenly guardians and the vajrapani are more engaging and animated. Notice the realistic musculature of the heavenly guardians and the forceful poses of the vajrapani.

Fengxian Temple (Fengxiansi)
  • Title Translation: 奉先寺
  • Period: Tang, 618–907 C.E.
  • Project: Sculptures in Longmen Caves
  • Work Description: This imposing group of nine monumental images carved into the hard, gray limestone of Fengxian Temple at Longmen is a spectacular display of innovative style and iconography. Sponsored by the Emperor Gaozong and his wife, the future Empress Wu, the high relief sculptures are widely spaced in a semi-circle. The central Vairocana Buddha (more than 55 feet high including its pedestal) is flanked on either side by a bodhisattva, a heavenly king, and a thunderbolt holder (vajrapani). Vairocana represents the primordial Buddha who generates and presides over all the Buddhas of the infinite universes that form Buddhist cosmology. This idea—of the power of one supreme deity over all the others—resonated in the vast Tang Empire which was dominated by the Emperor at its summit and supported by his subordinate officials. These monumental sculptures intentionally mirrored the political situation. The dignity and imposing presence of Buddha and the sumptuous appearance of his attendant bodhisattvas is significant in this context. The Buddha, monks and bodhisattvas (above) display new softer and rounder modeling and serene facial expressions. In contrast, the heavenly guardians and the vajrapani are more engaging and animated. Notice the realistic musculature of the heavenly guardians and the forceful poses of the vajrapani.