Showing  351 - 375 of 468 Records

Showing  351 - 375 of 468 Records
Northern Xiangtangshan, South Cave, south wall
  • Title Translation: 北响堂山南洞 , 南壁
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: The South Cave at Northern Xiangtangshan, like the Middle Cave, preserves its original stupa-form with domed roof and a porch in front. An additional small cave is carved into the dome. The main chamber is an open chamber space with images set around three walls. Each altar has a central Buddha surrounded by six standing figures including bodhisattvas, disciples and pratyekabuddhas. Smaller Buddhas appear in rows on the upper level of the cave. On the ceiling a large lotus blossom is carved in relief. The work on the cave appears to have been begun, then interrupted, and resumed later by different craftsmen. The main sculpted images show signs of having been created in two stages, with the later mode of carving evident in the group of images on the back wall. The stylistic difference is also evident in the appearance of the heads of figures taken from the cave and now located in museums and private collections outside China. In addition to its sculptural art, the South Cave is very important for its extensive engravings of Buddhist scriptures in stone. These are located inside the cave on the entrance wall, inside the porch, on the exterior wall of the porch, and extending onto the north wall of the courtyard. At the end of the sutra texts, the dedicatory stele of Tang Yong records that the engravings were carried out in the years from 568-572.

Southern Xiangtangshan, Cave 1, interior, left side, little Buddhas
  • Title Translation: 南响堂山第1窟 , 内部, 左侧, 小佛像
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: Cave 1, on the lower level southeast side, has dragons entwined around the columns of the entrance and a Buddha niche above the doorway between the two windows. The interior has a central pillar with a large niche on the front where the principal Buddha image sits, still largely intact. Behind his head is a large halo surrounded by flying divinities carved in relief. The Buddha has two of the original attendant figures, disciples dressed in monks’ robes, still standing beside him. The other figures currently on the altar are clay figures made as replacements for those that were removed in the early twentieth century. Above the main image niche in the central pillar there is a relief scene with Buddhas and bodhisattvas gathered in a teaching assembly. Another relief scene with a central seated Buddha appears just opposite, above doorway of the cave. It depicts the Western Paradise of Amitabha Buddha, a pure fragrant land with jeweled trees and lotus ponds where the Buddhist faithful could be reborn in the next life. On the upper level of the cave walls there is a row of niches, each with a seated Buddha and standing bodhisattvas. The lower level is largely filled with engraved passages of the Avatamsaka sutra or “Flower Garland Sutra." The engraved text does not extend onto the right or south wall and appears not to have been completed as originally planned.

Southern Xiangtangshan, Cave 1, interior, left side, little Buddhas
  • Title Translation: 南响堂山第1窟 , 内部, 左侧, 小佛像
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: Cave 1, on the lower level southeast side, has dragons entwined around the columns of the entrance and a Buddha niche above the doorway between the two windows. The interior has a central pillar with a large niche on the front where the principal Buddha image sits, still largely intact. Behind his head is a large halo surrounded by flying divinities carved in relief. The Buddha has two of the original attendant figures, disciples dressed in monks’ robes, still standing beside him. The other figures currently on the altar are clay figures made as replacements for those that were removed in the early twentieth century. Above the main image niche in the central pillar there is a relief scene with Buddhas and bodhisattvas gathered in a teaching assembly. Another relief scene with a central seated Buddha appears just opposite, above doorway of the cave. It depicts the Western Paradise of Amitabha Buddha, a pure fragrant land with jeweled trees and lotus ponds where the Buddhist faithful could be reborn in the next life. On the upper level of the cave walls there is a row of niches, each with a seated Buddha and standing bodhisattvas. The lower level is largely filled with engraved passages of the Avatamsaka sutra or “Flower Garland Sutra." The engraved text does not extend onto the right or south wall and appears not to have been completed as originally planned.

Southern Xiangtangshan, Cave 1, interior, left side, little Buddhas
  • Title Translation: 南响堂山第1窟 , 内部, 左侧, 小佛像
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: Cave 1, on the lower level southeast side, has dragons entwined around the columns of the entrance and a Buddha niche above the doorway between the two windows. The interior has a central pillar with a large niche on the front where the principal Buddha image sits, still largely intact. Behind his head is a large halo surrounded by flying divinities carved in relief. The Buddha has two of the original attendant figures, disciples dressed in monks’ robes, still standing beside him. The other figures currently on the altar are clay figures made as replacements for those that were removed in the early twentieth century. Above the main image niche in the central pillar there is a relief scene with Buddhas and bodhisattvas gathered in a teaching assembly. Another relief scene with a central seated Buddha appears just opposite, above doorway of the cave. It depicts the Western Paradise of Amitabha Buddha, a pure fragrant land with jeweled trees and lotus ponds where the Buddhist faithful could be reborn in the next life. On the upper level of the cave walls there is a row of niches, each with a seated Buddha and standing bodhisattvas. The lower level is largely filled with engraved passages of the Avatamsaka sutra or “Flower Garland Sutra." The engraved text does not extend onto the right or south wall and appears not to have been completed as originally planned.

Southern Xiangtangshan, Cave 1, interior, right side, little Buddhas
  • Title Translation: 南响堂山第1窟 , 内部, 右侧, 小佛像
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: Cave 1, on the lower level southeast side, has dragons entwined around the columns of the entrance and a Buddha niche above the doorway between the two windows. The interior has a central pillar with a large niche on the front where the principal Buddha image sits, still largely intact. Behind his head is a large halo surrounded by flying divinities carved in relief. The Buddha has two of the original attendant figures, disciples dressed in monks’ robes, still standing beside him. The other figures currently on the altar are clay figures made as replacements for those that were removed in the early twentieth century. Above the main image niche in the central pillar there is a relief scene with Buddhas and bodhisattvas gathered in a teaching assembly. Another relief scene with a central seated Buddha appears just opposite, above doorway of the cave. It depicts the Western Paradise of Amitabha Buddha, a pure fragrant land with jeweled trees and lotus ponds where the Buddhist faithful could be reborn in the next life. On the upper level of the cave walls there is a row of niches, each with a seated Buddha and standing bodhisattvas. The lower level is largely filled with engraved passages of the Avatamsaka sutra or “Flower Garland Sutra." The engraved text does not extend onto the right or south wall and appears not to have been completed as originally planned.

Southern Xiangtangshan, Cave 2, interior
  • Title Translation: 南响堂山第2窟 , 内部
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: Cave 2 was severely damaged in the last century and the front wall repaired. Now little remains of the fine sculptures. Several of the greatest sculptural works from Xiangtangshan now in museums outside China are believed to have been from Cave 2. Looters damaged the façade of the cave as part of the removal of the sculptures. They also took the free-standing figures from the main altar on the front of the central pillar. The missing Buddhist figures were initially repaired with clay figures, so that religious observances could continue, but in the middle decades of the century, when the religion was discouraged, the cave site was used for manufacturing and storage. The central pillar of Cave 2 and its remaining images were blasted with dynamite. Only the halo of the Buddha and the flying divinities around it still remain, showing the former position of the principle image. Some of the rows of small relief Buddha figures on the sides of the central pillar still remain along with inscriptions recording donors’ sponsorship the work. Historic photographs indicate that the altar was much like that of Cave 1 with a seated Buddha and six attendant figures. As in Cave 1, there was a carved relief panel of the Western Paradise of Amitabha located on the front wall above the entrance, an important early representation of this popular Buddhist theme in Chinese art. The niches around the walls once had seated Buddha images but are now largely empty.

Southern Xiangtangshan, Cave 2, interior
  • Title Translation: 南响堂山第2窟 , 内部
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: Cave 2 was severely damaged in the last century and the front wall repaired. Now little remains of the fine sculptures. Several of the greatest sculptural works from Xiangtangshan now in museums outside China are believed to have been from Cave 2. Looters damaged the façade of the cave as part of the removal of the sculptures. They also took the free-standing figures from the main altar on the front of the central pillar. The missing Buddhist figures were initially repaired with clay figures, so that religious observances could continue, but in the middle decades of the century, when the religion was discouraged, the cave site was used for manufacturing and storage. The central pillar of Cave 2 and its remaining images were blasted with dynamite. Only the halo of the Buddha and the flying divinities around it still remain, showing the former position of the principle image. Some of the rows of small relief Buddha figures on the sides of the central pillar still remain along with inscriptions recording donors’ sponsorship the work. Historic photographs indicate that the altar was much like that of Cave 1 with a seated Buddha and six attendant figures. As in Cave 1, there was a carved relief panel of the Western Paradise of Amitabha located on the front wall above the entrance, an important early representation of this popular Buddhist theme in Chinese art. The niches around the walls once had seated Buddha images but are now largely empty.

Southern Xiangtangshan, Cave 2, interior, little Buddhas
  • Title Translation: 南响堂山第2窟 , 内部, 小佛
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: Cave 2 was severely damaged in the last century and the front wall repaired. Now little remains of the fine sculptures. Several of the greatest sculptural works from Xiangtangshan now in museums outside China are believed to have been from Cave 2. Looters damaged the façade of the cave as part of the removal of the sculptures. They also took the free-standing figures from the main altar on the front of the central pillar. The missing Buddhist figures were initially repaired with clay figures, so that religious observances could continue, but in the middle decades of the century, when the religion was discouraged, the cave site was used for manufacturing and storage. The central pillar of Cave 2 and its remaining images were blasted with dynamite. Only the halo of the Buddha and the flying divinities around it still remain, showing the former position of the principle image. Some of the rows of small relief Buddha figures on the sides of the central pillar still remain along with inscriptions recording donors’ sponsorship the work. Historic photographs indicate that the altar was much like that of Cave 1 with a seated Buddha and six attendant figures. As in Cave 1, there was a carved relief panel of the Western Paradise of Amitabha located on the front wall above the entrance, an important early representation of this popular Buddhist theme in Chinese art. The niches around the walls once had seated Buddha images but are now largely empty.

Southern Xiangtangshan, Cave 2, interior, little Buddhas
  • Title Translation: 南响堂山第2窟 , 内部, 小佛
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: Cave 2 was severely damaged in the last century and the front wall repaired. Now little remains of the fine sculptures. Several of the greatest sculptural works from Xiangtangshan now in museums outside China are believed to have been from Cave 2. Looters damaged the façade of the cave as part of the removal of the sculptures. They also took the free-standing figures from the main altar on the front of the central pillar. The missing Buddhist figures were initially repaired with clay figures, so that religious observances could continue, but in the middle decades of the century, when the religion was discouraged, the cave site was used for manufacturing and storage. The central pillar of Cave 2 and its remaining images were blasted with dynamite. Only the halo of the Buddha and the flying divinities around it still remain, showing the former position of the principle image. Some of the rows of small relief Buddha figures on the sides of the central pillar still remain along with inscriptions recording donors’ sponsorship the work. Historic photographs indicate that the altar was much like that of Cave 1 with a seated Buddha and six attendant figures. As in Cave 1, there was a carved relief panel of the Western Paradise of Amitabha located on the front wall above the entrance, an important early representation of this popular Buddhist theme in Chinese art. The niches around the walls once had seated Buddha images but are now largely empty.

Southern Xiangtangshan, Cave 2, interior, little Buddhas
  • Title Translation: 南响堂山第2窟 , 内部, 小佛
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: Cave 2 was severely damaged in the last century and the front wall repaired. Now little remains of the fine sculptures. Several of the greatest sculptural works from Xiangtangshan now in museums outside China are believed to have been from Cave 2. Looters damaged the façade of the cave as part of the removal of the sculptures. They also took the free-standing figures from the main altar on the front of the central pillar. The missing Buddhist figures were initially repaired with clay figures, so that religious observances could continue, but in the middle decades of the century, when the religion was discouraged, the cave site was used for manufacturing and storage. The central pillar of Cave 2 and its remaining images were blasted with dynamite. Only the halo of the Buddha and the flying divinities around it still remain, showing the former position of the principle image. Some of the rows of small relief Buddha figures on the sides of the central pillar still remain along with inscriptions recording donors’ sponsorship the work. Historic photographs indicate that the altar was much like that of Cave 1 with a seated Buddha and six attendant figures. As in Cave 1, there was a carved relief panel of the Western Paradise of Amitabha located on the front wall above the entrance, an important early representation of this popular Buddhist theme in Chinese art. The niches around the walls once had seated Buddha images but are now largely empty.

Southern Xiangtangshan, Cave 2, interior, little Buddhas
  • Title Translation: 南响堂山第2窟 , 内部, 小佛
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: Cave 2 was severely damaged in the last century and the front wall repaired. Now little remains of the fine sculptures. Several of the greatest sculptural works from Xiangtangshan now in museums outside China are believed to have been from Cave 2. Looters damaged the façade of the cave as part of the removal of the sculptures. They also took the free-standing figures from the main altar on the front of the central pillar. The missing Buddhist figures were initially repaired with clay figures, so that religious observances could continue, but in the middle decades of the century, when the religion was discouraged, the cave site was used for manufacturing and storage. The central pillar of Cave 2 and its remaining images were blasted with dynamite. Only the halo of the Buddha and the flying divinities around it still remain, showing the former position of the principle image. Some of the rows of small relief Buddha figures on the sides of the central pillar still remain along with inscriptions recording donors’ sponsorship the work. Historic photographs indicate that the altar was much like that of Cave 1 with a seated Buddha and six attendant figures. As in Cave 1, there was a carved relief panel of the Western Paradise of Amitabha located on the front wall above the entrance, an important early representation of this popular Buddhist theme in Chinese art. The niches around the walls once had seated Buddha images but are now largely empty.

Southern Xiangtangshan, seated buddha
  • Title Translation: 南响堂山洞穴群 , 坐佛
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: The two main groups of caves are known as Northern and Southern Xiangtangshan. The Northern Group, Bei Xiangtang, is the earliest and largest in scale and has three caves begun with imperial sponsorship; the Southern Group, Nan Xiangtang, has smaller caves numbered from one to seven; and a third site at Shuiyusi, also known as Xiao Xiangtang or “Little Xiangtang,” has one Northern Qi cave with sculptures.

Southern Xiangtangshan, seated buddha
  • Title Translation: 南响堂山洞穴群 , 坐佛
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: The two main groups of caves are known as Northern and Southern Xiangtangshan. The Northern Group, Bei Xiangtang, is the earliest and largest in scale and has three caves begun with imperial sponsorship; the Southern Group, Nan Xiangtang, has smaller caves numbered from one to seven; and a third site at Shuiyusi, also known as Xiao Xiangtang or “Little Xiangtang,” has one Northern Qi cave with sculptures.

Southern Xiangtangshan, seated buddha
  • Title Translation: 南响堂山洞穴群 , 坐佛
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: The two main groups of caves are known as Northern and Southern Xiangtangshan. The Northern Group, Bei Xiangtang, is the earliest and largest in scale and has three caves begun with imperial sponsorship; the Southern Group, Nan Xiangtang, has smaller caves numbered from one to seven; and a third site at Shuiyusi, also known as Xiao Xiangtang or “Little Xiangtang,” has one Northern Qi cave with sculptures.

Buddha Head
  • Title Translation: 佛头
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The head is that of the seated Maitreya Buddha on the east wall of Cave 6.

Buddha Head
  • Title Translation: 佛头
  • Period: Northern Qi, 550-577 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The head is from the Buddha on the east wall of Cave 1.

Buddha Head
  • Title Translation: 佛头
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: This Buddha head appears to be one of the earliest sculptures at Tianlongshan and can be assigned to Cave 3.

Buddha Head
  • Title Translation: 佛头
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The cave from which this head originated has not been identified.

Buddha Hand
  • Title Translation: 佛手
  • Period: Northern Qi, 550-577 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The large hand, now missing the upper joints of the fingers, may have originated from a Buddha image in Cave 16.

Rulai Hall (Rulaidian, Tathagatha Hall or Shakyamuni Hall), small Buddha shrines
  • Title Translation: 如来殿 , 小佛龛
  • Period: Ming, c. 1444 C.E.
  • Project: Beijing Zhihua Temple
  • Work Description: The Rulai Hall is named for a title given to the historical Buddha Shakyamuni, from whose enlightenment and teachings the Buddhist religion originated. Rulai Hall has two stories and has approximately nine thousand small niches of Buddhas decorating the wall. The Rulai Hall (Hall of Śākyamuni) is on the first floor and the Wanfo Pavilion (Ten Thousand Buddhas Pavilion) is on the second—enclosed by walls on its east and west.

Revolving Sutra Cabinet (Zhuanlun Jingzang, or Scripture Cabinet) in Sutra Hall (Zangdian, or Scripture Hall)
  • Title Translation: 藏殿转轮经藏
  • Period: Ming, c. 1444 C.E.
  • Project: Beijing Zhihua Temple
  • Work Description: “Revolving Sutra Cabinet” (zhuanlun jingzang) is an octagonal sutra cabinet. It has a stone plinth supporting the wooden cabinets and does not revolve. A Vairocana Buddha seated on a lotus is positioned right at the center on top of the sutra cabinet. The off-center position of the sutra cabinet turns out to be a calculated decision, as it creates enough space and angle for a visitor to see the Vairocana Buddha right before s/he enters the hall.

Buddha Triad from Rulai Hall (Rulaidian, Tathagatha Hall or Shakyamuni Hall), Shakyamuni Buddha
  • Title Translation: 如来殿三圣 , 释迦牟尼佛
  • Period: Ming, c. 1444 C.E.
  • Project: Beijing Zhihua Temple
  • Work Description: Shakyamuni Buddha is the large central figure, finely carved, covered in gold, and more than four meters high. He displays the same pose as the central Buddha in the Zhihua Hall, with right hand touching the earth in front of him. On the walls around there are countless Buddhist figures set into small niches. Shakyamuni is accompanied by two tall, crowned figures, standing at his sides, who wear long richly ornamented robes, unlike the plain robe of the Buddha. The robes have painted patterns of birds, peonies, dragons, and lions that simulate embroidery and finely woven textiles. The figure at the Buddha’s right or west side is Indra 帝释天, the king of Hindu gods, who holds a large scepter. The one at the Buddha’s left, is the Hindu god Brahma 大梵天. The appearance of the Buddha together with Hindu gods Brahma and Indra is very unusual in Chinese Buddhist art, but can be identified with textual accounts of the Buddha’s life. The earth-touching pose, bhumisparsha mudra, is associated with a key event in the prince Sakyamuni’s life, his achievement of enlightenment through profound meditation years after renouncing his privileged existence in order to seek the truth. Many depictions of the Buddha in the history of Asian art depict him seated in this pose to represent the moment, when on the verge of attaining enlightenment, the demon god Mara summoned a hoard of subordinate demons to distract him. By touching the earth, Shakyamuni called upon the earth goddess to witness his merit and overcome the demons. In the Rulai Hall, however, Mara’s demons are absent. The presence of the gods Brahma and Indra refer not to the moment prior to the enlightenment, but to events following the Buddha’s enlightenment when Brahma and Indra, along with many other gods, came to the Buddha to implore him to show others the way to achieve wisdom in a world full of ignorance. The Buddha therefore began to teach and gathered a following of disciples.

Buddha Triad from Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom)
  • Title Translation: 智化殿三世佛
  • Period: Ming, c. 1444 C.E.
  • Project: Beijing Zhihua Temple
  • Work Description: The main altar of the Zhihua Hall is no longer in its original form, and the three large seated Buddhas that originally occupied the space were removed and are now believed to be in the Dajue Temple. The Zhihua Hall now houses three Buddha images that once occupied the Dabei Hall at the back of the temple. These sculptures are smaller in size than the former ones, but are likely quite similar in appearance. The three Buddhas are depicted sitting with legs crossed in front on lotus thrones. The elaborate throne bases are believed to be of the Qing dynasty (1644-1911). They each wear a robe draped over the left shoulder that falls diagonally across the front of the torso and under the right arm leaving the chest, right shoulder, and arm exposed. They have curling hair and a jewel-like protuberance on the ushnisha on the top of the head. They are distinguished by the position of their hands. The central Buddha has his right hand reaching forward with fingers pointed downward in the gesture of touching the earth (bhumishparsha mudra). The Buddha to his left has the right hand raised in the gesture of granting absence of fear (abhaya mudra) The Buddha at his right side has both hands has both hands held in front of the chest in gesture of teaching, known as turning the wheel of the law (dharmachakra mudra). The three are identified as The Buddhas of the Three Ages—Shakyamuni (the central historical Buddha), Dipankara (Buddha of the Past), and Maitreya (Buddha of the Future). From the time of Shakyamuni’s life and his teachings to his disciples, the belief in the Buddha as the Enlightened One grew into a religion that spread across Asia and expanded doctrinally to include a universe of many Buddhas of countless ages in time and realms of the universe. The Zhihua Temple sculptures illustrate various aspects of these religious concepts.

Buddha Triad from Wanfo Pavilion (Wanfoge, Ten Thousand Buddhas Pavilion), Vairocana Buddha
  • 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.

Buddha Triad from Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom), Dipankara (Buddha of the Past)
  • Title Translation: 智化殿三世佛 , 燃灯佛
  • Period: Ming, c. 1444 C.E.
  • Project: Beijing Zhihua Temple
  • Work Description: The main altar of the Zhihua Hall is no longer in its original form, and the three large seated Buddhas that originally occupied the space were removed and are now believed to be in the Dajue Temple. The Zhihua Hall now houses three Buddha images that once occupied the Dabei Hall at the back of the temple. These sculptures are smaller in size than the former ones, but are likely quite similar in appearance. The three Buddhas are depicted sitting with legs crossed in front on lotus thrones. The elaborate throne bases are believed to be of the Qing (1644-1911). They each wear a robe draped over the left shoulder that falls diagonally across the front of the torso and under the right arm leaving the chest, right shoulder, and arm exposed. They have curling hair and a jewel-like protuberance on the ushnisha on the top of the head. They are distinguished by the position of their hands. The central Buddha has his right hand reaching forward with fingers pointed downward in the gesture of touching the earth (bhumishparsha mudra). The Buddha to his left has the right hand raised in the gesture of granting absence of fear (abhaya mudra) The Buddha at his right side has both hands has both hands held in front of the chest in gesture of teaching, known as turning the wheel of the law (dharmachakra mudra). The three are identified as The Buddhas of the Three Ages—Shakyamuni (the central historical Buddha), Dipankara (Buddha of the Past), and Maitreya (Buddha of the Future). From the time of Shakyamuni’s life and his teachings to his disciples, the belief in the Buddha as the Enlightened One grew into a religion that spread across Asia and expanded doctrinally to include a universe of many Buddhas of countless ages in time and realms of the universe. The Zhihua Temple sculptures illustrate various aspects of these religious concepts.