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Cave 9
  • Title Translation: ē¬¬ä¹ēŖŸ
  • 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: ē¬¬ä¹ēŖŸ
  • 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 18
  • Title Translation: ē¬¬åå…«ēŖŸ
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 18 is one of the most important Tang dynasty caves. Its remaining sculptures are better preserved than the sculptures in many other caves. Though they are damaged and a few completely removed, they still show the excellent quality of the carving as well as the arrangements and poses of the figures to a large extent. In recent years the cave was sealed to protect its contents.

Tianlongshan Caves
  • Title Translation: 天龙山ēŸ³ēŖŸ
  • Period: Eastern Wei, Northern Qi, Sui, Tang, 534-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The main site of Tianlongshan is located near the top of the mountain, 1,700 meters above sea level, on two sectors of a fissured sandstone cliff. The caves extend horizontally for about 500 meters across the two adjoining cliffs that are known as the Eastern and Western Peaks. The Tianlongshan grottoes are mostly of small and medium scale, square chambers with images on raised altars principally around the back and side walls. One of the caves is a central pillar cave with image niches cut into the central pillar and the walls around it, and there are also colossal images carved into the cliffside where a large multistory pavilion is built over them. Caves 1-8 and the four upper level caves are in the east sector of the site, and Caves 9-21 in the west sector. This is a general view of caves (including Cave 1-8 ) on the eastern peak.

Western Peak
  • Title Translation: č„æå³°
  • Period: Northern Qi, Tang, 550-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The main site of Tianlongshan is located near the top of the mountain, 1,700 meters above sea level, on two sectors of a fissured sandstone cliff. The caves extend horizontally for about 500 meters across the two adjoining cliffs that are known as the Eastern and Western Peaks. The Tianlongshan grottoes are mostly of small and medium scale, square chambers with images on raised altars principally around the back and side walls. One of the caves is a central pillar cave with image niches cut into the central pillar and the walls around it, and there are also colossal images carved into the cliffside where a large multistory pavilion is built over them. Caves 1-8 and the four upper level caves are in the east sector of the site, and Caves 9-21 in the west sector. This is a general view of caves (including Cave 1-8 ) on the eastern peak.

Cave 4
  • Title Translation: ē¬¬å››ēŖŸ
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 4 is a small cave of the Tang dynasty. The existing porch in front of the entrance is about 1.5 meters wide. There were originally seven sculpted figures in the cave, a seated Buddha on the back wall, two seated bodhisattvas in the corners on the east and west side, and four standing figures. Most have been cut away.

Cave 5
  • Title Translation: ē¬¬äŗ”ēŖŸ
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 5 is a small Tang dynasty cave whose front wall is now missing so that its original plan and contents are now unknown. Two seated images remain, a Buddha and bodhisattva.

Cave 9
  • Title Translation: ē¬¬ä¹ēŖŸ
  • 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 11
  • Title Translation: ē¬¬åäø€ēŖŸ
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 11 is a poorly preserved small Tang cave less than a meter square to the west and above Cave 10. Moving onward to the southwest, a figure of a monk carved in high relief appears on the cliff high above the path, standing as though paying respects to one of the two relief stupas flanking the entrance to Cave 12. The stupas are square single-story structures with a domed roof, and each has niche displaying a seated figure and two attendants. Similar in design to the many funerary stupas seen at Baoshan near Anyang, they may also be funerary in nature, commemorating deceased monks and nuns and containing their ashes.

Cave 11
  • Title Translation: ē¬¬åäø€ēŖŸ
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 11 is a poorly preserved small Tang cave less than a meter square to the west and above Cave 10. Moving onward to the southwest, a figure of a monk carved in high relief appears on the cliff high above the path, standing as though paying respects to one of the two relief stupas flanking the entrance to Cave 12. The stupas are square single-story structures with a domed roof, and each has niche displaying a seated figure and two attendants. Similar in design to the many funerary stupas seen at Baoshan near Anyang, they may also be funerary in nature, commemorating deceased monks and nuns and containing their ashes.

Cave 14
  • Title Translation: ē¬¬åå››ēŖŸ
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 14 is a Tang cave that had finely carved sculptures, many of which are now in collections outside China

Cave 17
  • Title Translation: ē¬¬åäøƒēŖŸ
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 17 directly adjacent to Cave 16 to the west, is one of the most important Tang dynasty caves and had a stele carved on the east side of the porch whose inscription is now entirely unreadable. The porch formerly had two muscular lishi figures guarding the entrance that are now missing. The interior chamber is about two meters square in plan with a low altar around three walls on which there were thirteen fine sculptural imagesā€”three seated Buddhas, four standing bodhisattvas, and six seated bodhisattvas. The figures are distinctive in their appearance, and they were well preserved a century ago. As a result, they were targeted, and numerous fragments taken from Cave 17 are known in museums outside China. To the west of Cave 17 and slightly below are two small carved relief stupas that were probably made to hold relics of the deceased. The openings in the stupa chamber are now empty.

Cave 21
  • Title Translation: ē¬¬äŗŒåäø€ēŖŸ
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 21 is the largest Tang dynasty cave with the exception of Cave 9. It now has traces of only a single larger than life-sized seated Buddha on the north (back) wall and five standing attendants (Photograph. Li 2003, color pl. 21). The cave is damaged by a large fissure in the stone that cuts across the east and west walls, thus the stone may not have been suitable for sculpting. It is possible that some of the figures formerly made for the cave were not attached to the walls, but carved separately and placed into the cave.

Tianlongshan Caves
  • Title Translation: 天龙山ēŸ³ēŖŸ
  • Period: Eastern Wei, Northern Qi, Sui, Tang, 534-907 C.E.
  • Project: Tianlongshan Caves

Tianlongshan Caves
  • Title Translation: 天龙山ēŸ³ēŖŸ
  • Period: Eastern Wei, Northern Qi, Sui, Tang, 534-907 C.E.
  • Project: Tianlongshan Caves

Buddha Head, 3D model
  • Title Translation: 佛夓 , 3D ęؔ型
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The snail shell curls of the hair are unusual on Tang dynasty Buddhas at Tianlongshan. The specific cave from which it comes is uncertain.

Buddha Seated, 3D model
  • Title Translation: 坐佛 , 3D ęؔ型
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Buddhas seated in this pose can be identified as Maitreya, the Buddha of the future. The figure is believed to be from the upper level Cave 3.

Bodhisattva Standing, 3D model
  • Title Translation: ē«‹č©čØ , 3D ęؔ型
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The standing bodhisattva is believed to be from the east wall, north side, Cave 18.

Bodhisattva Head, 3D model
  • Title Translation: č©čØ夓 , 3D ęؔ型
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: This finely carved head is from a standing bodhisattva on the west wall of Cave 14. The figure to which it belongs is in the Museum Rietberg.

Buddha Head, 3D model
  • Title Translation: 佛夓 , 3D ęؔ型
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The head is from the seated Buddha on the west wall of Cave 18.

Bodhisattva Head, 3D model
  • Title Translation: č©čØ夓 , 3D ęؔ型
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The head of the bodhisattva is missing its topknot. Other heads from Cave 18 have had the topknot restored.

Cave 17
  • Title Translation: ē¬¬åäøƒēŖŸ , 3Dęؔ型
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Cave 17 is a relatively small Tang cave that had numerous fine sculptural images. On the interior there were three seated Buddhas, two standing bodhisattvas, and six seated bodhisattvas around three walls. Many figures and fragments from Cave 17 are known to be in museums outside China.

Seated Maitreya
  • Title Translation: 弄勒坐像
  • Period: Northern Wei, Tang, 386ā€“534 C.E., 618ā€“907 C.E.
  • Project: Sculptures in Longmen Caves

Six Steeds of Zhao Mausoleum ("Zhaoling Liujun"), stone reliefs
  • Title Translation: ę˜­é™µå…­éŖ , 굮雕ēŸ³
  • Period: Tang, 636 C.E.
  • Project: Six Horses of Tang Taizong
  • Work Description: The Six Horses reliefs were engraved in the 10th year of Zhenguan in the Tang Dynasty (636 AD). In order to commemorate the six war horses he rode in the founding war of the emperial China, King Li Shimin of the Tang Dynasty ordered the painter Yan Liben to draw the figures of the six horses, and then the engraver Yan Lide copied and carved them on the stone. The great calligrapher Ouyang Xun of the time made the Tang The hymn book written by Taizong himself is on the upper corner of the original stone. After they were carved, they were placed in the altar at the northern foot of Zhaoling. In order, they are "Teqinqiao", "Qingzhui", "Shivachi", "Saluzi", "Quanmaojun" and "Baitiwu". Among them, two horses, "Sa Lu Zi" and "Fist Mao Jun", were dispersed overseas in 1914 and are now in the Museum of Archeology and Anthropology at the University of Pennsylvania (Penn Museum) in the United States. Each piece of Zhaoling Six Horses is 2.5 meters high and 3 meters wide. The six horses are vividly reproduced on the stone slab in the form of high relief. Three of them are standing and three are galloping. They have handsome postures, valiant charm, vivid shapes, and expressive eyebrows. It can be said that "the king of Qin conquered the world with his cavalry, and the six horses were outstanding in painting but also worried." Mr. Lu Xun praised Six Horses as an "unprecedented" masterpiece.

Six Steeds of Zhao Mausoleum ("Zhaoling Liujun"), stone reliefs
  • Title Translation: ę˜­é™µå…­éŖ , 굮雕ēŸ³
  • Period: Tang, 636 C.E.
  • Project: Six Horses of Tang Taizong
  • Work Description: The Six Horses reliefs were engraved in the 10th year of Zhenguan in the Tang Dynasty (636 AD). In order to commemorate the six war horses he rode in the founding war of the emperial China, King Li Shimin of the Tang Dynasty ordered the painter Yan Liben to draw the figures of the six horses, and then the engraver Yan Lide copied and carved them on the stone. The great calligrapher Ouyang Xun of the time made the Tang The hymn book written by Taizong himself is on the upper corner of the original stone. After they were carved, they were placed in the altar at the northern foot of Zhaoling. In order, they are "Teqinqiao", "Qingzhui", "Shivachi", "Saluzi", "Quanmaojun" and "Baitiwu". Among them, two horses, "Sa Lu Zi" and "Fist Mao Jun", were dispersed overseas in 1914 and are now in the Museum of Archeology and Anthropology at the University of Pennsylvania (Penn Museum) in the United States. Each piece of Zhaoling Six Horses is 2.5 meters high and 3 meters wide. The six horses are vividly reproduced on the stone slab in the form of high relief. Three of them are standing and three are galloping. They have handsome postures, valiant charm, vivid shapes, and expressive eyebrows. It can be said that "the king of Qin conquered the world with his cavalry, and the six horses were outstanding in painting but also worried." Mr. Lu Xun praised Six Horses as an "unprecedented" masterpiece.