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Bodhisattva Head, 3D model
- Title Translation: 菩萨头 , 3D 模型
- Period: Tang, 618-907 C.E.
- Project: Tianlongshan Caves
- Work Description: The head is from a seated bodhisattva figure from the back wall of Cave 21 that was formerly in the Idemitsu Museum, Tokyo, and is now in the National Museum of China.
Revolving Sutra Cabinet (Zhuanlun Jingzang, or Scripture Cabinet) in Sutra Hall (Zangdian, or Scripture Hall), white marble base
- Title Translation: 藏殿转轮经藏 , 白色大理石底座
- 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)
- 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), Brahma Buddha
- Title Translation: 如来殿三圣 , 大梵天
- 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), Shakyamuni Buddha
- Title Translation: 万佛阁三圣 , 释迦牟尼佛
- 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 Wanfo Pavilion (Wanfoge, Ten Thousand Buddhas Pavilion), throne of 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), Maitreya (Buddha of the Future)
- Title Translation: 智化殿三世佛 , 弥勒佛
- 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.
Skanda Bodhisattva in Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom), front
- Title Translation: 智化殿韦陀菩萨 , 正面
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: Skanda, known as Weituo in Chinese, is a devoted guardian of Buddhist monasteries who protects the teachings of Buddhism. He is always depicted as a young and robust warrior in full armor.
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), Maitreya (Buddha of the Future)
- Title Translation: 智化殿三世佛 , 弥勒佛
- 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.
Standing Bodhisattva
- Title Translation: 菩萨立像
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
Guanyin of the Southern Sea
- Title Translation: 南海观音
- Period: Liao, Jin, 907-1125 C.E., 1115-1234 C.E.
- Project: Wooden Bodhisattvas (Guanyin)
- Work Description: Represented as "Kuan-Yin of the southern seas," the Chinese Buddhist deity of compassion and mercy is seated in a variation of the pose of royal ease (Maharajalila) on a base imitating a craggy rock with his/her right arm resting on his/her folded right knee. The left arm rests on the rock while the left leg hangs down over the rockery onto a lotus blossom. The position of the Guanyin conveys the impression that the Bodhisattva might at any moment awake from deep contemplation and step down. The Bodhisattva's worldly ornaments, such as the high tiara and rich necklaces, are carved, gilded and painted in sumptuous detail.
Buddha with Two Attendants in a Niche
- Title Translation: 如来三尊佛龛
- Period: Tang, 703 C.E.
- Project: Guangzhai Temple Qibaotai Pagoda
Pratyekabuddha Head, 3D model
- Title Translation: 辟支佛(缘觉)头 , 3D模型
- Period: Northern Qi, c. 580 C.E.
- Project: Xiangtangshan Caves
Monster Squatting Caryatid, 3D model
- Title Translation: 鬼神蹲女像柱 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
Disciple Head, 3D model
- Title Translation: 弟子头 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
Monster Kneeling, 3D model
- Title Translation: 跪鬼神 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
Musician Panpipes, 3D model
- Title Translation: 排箫乐伎 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
Apsaras Head, 3D model
- Title Translation: 飞天头 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
Bodhisattva Head, 3D model
- Title Translation: 菩萨头 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Although the Northern Qi was a shortlived state in northeastern China, it once served as a major center for the development of Buddhism. Its rulers were fervent followers of Buddhism and patrons of innumerable temple building projects. A major focus of their efforts was the great rock-cut cave complex at Xiangtangshan on the border between Hebei and Henan. This head once belonged to a colossal statue at this site. Its rounded, rather youthful face and smooth contours are typical of the stylistic development of the time.
Bodhisattva Standing, 3D model
- Title Translation: 菩萨立像 , 3D模型
- Period: Sui, 581-518 C.E.
- Project: Xiangtangshan Caves
- Work Description: Bodhisattva in standing position, head and hands turned away. Draped in a tightly enveloping dhoti and a long shawl, falling over the shoulders and arm, thin ornamental folds.
Bodhisattva Standing, 3D model
- Title Translation: 菩萨立像 , 3D模型
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Carved out of one piece of stone, this bodhisattva stands barefooted on a base and wears a long gown, ornate jewelry, and a large rosette-shaped crown. The rounded, solid form and the solemn facial expression convey the deity's grace and compassion, and mark an artistic departure from the foreign influence of India and Central Asia toward a new, distinguished Chinese style. This statue comes from Xiangtangshan (Mountains of Resounding Halls), a Buddhist cave complex built on a hillside near Handan in Hebei province, and is one of the earliest Buddhist statues built in this complex. Its construction was funded by Emperor Gao Yang of the Northern Qi dynasty.
Pratyekabuddha Head
- Title Translation: 辟支佛(缘觉)头
- Period: Northern Qi, c. 580 C.E.
- Project: Xiangtangshan Caves
Monster Kneeling
- Title Translation: 跪鬼神
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves