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1851 - 1875 of 1897 Records
Southern Xiangtangshan, Cave 7, archway
- Title Translation: 南响堂山第7窟 , 拱道
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Cave 7 is the best preserved of the caves at the Southern Xiangtangshan site, with the exterior displaying architectural features based on wood post and lintel architecture rendered in stone. The porch in front has a stone eave and tiled roof supported on columns and brackets. At the top is a domed roof. Two muscular lishi-type guardian figures stand in the porch on either side of the entrance to the cave. The principal sculpted figures inside the cave, five in each of the three niches, are still largely in place, though most are missing their heads. The seated Buddhas, standing bodhisattvas, and disciples were carved in one piece with the cave walls and thrones (with the exception of one of the Buddhas), and thus were not easily removed. Carvings on the front of the altars include incense burners, lions and nature spirits known as Spirit Kings, as seen at Northern Xiangtangshan. In addition many rows of small “thousand Buddhas” appear on the walls behind the main images and from the front wall around the entrance. On the ceiling, heavenly musicians encircle a central lotus blossom carved in relief.
Southern Xiangtangshan, Cave 7, archway
- Title Translation: 南响堂山第7窟 , 拱道
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Cave 7 is the best preserved of the caves at the Southern Xiangtangshan site, with the exterior displaying architectural features based on wood post and lintel architecture rendered in stone. The porch in front has a stone eave and tiled roof supported on columns and brackets. At the top is a domed roof. Two muscular lishi-type guardian figures stand in the porch on either side of the entrance to the cave. The principal sculpted figures inside the cave, five in each of the three niches, are still largely in place, though most are missing their heads. The seated Buddhas, standing bodhisattvas, and disciples were carved in one piece with the cave walls and thrones (with the exception of one of the Buddhas), and thus were not easily removed. Carvings on the front of the altars include incense burners, lions and nature spirits known as Spirit Kings, as seen at Northern Xiangtangshan. In addition many rows of small “thousand Buddhas” appear on the walls behind the main images and from the front wall around the entrance. On the ceiling, heavenly musicians encircle a central lotus blossom carved in relief.
Southern Xiangtangshan, Cave 7, archway
- Title Translation: 南响堂山第7窟 , 拱道
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Cave 7 is the best preserved of the caves at the Southern Xiangtangshan site, with the exterior displaying architectural features based on wood post and lintel architecture rendered in stone. The porch in front has a stone eave and tiled roof supported on columns and brackets. At the top is a domed roof. Two muscular lishi-type guardian figures stand in the porch on either side of the entrance to the cave. The principal sculpted figures inside the cave, five in each of the three niches, are still largely in place, though most are missing their heads. The seated Buddhas, standing bodhisattvas, and disciples were carved in one piece with the cave walls and thrones (with the exception of one of the Buddhas), and thus were not easily removed. Carvings on the front of the altars include incense burners, lions and nature spirits known as Spirit Kings, as seen at Northern Xiangtangshan. In addition many rows of small “thousand Buddhas” appear on the walls behind the main images and from the front wall around the entrance. On the ceiling, heavenly musicians encircle a central lotus blossom carved in relief.
Southern Xiangtangshan, Cave 7, archway
- Title Translation: 南响堂山第7窟 , 拱道
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Cave 7 is the best preserved of the caves at the Southern Xiangtangshan site, with the exterior displaying architectural features based on wood post and lintel architecture rendered in stone. The porch in front has a stone eave and tiled roof supported on columns and brackets. At the top is a domed roof. Two muscular lishi-type guardian figures stand in the porch on either side of the entrance to the cave. The principal sculpted figures inside the cave, five in each of the three niches, are still largely in place, though most are missing their heads. The seated Buddhas, standing bodhisattvas, and disciples were carved in one piece with the cave walls and thrones (with the exception of one of the Buddhas), and thus were not easily removed. Carvings on the front of the altars include incense burners, lions and nature spirits known as Spirit Kings, as seen at Northern Xiangtangshan. In addition many rows of small “thousand Buddhas” appear on the walls behind the main images and from the front wall around the entrance. On the ceiling, heavenly musicians encircle a central lotus blossom carved in relief.
Southern Xiangtangshan, Cave 7, altar base figures
- Title Translation: 南响堂山第7窟 , 祭坛基础人物
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Cave 7 is the best preserved of the caves at the Southern Xiangtangshan site, with the exterior displaying architectural features based on wood post and lintel architecture rendered in stone. The porch in front has a stone eave and tiled roof supported on columns and brackets. At the top is a domed roof. Two muscular lishi-type guardian figures stand in the porch on either side of the entrance to the cave. The principal sculpted figures inside the cave, five in each of the three niches, are still largely in place, though most are missing their heads. The seated Buddhas, standing bodhisattvas, and disciples were carved in one piece with the cave walls and thrones (with the exception of one of the Buddhas), and thus were not easily removed. Carvings on the front of the altars include incense burners, lions and nature spirits known as Spirit Kings, as seen at Northern Xiangtangshan. In addition many rows of small “thousand Buddhas” appear on the walls behind the main images and from the front wall around the entrance. On the ceiling, heavenly musicians encircle a central lotus blossom carved in relief.
Southern Xiangtangshan, Cave 7, ceiling
- Title Translation: 南响堂山第7窟 , 天花板
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Cave 7 is the best preserved of the caves at the Southern Xiangtangshan site, with the exterior displaying architectural features based on wood post and lintel architecture rendered in stone. The porch in front has a stone eave and tiled roof supported on columns and brackets. At the top is a domed roof. Two muscular lishi-type guardian figures stand in the porch on either side of the entrance to the cave. The principal sculpted figures inside the cave, five in each of the three niches, are still largely in place, though most are missing their heads. The seated Buddhas, standing bodhisattvas, and disciples were carved in one piece with the cave walls and thrones (with the exception of one of the Buddhas), and thus were not easily removed. Carvings on the front of the altars include incense burners, lions and nature spirits known as Spirit Kings, as seen at Northern Xiangtangshan. In addition many rows of small “thousand Buddhas” appear on the walls behind the main images and from the front wall around the entrance. On the ceiling, heavenly musicians encircle a central lotus blossom carved in relief.
Southern Xiangtangshan, Cave 7, exterior
- Title Translation: 南响堂山第7窟 , 外部
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Cave 7 is the best preserved of the caves at the Southern Xiangtangshan site, with the exterior displaying architectural features based on wood post and lintel architecture rendered in stone. The porch in front has a stone eave and tiled roof supported on columns and brackets. At the top is a domed roof. Two muscular lishi-type guardian figures stand in the porch on either side of the entrance to the cave. The principal sculpted figures inside the cave, five in each of the three niches, are still largely in place, though most are missing their heads. The seated Buddhas, standing bodhisattvas, and disciples were carved in one piece with the cave walls and thrones (with the exception of one of the Buddhas), and thus were not easily removed. Carvings on the front of the altars include incense burners, lions and nature spirits known as Spirit Kings, as seen at Northern Xiangtangshan. In addition many rows of small “thousand Buddhas” appear on the walls behind the main images and from the front wall around the entrance. On the ceiling, heavenly musicians encircle a central lotus blossom carved in relief.
Southern Xiangtangshan, Cave 7, exterior
- Title Translation: 南响堂山第7窟 , 外部
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Cave 7 is the best preserved of the caves at the Southern Xiangtangshan site, with the exterior displaying architectural features based on wood post and lintel architecture rendered in stone. The porch in front has a stone eave and tiled roof supported on columns and brackets. At the top is a domed roof. Two muscular lishi-type guardian figures stand in the porch on either side of the entrance to the cave. The principal sculpted figures inside the cave, five in each of the three niches, are still largely in place, though most are missing their heads. The seated Buddhas, standing bodhisattvas, and disciples were carved in one piece with the cave walls and thrones (with the exception of one of the Buddhas), and thus were not easily removed. Carvings on the front of the altars include incense burners, lions and nature spirits known as Spirit Kings, as seen at Northern Xiangtangshan. In addition many rows of small “thousand Buddhas” appear on the walls behind the main images and from the front wall around the entrance. On the ceiling, heavenly musicians encircle a central lotus blossom carved in relief.
Southern Xiangtangshan, Cave 7, figure
- Title Translation: 南响堂山第7窟 , 人物
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Cave 7 is the best preserved of the caves at the Southern Xiangtangshan site, with the exterior displaying architectural features based on wood post and lintel architecture rendered in stone. The porch in front has a stone eave and tiled roof supported on columns and brackets. At the top is a domed roof. Two muscular lishi-type guardian figures stand in the porch on either side of the entrance to the cave. The principal sculpted figures inside the cave, five in each of the three niches, are still largely in place, though most are missing their heads. The seated Buddhas, standing bodhisattvas, and disciples were carved in one piece with the cave walls and thrones (with the exception of one of the Buddhas), and thus were not easily removed. Carvings on the front of the altars include incense burners, lions and nature spirits known as Spirit Kings, as seen at Northern Xiangtangshan. In addition many rows of small “thousand Buddhas” appear on the walls behind the main images and from the front wall around the entrance. On the ceiling, heavenly musicians encircle a central lotus blossom carved in relief.
Southern Xiangtangshan, Cave 7, figure
- Title Translation: 南响堂山第7窟 , 人物
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Cave 7 is the best preserved of the caves at the Southern Xiangtangshan site, with the exterior displaying architectural features based on wood post and lintel architecture rendered in stone. The porch in front has a stone eave and tiled roof supported on columns and brackets. At the top is a domed roof. Two muscular lishi-type guardian figures stand in the porch on either side of the entrance to the cave. The principal sculpted figures inside the cave, five in each of the three niches, are still largely in place, though most are missing their heads. The seated Buddhas, standing bodhisattvas, and disciples were carved in one piece with the cave walls and thrones (with the exception of one of the Buddhas), and thus were not easily removed. Carvings on the front of the altars include incense burners, lions and nature spirits known as Spirit Kings, as seen at Northern Xiangtangshan. In addition many rows of small “thousand Buddhas” appear on the walls behind the main images and from the front wall around the entrance. On the ceiling, heavenly musicians encircle a central lotus blossom carved in relief.
Southern Xiangtangshan, Cave 7, figure
- Title Translation: 南响堂山第7窟 , 人物
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Cave 7 is the best preserved of the caves at the Southern Xiangtangshan site, with the exterior displaying architectural features based on wood post and lintel architecture rendered in stone. The porch in front has a stone eave and tiled roof supported on columns and brackets. At the top is a domed roof. Two muscular lishi-type guardian figures stand in the porch on either side of the entrance to the cave. The principal sculpted figures inside the cave, five in each of the three niches, are still largely in place, though most are missing their heads. The seated Buddhas, standing bodhisattvas, and disciples were carved in one piece with the cave walls and thrones (with the exception of one of the Buddhas), and thus were not easily removed. Carvings on the front of the altars include incense burners, lions and nature spirits known as Spirit Kings, as seen at Northern Xiangtangshan. In addition many rows of small “thousand Buddhas” appear on the walls behind the main images and from the front wall around the entrance. On the ceiling, heavenly musicians encircle a central lotus blossom carved in relief.
Southern Xiangtangshan, Cave 7, floor
- Title Translation: 南响堂山第7窟 , 地面
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Cave 7 is the best preserved of the caves at the Southern Xiangtangshan site, with the exterior displaying architectural features based on wood post and lintel architecture rendered in stone. The porch in front has a stone eave and tiled roof supported on columns and brackets. At the top is a domed roof. Two muscular lishi-type guardian figures stand in the porch on either side of the entrance to the cave. The principal sculpted figures inside the cave, five in each of the three niches, are still largely in place, though most are missing their heads. The seated Buddhas, standing bodhisattvas, and disciples were carved in one piece with the cave walls and thrones (with the exception of one of the Buddhas), and thus were not easily removed. Carvings on the front of the altars include incense burners, lions and nature spirits known as Spirit Kings, as seen at Northern Xiangtangshan. In addition many rows of small “thousand Buddhas” appear on the walls behind the main images and from the front wall around the entrance. On the ceiling, heavenly musicians encircle a central lotus blossom carved in relief.
Southern Xiangtangshan, Cave 7, exterior
- Title Translation: 南响堂山第7窟 , 外部
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Cave 7 is the best preserved of the caves at the Southern Xiangtangshan site, with the exterior displaying architectural features based on wood post and lintel architecture rendered in stone. The porch in front has a stone eave and tiled roof supported on columns and brackets. At the top is a domed roof. Two muscular lishi-type guardian figures stand in the porch on either side of the entrance to the cave. The principal sculpted figures inside the cave, five in each of the three niches, are still largely in place, though most are missing their heads. The seated Buddhas, standing bodhisattvas, and disciples were carved in one piece with the cave walls and thrones (with the exception of one of the Buddhas), and thus were not easily removed. Carvings on the front of the altars include incense burners, lions and nature spirits known as Spirit Kings, as seen at Northern Xiangtangshan. In addition many rows of small “thousand Buddhas” appear on the walls behind the main images and from the front wall around the entrance. On the ceiling, heavenly musicians encircle a central lotus blossom carved in relief.
Southern Xiangtangshan, Cave 7, walls
- Title Translation: 南响堂山第7窟 , 墙壁
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Cave 7 is the best preserved of the caves at the Southern Xiangtangshan site, with the exterior displaying architectural features based on wood post and lintel architecture rendered in stone. The porch in front has a stone eave and tiled roof supported on columns and brackets. At the top is a domed roof. Two muscular lishi-type guardian figures stand in the porch on either side of the entrance to the cave. The principal sculpted figures inside the cave, five in each of the three niches, are still largely in place, though most are missing their heads. The seated Buddhas, standing bodhisattvas, and disciples were carved in one piece with the cave walls and thrones (with the exception of one of the Buddhas), and thus were not easily removed. Carvings on the front of the altars include incense burners, lions and nature spirits known as Spirit Kings, as seen at Northern Xiangtangshan. In addition many rows of small “thousand Buddhas” appear on the walls behind the main images and from the front wall around the entrance. On the ceiling, heavenly musicians encircle a central lotus blossom carved in relief.
Southern Xiangtangshan, Cave 7, walls
- Title Translation: 南响堂山第7窟 , 墙壁
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Cave 7 is the best preserved of the caves at the Southern Xiangtangshan site, with the exterior displaying architectural features based on wood post and lintel architecture rendered in stone. The porch in front has a stone eave and tiled roof supported on columns and brackets. At the top is a domed roof. Two muscular lishi-type guardian figures stand in the porch on either side of the entrance to the cave. The principal sculpted figures inside the cave, five in each of the three niches, are still largely in place, though most are missing their heads. The seated Buddhas, standing bodhisattvas, and disciples were carved in one piece with the cave walls and thrones (with the exception of one of the Buddhas), and thus were not easily removed. Carvings on the front of the altars include incense burners, lions and nature spirits known as Spirit Kings, as seen at Northern Xiangtangshan. In addition many rows of small “thousand Buddhas” appear on the walls behind the main images and from the front wall around the entrance. On the ceiling, heavenly musicians encircle a central lotus blossom carved in relief.
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, sculpture fragments
- Title Translation: 南响堂山洞穴群 , 雕塑碎片
- 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.
Northern Xiangtangshan, North Cave, altar
- Title Translation: 北响堂山北洞 , 祭坛
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The North Cave, also known as the Great Buddha Cave, is the largest and earliest of the Xiangtangshan caves. It has a masterful design that encompasses concepts of time and space in a Buddhist cosmology, and it can be associated with the founding of the Northern Qi dynasty. The facade is damaged from natural erosion and a severe earthquake in the sixteenth century. The entrance has been reconstructed of blocks of stone. There are traces of what appears to have been a domed roof at the top, above the three windows that provide light to the cave interior. Inside the cave there is a massive four-sided central pillar, into which the three principal Buddha images of colossal size, representing the Buddhas of the Three Ages—Past, Present, and Future—are carved. Each of the seated Buddhas is flanked by two standing bodhisattvas. Around the walls and at the top of the central pillar are smaller Buddhas, bodhisattvas, and other divinities, including earth spirits, heavenly apsarases, and also demons vividly rendered in high relief. Deities and nature spirits from countless realms and ages of the cosmos are thus seen to be brought together by the power of the Dharma or Buddhist wisdom. The carving is masterful with figural sculptures, flaming haloes, and domed stupa-shaped niches surrounded by lotus blossoms, glowing jewels, and ornamental patterns, all worked and finished with great skill. There are small caves on either side of the North Cave courtyard. The one on the south side also appears to be of Northern Qi origin. The main images are now damaged or removed, and additional carvings were added to the east wall in the Song. The central Buddha figure, now headless is seated on a square Sumeru throne with a lotus flower base. Behind him, there is a large flaming aureole carved in relief. He was accompanied by six attendant figures, two of which were free-standing and are now missing. Traces of the other four figures still remain.
Northern Xiangtangshan, North Cave, altar
- Title Translation: 北响堂山北洞 , 祭坛
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The North Cave, also known as the Great Buddha Cave, is the largest and earliest of the Xiangtangshan caves. It has a masterful design that encompasses concepts of time and space in a Buddhist cosmology, and it can be associated with the founding of the Northern Qi dynasty. The facade is damaged from natural erosion and a severe earthquake in the sixteenth century. The entrance has been reconstructed of blocks of stone. There are traces of what appears to have been a domed roof at the top, above the three windows that provide light to the cave interior. Inside the cave there is a massive four-sided central pillar, into which the three principal Buddha images of colossal size, representing the Buddhas of the Three Ages—Past, Present, and Future—are carved. Each of the seated Buddhas is flanked by two standing bodhisattvas. Around the walls and at the top of the central pillar are smaller Buddhas, bodhisattvas, and other divinities, including earth spirits, heavenly apsarases, and also demons vividly rendered in high relief. Deities and nature spirits from countless realms and ages of the cosmos are thus seen to be brought together by the power of the Dharma or Buddhist wisdom. The carving is masterful with figural sculptures, flaming haloes, and domed stupa-shaped niches surrounded by lotus blossoms, glowing jewels, and ornamental patterns, all worked and finished with great skill. There are small caves on either side of the North Cave courtyard. The one on the south side also appears to be of Northern Qi origin. The main images are now damaged or removed, and additional carvings were added to the east wall in the Song. The central Buddha figure, now headless is seated on a square Sumeru throne with a lotus flower base. Behind him, there is a large flaming aureole carved in relief. He was accompanied by six attendant figures, two of which were free-standing and are now missing. Traces of the other four figures still remain.
Northern Xiangtangshan, North Cave, altar
- Title Translation: 北响堂山北洞 , 祭坛
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The North Cave, also known as the Great Buddha Cave, is the largest and earliest of the Xiangtangshan caves. It has a masterful design that encompasses concepts of time and space in a Buddhist cosmology, and it can be associated with the founding of the Northern Qi dynasty. The facade is damaged from natural erosion and a severe earthquake in the sixteenth century. The entrance has been reconstructed of blocks of stone. There are traces of what appears to have been a domed roof at the top, above the three windows that provide light to the cave interior. Inside the cave there is a massive four-sided central pillar, into which the three principal Buddha images of colossal size, representing the Buddhas of the Three Ages—Past, Present, and Future—are carved. Each of the seated Buddhas is flanked by two standing bodhisattvas. Around the walls and at the top of the central pillar are smaller Buddhas, bodhisattvas, and other divinities, including earth spirits, heavenly apsarases, and also demons vividly rendered in high relief. Deities and nature spirits from countless realms and ages of the cosmos are thus seen to be brought together by the power of the Dharma or Buddhist wisdom. The carving is masterful with figural sculptures, flaming haloes, and domed stupa-shaped niches surrounded by lotus blossoms, glowing jewels, and ornamental patterns, all worked and finished with great skill. There are small caves on either side of the North Cave courtyard. The one on the south side also appears to be of Northern Qi origin. The main images are now damaged or removed, and additional carvings were added to the east wall in the Song. The central Buddha figure, now headless is seated on a square Sumeru throne with a lotus flower base. Behind him, there is a large flaming aureole carved in relief. He was accompanied by six attendant figures, two of which were free-standing and are now missing. Traces of the other four figures still remain.
Northern Xiangtangshan, North Cave, interior
- Title Translation: 北响堂山北洞 , 内部
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The North Cave, also known as the Great Buddha Cave, is the largest and earliest of the Xiangtangshan caves. It has a masterful design that encompasses concepts of time and space in a Buddhist cosmology, and it can be associated with the founding of the Northern Qi dynasty. The facade is damaged from natural erosion and a severe earthquake in the sixteenth century. The entrance has been reconstructed of blocks of stone. There are traces of what appears to have been a domed roof at the top, above the three windows that provide light to the cave interior. Inside the cave there is a massive four-sided central pillar, into which the three principal Buddha images of colossal size, representing the Buddhas of the Three Ages—Past, Present, and Future—are carved. Each of the seated Buddhas is flanked by two standing bodhisattvas. Around the walls and at the top of the central pillar are smaller Buddhas, bodhisattvas, and other divinities, including earth spirits, heavenly apsarases, and also demons vividly rendered in high relief. Deities and nature spirits from countless realms and ages of the cosmos are thus seen to be brought together by the power of the Dharma or Buddhist wisdom. The carving is masterful with figural sculptures, flaming haloes, and domed stupa-shaped niches surrounded by lotus blossoms, glowing jewels, and ornamental patterns, all worked and finished with great skill. There are small caves on either side of the North Cave courtyard. The one on the south side also appears to be of Northern Qi origin. The main images are now damaged or removed, and additional carvings were added to the east wall in the Song. The central Buddha figure, now headless is seated on a square Sumeru throne with a lotus flower base. Behind him, there is a large flaming aureole carved in relief. He was accompanied by six attendant figures, two of which were free-standing and are now missing. Traces of the other four figures still remain.
Northern Xiangtangshan, North Cave, interior
- Title Translation: 北响堂山北洞 , 内部
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The North Cave, also known as the Great Buddha Cave, is the largest and earliest of the Xiangtangshan caves. It has a masterful design that encompasses concepts of time and space in a Buddhist cosmology, and it can be associated with the founding of the Northern Qi dynasty. The facade is damaged from natural erosion and a severe earthquake in the sixteenth century. The entrance has been reconstructed of blocks of stone. There are traces of what appears to have been a domed roof at the top, above the three windows that provide light to the cave interior. Inside the cave there is a massive four-sided central pillar, into which the three principal Buddha images of colossal size, representing the Buddhas of the Three Ages—Past, Present, and Future—are carved. Each of the seated Buddhas is flanked by two standing bodhisattvas. Around the walls and at the top of the central pillar are smaller Buddhas, bodhisattvas, and other divinities, including earth spirits, heavenly apsarases, and also demons vividly rendered in high relief. Deities and nature spirits from countless realms and ages of the cosmos are thus seen to be brought together by the power of the Dharma or Buddhist wisdom. The carving is masterful with figural sculptures, flaming haloes, and domed stupa-shaped niches surrounded by lotus blossoms, glowing jewels, and ornamental patterns, all worked and finished with great skill. There are small caves on either side of the North Cave courtyard. The one on the south side also appears to be of Northern Qi origin. The main images are now damaged or removed, and additional carvings were added to the east wall in the Song. The central Buddha figure, now headless is seated on a square Sumeru throne with a lotus flower base. Behind him, there is a large flaming aureole carved in relief. He was accompanied by six attendant figures, two of which were free-standing and are now missing. Traces of the other four figures still remain.
Northern Xiangtangshan, North Cave, Buddha
- Title Translation: 北响堂山北洞 , 佛像
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The North Cave, also known as the Great Buddha Cave, is the largest and earliest of the Xiangtangshan caves. It has a masterful design that encompasses concepts of time and space in a Buddhist cosmology, and it can be associated with the founding of the Northern Qi dynasty. The facade is damaged from natural erosion and a severe earthquake in the sixteenth century. The entrance has been reconstructed of blocks of stone. There are traces of what appears to have been a domed roof at the top, above the three windows that provide light to the cave interior. Inside the cave there is a massive four-sided central pillar, into which the three principal Buddha images of colossal size, representing the Buddhas of the Three Ages—Past, Present, and Future—are carved. Each of the seated Buddhas is flanked by two standing bodhisattvas. Around the walls and at the top of the central pillar are smaller Buddhas, bodhisattvas, and other divinities, including earth spirits, heavenly apsarases, and also demons vividly rendered in high relief. Deities and nature spirits from countless realms and ages of the cosmos are thus seen to be brought together by the power of the Dharma or Buddhist wisdom. The carving is masterful with figural sculptures, flaming haloes, and domed stupa-shaped niches surrounded by lotus blossoms, glowing jewels, and ornamental patterns, all worked and finished with great skill. There are small caves on either side of the North Cave courtyard. The one on the south side also appears to be of Northern Qi origin. The main images are now damaged or removed, and additional carvings were added to the east wall in the Song. The central Buddha figure, now headless is seated on a square Sumeru throne with a lotus flower base. Behind him, there is a large flaming aureole carved in relief. He was accompanied by six attendant figures, two of which were free-standing and are now missing. Traces of the other four figures still remain.
Northern Xiangtangshan, North Cave, Buddha
- Title Translation: 北响堂山北洞 , 佛像
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The North Cave, also known as the Great Buddha Cave, is the largest and earliest of the Xiangtangshan caves. It has a masterful design that encompasses concepts of time and space in a Buddhist cosmology, and it can be associated with the founding of the Northern Qi dynasty. The facade is damaged from natural erosion and a severe earthquake in the sixteenth century. The entrance has been reconstructed of blocks of stone. There are traces of what appears to have been a domed roof at the top, above the three windows that provide light to the cave interior. Inside the cave there is a massive four-sided central pillar, into which the three principal Buddha images of colossal size, representing the Buddhas of the Three Ages—Past, Present, and Future—are carved. Each of the seated Buddhas is flanked by two standing bodhisattvas. Around the walls and at the top of the central pillar are smaller Buddhas, bodhisattvas, and other divinities, including earth spirits, heavenly apsarases, and also demons vividly rendered in high relief. Deities and nature spirits from countless realms and ages of the cosmos are thus seen to be brought together by the power of the Dharma or Buddhist wisdom. The carving is masterful with figural sculptures, flaming haloes, and domed stupa-shaped niches surrounded by lotus blossoms, glowing jewels, and ornamental patterns, all worked and finished with great skill. There are small caves on either side of the North Cave courtyard. The one on the south side also appears to be of Northern Qi origin. The main images are now damaged or removed, and additional carvings were added to the east wall in the Song. The central Buddha figure, now headless is seated on a square Sumeru throne with a lotus flower base. Behind him, there is a large flaming aureole carved in relief. He was accompanied by six attendant figures, two of which were free-standing and are now missing. Traces of the other four figures still remain.