CENTER FOR THE ART OF EAST ASIA
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27 unknown 23 Tokyo National Museum 21 National Museum of Asian Art 15 private collection 13 Osaka City Museum of Fine Arts 11 Nelson-Atkins Museum of Art 9 Museum Rietberg 8 University of Pennsylvania, Museum of Archaeology and Anthropology 7 Metropolitan Museum of Art 7 Nezu Art Museum 6 Asian Art Museum of San Francisco 6 Koninklijk Instituut voor het Kunstpatrimonium 6 Museum of Fine Arts, Boston 6 National Museum of China 5 British Museum 5 Cleveland Museum of Art 5 Museo nazionale d’arte orientale 4 Columbia University 4 Rijksmuseum voor Volkenkunde 4 San Diego Museum of Art 4 Victoria and Albert Museum 3 Cincinnati Art Museum 3 Harvard Art Museums 3 Philadelphia Museum of Art 3 Tsz Shan Monastery Buddhist Art Museum 2 Art Institute of Chicago 2 Barnes Foundation 2 Guimet Museum 2 Kyushu National Museum 2 Museum für Ostasiatische Kunst 2 Museum of Far Eastern Antiquities 2 Nara National Museum 2 National Gallery of Victoria 2 University of Tokyo, Museum of Art and History 1 Aurora Art Museum 1 Brooklyn Museum of Art 1 Cernuschi Museum 1 Clark Art Institute 1 Columbia University, Avery Architectural and Fine Arts Library 1 Detroit Institute of Arts 1 J. J. Lally & Co. New York 1 Masaki Art Museum 1 Miho Museum 1 Minneapolis Institute of Arts 1 Morgan Library & Museum 1 Museum of Oriental Ceramics, Osaka 1 Nezu Museum 1 Ohara Museum of Art 1 Portland Art Museum 1 Rijksmuseum 1 Royal Ontario Museum 1 Seattle Art Museum 1 Villa I Tatti 1 Virginia Museum of Fine Arts 1 Wadsworth Atheneum

198 figures
Buddha Head
  • Title Translation: 佛头
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: Traces of pigment accentuate the eyebrows, eyes and mouth of this huge head. The hairstyle is typical of the historical Buddha Sakyamuni, with tight curls and the prominent usnisa or topknot. The mark on the forehead, expressing wisdom and openness, originally incorporated an impressive jewel. Once part of a monumental figure in a cave complex, the head would have looked down from high. Its symmetrical composition and serene expression would have inspired Buddhist followers standing below.

Bodhisattva Head
  • Title Translation: 菩萨头
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves
  • Work Description: This head once belonged to a towering bodhisattva who presided over the entrance to the Central Cave at Northern Xiangtangshan. This site, which consists of only three cave temples with colossal figural sculptures, was once strategically located on the route between the capital at Ye and Jinyang, in Shanxi province. At the beginning of the Northern Qi period, it may have been a place for meditation or other Buddhist activities.

Buddha Head
  • Title Translation: 佛头
  • Period: Northern Qi, 550-577 C.E.
  • Project: Xiangtangshan Caves

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.

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.

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.

Bodhisattva Head
  • Title Translation: 菩萨头
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: Bodhisattva head likely to be from Buddha niche on east wall of Cave 16.

Bodhisattva Standing
  • Title Translation: 立菩萨
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The small standing bodhisattva with hands formerly held in anjali mudra is believed to be from Cave 12.

Bodhisattva Standing
  • Title Translation: 立菩萨
  • 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.

Buddha Head
  • Title Translation: 佛头
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: This head is from the main Buddha image on the north wall of Cave 2.

Buddha Head
  • Title Translation: 佛头
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: This small head resembles Buddha heads in historic photographs of Cave 3. It is missing the usnisa at the top of the head.

Buddha Head
  • Title Translation: 佛头
  • Period: Sui, 581-618 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The Buddha head was cut from the south side of the central pillar of Cave 8.

Buddha Head
  • Title Translation: 佛头
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: This finely carved head of the Buddha is from the east wall of Cave 18.

Bodhisattva Head
  • Title Translation: 菩萨头
  • Period: Sui, 581-618 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The head is from one of the standing bodhisattvas on the west wall of Cave 8.

Buddha Head
  • Title Translation: 佛头
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The Buddha head is from the main image on the east wall of Cave 2.

Bodhisattva Head
  • Title Translation: 菩萨头
  • Period: Northern Qi, 550-577 C.E.
  • Project: Tianlongshan Caves
  • Work Description: This head, in a private collection, is believed to be from the niche on the north wall of Cave 16.

Bodhisattva Head
  • Title Translation: 菩萨头
  • Period: Northern Qi, 550-577 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The head appears to be from a bodhisattva on the west wall of Cave 1.

Bodhisattva Head
  • Title Translation: 菩萨头
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The head is believed to be from a seated bodhisattva on the east wall of Cave 18.

Bodhisattva Head
  • Title Translation: 菩萨头
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: This head is believed to be from the seated bodhisattva on the north wall, east side, Cave 18.

Bodhisattva Standing
  • Title Translation: 立菩萨
  • Period: Tang, 618-907 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The sculpture is believed to have been taken from the east wall of Cave 18.

Bodhisattva Head
  • Title Translation: 菩萨头
  • Period: Eastern Wei, 534-550 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The head appears to be from a standing bodhisattva on the west wall of Cave 2.

Bodhisattva Head
  • Title Translation: 菩萨头
  • Period: Northern Qi, 550-577 C.E.
  • Project: Tianlongshan Caves
  • Work Description: The head with its ornate crown is from Cave 16.

Head of Standing Bodhisattva
  • Title Translation: 菩萨立像头部
  • Period: Northern Wei, 386–534 C.E.
  • Project: Longmen Binyang Central Cave
  • Work Description: The Binyangzhongdong Cave commissioned by emperor Xuanwu is a massive cave measuring 9 meters high, 11 meters wide, and 10 meters in depth. The head of the image is almost one meter tall, and is thought originally to have been the head for one of the standing attendant figures on the triad carved into the cave’s south wall. The clearly depicted eyes and nose combine with the gentle expression of its mouth to create a typical example of bodhisattva imagery from the late Northern Wei dynasty.

Revolving Sutra Cabinet (Zhuanlun Jingzang, or Scripture Cabinet) in Sutra Hall (Zangdian, or Scripture Hall), crown and ceiling
  • Title Translation: 藏殿转轮经藏 , 顶部和天花板
  • 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 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.