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Southern Xiangtangshan, Cave 4, exterior
- Title Translation: 南响堂山第4窟 , 外部
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Originally Cave 4 was part of a group of three caves, together located directly above Cave 2. Cave 4 and Cave 6 form a pair, with Cave 5 in the middle. Historic photographs show that Caves 4 and 6 had Buddhas and bodhisattvas seated on lotus thrones accompanied by standing attendant figures on an altar around three walls. Today there are no long any sculpted figures. Because the sculpted figures were not attached to the thrones or walls of the cave they were relatively easily removed and have left no traces but for the thrones and pedestals. In the middle of the twentieth century, even these were cut away to make room for storage. Some of the fragments of fine sculptures remaining at this site can be identified as originating from Cave 4. The engraving of an excerpt from the Lotus Sutra still remains intact on the upper part of the cave. It is the chapter entitled the “Universal Gateway of Avalokiteśvara,” or Guanshiyin pumen pin (also known as the Guanyin sutra) describing the benefits of faith in Avalokiteśvara, the bodhisattva of mercy, who has powers to take many forms to save those in need of help.
Southern Xiangtangshan, Cave 4, exterior
- Title Translation: 南响堂山第4窟 , 外部
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Originally Cave 4 was part of a group of three caves, together located directly above Cave 2. Cave 4 and Cave 6 form a pair, with Cave 5 in the middle. Historic photographs show that Caves 4 and 6 had Buddhas and bodhisattvas seated on lotus thrones accompanied by standing attendant figures on an altar around three walls. Today there are no long any sculpted figures. Because the sculpted figures were not attached to the thrones or walls of the cave they were relatively easily removed and have left no traces but for the thrones and pedestals. In the middle of the twentieth century, even these were cut away to make room for storage. Some of the fragments of fine sculptures remaining at this site can be identified as originating from Cave 4. The engraving of an excerpt from the Lotus Sutra still remains intact on the upper part of the cave. It is the chapter entitled the “Universal Gateway of Avalokiteśvara,” or Guanshiyin pumen pin (also known as the Guanyin sutra) describing the benefits of faith in Avalokiteśvara, the bodhisattva of mercy, who has powers to take many forms to save those in need of help.
Southern Xiangtangshan, Cave 4, exterior
- Title Translation: 南响堂山第4窟 , 外部
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Originally Cave 4 was part of a group of three caves, together located directly above Cave 2. Cave 4 and Cave 6 form a pair, with Cave 5 in the middle. Historic photographs show that Caves 4 and 6 had Buddhas and bodhisattvas seated on lotus thrones accompanied by standing attendant figures on an altar around three walls. Today there are no long any sculpted figures. Because the sculpted figures were not attached to the thrones or walls of the cave they were relatively easily removed and have left no traces but for the thrones and pedestals. In the middle of the twentieth century, even these were cut away to make room for storage. Some of the fragments of fine sculptures remaining at this site can be identified as originating from Cave 4. The engraving of an excerpt from the Lotus Sutra still remains intact on the upper part of the cave. It is the chapter entitled the “Universal Gateway of Avalokiteśvara,” or Guanshiyin pumen pin (also known as the Guanyin sutra) describing the benefits of faith in Avalokiteśvara, the bodhisattva of mercy, who has powers to take many forms to save those in need of help.
Southern Xiangtangshan, Cave 4, ceiling
- Title Translation: 南响堂山第4窟 , 天花板
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Originally Cave 4 was part of a group of three caves, together located directly above Cave 2. Cave 4 and Cave 6 form a pair, with Cave 5 in the middle. Historic photographs show that Caves 4 and 6 had Buddhas and bodhisattvas seated on lotus thrones accompanied by standing attendant figures on an altar around three walls. Today there are no long any sculpted figures. Because the sculpted figures were not attached to the thrones or walls of the cave they were relatively easily removed and have left no traces but for the thrones and pedestals. In the middle of the twentieth century, even these were cut away to make room for storage. Some of the fragments of fine sculptures remaining at this site can be identified as originating from Cave 4. The engraving of an excerpt from the Lotus Sutra still remains intact on the upper part of the cave. It is the chapter entitled the “Universal Gateway of Avalokiteśvara,” or Guanshiyin pumen pin (also known as the Guanyin sutra) describing the benefits of faith in Avalokiteśvara, the bodhisattva of mercy, who has powers to take many forms to save those in need of help.
Southern Xiangtangshan, Cave 4, floor
- Title Translation: 南响堂山第4窟 , 地面
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Originally Cave 4 was part of a group of three caves, together located directly above Cave 2. Cave 4 and Cave 6 form a pair, with Cave 5 in the middle. Historic photographs show that Caves 4 and 6 had Buddhas and bodhisattvas seated on lotus thrones accompanied by standing attendant figures on an altar around three walls. Today there are no long any sculpted figures. Because the sculpted figures were not attached to the thrones or walls of the cave they were relatively easily removed and have left no traces but for the thrones and pedestals. In the middle of the twentieth century, even these were cut away to make room for storage. Some of the fragments of fine sculptures remaining at this site can be identified as originating from Cave 4. The engraving of an excerpt from the Lotus Sutra still remains intact on the upper part of the cave. It is the chapter entitled the “Universal Gateway of Avalokiteśvara,” or Guanshiyin pumen pin (also known as the Guanyin sutra) describing the benefits of faith in Avalokiteśvara, the bodhisattva of mercy, who has powers to take many forms to save those in need of help.
Southern Xiangtangshan, Cave 4, floor
- Title Translation: 南响堂山第4窟 , 地面
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Originally Cave 4 was part of a group of three caves, together located directly above Cave 2. Cave 4 and Cave 6 form a pair, with Cave 5 in the middle. Historic photographs show that Caves 4 and 6 had Buddhas and bodhisattvas seated on lotus thrones accompanied by standing attendant figures on an altar around three walls. Today there are no long any sculpted figures. Because the sculpted figures were not attached to the thrones or walls of the cave they were relatively easily removed and have left no traces but for the thrones and pedestals. In the middle of the twentieth century, even these were cut away to make room for storage. Some of the fragments of fine sculptures remaining at this site can be identified as originating from Cave 4. The engraving of an excerpt from the Lotus Sutra still remains intact on the upper part of the cave. It is the chapter entitled the “Universal Gateway of Avalokiteśvara,” or Guanshiyin pumen pin (also known as the Guanyin sutra) describing the benefits of faith in Avalokiteśvara, the bodhisattva of mercy, who has powers to take many forms to save those in need of help.
Southern Xiangtangshan, Cave 4, walls
- Title Translation: 南响堂山第4窟 , 牆壁
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Originally Cave 4 was part of a group of three caves, together located directly above Cave 2. Cave 4 and Cave 6 form a pair, with Cave 5 in the middle. Historic photographs show that Caves 4 and 6 had Buddhas and bodhisattvas seated on lotus thrones accompanied by standing attendant figures on an altar around three walls. Today there are no long any sculpted figures. Because the sculpted figures were not attached to the thrones or walls of the cave they were relatively easily removed and have left no traces but for the thrones and pedestals. In the middle of the twentieth century, even these were cut away to make room for storage. Some of the fragments of fine sculptures remaining at this site can be identified as originating from Cave 4. The engraving of an excerpt from the Lotus Sutra still remains intact on the upper part of the cave. It is the chapter entitled the “Universal Gateway of Avalokiteśvara,” or Guanshiyin pumen pin (also known as the Guanyin sutra) describing the benefits of faith in Avalokiteśvara, the bodhisattva of mercy, who has powers to take many forms to save those in need of help.
Southern Xiangtangshan, Cave 4, walls
- Title Translation: 南响堂山第4窟 , 牆壁
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Originally Cave 4 was part of a group of three caves, together located directly above Cave 2. Cave 4 and Cave 6 form a pair, with Cave 5 in the middle. Historic photographs show that Caves 4 and 6 had Buddhas and bodhisattvas seated on lotus thrones accompanied by standing attendant figures on an altar around three walls. Today there are no long any sculpted figures. Because the sculpted figures were not attached to the thrones or walls of the cave they were relatively easily removed and have left no traces but for the thrones and pedestals. In the middle of the twentieth century, even these were cut away to make room for storage. Some of the fragments of fine sculptures remaining at this site can be identified as originating from Cave 4. The engraving of an excerpt from the Lotus Sutra still remains intact on the upper part of the cave. It is the chapter entitled the “Universal Gateway of Avalokiteśvara,” or Guanshiyin pumen pin (also known as the Guanyin sutra) describing the benefits of faith in Avalokiteśvara, the bodhisattva of mercy, who has powers to take many forms to save those in need of help.
Southern Xiangtangshan, Cave 4, walls
- Title Translation: 南响堂山第4窟 , 牆壁
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: Originally Cave 4 was part of a group of three caves, together located directly above Cave 2. Cave 4 and Cave 6 form a pair, with Cave 5 in the middle. Historic photographs show that Caves 4 and 6 had Buddhas and bodhisattvas seated on lotus thrones accompanied by standing attendant figures on an altar around three walls. Today there are no long any sculpted figures. Because the sculpted figures were not attached to the thrones or walls of the cave they were relatively easily removed and have left no traces but for the thrones and pedestals. In the middle of the twentieth century, even these were cut away to make room for storage. Some of the fragments of fine sculptures remaining at this site can be identified as originating from Cave 4. The engraving of an excerpt from the Lotus Sutra still remains intact on the upper part of the cave. It is the chapter entitled the “Universal Gateway of Avalokiteśvara,” or Guanshiyin pumen pin (also known as the Guanyin sutra) describing the benefits of faith in Avalokiteśvara, the bodhisattva of mercy, who has powers to take many forms to save those in need of help.
Southern Xiangtangshan, Cave 6, ceiling
- Title Translation: 南响堂山第6窟 , 天花板
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The entrance to Cave 6 has a large niche of the Sui dynasty carved on both sides. Other smaller carvings of later periods appear on the façade and on the front of the altar inside. The altar extends around three walls of Cave 6 still has most of the original thrones and pedestals of the sculptural figures remaining. These preserve the positions of the sculpted images in the cave and show that many were free-standing figures. Unlike the principle images at Northern Xiangtangshan, many of the sculptures at this site were carved outside of the caves perhaps in workshops and the finished sculptures placed into the caves. Historic photographs provide evidence of the appearance of some of the original groups of sculptures, though some were repaired by that time already. Fragments of the seated Buddhas and bodhisattvas still remain at the site though their heads have been taken.
Southern Xiangtangshan, Cave 6, floor
- Title Translation: 南响堂山第6窟 , 地面
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The entrance to Cave 6 has a large niche of the Sui dynasty carved on both sides. Other smaller carvings of later periods appear on the façade and on the front of the altar inside. The altar extends around three walls of Cave 6 still has most of the original thrones and pedestals of the sculptural figures remaining. These preserve the positions of the sculpted images in the cave and show that many were free-standing figures. Unlike the principle images at Northern Xiangtangshan, many of the sculptures at this site were carved outside of the caves perhaps in workshops and the finished sculptures placed into the caves. Historic photographs provide evidence of the appearance of some of the original groups of sculptures, though some were repaired by that time already. Fragments of the seated Buddhas and bodhisattvas still remain at the site though their heads have been taken.
Southern Xiangtangshan, Cave 6, walls
- Title Translation: 南响堂山第6窟 , 牆壁
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The entrance to Cave 6 has a large niche of the Sui dynasty carved on both sides. Other smaller carvings of later periods appear on the façade and on the front of the altar inside. The altar extends around three walls of Cave 6 still has most of the original thrones and pedestals of the sculptural figures remaining. These preserve the positions of the sculpted images in the cave and show that many were free-standing figures. Unlike the principle images at Northern Xiangtangshan, many of the sculptures at this site were carved outside of the caves perhaps in workshops and the finished sculptures placed into the caves. Historic photographs provide evidence of the appearance of some of the original groups of sculptures, though some were repaired by that time already. Fragments of the seated Buddhas and bodhisattvas still remain at the site though their heads have been taken.
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, 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, 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, façade
- Title Translation: 南响堂山第7窟 , 外墙
- 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, natural landscapes
- Title Translation: 南响堂山洞穴群 , 自然景觀
- 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.