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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, 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, South Cave, north wall
- Title Translation: 北响堂山南洞 , 北壁
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The South Cave at Northern Xiangtangshan, like the Middle Cave, preserves its original stupa-form with domed roof and a porch in front. An additional small cave is carved into the dome. The main chamber is an open chamber space with images set around three walls. Each altar has a central Buddha surrounded by six standing figures including bodhisattvas, disciples and pratyekabuddhas. Smaller Buddhas appear in rows on the upper level of the cave. On the ceiling a large lotus blossom is carved in relief. The work on the cave appears to have been begun, then interrupted, and resumed later by different craftsmen. The main sculpted images show signs of having been created in two stages, with the later mode of carving evident in the group of images on the back wall. The stylistic difference is also evident in the appearance of the heads of figures taken from the cave and now located in museums and private collections outside China. In addition to its sculptural art, the South Cave is very important for its extensive engravings of Buddhist scriptures in stone. These are located inside the cave on the entrance wall, inside the porch, on the exterior wall of the porch, and extending onto the north wall of the courtyard. At the end of the sutra texts, the dedicatory stele of Tang Yong records that the engravings were carried out in the years from 568-572.
Northern Xiangtangshan, South Cave, south wall, altar
- Title Translation: 北响堂山南洞 , 南壁、祭坛
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The South Cave at Northern Xiangtangshan, like the Middle Cave, preserves its original stupa-form with domed roof and a porch in front. An additional small cave is carved into the dome. The main chamber is an open chamber space with images set around three walls. Each altar has a central Buddha surrounded by six standing figures including bodhisattvas, disciples and pratyekabuddhas. Smaller Buddhas appear in rows on the upper level of the cave. On the ceiling a large lotus blossom is carved in relief. The work on the cave appears to have been begun, then interrupted, and resumed later by different craftsmen. The main sculpted images show signs of having been created in two stages, with the later mode of carving evident in the group of images on the back wall. The stylistic difference is also evident in the appearance of the heads of figures taken from the cave and now located in museums and private collections outside China. In addition to its sculptural art, the South Cave is very important for its extensive engravings of Buddhist scriptures in stone. These are located inside the cave on the entrance wall, inside the porch, on the exterior wall of the porch, and extending onto the north wall of the courtyard. At the end of the sutra texts, the dedicatory stele of Tang Yong records that the engravings were carried out in the years from 568-572.
Northern Xiangtangshan, South Cave, east wall, south side
- Title Translation: 北响堂山南洞 , 东壁、南侧
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The South Cave at Northern Xiangtangshan, like the Middle Cave, preserves its original stupa-form with domed roof and a porch in front. An additional small cave is carved into the dome. The main chamber is an open chamber space with images set around three walls. Each altar has a central Buddha surrounded by six standing figures including bodhisattvas, disciples and pratyekabuddhas. Smaller Buddhas appear in rows on the upper level of the cave. On the ceiling a large lotus blossom is carved in relief. The work on the cave appears to have been begun, then interrupted, and resumed later by different craftsmen. The main sculpted images show signs of having been created in two stages, with the later mode of carving evident in the group of images on the back wall. The stylistic difference is also evident in the appearance of the heads of figures taken from the cave and now located in museums and private collections outside China. In addition to its sculptural art, the South Cave is very important for its extensive engravings of Buddhist scriptures in stone. These are located inside the cave on the entrance wall, inside the porch, on the exterior wall of the porch, and extending onto the north wall of the courtyard. At the end of the sutra texts, the dedicatory stele of Tang Yong records that the engravings were carried out in the years from 568-572.
Disciple Hands
- Title Translation: 弟子手
- Period: Northern Qi, 550-577 C.E.
- Project: Xiangtangshan Caves
- Work Description: The Xiangtangshan Caves located in the Fengfeng Mining District in Handan, Hebei Province, are clustered in two groups: Northern and Southern Xiangtangshan. They represent the finest of grotto art produced in the Northern Qi dynasty (550-577 CE). This pair of limestone hands originally belonged to the Middle Cave at Northern Xiangtangshan, constructed during the reign of Emperor Wenxuan (550-559) of the Northern Qi dynasty. The cave is a huge central-pillared cave with a corridor in front of a main chamber, the second largest of all caves at Xiangtangshan. Old pictures have shown that this fragmented piece originally belonged to the left acolyte disciple of a grouping featuring Śākyamuni Buddha flanked by two Bodhisattvas and two disciples in the large niche at the front of the central pillar. This disciple’s lean and rather aged face suggests that he is Mahākāśyapa, one of the ten principal disciples of Śākyamuni. He was deemed the foremost in ascetic dhūta practice. Before the Buddha passed away, he entrusted Mahākāśyapa with the task of imparting the Buddhist Dharma. After the Buddha entered parinirvāṇa, Mahākāśyapa became the head of the monastic community and convened the First Council at Rājagṛha for compiling Buddhist canon. Thereafter, he continued to lead the monastic community for more than two decades. Although fragmented, this work is amazingly realistic. The left hand with palm up is holding a reliquary, while the fingers of the right hand are pressing against the lid. Both hands are soft and fleshy, as if boneless. The fingers are nimble, and the curvature of each finger differs. It is worth noting that the carver did not illustrate the knuckles, but rather, greatly emphasising the softness and texture of the hands. The fingernails are also finely represented. The hands look fleshy but not chubby; the gesture natural and lively. Overall, the carver’s superb artistry is well demonstrated.
Zhihua Gate (Zhihuamen, Tianwangdian, or Hall of the Heavenly Kings), Zhihuamen stele about the temple history
- Title Translation: 智化門 , 敕賜智化禪寺之記碑
- Period: Ming, 1444
- Project: Beijing Zhihua Temple
- Work Description: The entrance hall, named Zhihua Gate, is a small structure with three bays across the front and two bays across the depth (13 x 7.8 meters). It originally contained four now-lost statues of the Four Heavenly Kings installed to guard and protect the temple. Taken together with the Drum Tower on the west and Bell Tower on the east immediately inside the entrance gate (shanmen), the first quadrangle serves as a preparatory space before one makes entry into the main part of the complex to venerate the Buddhas.
Rulai Hall (Rulaidian, Tathagatha Hall or Shakyamuni Hall), scripture cabinets
- Title Translation: 如来殿 , 藏经橱
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: The Rulai Hall is named for a title given to the historical Buddha Shakyamuni, from whose enlightenment and teachings the Buddhist religion originated. Rulai Hall has two stories and has approximately nine thousand small niches of Buddhas decorating the wall. The Rulai Hall (Hall of Śākyamuni) is on the first floor and the Wanfo Pavilion (Ten Thousand Buddhas Pavilion) is on the second—enclosed by walls on its east and west.
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.
Revolving Sutra Cabinet (Zhuanlun Jingzang, or Scripture Cabinet) in Sutra Hall (Zangdian, or Scripture Hall), elephant figure
- Title Translation: 藏殿转轮经藏 , 大象形象
- 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), Vairocana Buddha
- Title Translation: 藏殿转轮经藏 , 毗卢遮那佛
- 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), Shakyamuni Buddha
- Title Translation: 如来殿三圣 , 释迦牟尼佛
- 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 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.
Wanfo Pavilion (Wanfoge, Ten Thousand Buddhas Pavilion), small Buddha shrines
- Title Translation: 万佛阁 , 小佛龛
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: The upper level of Rulai Hall is the Wanfo Pavilion (Ten Thousand Buddhas Pavilion), which is a smaller 3-bay-by-3-bay structure. The Pavilion features the “Three Bodies of the Buddha” (sanshen fo), with Buddha Vairocana at the center accompanied by Śākyamuni to its left and Rocana Buddha (Luzhena fao) to its right. While the lower-level ceiling is flat, consisting of square panels (tianhua), the ceiling on the second level features a magnificent coffered ceiling (zaojing), now installed in the Chinese gallery of the Nelson Atkins Museum of Art. Rulai Hall and Wanfo Pavilion together form the religious center of the temple.
Buddha Triad from Wanfo Pavilion (Wanfoge, Ten Thousand Buddhas Pavilion), Rocana Buddha
- Title Translation: 万佛阁三圣 , 卢舍那佛
- 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.
Coffered Ceiling from Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom), crowned small Buddha
- Title Translation: 智化殿天花与藻井 , 戴冠小佛像
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: The Zhihua monastery is one of the great Buddhist temple compounds in the Chinese capital of Beijing. Conceived on a grand scale, the compound was built in the early 1400s by the eunuch Wang Zhen. This ceiling comes from the second of five main halls on the monastery's central axis — the Hall of Great Wisdom.To give visitors a sense of the original context, the Museum installed the ceiling with architectural elements reconstructed from measured drawings made at the original site. In the center is a writhing imperial dragon surrounded by clouds, bracketing, and eight canted panels, each bearing a smaller dragon among clouds. Lotuses, apsaras (Buddhist flying musicians), and other Buddhist religious symbols are carved in the surrounding panels. The Chinese name for this central part of the ceiling is tianjing, or "well of heaven." While most of the original red lacquer is well preserved, much of the rich overlay of gold leaf has been lost.A series of model temples supported by cloud-decorated brackets encompass the central element; within these miniature structures are delicately carved sculptures of Buddhas and bodhisattvas. The remainder of the ceiling consists of square panels painted with stylized lotus flowers that show the influence of Tibetan Buddhism (Lamaism). Each bears a character from a North Indian script (called Lantsha by the Tibetans) that symbolically recreates the universe. The model temples and panels may have been added during repairs made in the Kangxi period (1662–1722).
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.
Coffered Ceiling from Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom), crowned small Buddha
- Title Translation: 智化殿天花与藻井 , 戴冠小佛像
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: The Zhihua monastery is one of the great Buddhist temple compounds in the Chinese capital of Beijing. Conceived on a grand scale, the compound was built in the early 1400s by the eunuch Wang Zhen. This ceiling comes from the second of five main halls on the monastery's central axis—the Hall of Great Wisdom. To give visitors a sense of the original context, the Museum installed the ceiling with architectural elements reconstructed from measured drawings made at the original site. In the center is a writhing imperial dragon surrounded by clouds, bracketing, and eight canted panels, each bearing a smaller dragon among clouds. Lotuses, apsaras (Buddhist flying musicians), and other Buddhist religious symbols are carved in the surrounding panels. The Chinese name for this central part of the ceiling is tianjing, or "well of heaven." While most of the original red lacquer is well preserved, much of the rich overlay of gold leaf has been lost. A series of model temples supported by cloud-decorated brackets encompass the central element; within these miniature structures are delicately carved sculptures of Buddhas and bodhisattvas. The remainder of the ceiling consists of square panels painted with stylized lotus flowers that show the influence of Tibetan Buddhism (Lamaism). Each bears a character from a North Indian script (called Lantsha by the Tibetans) that symbolically recreates the universe. The model temples and panels may have been added during repairs made in the Kangxi period (1662–1722).
Coffered Ceiling from Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom), crowned small Buddha
- Title Translation: 智化殿天花与藻井 , 戴冠小佛像
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: The Zhihua monastery is one of the great Buddhist temple compounds in the Chinese capital of Beijing. Conceived on a grand scale, the compound was built in the early 1400s by the eunuch Wang Zhen. This ceiling comes from the second of five main halls on the monastery's central axis—the Hall of Great Wisdom. To give visitors a sense of the original context, the Museum installed the ceiling with architectural elements reconstructed from measured drawings made at the original site. In the center is a writhing imperial dragon surrounded by clouds, bracketing, and eight canted panels, each bearing a smaller dragon among clouds. Lotuses, apsaras (Buddhist flying musicians), and other Buddhist religious symbols are carved in the surrounding panels. The Chinese name for this central part of the ceiling is tianjing, or "well of heaven." While most of the original red lacquer is well preserved, much of the rich overlay of gold leaf has been lost. A series of model temples supported by cloud-decorated brackets encompass the central element; within these miniature structures are delicately carved sculptures of Buddhas and bodhisattvas. The remainder of the ceiling consists of square panels painted with stylized lotus flowers that show the influence of Tibetan Buddhism (Lamaism). Each bears a character from a North Indian script (called Lantsha by the Tibetans) that symbolically recreates the universe. The model temples and panels may have been added during repairs made in the Kangxi period (1662–1722).
Coffered Ceiling from Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom), tiangong louge zaojing
- Title Translation: 智化殿天花与藻井 , 天宫楼阁藻井
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: The Zhihua monastery is one of the great Buddhist temple compounds in the Chinese capital of Beijing. Conceived on a grand scale, the compound was built in the early 1400s by the eunuch Wang Zhen. This ceiling comes from the second of five main halls on the monastery's central axis — the Hall of Great Wisdom.To give visitors a sense of the original context, the Museum installed the ceiling with architectural elements reconstructed from measured drawings made at the original site. In the center is a writhing imperial dragon surrounded by clouds, bracketing, and eight canted panels, each bearing a smaller dragon among clouds. Lotuses, apsaras (Buddhist flying musicians), and other Buddhist religious symbols are carved in the surrounding panels. The Chinese name for this central part of the ceiling is tianjing, or "well of heaven." While most of the original red lacquer is well preserved, much of the rich overlay of gold leaf has been lost.A series of model temples supported by cloud-decorated brackets encompass the central element; within these miniature structures are delicately carved sculptures of Buddhas and bodhisattvas. The remainder of the ceiling consists of square panels painted with stylized lotus flowers that show the influence of Tibetan Buddhism (Lamaism). Each bears a character from a North Indian script (called Lantsha by the Tibetans) that symbolically recreates the universe. The model temples and panels may have been added during repairs made in the Kangxi period (1662–1722).
Coffered Ceiling from Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom), crowned small Buddha
- Title Translation: 智化殿天花与藻井 , 戴冠小佛像
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: The Zhihua monastery is one of the great Buddhist temple compounds in the Chinese capital of Beijing. Conceived on a grand scale, the compound was built in the early 1400s by the eunuch Wang Zhen. This ceiling comes from the second of five main halls on the monastery's central axis—the Hall of Great Wisdom. To give visitors a sense of the original context, the Museum installed the ceiling with architectural elements reconstructed from measured drawings made at the original site. In the center is a writhing imperial dragon surrounded by clouds, bracketing, and eight canted panels, each bearing a smaller dragon among clouds. Lotuses, apsaras (Buddhist flying musicians), and other Buddhist religious symbols are carved in the surrounding panels. The Chinese name for this central part of the ceiling is tianjing, or "well of heaven." While most of the original red lacquer is well preserved, much of the rich overlay of gold leaf has been lost. A series of model temples supported by cloud-decorated brackets encompass the central element; within these miniature structures are delicately carved sculptures of Buddhas and bodhisattvas. The remainder of the ceiling consists of square panels painted with stylized lotus flowers that show the influence of Tibetan Buddhism (Lamaism). Each bears a character from a North Indian script (called Lantsha by the Tibetans) that symbolically recreates the universe. The model temples and panels may have been added during repairs made in the Kangxi period (1662–1722).
Coffered Ceiling from Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom), tiangong louge zaojing
- Title Translation: 智化殿天花与藻井 , 天宫楼阁藻井
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: The Zhihua monastery is one of the great Buddhist temple compounds in the Chinese capital of Beijing. Conceived on a grand scale, the compound was built in the early 1400s by the eunuch Wang Zhen. This ceiling comes from the second of five main halls on the monastery's central axis — the Hall of Great Wisdom.To give visitors a sense of the original context, the Museum installed the ceiling with architectural elements reconstructed from measured drawings made at the original site. In the center is a writhing imperial dragon surrounded by clouds, bracketing, and eight canted panels, each bearing a smaller dragon among clouds. Lotuses, apsaras (Buddhist flying musicians), and other Buddhist religious symbols are carved in the surrounding panels. The Chinese name for this central part of the ceiling is tianjing, or "well of heaven." While most of the original red lacquer is well preserved, much of the rich overlay of gold leaf has been lost.A series of model temples supported by cloud-decorated brackets encompass the central element; within these miniature structures are delicately carved sculptures of Buddhas and bodhisattvas. The remainder of the ceiling consists of square panels painted with stylized lotus flowers that show the influence of Tibetan Buddhism (Lamaism). Each bears a character from a North Indian script (called Lantsha by the Tibetans) that symbolically recreates the universe. The model temples and panels may have been added during repairs made in the Kangxi period (1662–1722).
Coffered Ceiling from Zhihua Hall (Zhihuadian, Hall of Transforming Wisdom), tiangong louge zaojing
- Title Translation: 智化殿天花与藻井 , 天宫楼阁藻井
- Period: Ming, c. 1444 C.E.
- Project: Beijing Zhihua Temple
- Work Description: The Zhihua monastery is one of the great Buddhist temple compounds in the Chinese capital of Beijing. Conceived on a grand scale, the compound was built in the early 1400s by the eunuch Wang Zhen. This ceiling comes from the second of five main halls on the monastery's central axis — the Hall of Great Wisdom.To give visitors a sense of the original context, the Museum installed the ceiling with architectural elements reconstructed from measured drawings made at the original site. In the center is a writhing imperial dragon surrounded by clouds, bracketing, and eight canted panels, each bearing a smaller dragon among clouds. Lotuses, apsaras (Buddhist flying musicians), and other Buddhist religious symbols are carved in the surrounding panels. The Chinese name for this central part of the ceiling is tianjing, or "well of heaven." While most of the original red lacquer is well preserved, much of the rich overlay of gold leaf has been lost.A series of model temples supported by cloud-decorated brackets encompass the central element; within these miniature structures are delicately carved sculptures of Buddhas and bodhisattvas. The remainder of the ceiling consists of square panels painted with stylized lotus flowers that show the influence of Tibetan Buddhism (Lamaism). Each bears a character from a North Indian script (called Lantsha by the Tibetans) that symbolically recreates the universe. The model temples and panels may have been added during repairs made in the Kangxi period (1662–1722).