King Kong Rex
This sculpture is the Buddhist King Kong Hercules (also known as the two generals of hum and ha), which is the patron saint of Buddhist temples and usually appears in pairs to defend the entrance to the temple. Its image usually has strong muscles and an angry face, symbolizing the power of Buddhism to protect it from evil. This style is common in the stone carving art of the Chinese Northern Qi Dynasty (550-577 AD) or the Tang Dynasty (618-907 AD). Such limestone statues have also been unearthed at sites such as the Longmen Grottoes. In some museum collections (such as the Litberg Museum in Zurich), a statue of the Northern Qi King Kong with a similar missing arm can be seen.
Ancient Chinese Buddhist Statues
This is an ancient Chinese Buddhist statue, carved from sandstone or other stone, with obvious signs of age and weathered. According to its carving style, the character's clothing (especially the way the folds are depicted) and the layout of the inscriptions, this statue tablet was probably made from the late Northern Dynasty to the Sui Dynasty (about the 6th century AD). The stele is arched with a shrine carved above it. In the center of the niche is a legged Buddha (probably Sakyamuni Buddha or Maitreya Buddha), and on each side is a threatening bodhisattva or disciple statue.
Ancient Chinese Temple Bell
It is a Chinese antique temple bell, usually made of bronze or cast iron. The top of this clock has a double dragon-shaped handle for hanging, and the main body has a raised decorative pattern or inscription box. The lower edge of the bell is usually wavy or scalloped, which is typical of temple bells in East Asia (especially China). This kind of bell is one of the necessary instruments of the temple, used for Buddhist rituals or important activities.
White White Jade Standing Arhat Statue
This is a Chinese Northern Qi period (550-577 AD) white marble standing arhat statue. According to art historians, such images of young monks are often considered to be Ananda (Ānanda), one of the ten disciples of the Buddha. The style of the statue dates back to the 6th century AD China's Northern Qi Dynasty, and the art of this period is known for its serene, introspective expressions and smooth lines of clothing. It has the classic "Oriental smile", reflecting the peak level of Buddhist art at that time. The statue is carved from high quality white marble.
Sitting Statues of Sakyamuni Buddha with Copper and Gold
This is a bronze gilt statue of Sakyamuni Buddha, with a typical Tibetan Buddhist art style. According to its gesture (seal), this Buddha statue can be identified as the master Sakyamuni Buddha. Statues are usually cast in copper or bronze and gilded on the surface. This movable gold and bronze Buddha statues were very popular in the Han and Tibetan areas of China and lasted until the Ming and Qing dynasties. The statue has a plump face, a serene look, regular screw hair, a right shoulder cassock, smooth clothing lines, and a double-layer lotus throne with a waist. This style combines the characteristics of statues in India, Nepal and the Central Plains, forming a unique Tibetan Buddhist art school.
Buddha head ornaments
This is a Buddha's head ornament, commonly used in home decoration, designed to create a peaceful, Zen atmosphere. The sculpture depicts the head of Shakyamuni Buddha. It is characterized by slightly drooping eyes, a calm expression, elongated earlobes (symbolizing the abandonment of worldly wealth) and a spiral bun on the top of the head. It is installed on a simple black base with a natural wood grain square bottom under the base. The overall design combines classical Buddhist elements and modern minimalist style.
Stone carving of Buddha's head (Thai dra mantle period)
This is an ancient stone Buddha head with a unique artistic style, and is usually identified as a work originating from the Dhara Mantdi (Mon-Dvaravati) period in Thailand, about the 7th to 8th centuries AD. It combines Indian archetypes and local aesthetics, and is an important representative of early Thai Buddhist art. The Buddha's head shows a serene, introspective look. The piece is carved from sand or limestone. As an ancient relic, it bears obvious traces of years and beautiful patina (patina), reflecting its long history.
Japanese Immovable Stone Statues of King Ming
This is a Japanese stone statue of the immovable King of the Ming Dynasty, also known as Azhero, an important protector of the Dharma in Buddhism. The immovable Ming king is the head of the five Ming kings of the tantric sect and the angry embodiment of the great sun Tathagata. The flame in the background of the statue symbolizes the fire of wisdom that can purify all evils and obstacles. The Lord in the middle holds a sword of wisdom on the right, symbolizing the cutting off of troubles and indiscerning; on the left, he holds a silk rope, which is used to bind enemies or prevent believers from straying from the right path. The Japanese character "Sashansho" on the base may refer to the specific Buddhist group or organization that enshrines this stone statue.
Wood Carving of Guanyin Bodhisattva
This is a wooden statue of Guanyin Bodhisattva, depicting Guanyin Bodhisattva (Sanskrit: Avalokite), which symbolizes great compassion in Buddhism and is a widely respected enlightened person. The statue assumes a "sitting at ease" position, with its right arm on its bent right knee. This particular sitting posture is often considered a typical image of the ancient Chinese "Water Moon Guanyin. Such large wood-carved Buddha statues were very common during the Song and Yuan dynasties (960-1368) in China, and were famous for their delicate carvings and vivid images. The statue wears fine jewelry.
Heavenly King of the Four Heavenly Kings
The King of Heaven is an important dharma protector in Buddhism and belongs to one of the four heavenly kings. The heavenly king of the country guards the east of the Buddhist world. His name means "land holder" and his duty is to protect the land and safeguard the Dharma. He is often portrayed as a samurai in armor and with an angry expression to deter evil forces. In East Asian Buddhist art, the standard image of a heavenly king holding a kingdom is a lute or sword. The musical instrument pipa (or other stringed instrument) held by the heavenly king of the country symbolizes the need to manage the world with both hardness and softness, neither too relaxed nor too nervous.
Ksitigarbha King Bodhisattva Statues
The King Bodhisattva (Kṣitigarbha Bodhisattva) is one of the four major Bodhisattvas of Chinese Buddhism. It is famous for its "great wish" ("hell is not empty, vows not to become a Buddha"), and is mainly responsible for saving all living beings in hell.
Ancient Bronze Van Bell (Buddhist Temple Bell)
This is a well-preserved ancient bronze Brahma bell (Buddhist temple bell) with important religious and historical value. The inscription on it is key information for studying the age and background of its casting. This large bronze bell with inscriptions of Buddhist scriptures is very common in East Asian Buddhist cultural circles such as China, Japan and South Korea.
a statue of a god
This statue holds the obvious instrument of "axe", and its appearance is powerful, which is more inclined to be some kind of Buddhist dharma protector, or a martial god with axe as weapon in folk belief.
Ksitigarbha Bodhisattva
Ksitigarbha Bodhisattva is one of the four Bodhisattvas in Mahayana Buddhism. He is famous for his "great wish". His famous oath is "hell is not empty, and he will not become a Buddha". He is mainly responsible for saving six sentient beings, especially those suffering in hell, in the Buddha-free world after the Nirvana of Shakyamuni Buddha and before the birth of Maitreya Buddha. Ksitigarbha Bodhisattva usually appears in the image of a monk. This is the difference between him and other major Bodhisattvas (such as Guanyin, Manjusri, and Samurian) in the appearance of heaven and man (wearing wreaths and crowns).
Chinese-style metal censer
A Chinese-style metal censer used in East Asian cultures primarily for sacrificial rites, religious rituals, or meditation. Used to burn incense sticks (usually the red fine incense shown in the picture, also known as "incense candles") to worship gods or ancestors. It is common in Buddhist and Taoist temples as well as in home places of worship. In traditional Chinese culture, burning incense is a long-standing custom, and the incense burner is an important ritual. Burning the three incense sticks usually represents respecting the three worlds of heaven, the ground and the people, or expressing the highest respect.
Buddhist Cultural Heritage BINDROO BACHROA
Bindu Luo Duoza (Pindola Bharadvaja) is an arhat in Buddhism. According to the earliest Buddhist scriptures in India, Bindu Rojama was one of the four arhats who the Buddha asked to remain on earth to promote the Dharma. Each of the four arhats corresponds to the four directions. Binduro is known for his mastery of occult and supernatural powers. Together with Ananda, he preached to women twice in the palace of Yutuoyan in Sami. In later centuries, the number of arhats increased from four to sixteen and eventually to eighteen. In Tibetan thangka paintings, Binduo Luo Luoga usually hands
Top of 12th Century Cambodian Relic Sakyamuni Buddha icon
This work is a portable icon of Shakyamuni Buddha, with a gesture of touch-the-ground seal. The creation time is about from the late 1100 to the early 1200 s. It comes from Cambodia and belongs to the artworks of the seventh generation of jayavarma (Jayavarman VII). The material is bronze and measures 42 x 18.5 x 3cm (about 16 9/16 x 7 5/16 x 1 3/16 inches), which is in the Cleveland Museum of Art.
12th Century Cambodian Artifacts
This pair of works is "The Snake God (Naga) Decorative Top", created in the 12th century AD (Angkor Wat period). This artwork is from Cambodia and is made of bronze. The overall size is 29.2 x 15.2 x 15.2cm (about 11 1/2 x 6 x 6 inches). It is currently in the Cleveland Museum of Art.
12th Century Cambodian Cultural Relics Portable Statues of Sakyamuni Buddha
This work is a portable icon of Shakyamuni Buddha, with a gesture of touch-the-ground seal. The creation time is about from the late 1100 to the early 1200 s. It comes from Cambodia and belongs to the artworks of the seventh generation of jayavarma (Jayavarman VII). The material is bronze and measures 42 x 18.5 x 3cm (about 16 9/16 x 7 5/16 x 1 3/16 inches), which is in the Cleveland Museum of Art.
Indian marble temple pillars
Indian marble temple pillars are from Jain temples in India. It is now located at the British Museum in London. Production and twelfth century.
12th Century Cambodian Cultural Relics Buddha Tempted by Magic Ro
This work is called "Buddha Tempted by Magic Luo". It was created in Cambodia from the end of the 12th century to the beginning of the 13th century. It belongs to the reign of Jayavarma VII. It is a bronze sculpture with overall dimensions of 42 x 18.5 x 3cm and top section of 22 x 17 x 3cm, currently in the collection of the Cleveland Museum of Art. This sculpture depicts the Buddha under the Bodhi tree to resist the temptation of the magic Luo scene. The Buddha is surrounded by a ring of burning gems and blossoms of lotus petals, symbolizing enlightenment and divine radiance. The right hand points to the ground and makes a gesture of "touching the ground", symbolizing the call to the earth.
12th Century Cambodian Heritage Buddha Tempted by Moreau Tower Top Ornament
This work is called "Buddha Tempted by Magic Luo". It was created in Cambodia from the end of the 12th century to the beginning of the 13th century. It belongs to the reign of Jayavarma VII. It is a bronze sculpture with overall dimensions of 42 x 18.5 x 3cm and top section of 22 x 17 x 3cm, currently in the collection of the Cleveland Museum of Art. This sculpture depicts the Buddha under the Bodhi tree to resist the temptation of the magic Luo scene. The Buddha is surrounded by a ring of burning gems and blossoms of lotus petals, symbolizing enlightenment and divine radiance. The right hand points to the ground and makes a gesture of "touching the ground", symbolizing the call to the earth.
Stone Bergamot
Cloth bag monk stone statue
The original name of this, is a tourist monk in the Five Dynasties period. Its prototype legend is a monk who behaved grotesquely and beamed alms in Zhejiang. He often uses a wooden stick to carry a pocket to beg around and put the begging items in his pocket, hence the name "cloth bag monk". It is said that the monk Buca is the incarnation of Maitreya. His actions and words are full of Zen. His image and stories are widely circulated among the people and become an important figure in Buddhist culture. The image is often depicted as potty-bellied and smiling, which is related to the tolerant, optimistic and humorous image he gives. His stories and images have an important place in Buddhist culture.
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