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Budai or Pu-Tai (Chinese) or Hotei (Japanese) and Bo Dai (Vietnamese), is a Chinese folkloric deity. His name means 'Cloth Sack', and comes from the bag that he is conventionally depicted as carrying. He is usually identified with or seen as an incarnation of Maitreya, the future Buddha, so much so that the Budai image is one of the main forms in which Maitreya is depicted in China.<br/><br/> He is almost always shown smiling or laughing, hence his nickname in Chinese, the Laughing Buddha (Chinese: Xiao Fo).
Jambay Lhakhang (temple), also known as the Temple of Maitreya, is in Bumthang, also known as Jakar. The temple is alleged to be one of the 108 temples built on a single day by Tibetan King Songtsen Gampo in 659 CE, all for the supposed purpose of pinning down an ogress to earth for obstructing the spread of Buddhism. These 108 temples are spread across Tibet, Bhutan and the borderlands, pinning down various parts of her body. Jambay Lhakhang is one of the best known of these temples.
Jambay Lhakhang (temple), also known as the Temple of Maitreya, is in Bumthang, also known as Jakar. The temple is alleged to be one of the 108 temples built on a single day by Tibetan King Songtsen Gampo in 659 CE, all for the supposed purpose of pinning down an ogress to earth for obstructing the spread of Buddhism. These 108 temples are spread across Tibet, Bhutan and the borderlands, pinning down various parts of her body. Jambay Lhakhang is one of the best known of these temples.
Buddhism was transmitted to Korea via China in the late 4th century CE. Little evidence of religious art exists in Korea before the introduction of Buddhism. Subsequent to its introduction, the religion inspired the production of devotional art as well as the beginnings of sophisticated temple architecture.<br/><br/> Images of the Buddha were probably first imported by monks sent from China and the Buddhist sculpture of Korea is indebted to prototypes developed in India, Central Asia, and China. From these influences, a distinctive Korean style formed. Korean Buddhas typically exhibit Korean facial characteristics, were made with native casting and carving techniques, and employed only some of the motifs that were developed earlier in Buddhist art.
Buddhism was transmitted to Korea via China in the late 4th century CE. Little evidence of religious art exists in Korea before the introduction of Buddhism. Subsequent to its introduction, the religion inspired the production of devotional art as well as the beginnings of sophisticated temple architecture.<br/><br/> Images of the Buddha were probably first imported by monks sent from China and the Buddhist sculpture of Korea is indebted to prototypes developed in India, Central Asia, and China. From these influences, a distinctive Korean style formed. Korean Buddhas typically exhibit Korean facial characteristics, were made with native casting and carving techniques, and employed only some of the motifs that were developed earlier in Buddhist art.
Maitreya (Sanskrit), Metteyya (Pāli), Maithree (Sinhala), or Jampa (Tibetan) is a bodhisattva who in the Buddhist tradition is to appear on Earth, achieve complete enlightenment, and teach the pure dharma. According to scriptures, Maitreya will be a successor of the historic Śakyamuni Buddha.<br/><br/> The prophecy of the arrival of Maitreya references a time when the Dharma will have been forgotten on Jambudvipa. It is found in the canonical literature of all Buddhist sects (Theravada, Mahayana, Vajrayana), and is accepted by most Buddhists as a statement about an event that will take place when the Dharma will have been forgotten on Earth.
Binglingsi Shiku (Thousand Buddha Caves) is a collection of caves and grottoes set in an inaccessible canyon by the Yellow River about 80km upstream from Lanzhou. The site's very isolation has protected and preserved Binglingsi, not least from marauding Red Guards during the Cultural Revolution (1966 - 76).<br/><br/> The first Buddhist grottoes at Binglingsi date from the Eastern Jin Dynasty (c. 317 - 420 CE), and construction continued for well over a thousand years throughout the Tang, Song, Ming and Qing eras.<br/><br/> The Bingling caves were often sponsored by wealthy patrons investing some of their Silk Road profits in accruing merit for this life and the next. A total of 183 caves, together with nearly 700 carved stone statues and 82 terracotta sculptures survive, many showing very clear evidence of South Asian Buddhist artistic influences – indeed, art experts agree that Binglingsi is a stylistic midpoint between the former monumental Buddhas of Bamiyan in Afghanistan, and grotto complexes further east within China at Datong and Longmen.
Binglingsi Shiku (Thousand Buddha Caves) is a collection of caves and grottoes set in an inaccessible canyon by the Yellow River about 80km upstream from Lanzhou. The site's very isolation has protected and preserved Binglingsi, not least from marauding Red Guards during the Cultural Revolution (1966 - 76).<br/><br/> The first Buddhist grottoes at Binglingsi date from the Eastern Jin Dynasty (c. 317 - 420 CE), and construction continued for well over a thousand years throughout the Tang, Song, Ming and Qing eras.<br/><br/> The Bingling caves were often sponsored by wealthy patrons investing some of their Silk Road profits in accruing merit for this life and the next. A total of 183 caves, together with nearly 700 carved stone statues and 82 terracotta sculptures survive, many showing very clear evidence of South Asian Buddhist artistic influences – indeed, art experts agree that Binglingsi is a stylistic midpoint between the former monumental Buddhas of Bamiyan in Afghanistan, and grotto complexes further east within China at Datong and Longmen.
Binglingsi Shiku (Thousand Buddha Caves) is a collection of caves and grottoes set in an inaccessible canyon by the Yellow River about 80km upstream from Lanzhou. The site's very isolation has protected and preserved Binglingsi, not least from marauding Red Guards during the Cultural Revolution (1966 - 76).<br/><br/> The first Buddhist grottoes at Binglingsi date from the Eastern Jin Dynasty (c. 317 - 420 CE), and construction continued for well over a thousand years throughout the Tang, Song, Ming and Qing eras.<br/><br/> The Bingling caves were often sponsored by wealthy patrons investing some of their Silk Road profits in accruing merit for this life and the next. A total of 183 caves, together with nearly 700 carved stone statues and 82 terracotta sculptures survive, many showing very clear evidence of South Asian Buddhist artistic influences – indeed, art experts agree that Binglingsi is a stylistic midpoint between the former monumental Buddhas of Bamiyan in Afghanistan, and grotto complexes further east within China at Datong and Longmen.
Binglingsi Shiku (Thousand Buddha Caves) is a collection of caves and grottoes set in an inaccessible canyon by the Yellow River about 80km upstream from Lanzhou. The site's very isolation has protected and preserved Binglingsi, not least from marauding Red Guards during the Cultural Revolution (1966 - 76).<br/><br/> The first Buddhist grottoes at Binglingsi date from the Eastern Jin Dynasty (c. 317 - 420 CE), and construction continued for well over a thousand years throughout the Tang, Song, Ming and Qing eras.<br/><br/> The Bingling caves were often sponsored by wealthy patrons investing some of their Silk Road profits in accruing merit for this life and the next. A total of 183 caves, together with nearly 700 carved stone statues and 82 terracotta sculptures survive, many showing very clear evidence of South Asian Buddhist artistic influences – indeed, art experts agree that Binglingsi is a stylistic midpoint between the former monumental Buddhas of Bamiyan in Afghanistan, and grotto complexes further east within China at Datong and Longmen.
Binglingsi Shiku (Thousand Buddha Caves) is a collection of caves and grottoes set in an inaccessible canyon by the Yellow River about 80km upstream from Lanzhou. The site's very isolation has protected and preserved Binglingsi, not least from marauding Red Guards during the Cultural Revolution (1966 - 76).<br/><br/> The first Buddhist grottoes at Binglingsi date from the Eastern Jin Dynasty (c. 317 - 420 CE), and construction continued for well over a thousand years throughout the Tang, Song, Ming and Qing eras.<br/><br/> The Bingling caves were often sponsored by wealthy patrons investing some of their Silk Road profits in accruing merit for this life and the next. A total of 183 caves, together with nearly 700 carved stone statues and 82 terracotta sculptures survive, many showing very clear evidence of South Asian Buddhist artistic influences – indeed, art experts agree that Binglingsi is a stylistic midpoint between the former monumental Buddhas of Bamiyan in Afghanistan, and grotto complexes further east within China at Datong and Longmen.
Binglingsi Shiku (Thousand Buddha Caves) is a collection of caves and grottoes set in an inaccessible canyon by the Yellow River about 80km upstream from Lanzhou. The site's very isolation has protected and preserved Binglingsi, not least from marauding Red Guards during the Cultural Revolution (1966 - 76).<br/><br/> The first Buddhist grottoes at Binglingsi date from the Eastern Jin Dynasty (c. 317 - 420 CE), and construction continued for well over a thousand years throughout the Tang, Song, Ming and Qing eras.<br/><br/> The Bingling caves were often sponsored by wealthy patrons investing some of their Silk Road profits in accruing merit for this life and the next. A total of 183 caves, together with nearly 700 carved stone statues and 82 terracotta sculptures survive, many showing very clear evidence of South Asian Buddhist artistic influences – indeed, art experts agree that Binglingsi is a stylistic midpoint between the former monumental Buddhas of Bamiyan in Afghanistan, and grotto complexes further east within China at Datong and Longmen.
Binglingsi Shiku (Thousand Buddha Caves) is a collection of caves and grottoes set in an inaccessible canyon by the Yellow River about 80km upstream from Lanzhou. The site's very isolation has protected and preserved Binglingsi, not least from marauding Red Guards during the Cultural Revolution (1966 - 76).<br/><br/> The first Buddhist grottoes at Binglingsi date from the Eastern Jin Dynasty (c. 317 - 420 CE), and construction continued for well over a thousand years throughout the Tang, Song, Ming and Qing eras.<br/><br/> The Bingling caves were often sponsored by wealthy patrons investing some of their Silk Road profits in accruing merit for this life and the next. A total of 183 caves, together with nearly 700 carved stone statues and 82 terracotta sculptures survive, many showing very clear evidence of South Asian Buddhist artistic influences – indeed, art experts agree that Binglingsi is a stylistic midpoint between the former monumental Buddhas of Bamiyan in Afghanistan, and grotto complexes further east within China at Datong and Longmen.
Thien Mu Pagoda was built in 1601 CE under Nguyen Hoang, the governor of Thuan Hoa province, now known as Hue. Although he swore loyalty to the Le Dynasty in Hanoi, Nguyen Hoang effectively ruled Thuan Hoa as an independent state in central Vietnam. The pagoda has seven storeys and is the tallest in Vietnam, and is often the subject of folk rhymes and poetry about Hue, which was the imperial capital of Vietnam between 1802 and 1945.<br/><br/> Hue was the imperial capital of the Nguyen Dynasty between 1802 and 1945. The tombs of several emperors lie in and around the city and along the Perfume River. Hue is a UNESCO World Heritage Site.
Maitreya (Sanskrit), Metteyya (Pāli), Maithree (Sinhala), or Jampa (Tibetan) is a bodhisattva who in the Buddhist tradition is to appear on Earth, achieve complete enlightenment, and teach the pure dharma. According to scriptures, Maitreya will be a successor of the historic Śākyamuni Buddha. The prophecy of the arrival of Maitreya references a time when the Dharma will have been forgotten on Jambudvipa. It is found in the canonical literature of all Buddhist sects (Theravāda, Mahāyāna, Vajrayāna), and is accepted by most Buddhists as a statement about an event that will take place when the Dharma will have been forgotten on Earth.<br/><br/> Stelae (Chinese: 碑; pinyin: béi) have been the major medium of stone inscription in China since the Tang dynasty (618 - 907 CE). Chinese stelae are generally rectangular stone tablets upon which Chinese characters are carved intaglio with a funerary, commemorative, or edifying text. They can commemorate talented writers and officials, inscribe poems, portraits, or maps, and frequently contain the calligraphy of famous historical figures.
Maitreya (Sanskrit), Metteyya (Pāli), Maithree (Sinhala), or Jampa (Tibetan) is a bodhisattva who in the Buddhist tradition is to appear on Earth, achieve complete enlightenment, and teach the pure dharma. According to scriptures, Maitreya will be a successor of the historic Śākyamuni Buddha. The prophecy of the arrival of Maitreya references a time when the Dharma will have been forgotten on Jambudvipa. It is found in the canonical literature of all Buddhist sects (Theravāda, Mahāyāna, Vajrayāna), and is accepted by most Buddhists as a statement about an event that will take place when the Dharma will have been forgotten on Earth.<br/><br/> Stelae (Chinese: 碑; pinyin: béi) have been the major medium of stone inscription in China since the Tang dynasty (618 - 907 CE). Chinese stelae are generally rectangular stone tablets upon which Chinese characters are carved intaglio with a funerary, commemorative, or edifying text. They can commemorate talented writers and officials, inscribe poems, portraits, or maps, and frequently contain the calligraphy of famous historical figures.
Maitreya (Sanskrit), Metteyya (Pāli), Maithree (Sinhala), or Jampa (Tibetan) is a bodhisattva who in the Buddhist tradition is to appear on Earth, achieve complete enlightenment, and teach the pure dharma. According to scriptures, Maitreya will be a successor of the historic Śākyamuni Buddha. The prophecy of the arrival of Maitreya references a time when the Dharma will have been forgotten on Jambudvipa. It is found in the canonical literature of all Buddhist sects (Theravāda, Mahāyāna, Vajrayāna), and is accepted by most Buddhists as a statement about an event that will take place when the Dharma will have been forgotten on Earth.<br/><br/> Stelae (Chinese: 碑; pinyin: béi) have been the major medium of stone inscription in China since the Tang dynasty (618 - 907 CE). Chinese stelae are generally rectangular stone tablets upon which Chinese characters are carved intaglio with a funerary, commemorative, or edifying text. They can commemorate talented writers and officials, inscribe poems, portraits, or maps, and frequently contain the calligraphy of famous historical figures.
The Yulin Caves (Chinese: 榆林窟; pinyin: Yulin kū) are a Buddhist cave temple complex in Guazhou County, Gansu Province, China. The site is located some 100 km east of the oasis town of Dunhuang and the Mogao Caves. It takes its name from the eponymous elm trees lining the Yulin River, which flows through the site and separates the two cliffs from which the caves have been excavated.<br/><br/> The forty-two caves house some 250 polychrome statues and 4,200 square metres of wall paintings, dating from the Tang Dynasty to the Yuan Dynasty (7th to 14th centuries). The site was among the first in China to be designated for protection in 1961 as a Major National Historical and Cultural Site. In 2008 the Yulin Grottoes were submitted for future inscription on the UNESCO World Heritage List as part of the Chinese Section of the Silk Road.
The Yulin Caves (Chinese: 榆林窟; pinyin: Yulin kū) are a Buddhist cave temple complex in Guazhou County, Gansu Province, China. The site is located some 100 km east of the oasis town of Dunhuang and the Mogao Caves. It takes its name from the eponymous elm trees lining the Yulin River, which flows through the site and separates the two cliffs from which the caves have been excavated.<br/><br/> The forty-two caves house some 250 polychrome statues and 4,200 square metres of wall paintings, dating from the Tang Dynasty to the Yuan Dynasty (7th to 14th centuries). The site was among the first in China to be designated for protection in 1961 as a Major National Historical and Cultural Site. In 2008 the Yulin Grottoes were submitted for future inscription on the UNESCO World Heritage List as part of the Chinese Section of the Silk Road.
The Yulin Caves (Chinese: 榆林窟; pinyin: Yulin kū) are a Buddhist cave temple complex in Guazhou County, Gansu Province, China. The site is located some 100 km east of the oasis town of Dunhuang and the Mogao Caves. It takes its name from the eponymous elm trees lining the Yulin River, which flows through the site and separates the two cliffs from which the caves have been excavated.<br/><br/> The forty-two caves house some 250 polychrome statues and 4,200 square metres of wall paintings, dating from the Tang Dynasty to the Yuan Dynasty (7th to 14th centuries). The site was among the first in China to be designated for protection in 1961 as a Major National Historical and Cultural Site. In 2008 the Yulin Grottoes were submitted for future inscription on the UNESCO World Heritage List as part of the Chinese Section of the Silk Road.
The Yulin Caves (Chinese: 榆林窟; pinyin: Yulin kū) are a Buddhist cave temple complex in Guazhou County, Gansu Province, China. The site is located some 100 km east of the oasis town of Dunhuang and the Mogao Caves. It takes its name from the eponymous elm trees lining the Yulin River, which flows through the site and separates the two cliffs from which the caves have been excavated.<br/><br/> The forty-two caves house some 250 polychrome statues and 4,200 square metres of wall paintings, dating from the Tang Dynasty to the Yuan Dynasty (7th to 14th centuries). The site was among the first in China to be designated for protection in 1961 as a Major National Historical and Cultural Site. In 2008 the Yulin Grottoes were submitted for future inscription on the UNESCO World Heritage List as part of the Chinese Section of the Silk Road.
Budai (Chinese: 布袋; pinyin: Bùdài), pronounced Hotei in Japanese, Bố Đại in Vietnamese, is a Chinese folkloric deity. His name means "Cloth Sack" and comes from the bag that he is conventionally depicted as carrying. He is usually identified with (or as an incarnation of) Maitreya Buddha, so much so that the Budai image is one of the main forms in which Maitreya Buddha is depicted in East Asia. He is almost always shown smiling or laughing, hence his nickname in Chinese, the Laughing Buddha (Chinese: 笑佛; pinyin: xiào​fó). Many people confuse Budai with Gautama Buddha.<br/><br/> Trang has been a trading center since at least the 1st century AD. It grew to prosperity between the 7th and 13th centuries during the Srivijaya period and remains an important commercial town today.<br/><br/> Rubber, palm oil and fishing are the mainstays of the town's economy. Tourism is making an increasing impact as Trang’s Anadaman Coast and islands are increasingly developed and popularized.<br/><br/> The town has a strong Overseas Chinese character (and hence good Chinese restaurants) as a result of an influx of Chinese labor in the latter half of the 19th century.
Budai (Chinese: 布袋; pinyin: Bùdài), pronounced Hotei in Japanese, Bố Đại in Vietnamese, is a Chinese folkloric deity. His name means "Cloth Sack" and comes from the bag that he is conventionally depicted as carrying. He is usually identified with (or as an incarnation of) Maitreya Buddha, so much so that the Budai image is one of the main forms in which Maitreya Buddha is depicted in East Asia. He is almost always shown smiling or laughing, hence his nickname in Chinese, the Laughing Buddha (Chinese: 笑佛; pinyin: xiào​fó). Many people confuse Budai with Gautama Buddha.<br/><br/> Trang has been a trading center since at least the 1st century AD. It grew to prosperity between the 7th and 13th centuries during the Srivijaya period and remains an important commercial town today.<br/><br/> Rubber, palm oil and fishing are the mainstays of the town's economy. Tourism is making an increasing impact as Trang’s Anadaman Coast and islands are increasingly developed and popularized.<br/><br/> The town has a strong Overseas Chinese character (and hence good Chinese restaurants) as a result of an influx of Chinese labor in the latter half of the 19th century.
Budai (Chinese: 布袋; pinyin: Bùdài), pronounced Hotei in Japanese, Bố Đại in Vietnamese, is a Chinese folkloric deity. His name means "Cloth Sack" and comes from the bag that he is conventionally depicted as carrying. He is usually identified with (or as an incarnation of) Maitreya Buddha, so much so that the Budai image is one of the main forms in which Maitreya Buddha is depicted in East Asia. He is almost always shown smiling or laughing, hence his nickname in Chinese, the Laughing Buddha (Chinese: 笑佛; pinyin: xiào​fó). Many people confuse Budai with Gautama Buddha.<br/><br/> Trang has been a trading center since at least the 1st century AD. It grew to prosperity between the 7th and 13th centuries during the Srivijaya period and remains an important commercial town today.<br/><br/> Rubber, palm oil and fishing are the mainstays of the town's economy. Tourism is making an increasing impact as Trang’s Anadaman Coast and islands are increasingly developed and popularized.<br/><br/> The town has a strong Overseas Chinese character (and hence good Chinese restaurants) as a result of an influx of Chinese labor in the latter half of the 19th century.
The Kizil Caves (also romanized Qizil Caves, spelling variant Qyzyl; Uyghur: Qizil Ming Öy; Chinese: 克孜尔千佛洞; pinyin: Kèzīěr Qiānfú Dòng; literally 'Kizil Cave of a Thousand Buddhas') are a set of 236 Buddhist rock-cut caves located near Kizil Township (克孜尔乡) in Baicheng County, Xinjiang, China. The site is located on the northern bank of the Muzat River 75 kilometres (by road) northwest of Kucha. This area was a commercial hub of the The Silk Road.<br/><br/> The caves are said to be the earliest major Buddhist cave complex in China, with development occurring between the 3rd and 8th centuries. Although the site has been both damaged and looted, at least 1000 square metres of wall paintings - mostly Jataka stories - remain.
The remote ancient Buddhist site of Buduruvagala (which means ‘stone Buddha images’ in Sinhalese) is thought to date from the 10th century, when Mahayana Buddhism dominated parts of Sri Lanka. Carved into the rock face is a huge 16m-high Buddha figure, with three smaller figures on either side. These are thought to represent the Maitreya Buddha, Avalokitesvara and his consort Tara, as well as the Hindu god Vishnu.
The remote ancient Buddhist site of Buduruvagala (which means ‘stone Buddha images’ in Sinhalese) is thought to date from the 10th century, when Mahayana Buddhism dominated parts of Sri Lanka. Carved into the rock face is a huge 16m-high Buddha figure, with three smaller figures on either side. These are thought to represent the Maitreya Buddha, Avalokitesvara and his consort Tara, as well as the Hindu god Vishnu.
Gandhāra is noted for the distinctive Gandhāra style of Buddhist art, which developed out of a merger of Greek, Syrian, Persian, and Indian artistic influence. This development began during the Parthian Period (50 BCE – 75 CE). Gandhāran style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. It declined and suffered destruction after invasion of the White Huns in the 5th century.<br/><br/> Stucco as well as stone was widely used by sculptors in Gandhara for the decoration of monastic and cult buildings. Stucco provided the artist with a medium of great plasticity, enabling a high degree of expresivness to be given to the sculpture. Sculpting in stucco was popular wherever Buddhism spread from Gandhara - India, Afghanistan, Central Asia and China.