A fragment of a horizontal scroll, which would originally have been rolled up and tucked inside a Tibetan prayer wheel, with the text of a prayer printed in red and black ink.
A fragment of a prayer scroll, that is, the text of a prayer printed in red and black ink on a horizontal strip of paper. Such texts were rolled up and placed inside a Tibetan "prayer wheel," a device that can be set spinning. By setting a prayer wheel in motion, a practitioner symbolically allows the efficacy of the prayer to spin out, as though in a centrifugal pattern, through the cosmos.
A fragment of a portable Buddhist altar, consisting of a lotus bud supported by two dvarapala (guardian figures); this motif is commonly found front and center in Chinese Buddhist altars of the 6th through 8th centuries.
Gilt bronze standing Buddha on lotus pedestal. He is clothed in monastic robes with cascading U-shaped folds, similar to the gentle folds of his neck. His hands ake the form of two mudras: the abhaya (“have no fear”) mudra with the right hand, and varada (“wishes are granted”) mudra with the left.
It is well proportioned overall and represent Buddha in a standing position; a position quite popular in Unified Shilla Buddhist sculpture. The Ushinisha on the top of Buddha's head is tall, voluminous and black. The face is plump and facial features, including the eyes, nose and the mouth, are all rather small. The earlobes hang are hanging and the three curved lines on the neck are highly distinct.
The Buddha, standing on a lotus pedestal, with his right hand in varada mudra ("wishes are graned") and his left hand raised in abhaya mudra (the gesture of "have no fear").
This kind of statue means the promise of Buddha to dispel the fears of sentiment beings and grant all their wishes.
The Buddha, seated in meditation, attended on his left by Indra, the king of the Brahmanical gods, and another figure damaged beyond recognition. Typically, the Brahmanical deity Brahma would have stood at Buddha's right side; together, Indra and Brahma worshipping the Buddha represent the capitulation of earlier faiths to Buddhism. This fragment would have originally decorated the wall of a stupa or shrine in a monastic compound.
The Buddha, seated before a mandorla (an almond-shaped halo that encompasses his entire body) incised with flame motifs. The Buddha's hands are concealed within his robe, in keeping with Chinese customs of decorum, rather than following the Indian practice of showing the hands in an iconographically meaningful gesture.
A small, thin, molded clay plaque with a bas-relief scene.
This small clay plaque was probably originally one of a large group that collectively illustrated a scene of the Western Paradise of the Buddha Amitabha (Chinese, Amitofou). In this detail, a bodhisattva sits on a lotus petal; from his right hand emerge several lotus stems, with tiny figures emerging from them. According to the teachings of Pure Land Buddhism, these are souls being reborn in the Western Paradise after having called upon Amitabha for mercy.