In 1757, after noting the poor workmanship of nine similar sculptures, Emperor Qianlong ordered different responsible officials to forfeit their salaries for six, nine, or twelfth months respectively and demanded that they improved the sculptures at their own cost.
Set of Buddhist Sculptures in a Building of Six Classes of Sutra and Tantra 乾隆款六品佛樓佛像一組
Gilded copper alloy, made by the Imperial Workshops | Qing dynasty, Qianlong period (1758-1778) | Dimensions – H: 38cm | The Palace Museum Collection 銅鎏金, 內務府造辦處造 | 清乾隆二十三至四十三年（1758-1778年）| 均高38厘米 | 故宮博物院藏
One of the unique religious projects of Emperor Qianlong reign (r. 1736-1795) was the construction of several “Buildings of Six Classes of Sutra and Tantra” 六品佛樓1, which the emperor commissioned and designed himself. Eight of them were built, with four in the Forbidden City. Each building was built as a complex pantheon where painted or sculpted images of Tibetan Buddhist deities and other ritual objects were systematically displayed to aid meditation. After the arson fire of 19232, only Sanctuary of Buddhist Essence 梵华楼 was intact.
The religious relics collected in the Forbidden City include four categories: Han Buddhism, Tibetan Buddhism, Taoism and Shamanism. Tibetan Buddhist cultural relics account for more than 90% of the total number of religious relics. Most were gifts to the emperor by ethnic religious leaders in the Mongolian and Tibetan region of the Qing Dynasty. Other masterpieces were created by the Imperial Workshops 內務府造辦處, like these yoga tantra statues.
Nine Bronze Gilded Yoga Tantra Statues 铜鎏金瑜伽品一堂九尊
This group of yoga tantra3 statues, along with one hundred others, were placed in the room of the fourth room on the second floor. The nine statues on display here are beautifully crafted and each comes with a different mudra (holy gestures performed with the hand) and significance. On each of the lotus pedestal is a bronze cast plaque that says “大清乾隆年敬造” indicating the period it was made.
Dharmadhaturagisvara 法界妙音自在佛
头戴五叶宝冠。四面，每面各三目，均呈寂静相。八臂，主臂结说法印，左副臂自上而下分别手持经箧、弓、金刚铃，右副臂自上而下分别手持剑、箭（佚失）、金刚杵。结跏趺坐于单层半圆覆莲底座上。
Dharmachakra mudra of turning the wheel of the law (teachings). This mudra symbolises one of the most important moments in the life of Buddha, the occasion when he preached to his companions the first sermon after his Enlightenment in the Deer Park at Sarnath. It thus denotes the setting into motion of the Wheel of the teaching of the Dharma.
Paramadya-Vajrasattva 最上功德佛
头戴五叶宝冠。寂静相。左手持金刚铃，右手捧金刚立杵于胸前。结跏趺坐于单层半圆覆莲底座上。
In Tibetan Buddhism the Vajrasattva root tantra is Dorje Gyan, or “Vajra Ornament” as seen here held by the statue in both hands. Vajrasattva practices are common to all of the four schools of Tibetan Buddhism and are used both to purify obscurations so that the Vajrayana student can progress beyond Ngondro practices to the various yoga practices of tantra and also to purify any broken samaya vows after initiation. As such, Vajrasattva practice is an essential element of Tibetan Buddhist practice.
Sarvarthasiddhi 成就佛
头戴五叶宝冠。寂静相。左手于腹前结禅定印，右手于胸前结说法印。结跏趺坐于单层半圆覆莲底座上。
The right hand shows the abhaya mudra4 that symbolises protection, peace, and the dispelling of fear. In China, this mudra is sometimes used to indicate the action of preaching. In some cases the thumbs of the two hands may touch at the tips, thus forming a mystic triangle. This triangle is also said to represent the Three Jewels of Buddhism 三寶, mentioned above, namely the Buddha 佛寶, the Dharma (law) 法寶 and the Sangha (monks) 僧寶.
The dhyana mudra may be made with one or both hands. When made with a single hand the left one is placed in the lap, while the right may be engaged elsewhere. The left hand making the Dhyana mudra in such cases symbolises the female left-hand principle of wisdom. Ritual objects such as a text, or more commonly an alms bowl symbolising renunciation, may be placed in the open palm of this left hand.
Vajradhatu 金剛界佛
头戴五叶宝冠。四面，每面各三目，均呈寂静相。八臂，主臂1结内缚拳印，手心夹金刚杵；主臂2于腹前结禅定印；左副臂1手持法轮，左副臂2手持弓；右副臂1持念珠，右副臂2持箭。结跏趺坐于单层半圆覆莲底座上。
In Vajrayana Buddhism, the Diamond Realm 金剛界 is a metaphysical space inhabited by the Five Tathagatas5. The four-faced of Vairocana 毗盧遮那佛 is known as Vajradhātu and has the colour white and is eight-armed.
With the two principal hands holding the Vajra he exhibits the dharmacakra mudrā6. With the second pair of hands he shows the dhyāna mudrā. The two remaining right hands hold the rosary and the arrow, and with the two remaining left he carries the discus and the bow.
Sarvavid-Vairocana 普慧毗盧佛
头戴五叶宝冠。四面，每面均呈寂静相。双手结禅定印，手心上置法轮。结跏趺坐于单层半圆覆莲底座上。
The dhyana mudra7 is the mudra of meditation, of concentration on the Good law, and of the attainment of spiritual perfection. According to tradition, this mudra derives from the one assumed by the Buddha when meditating under the pipal tree before his Enlightenment. This gesture was also adopted since time immemorial, by yogis during their meditation and concentration exercises. It indicates the perfect balance of thought, rest of the senses, and tranquillity.
Jagadvinaya 度生佛
头戴五叶宝冠。寂静相。左手施禅定印，右手施与愿印。结跏趺坐于单层半圆覆莲底座上。
Right hand shows the bhumisparsha mudra8 of enlightenment. This mudra, formed with all five fingers of the right hand extended to touch the ground, symbolises the Buddha’s enlightenment under the bodhi tree, when he summoned the earth goddess, Sthavara, to bear witness to his attainment of enlightenment. Left hand shows dhyana mudra of meditation. It is in this posture that Shakyamuni overcame the obstructions of Mara while meditating on Truth.
Trailokyavijaya 能勝三界佛
头戴骷髅冠。三目怒睁，赤发赤眉，面呈忿怒相。双手于胸前相交，左手持金刚铃，右手持金刚杵。展左直立姿（即左腿向左侧伸直，右腿弯曲呈弓步），双足下各踩一魔神，魔神作挣扎状。下为椭圆单层覆莲底座。
Trailokyavijaya9 aka 降三世明王 is the King of knowledge having conquered the three worlds, one of the five kings of knowledge of Buddhism. His mission is to protect the eastern part of the world.
But I believe this statue is that of Mahakala 大黑天. In Buddhism, Mahākāla is regarded as a Dharmapāla (“Protector of the Dharma”) and a wrathful manifestation of a Buddha. The five skulls on the crown represents the Five Dhyani Buddhas 五佛五智. The tarjani mundra is a gesture of vigilance
Guhya-Manjushri 秘德文殊室利佛
头戴五叶宝冠。六面，每面均呈寂静相。双手施说法印，手心各牵莲花枝，莲花至肩，花顶各置一经箧。结跏趺坐于单层半圆覆莲底座上。
Manjushri 文殊菩萨 is the patron bodhisattva of Wisdom. The text that he holds is symbolic of his practice granting wisdom, insight and merit. Guhya Manjushri or Secret Manjushri is a rare form where he has six faces. He has two hands that is displaying the dharmachakra mudra, the palm of the hands holding a lotus that supports Dharma texts.
Guhya Manjushri was regarded as the ‘protector’ of the Forbidden City and his worship was particularly emphasised by the emperors of China as the royal court favoured the pursuit of wisdom and the intellect as an important aspect of life and the growth of the empire.
Navosnisa 九頂佛
头戴五叶宝冠。寂静相。双手施说法印。结跏趺坐于单层半圆覆莲底座上。
This statue is most likely the Chinese version of the Tibetan white tara Uṣṇīṣa-vijayā. The tara (which wears a similar crown, but has 3 heads and 8 arms) was virtually unknown during that period among the Chinese population.
The statue marks the dharmachakra mudra and is a symbol of longevity.
Tibetan Buddhism in Qing Dynasty China
Tibet under Qing rule refers to the Qing dynasty’s rule over Tibet from 1720 to 1912. The Qing rulers incorporated Tibet into the empire along with other Inner Asia territories. The Qing court patronised Tibetan Buddhism to solidify its allegiances and effectively rule the region. And in an attempt to homogenise Tibetan Buddhism into the mainstream culture of Han population, Emperor Qianlong tried to define and interpret some of the more complicated aspects of the Tantras. Buildings of Six Classes of Sutra and Tantra 六品佛樓 are built for that purpose, in addition to his own tantric meditation use.
Gilded Tryadhva Buddhas 三世佛夹纻像
Sculpture | Yuan dynasty (1271-1368) | Luoyang Museum Collection 雕刻 | 元代（1271年—1368年）| 洛阳博物馆藏
The Tibetan buddhism are very different from the mainstream buddhism, and this can be manifested in the images and statues used for worship. The Gelug school is the main style of the Buddhist image, in comparison to the Han style. Take the Buddha of the Three Times 三世佛 statues on lotus pedestals, representing the Buddha in three stages (Tryadhva 三世佛 or Trikaya 三身佛). This style was an evolution of the depiction of Buddha over the centuries, mainly formed during Sui-Tang period. The statues are usually placed in the main prayer hall called Mahavira Hall 大雄宝殿, in place of tangkas in Tibetan monasteries.
Tangka of Emperor Qianlong in Buddha Attire 乾隆皇帝佛装像唐卡
Tangka | Qing dynasty, Qianlong reign (r. 1736-1795) | Dimensions – L: 117cm, W: 71cm | The Palace Museum Collection, Qing Palace Collection 唐卡｜清乾隆（公元1736年至1795年）｜纵117厘米，横71厘米｜故宫博物院，清宫旧藏
Illustration of Manjusri 文殊变 (Replica)
Mural | Middle Tang Dynasty (766-835 A.D.) | Cave 159 of Mogao Grottoes copied by Li Xiuhua. 壁画｜中唐（公元766-835年）｜莫高窟第159窟，李秀华临摹
This is a masterpiece of Tangka created in mainland China in the 18th century. And an obvious reference to Emperor Qianlong rule as the mandated Heavenly Son. In this tangka, the emperor is clothed in Buddha attire, making a combined abhaya mudra and dhyana mudra with his hands. The lotus pedestal is lifted by elephants, an honour reserved for Shakyamuni, the founder of Buddhism. The Sanskrit says that he is the manifestation of Manjushri, bodhisattva of wisdom. The tangka is similar in composition to the Tang dynasty illustration in Mogao Grottoes.
Emperor Qianlong was the ruler of the world’s largest and most prosperous empire in the 18th century. He articulated the idea of universal monarchy, which envisioned a multiethnic empire held together under his reign. This thangka and other evidence, such as Tibetan Buddhist inscriptions and symbols found in his tomb, reveal what many scholars interpret as his genuine devotion to this religion. Additionally, this religious work would have carried political weight as well. Mongol and Tibetan members of the Qing Empire believed in Tibetan Buddhism. By participating in Tibetan ritual initiations and assuming Manjushri’s identity in the painting, the Qianlong Emperor positioned himself squarely in a Buddhist tradition important to two large ethnic populations in his empire.
#香港故宮文化博物館 #香港故宮 #hongkongpalacemuseum
About Chinese National Treasure Series
中華國寶系列 Chinese National Treasure series feature specific artefacts and relics from museums all around the world that are historically significant to be considered a National Treasure. The series covers the 5,000 years of Chinese civilisation from Neolithic periods before the Xia dynasty (c. 2070-1600 BC) to modern day.
- 六品佛楼即是按照此六品内容分别供奉相应的佛像、佛经、法器及佛塔的建筑。“六品佛楼”是清宫档案中的称呼，它的正式名称是”妙吉祥大宝楼”。依据史料记载，从乾隆二十二年至四十七年间 (1758-1783)，清宫先后修建的六品佛楼京内外共有八座。其中紫禁城外四座，分别是圆明园梵香楼，承德避暑山庄珠源寺众香楼、承德普陀宗乘之庙六品佛楼，承德须弥福寿之庙六品佛楼；紫禁城内四座，即慧曜楼、淡远楼、宝相楼、梵华楼。现在紫禁城外四楼只有承德须弥福寿之庙六品佛楼建筑尚存，但文物失散。 ↩︎
- During the late Qing dynasty, aside from accidental fires, there were cases of arson which destroyed many of the halls and palaces around the Palace of Established Happiness. Numerous treasures were swallowed in the flames. Why would someone commit arson? Puyi discovered that theft was rampant at the palace and decided to track down the thieves. The imperial servants burnt down the areas around the Palace of Established Happiness to cover their tracks. In his autobiography From Emperor to Citizen, Puyi wrote, “On the night of June 27, 1923, soon after an inventory of the stores in the Palace of Established Happiness had begun, a fire broke out. Everything – whether it had been checked or not – was burnt to ashes.” ↩︎
- There are four main levels of tantra: Kriya, Carya, Yoga and Anuttarayoga. Kriya (action) tantra puts great emphasis on physical activities, such as rituals of purification. Carya (method) tantra strikes a balance between external activities and inner meditative stability. Yoga (union) tantra is almost entirely concerned with inner spiritual union. These first three are sometimes called, collectively, mantrayana- the way of mantra. Annutara Yoga (highest union) tantra stands somewhat apart. The most sublime tantra of all, and the most powerful spiritual alchemy, it can bring total enlightenment in one lifetime and, unlike the others, train one not only for this life’s experience but also for death and the intermediate state between lives. It is sometimes called vajrayana. ↩︎
- The abhaya mudra is displayed by the fifth Dhyani Buddha, Amoghasiddhi 不空成就佛. He is also the Lord of Karma in the Buddhist pantheon. Amoghasiddhi helps in overcoming the delusion of jealousy. ↩︎
- Five Dhyani Buddhas 五佛五智 are each associated with a specific human delusion. ↩︎
- This mudra is displayed by the first Dhyani Buddha Vairocana 毗盧遮那佛. Vairocana is believed to transform the delusion of ignorance into the wisdom of reality. ↩︎
- This mudra is displayed by the fourth Dhyani Buddha Amitabha 阿彌陀佛, also known as Amitayus. By meditating on him, the delusion of attachment becomes the wisdom of discernment. ↩︎
- Ratnasambhava 寶生如來, the third Dhyani Buddha displays this mudra. Under his spiritual guidance, the delusion of pride becomes the wisdom of equality. ↩︎
- The second Dhyani Buddha Akshobhya 阿閦佛 is believed to transform the delusion of anger into mirror-like wisdom. ↩︎
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