Chinese Rotunda @ the University of Pennsylvania Museum of Archaeology and Anthropology

A stunning setting for a remarkable collection... Rock crystal sphere, 19th century China. An ornamental treasure from the imperial palace in Bejing, it once belonged to the Dowager Empress Cixi. It rests on a Japanese stand of silver.

The Chinese Rotunda is the majestic setting of the Museum's Chinese collection. Ninety feet in diameter and soaring ninety feet high, the rotunda is one of the largest unsupported masonry domes in the United States, housing one of the finest collections of monumental Chinese art in the country. The large-scale artifacts on view in the rotunda are a testament to the artistic achievements of the Chinese people, particularly in early Buddhist sculpture, and the continuity of artistic evolution during the early, pre-Sung periods (before 1000 A.D.). Unlike many collections of the University of Pennsylvania Museum, the Chinese collection in large part consists of donations and purchases rather than pieces acquired through Museum expeditions. Statuary of various materials, frescos, paintings on silk and fine porcelains are presently on exhibit. Early artistic traditions Pieces of sculpture from early Chinese tombs and temples are sources of information about early artistic traditions. From the Han period on, pairs of chimera-a mythical hybrid said to be descended from a lion and a dragon-were placed at the beginning of the avenue leading to the grave area of an important royal family. The chimera glorified the deceased while protecting the tomb from evil spirits. The two chimera from the Han Dynasty (2nd to 3rd Century A.D.) of Henan Province which are in the center of the Chinese gallery are typical of the colossal guardian animals that lined the "spirit way" to the tombs. When complete with tail and legs, each figure would have been approximately nine feet long and seven feet high. Chinese Buddhism Chinese Buddhism is well represented in the gallery. Buddhism, imported from India probably in the 2nd century A.D., reached its peak of popular acceptance in the early 6th century, particularly under the Wei Dynasty (386-535 A.D.) of Northern China. The Buddhist message of salvation was carried through images, stelae, narrative reliefs, and painting as well as the written word. A huge stone carving of the historical Buddha, Shakyamuni, dedicated by a district chief in 516 A.D., is a central figure of the gallery. He is flanked by a pair of 29 foot long frescos (circa 1279-1368 A.D.) of Tejaprabha Buddha, who protects against natural calamities, and Bhaisajyaguru Buddha, who protects from untimely death, nightmares, evil apparitions, vicious animals, robbers and invading states. Nearby, four stone stelae are carved with scenes from two texts, the Lotus Sutra and the Vimalakirti Nirdesa Sutra. These texts were important to the spread of Buddhism throughout China. Three details from a wall-sized fresco painting.

World's largest cloisonne Foo lions Lions served an important place in lore as protectors of Buddha [Quiz Clue!] and often appear in front of the entrances to buildings, temples and tomb precincts. The cloisonne Foo lions flanking one entrance to the gallery are the largest examples of cloisonne craft in the world, each lion standing more than seven feet in height. These late Ming or early Ching Dynasty lions (circa 17th century A.D.) are believed to have been door guardians from the Imperial Palace in Peking. Since lions are not indigenous to China, artists relied on travelers' accounts of lions to determine their features, often creating highly stylized depictions like the Museum's own Foo lions.

Horses Horses, during certain periods like the T'ang Dynasty, were also highly esteemed. The two bas reliefs of horses (circa 618-906 A.D.) on the rotunda's west wall were two of six reliefs commissioned by Emporer T'ai-tsung, founder of the T'ang Dynasty, for his mausoleum. The portraits of the six favorite horses T'ai-tsung had ridden in his battles to secure the empire's borders are well known in Chinese history and literature. Each horse is identified by the position of its arrow wound. The pictured relief shows General Ch'iu Hsing-kung, who had given up his own unwounded horse to the Emperor, pulling an arrow from the chest of Autumn Dew, the Emporer's wounded charger.

Stone bas-relief of the Early T'ang Dynasty (618 - 906 A.D.)

Guanyin, Goddess of Mercy

On one side of the large cloisonne Foo lions stands a T'ang period image of perhaps the best known boddhisatva, Guanyin, the Goddess of Mercy (circa 706 A.D.). Boddhisatvas are those individuals who have progressed spiritually to the point of enlightenment, yet choose to remain on earth to help others reach similar spiritual heights. Unlike the Buddha, the boddhisatvas are adorned with jewelry to indicate their ties to this world. Across the gallery is a 12th - 14th Century image of Guanyin. Made of gilded and painted wood, this image is indicative of the changes reflected in later Chinese art.

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