YONGHEGONG: IMPERIAL UNIVERSALISM AND THE ART AND ARCHITECTURE OF BEIJING'S "LAMA TEMPLE"

References (303)

1. motif. (Fig. 17) In the rest of each elevation on each side of the Bell and Drum Towers the decoration of the main beams alternates the central motif going up (dragons, mantra, dragons, mantra) with the smaller side motifs alternating similarly (visvavajra/ mantra, dragons, etc.). A similar alternation in motifs, imperial and Buddhist, is seen on the same type of beam as one moves around the building. Moving up to the bracket section, the brackets themselves alternate with the 'Three Jewels' motifs (sanbao 三寶) on the recessed bracket filler board. 339 (Fig. 83). Just above the brackets is the cantilevered-eave crossbeam 340 decorated with the "Eight Buddhist Symbols of ood Fortune" (bajixiang 八吉祥, or fojiao babao 佛教八寶), and above that the cantilevered- eave purlin 341 is decorated with the mantra of Avalokiteśvara on the east and west sides, with dragons on the north and south sides. Above this are the round end-rafters (or eave-rafters), 342 painted with "Dragon's Eye em" designs (longyan baozhu 龍眼寶珠). Just below the drip tiles, the square, flying rafter 343 ends are painted with Buddhist swastikas (wanzi 萬字). Buddhist symbols such as the 'Three Jewels" and swastika motifs are a standard part of the decoration of Qing imperial architecture. For example, buildings in the courtyard of the Hall of Supreme Harmony at the Forbidden City are structures not particularly associated with Buddhism, yet the 'Three Jewels' motif appears on the "bracket filler boards," and images of the "Eight Buddhist Symbols of ood Fortune" appear on the 'bearing board' above the 'column-top tie.' 344 The 'Three Jewels' motif also appears on the bracket filler boards decorating the Confucius Temple across the street from Yonghegong, perhaps a nod to the sage's bodhisattva 339 diangongban 墊栱板. 340 tiaoyanfang 挑檐枋. 341 tiaoyanheng 挑檐桁. 342 chuantou 椽頭. 343 feiyan chuan 飛檐椽.
2. Yu, et al., Palaces of the Forbidden City, Figs. 382, 268. Gömpojab was a prolific and multilingual translator who was most active from the Kangxi through early Qianlong periods. He was best known as a translator from Tibetan into Mongolian. His work immediately preceding the translation of The Canon of Iconometry included a Tibetan-Mongolian dictionary in 1737. 420 He was also involved in the early Qianlong era project to translate part of the Tibetan Buddhist Canon into Mongolian. The Tibetan Buddhist Canon is comprised of the Kanjur (T. bka'-'gyur), or "Translated Words" of sutras and tantras attributed to the Buddha, and Tanjur (T. bsTan 'gyur), or "Translated Treatises" of commentaries by Indian Buddhist masters. A translation of the Kanjur from Tibetan to Mongolian, originally made in the 1620s under the last Great Khan, Lighdan Khaghan of the Chakhar Mongols, was printed in the Kangxi period from 1718-20. 421 In the Qianlong period, the canon was finally completed with the translation of the Tanjur, a project that lasted from 1741 to 1749 and for which Gömpojab was best known in later years. 422 The Tanjur is also the source for the main text that informed The Canon of Iconometry. 423 Gömpojab was a person of some status in the Qing court. He was from an aristocratic family 424 of the Mongol Udzumutsin tribe 425 in what is today Inner Mongolia, and was an imperial son-in-law ("Ceremonial Companion," C. yibin 儀賓). 426 At the time of his translation 420 mGon-po-skyabs, 9. It is described as a "dictionary for beginners" by Dharmatāla. Dharmatāla, Rosary of White Lotuses : Being the Clear Account of How the Precious Teaching of Buddha Appeared and Spread in the Great Hor Country, trans. Piotr Klafkowski (Wiesbaden: Otto Harrassowitz, 1987) 401.
3. Wang Xiangyun, 143. Dates for the Tanjur project follow Wang Xiangyun, 141-42, n. 1 and 2, quoting Walther Heissig. 422 Dharmatāla notes mpojab's fame among nineteenth century Mongols for his work on the Tanjur translation. Dharmatāla, Rosary of White Lotuses, 393. Noted in Berger, Empire, 84. 423 mGon-po-skyabs, 133. In his introduction to the English translation of the Canon of Iconometry, Henss lists other translations by Gömpojab, as well as presenting an overview of iconometric texts in the Tibetan Buddhist Canon. mGon-po-skyabs, 10-20.
4. In his supplementary section, mpojab's identifies himself as of the qiowen 奇渥温 lineage, descendents of Genghis Khan. mGon-po-skyabs, 85, n. 86. 425 Udzumutsin tribe: 烏朱穆秦部.
5. 426 mGon-po-skyabs, 133. Translations follow Cai. Cai, translating Ben Cheng's preface, notes that he was a son- in-law of the imperial family, and elsewhere uses the term "Ceremonial Companion" but doesn't make it clear that "Ceremonial Companion" was the court term for imperial son-in-law. mGon-po-skyabs , 45. See Li Hongwei 李宏 Yonghegong rebuilding project. He cites "imperfect ritual regulation" as the source for the insufficiencies in Chinese Buddhist sculpture since the Han dynasty, and notes that "…the art of imitation [in Chinese Buddhist art] is still not sufficiently advanced to reveal its reality." 455 This is a problem that mpojab's translation would help to right and "…save lay people from misery." 456 Preface One, the last one added to the text, is by Prince Zhuang (C. Zhuang qinwang 莊亲王, 1695-1768), the Qianlong emperor's uncle Yinlu 胤祿, the sixteenth son of the Kangxi emperor. 457 His preface is somewhat more strident, noting that mpojab has "…determined that the producers of images in his day have deviated from the proper course and have gone astray in their formulations of iconography. Thus, their guilt of most heinous crimes is great and for this they are to be indicted. This has resulted in people's failure to pay respect to the excellence of Buddha." 458 mpojab's own introduction also serves to call into question the orthodoxy of Chinese Buddhist images, but goes on to elevate the status of Tibetan Buddhist images in the minds of his Chinese readers, as well as inserting other subtle political references. In discussing the history of Buddhist images in China, he notes that there are two styles: the Chinese style (Hanshi 漢式) or Tang style (Tangshi 唐式), and the Indian or Brahmanic, which he calls the Fan style (Fanshi 梵 obtained from "the West" (South Asia). 455 mGon-po-skyabs, 36. 456 mGon-po-skyabs, 36.
6. Cai mistakenly gives the prince's name as "Ai'yue." mGon-po-skyabs, 34. The prince's title in Chinese, heshuo zhuang qinwang aiyue jushi 和碩莊親王愛月居士, is mistranslated as "Prince Ai'yue of Heshuo manor." In Qing titles of nobility, heshuo qinwang was the term for a prince of the blood of the first degree, and zhuang here was not "manor," but his name at investiture, therefore Prince Zhuang. The prince's hao 號 was Ai'yue jushi 愛月居士 ("Moon-loving Householder"). 458 mGon-po-skyabs, 33. 459 The text says "則漢武北伐匈奴. 得休屠金人." T1419_.21.0939a08. provided by Gömpojab for the benighted Chinese patrons of Buddhist art with this unambiguous, iconometric crib sheet. In contrast to the relatively brief and implicitly critical treatment of the history of Chinese-style images, Gömpojab presents the history of the Indian-style images in China in more lengthy and substantially more glowing terms. In fact, what he means by Indian-style is the Himalayan style of Tibetan Buddhist images, and he may use the term Indian to emphasize their closer connection to the Buddhist Holy Land in both geography and orthodoxy. His discussion, although longer than that for Chinese-style images, covers less historical span. He focuses on two key figures in the history of Tibetan Buddhist art in China: the multitalented Nepali artist and designer Anige 阿尼哥 (1245-1306), 465 and a sculptor described as his Chinese disciple Liu Zhengfeng 劉正奉 or Liu Yuan 劉元, 466 both of whom served at the Yuan dynasty court of Khubilai. Anige was identified and chosen by the lama Phagpa, the emperor's appointed ruler in Tibet and religious advisor, who sent him on to the court from Tibet. Throughout the text, Gömpojab always uses the full court titles for Anige and Liu Zhengfeng, emphasizing their high status. Gömpojab describes their work as "…the best in the whole nation" 467 and "unparalleled." 468 In a long parenthetical section (indicated by smaller type in the original), he notes that Nepal is renowned for skilled craftsmen, and among them Anige was "… the most distinguished of all," and the only artist able to successfully repair a complex statue that 465 For an introduction to Anige, see Anning Jing, "The Portraits of Khubilai Khan and Chabi by Anige (1245-1306), a Nepali Artist at the Yuan Court," Artibus Asiae, Vol. 54, No. 1/2, (1994): 40-86.
7. His name is transposed (Liu Fengzheng) on his first appearance in Cai, but is correct subsequently. A discussion of Liu Zhengfeng and various legends associated with him appears in Hok-lam Chan 陳學霖, Mingdai renwu yu chuanshuo 明代人物與傳說 in Zhongguo wen hua yan jiu suo zhuan kan 中國文化研究所專刊, v. 13 (Beijing: Chinese University Press, 1997) 109-12. 467 mGon-po-skyabs, 51. 468 mGon-po-skyabs, 52.
8. Dhṛtarāṣṭṛa, Heavenly King of the East (Fig. 24) (C. Chiguotian 持國天, "The Maintainer of the State";
9. T. yul 'khor srung "The Defender of the Area")
10. Lessing, Yung-ho-kung, 15-55.
11. Also "Four reat Kings" (S. Catur Mahārāja; T. rgyal chen sde bzhi). Devarāja is a more direct translation of tianwang, but the four are also often referred to as lokapāla, or "World uardians" (T. 'jig rten skyong ba). Tibetan Romanization and translation from the Tibetan from Rigpa Shedra website, <http://www.rigpawiki.org/index.php?title=Four_Great_Kings>.
12. A court record dated Qianlong 15, 6/19 (July 22, 1750) notes the production of wood core, painted clay statues of "Skanda Heavenly King two icons 韋馱天王二尊"with a height of 6.6 chi (roughly 2 meters) for the Hall of Heavenly Kings. Although somewhat ambiguous, this may or may not refer to one or more of the Heavenly Kings currently on display, but certainly not the wooden Skanda. See Lai and Chang, "Yung-ho Temple," 141; also Zhongguo di yi lishi dangan guan 中國第一歷史檔案館 (First Historical Archives of China), and Yonghegong Guanlichu 雍和宮管理處 (Yonghegong Administration Department), Qing dai Yonghegong dangan shiliao 清代雍 和宮档案史料 ("Archival Historical Materials on Yonghegong in the Qing Dynasty"), vol. 5 (Beijing: Zhongguo minzu sheying yishu chubanshe, 2004), 255-261.
13. Center: Couplet on Front Columns, Flanking Śākyamuni: 588 (East) Jieyin qunsheng yang sanqian dahua 接引群生揚三千大化 "Receiving and guiding all sentient beings, [he] spreads the great transformation [of his teachings] in the three-thousand worlds;" (West) Yuantong zizai zhu buerfamen 圓通自在住不二灋[法]門 "Perfect realization and self-abiding reside in the non-dual dharma-gate." 589
14. East: Couplet on Rear Columns, Flanking Maitreya Buddha, by Qi Gong 590 (East) Chao ershiqi chong tian yi shang 超二十七重天以上 "Passing beyond the twenty-seven heavens;"
15. West: Couplet on Rear Columns, Flanking Dīpaṃkara: 592 (East) Fajie shi nengren fu zi wanyou 法界示能仁福資萬有 "[When the] Dharmadhātu manifests Śākya, blessings and material wealth are universal;" (West) Jingyin zhen guanghui miao zheng sanmo 淨因臻廣慧妙證三摩 "When the causes are purified, vipulaprajñā (vast wisdom) is achieved and the profound realization of samādhi." 593
16. Niu, Yonghegong, 457-462.
17. These are the only couplets recorded for this hall in Guochao gongshi, which dates to 1759-60 (Qianlong 24). Guochao gongshi, 657-339.
18. 589 Translation based on Niu, Yonghegong, 457-9.
19. These couplet plaques are seen in the Hall of the Dharma Wheel, on the southernmost set of central columns in a photograph dated 1932 in the Lessing archives at Naritasan. Therefore, the fact that they are eight-character couplets and contrast with the nine-character couplets by the Qianlong emperor, may not have been Qi ong's intention. 591 Translation based on Ibid., 461-2.
20. Since this couplet is not recorded in Guochaogongshi, 657-339, it may post-date the central couplet, or may have been moved here from another location. 593 Translation based on Niu, Yonghegong, 459-61.
21. E1 Ajita (Ashiduo 阿氏多; T. ma pham pa) (Fig. 33) [10. Panthaka, Bantuojia 半托迦]
22. W2 Vaṇavāsin (Fanaposi 伐那婆斯; T. nags na gnas) (Fig. 34) [2. Nakula, Nuojuluo 諾距羅]
23. E2 Kālika (Jialijia 迦裏迦; T. dus ldan) (Fig. 35) [11. Rāhula, Luoguluo 羅沽羅]
24. W3 Vajrīputra (Fasheluofoduo 伐闍羅佛多; T. rdo rje mo'i bu) (Fig. 36) [3. Bhadra, Batuoluo 跋陀羅)
25. E3 Bhadra (Batuoluo 跋陀羅; T. bzang po) (Fig. 37) [12. Nagasena, Najiaxina 那迦犀那]
26. 佛學大辭典 ("Buddhist Studies Dictionary"), last updated January 4, 2013, <http://zh.wikisource.org/wiki/佛學大 辭典>. 605 For the Chinese Buddhist identifications of the Yonghegong arhats, see for example Wang, Palace of Harmony, 42-5.
27. E4 Kanakabharadvāja (Jianuojiaboliduoshe 迦諾迦跋黎墮闍; T. bha ra dhva dza gser can) (Fig. 39) [13. Angaja, Yinjietuo 因竭陀]
28. E5 Rāhula (Luoguluo 羅沽羅; T. sgra gcan 'dzin) (Fig. 41) [14. Vanavāsin, Fanaposi 伐那婆斯]
29. E6 Piṇḍolabharadvāja (Binduluobaluoduo 賓度羅跋羅墮; T. bha ra dhva dza bsod snyoms len) (Fig. 43) [15. Ajita, Ashiduo 阿氏多]
30. E7 Nāgasena (Najiaxi 那迦犀; T. klu'i sde) (Fig. 45) [16. Cūḍapanthaka, Zhuchabantuojia 注茶半托迦)
31. E8 Abheda (Abite 阿秘特; T. mi phyed pa) (Fig. 47) [17. Kāśyapa, Jiaye 迦葉]
32. W9 Upāsaka Hvashang (Budai Heshang 布袋和尚; T. hwa shang) (Fig. 48) [9. Supaka, Xubojia 戌博迦]
33. E9 Upāsaka Dharmatala (Damoduoluo 達摩多羅; T. ge nyen dhar ma ta) (Fig. 49) [18. No Sanskrit provided. Juntubotan 軍屠缽嘆] Seated on two long, rectangular stone platforms running north and south along the east and west walls of the Palace of Harmony and Peace, the colorful statues of the sixteen arhats and 606 For an early overview of this complex tradition, see M. W. de Visser, The Arhats in China and Japan (Berlin: Oesterheld & Co., 1923). For studies focusing on the arhats in painting, see Stephen Little, "The Arhats in China and Tibet," Artibus Asiae 52, no. 3/4 (1992): 255-281;
34. Richard K. Kent, "Depictions of the uardians of the Law: Lohan Painting in China," in Latter Days of the Law: Images of Chinese Buddhism, 850-1850, ed. Marsha Weidner. (Lawrence, KS: Spencer Museum of Art, University of Kansas; Honolulu, Hawaii: University of Hawaii Press, 1994), 183-213;
35. Robert Linrothe, Paradise and Plumage: Chinese Connections in Tibetan Arhat Painting (New York: Rubin Museum of Art, in collaboration with the Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, New York, 2004).
36. Linrothe, Paradise, 13. Little notes that the arhats are also worshipped on other occasions such as the laying of a temple foundation and in consecrating ritual objects. Little, "Arhats," 256.
37. Jin, Yonghegong zhilue, 222.
38. Little, "Arhats," 255. The original Indian text is lost, but the Chinese translation by Xuanzang is T. Vol. 49, No. 2030. A complete translation into French was the first in a Western language. Sylvain Lévi and Édouard Chavannes, "Les seize arhat protecteurs de la loi," Journal Asiatique 8 (1916): 1-166.
39. The Sanskrit approximations of the names of the arhats provided by Lévi and Chavannes seem to accord the most closely with the Chinese transliteration, and because of that I have chosen to use them throughout. My source for the Chinese is the online Taishō Triptika, http://www.cbeta.org/result/normal/T49/2030_001.htm (accessed 10/6/2010). Order from Fazhuji [variant Sanskrit renderings provided in brackets]:
40. Piṇḍolabharadvāja [Pindola Bharadvaja] (Binduluobaluoduoshe 賓度羅跋囉惰闍)
41. Kanakavatsa (Jianuojiafacuo 迦諾迦伐蹉)
42. Kanakaparidhvaja [Kanaka Bharadvaja] (Jianuojiabaliduoshe 迦諾迦跋釐墮闍)
43. Subinda (Subinduo 蘇頻陀
44. Nakula [Bakula, Vakula] (Nuojuluo 諾距羅)
45. Bhadra (Batuoluo 跋陀羅)
46. Kālika (Jialijia 迦理迦)
47. Śvapāka [Supaka] (Shubojia 戍博迦)
48. Panthaka (Bantuojia 半託迦)
49. Rāhula (Luohuluo 囉怙羅)
50. Nāgasena (Najiaxina 那伽犀那)
51. Iñgada [Añgaja] (Yinjieduo 因揭陀) By the tenth century, the ranks of arhats in China were extended by two: the "Dragon- taming Arhat" (Jianglong luohan 降龍羅漢, often named as Qingyou 慶友 "Companion in Praise," a translation of the Sanskrit Nandimitra, author of the Fazhuji), and the "Tiger-taming Arhat" (Fuhu luohan 伏虎羅漢, often called Bintoulu 賓頭廬, probably a variant transliteration of Piṇḍola, one of the most important of the arhats). 613 This addition created the set of eighteen arhats that became a standard number in the Chinese Buddhist pantheon. 614 However, in Chinese Buddhist art identification of the specific identities of painted or sculpted images of the eighteen arhats, a fraternity described by Berger as "…obscure, imprecisely described, slippery figures…," can be difficult if not impossible. 615 Further complicating things, the arhats themselves were portrayed in two major modes. 616
52. One mode, which I will call the "ascetic" mode, portrays the arhats as beings whose extreme spiritual efforts are recorded in their gnarled and misshapen bodies and faces, an expressive form traced to the Tang dynasty monk-painter Guanxiu 貫休 (832-912). 617 The other, which I will 14. Vanavāsi [Vanavāsin] (Fanaposi 伐那婆斯)
53. Ajita (Ashiduo 阿氏多)
54. Cūḍapanthaka (Zhutubantuojia 注荼半託迦)
55. Piṇḍolabhāradvāja, like Vaiśravaṇa for the Heavenly Kings, is sometimes seen as the chief of the arhats, and in ritual contexts may stand in for the entire group. De Visser, "Arhats," 69-78. The important role of Piṇḍolabhāradvāja is also discussed in Strong, "Lion-Roarer," 50-88.
56. In contemporary Chinese Buddhism, a standardized iconography has developed for the arhats, expanded to eighteen. Many of the names are the same as in Fazhuji, but each has a brief short descriptive title added, such as "Maitreya, the Tiger-taming Arhat." For a list and images from the contemporary Foguangshan tradition, see "The Assembly at Vulture Peak," International Buddhist Progress Society, The Eighteen Arhats," accessed February 28, 2013, <http://www.ibps.org/english/history/assembly-at-vulture-peak.htm>. An earlier, different modern list is discussed in De Visser, "Arhats," 133-39.
57. Berger, Empire, 128.
58. For a more detailed treatment of these modes, see Kent, "Depictions," 188-192.
59. 617 uanxiu's paintings of the arhats, and their subsequent "correction," copying at the Qianlong court and engraving in stone for ink rubbing reproduction has been covered in a number of sources. Berger, Empire, 127-148;
60. Amy McNair, "The Third Worthy One, Pindola-bharadvaja," in Latter Days of the Law: Images of Chinese Buddhism, 850-1850, ed. Marsha Weidner (Lawrence, KS: Spencer Museum of Art, University of Kansas; Honolulu, Hawaii: University of Hawaii Press, 1994), 262-64. The engravings were reproduced in a lacquer and jade screen kept in the "Qianlong arden" in the Forbidden City, discussed by Berger in the section noted above, Nancy Berliner, and more extensively by Luo Wenhua. See Nancy Berliner, The Emperor's Private Paradise: Treasures from the Forbidden City (New Haven and London: Peabody Essex Museum and Yale University Press, 2010) 156-173, and pl. 49; and Luo Wenhua, "Screen Paintings of Guanxiu's Sixteen Arhats in the Collection of the Palace Museum," Orientations 41, no. 6 (2010): 104-110. The original stone engravings are now in the Hangzhou Forest of Stelae in the former Confucian Temple, having been moved from the original site in 1963. Luo, "Screen Paintings," 109. 618 Kent, "Depictions," 190.
61. Rhie and Thurman, Wisdom and Compassion, 102.
62. A translation is provided by Jeff Watt, "Praise to the Sixteen Arhats," Himalayan Art, May, 1999, <http://www.himalayanart.org/pages/Arhat_Praise.htm>.
63. Linrothe, Paradise, 13. Linrothe also notes later eighteenth century texts (after the founding of Yonghegong) that continue to influence Tibetan practice related to the arhats. of the Dharma Wheel at Yonghegong (discussed further in that section below). Later in the same year, Polhanas sent the copy of the Phagpa Lokeśvara now enshrined at Yonghegong. The quadrilingual inscription on the back of the icon's back-support provides the details of his gift, and concludes with the deity's name transliterated from each of the other languages, an authoritative multilingualism that was a reminder and reinforcer of Qing imperial dominion. It reads: Inscription 637
64. Commandery Prince [junwang 郡王] of Tibet, Polhanas, respectfully congratulates the Great Mañjuśrī Emperor for comforting all sentient beings by propagating the Gélukpa teachings and establishing a new temple. [He] reverently submits this white sandalwood, adorned and merit-making 638 Lokeśvara 639 Buddha, to be presented to your envoy 640 Nang su dan jin yan pin er [two illegible characters 641 ] to the capital on the twenty-fourth day of the eleventh month of the tenth year of Qianlong (December 16, 1745)," the memorial records. [The icon will be] worshipped in Yonghegong by imperial decree. [The deity is] named jian lai zi ke in Tibetan (T. spyan ras gzigs), named ni du bo er wu zhe ke qi (Mo. Nidü-ber üjegci) 642 in Mongolian, [and] named Guan yin pu sa in Chinese.
65. The original inscription is provided in a photograph of the rear of the backing plate (banrui 板蕊) of the back- support, with a transcription into simplified characters. Jia Yang, Bao Zang, v. 4, 33. Punctuation of the Chinese original follows the transcription. The English translation is based on the English version of the text. Zla-ba-tshe- riṅ and Zhongyi Yan, Precious Deposits: Historical Relics of Tibet, China, vol. 4 (Beijing, China: Morning Glory Publishers, 2000), vol. 4, 33.
66. "Adorned and merit-making" for zhuangyan liyi 粧嚴利益.
67. Luojishuoli 羅吉碩哩.
68. Zla-ba-tshe-riṅ, Precious Deposits, translates yilaishi 伊來使 as "envoy." The title does not appear in Li. 641 They may be gongqing 恭請, based on a similar wording in the inscription on the back of the Polhanas Sakyamuni in the Hall of the Dharma Wheel. I translate the term as "respectfully invited." 642 Source for the Mongolian is "Avalokiteshvara, Chaturbhuja -Mongol: Janraisig (Nidü-ber üjegci) -He Who Looks With Eyes," Tibetan Mongolian Museum Society, accessed February 28, 2013, <http://www.tibetan- museum-society.org/tibetan-art-museum-gallery/exhibit.php?id=6&sortby=deity>. Bibliography Sources in Chinese and Japanese "Beijing ditie dansheng ji: Zhou zongli chen choujian ditie shi wei beizhan" 北京地铁诞生记: 周总理称筹建地铁是为备战" ("A Record of the Birth of the Beijing Subway: Premier Zhou called for preparations to build the subway") Beijing Daily 北京日报, September 28, 2007. <http://news.xinhuanet.com/theory/2007-09/28/content_6799411.htm.> Accessed January 26, 2011.
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289. E1 Ajita (Ashiduo 阿氏多; T. ma pham pa) (Fig. 33) [10. Panthaka, Bantuojia 半托迦]
290. W2 Vaṇavāsin (Fanaposi 伐那婆斯; T. nags na gnas) (Fig. 34) [2. Nakula, Nuojuluo 諾距羅]
291. E2 Kālika (Jialijia 迦裏迦; T. dus ldan) (Fig. 35) [11. Rāhula, Luoguluo 羅沽羅]
292. W3 Vajrīputra (Fasheluofoduo 伐闍羅佛多; T. rdo rje mo'i bu) (Fig. 36) [3. Bhadra, Batuoluo 跋陀羅)
293. E3 Bhadra (Batuoluo 跋陀羅; T. bzang po) (Fig. 37) [12. Nagasena, Najiaxina 那迦犀那]
294. E5 Rāhula (Luoguluo 羅沽羅; T. sgra gcan 'dzin) (Fig. 41) [14. Vanavāsin, Fanaposi 伐那婆斯]
295. E7 Nāgasena (Najiaxi 那迦犀; T. klu'i sde) (Fig. 45) [16. Cūḍapanthaka, Zhuchabantuojia 注茶半托迦)
296. E8 Abheda (Abite 阿秘特; T. mi phyed pa) (Fig. 47) [17. Kāśyapa, Jiaye 迦葉]
297. W9 Upāsaka Hvashang (Budai Heshang 布袋和尚; T. hwa shang) (Fig. 48) [9. Supaka, Xubojia 戌博迦]
298. E9 Upāsaka Dharmatala (Damoduoluo 達摩多羅; T. ge nyen dhar ma ta) (Fig. 49) [18. No Sanskrit provided. Juntubotan 軍屠缽嘆] c. Yonghegong Phagpa Lokeśvara (Yonghegong Luojishuolifo 雍和宮羅吉碩哩 佛). Ca. 1745. White sandalwood, figure 93 cm, lotus base and back-support 101 cm. (Fig. 107)
299. Hall 3: Hall of Eternal Protection (Yongyoudian 永佑殿) (1694) [Melchers 5] a. Buddhas of Longevity (Probably eighteenth century, white sandalwood, 2.35 m each) i. [West] Medicine Master Buddha (Yaoshifo 藥師殿) ii. [Center] Amitàyus Buddha (Wuliangshoufo 無量壽佛) iii. [East] Simhanada Buddha (Shihoufo 獅吼佛, T. rgyal-ba seng-gehi nga- ro) Hall 4: Hall of the Dharma Wheel (Falundian 法輪殿) (1744) [Melchers 7] a. Colossal Tsongkhapa (Zongkaba 宗喀巴; T. tsong kha pa). Ca. 1917, installed ca. 1924-5. Gilded copper, 6.1 m. (Fig. 56)
300. Polhanas Śākyamuni Buddha (Poluonai Shijiamounifo xiang 頗羅鼐釋迦牟尼 佛像). Early Qing (?). Statue: gilded copper; 40 cm. Throne: bronze, 22 cm. Back-support, 110 cm. Sumeru-throne platform: wood, 24 cm. (Fig. 112)
301. Hall 5. Pavilion of Infinite Happiness (Wanfuge 萬福閣) (1750) [Melchers 9] a. Colossal Maitreya Bodhisattva (C. Milepusa 彌勒菩薩; T. Byams pa mgon po; Mo. Maidari; Ma. Maidari fusa) (1750) Gilded sandalwood, 18 m above ground, 8 m underground. (Fig. 61)
302. Figure 67: Śākyamuni Refuge Field. H: 93.5, w: 63 cm. From Jia Yang 甲央, Wang Mingxing 王明星, and Dawaciren 达瓦次仁. Bao Zang: Zhongguo Xizang Lishi Wenwu 寶藏: 中国西藏 历史文物 ("Precious Deposits: Historical Relics of Tibet, China"). Beijing: Zhaohua chubanshe, 2000. Vol. 4. Figure 68: The Qianlong Emperor as Mañjughoṣa-Ćakravartin. Thangka, ink, colors, and gold on silk. H: 113.6 W: 64.3 cm. From Bruckner, Christopher, ed. Chinese Imperial Patronage: Treasures from Temples and Palaces. London: Christopher Bruckner Asian Art Gallery, 1998. Cat. 1, 9. Freer/Sackler collection (F2000.4). Figure 73: Rāhula. By Ding Guanpeng (fl. 1737-68). Hanging scroll, ink and colors on paper. From Luohan Hua 羅漢畫 ("Arhat Paintings"). Taibei Shi: Guoli gugong bowuyuan, 1990. Cat.
303. National Palace Museum collection. Figure 76: North Pailou, "Two Dragons Sporting with a Pearl" (erlong xizhu 二龍戲珠) motif, central panel, in sculpted and painted form. From Du Jianye. Palace of Harmony. Xianggang: Yazhou yishu chubanshe, 1994. 13. Figure 77: Detail of "Qianlong Period Complete Map of the Capital" (Qianlong jingcheng quantu 乾隆京城全圖), 1750, with Great Stage Tower outlined in red. The National Institute of Informatics Digital Silk Road Project Digital Archive of Toyo Bunko Rare Books. < http://dsr.nii.ac.jp/toyobunko/II-11-D-802/>. Accessed January, 2011. Figure 79: Yonghegong in the 1930s, with khutukhtu residences outlined in red. From Wei Kaizhao 魏开肇. Yonghegong manlu 雍和宮漫录 ("An informal record of Yonghegong"). [Zhengzhou shi] : Henan ren min chubanshe and Henan sheng xinhua shudian faxing, 1985. N.p. Figure 80: Gate of Luminous Peace, "Two Dragons Sporting with a Pearl" (erlong xizhu 二龍戲 珠) motif with "longevity" (shou 壽). From Du Jianye. Palace of Harmony. Xianggang: Yazhou yishu chubanshe, 1994. 15. Figure 111: Model image of Śākyamuni Buddha. From Zaoxiang liangdu jing 造像量度經 ("Canon of Iconometry"). T. v. 21, no. 1419, 936a-956b, SAT Daizōkyō Text Database. <http://21dzk.l.u-tokyo.ac.jp/SAT/index_en.html>. Accessed November, 2009. Figure 112: Polhanas Śākyamuni Buddha. Early Qing (?). Statue: gilded copper; 40 cm. Throne: bronze, 22 cm. Back-support, 110 cm. Sumeru-throne platform: wood, 24 cm. From Wang Shu, ed. Lamasery of Harmony and Peace. Beijing: Foreign Language Press, 2002