This complex assembly depicts the Buddha of the Future, Maitreya, who descends to earth to enlighten and save devout believers. He stands in front of an openwork back panel encircled by flames and flying celestial musicians, gesturing to reassure worshipers and promising to grant their wishes. Two attendant bodhisattvas stand at his side, with another pair at his feet. Next to them are four patrons—two on each side—dressed in secular clothes and holding bowls of offerings. Thunderbolt bearers are placed as guardians at opposite front corners of the altarpiece. Below the main platform are two seated lions—protectors of the dharma, or the universal truth of Buddhism. An incised text on the base records the name of the person and date upon which he commissioned this sculpture to invoke the Buddha’s blessing for his deceased son and relatives.
#7458. Altarpiece Dedicated to Buddha Maitreya (Mile fo), Part 1
0:00
0:00
Playlist
7458. Altarpiece Dedicated to Buddha Maitreya (Mile fo), Part 1
7459. Altarpiece Dedicated to Buddha Maitreya (Mile fo), Part 2
Two small monks (behind incense burner) from 38.158.2 (f, g)
This artwork is meant to be viewed from right to left. Scroll left to view more.
Two small monks (behind incense burner) from 38.158.2 (f, g)
Monk from 38.158.2 (f, g)
Monk from 38.158.2 (f, g)
Artwork Details
Use your arrow keys to navigate the tabs below, and your tab key to choose an item
北魏正光五年 鎏金青銅彌勒佛像
Title:Buddha Maitreya (Mile) Altarpiece
Period:Northern Wei dynasty (386–534)
Date:dated 524 (5th year of Zhengguang reign)
Culture:China
Medium:Gilt bronze
Dimensions:H. 30 1/4 (76.8 cm); W. 16 in. (40.6 cm); D. 9 3/4 in. (24.8 cm)
Classification:Sculpture
Credit Line:Rogers Fund, 1938
Object Number:38.158.1a–n
Inscription: Translation of inscription by A. Lippe in Archives, 1961:
"On the eighteenth day of the ninth month, which begins with a mou-shen day, in the fifth year of the Cheng-kuang (period) of the Great Wei (dynasty),...-wu-chen from the Hsin-shih district for his dead son Kai-chih (had) made one image of Maitreya, wishing that the dead son and his relatives who sitll are at home may forever be united with the Buddha".
Mr. Lippe identifies central figure of altarpiece as Maitreya, the Buddha of the future.
Abby Aldrich Rockefeller , New York, (until 1938; sold to MMA)
New York. The Metropolitan Museum of Art. "Masterpieces of Fifty Centuries," November 14, 1970–June 1, 1971.
Tokyo National Museum. "Special Exhibition: Gilt Bronze Buddhist Statues - China, Korea, Japan," March 10, 1987–April 19, 1987.
New York. The Metropolitan Museum of Art. "China: Dawn of a Golden Age, 200–750 AD," October 12, 2004–January 23, 2005.
New York. The Metropolitan Museum of Art. "Arts of Ancient China," 2005.
"A Note on Two Chinese Buddhist Dedicatory Groups." Bulletin of the Museum of Fine Arts 26, no. 156 (August 1928.) pp. 57–60, fig. 2.
Priest, Alan. "Two Important Bronzes in the London Exhibition." Parnassus 8, no. 2 (February 1936). pp. 11–13.
Priest, Alan. "An Exhibition of Chinese Bronzes from American Collections." The Metropolitan Museum of Art Bulletin 33, no. 10 (October 1938). pp. 216–22.
Priest, Alan. "Two Buddhist Altarpieces of the Wei Dynasty." The Metropolitan Museum of Art Bulletin 34, no. 2 (February 1939). pp. 32–38, figs. 1, 2.
Sirén, Osvald. Kinas Konst Under Tre Artusenden I. vol. I, Stockholm: Natur och Kultur, 1942, p. 359, fig. 245.
Priest, Alan. Chinese Sculpture in The Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, 1944, p. 28, cat. no. 18, figs. XXIX–XXXII.
Sirén, Osvald. "Two Chinese Buddhist Stele." Archives of the Chinese Art Society in America 13 (1959). pp. 20, 21.
Lippe, Aschwin. "A Gilt-bronze Altarpiece of the Wei Dynasty." Archives of the Chinese Art Society in America 15 (1961). pp. 29–31.
Chow, Fong. "Chinese Buddhist Sculpture: Part I." The Metropolitan Museum of Art Bulletin, n.s., 23, no. 9 (May 1965). p. 311, fig. 14.
Lippe, Aschwin. "The Religions of Asia." Apollo Magazine. Vol. 82, no. 43 (September 1965), pp. 220–29, pl. 19.
Ichiro Shirakawa. "Apsara Playing Clustered Flutes." (A Quarterly Review of the Fine Arts), Kobijutsu No. 10 (September 1965). p. 98, fig. 9.
Fontein, Jan, and Rose Hempel. China, Korea, Japan. Propyläen Kunstgeschichte, vol. 17, Berlin: Propyläen Verlag, 1968, cat. no. 93.
Lerman, Leo. The Museum: One Hundred Years and The Metropolitan Museum of Art. New York: Viking Press, [1969], p. 260.
Masterpieces of Fifty Centuries. Exh. cat. New York: E.P. Dutton & Co., 1970, p. 146, cat. no. 109.
Fong, Wen C., and Hearn, Maxwell K. "The Arts of Ancient China." The Metropolitan Museum of Art Bulletin, n.s, 32, no. 2 (1974) 1974, n. p., fig. 59.
Howard, Kathleen, ed. The Metropolitan Museum of Art Guide. New York: The Metropolitan Museum of Art, 1983, p. 256, fig. 38.
Barnhart, Richard M. (Introduction). The Metropolitan Museum of Art: Asia. New York: The Metropolitan Museum of Art, 1987, p. 56, pl. 30.
James C. Y. Watt. "The Arts of Ancient China." The Metropolitan Museum of Art Bulletin, n.s., 48, no. 1, Summer 1990. pp. 50–51, cat. no. 60.
Howard, Kathleen, ed. The Metropolitan Museum of Art Guide. 2nd ed., New York: The Metropolitan Museum of Art, 1994, p. 108, fig. 38.
Lawton, Thomas. "Yamanaka Sadajiro: Advocate for Asian Art Dealers." Orientations 16, no. 1 (January 1995). pp. 80–93, fig. 17.
Zhang Zong. "Exploring Some Artistic Features of the Longxingsi Sculpture." Orientations 31, no. 10 (December 2000). p. 58, fig. 6.
Watt, James C. Y., An Jiayao, Angela F. Howard, Boris I. Marshak, Su Bai, and Zhao Feng. China: Dawn of a Golden Age, 200–750 AD. Exh. cat. New York: The Metropolitan Museum of Art, 2004, pp. 265–255, cat. no. 167.
Howard, Angela Falco, Wu Hung, Li Song, and Yang Hong. Chinese Sculpture. New Haven: Yale University Press, 2006, p. 253, fig. 3.57.
The Metropolitan Museum of Art, ed. The Metropolitan Museum of Art Guide. New York: The Metropolitan Museum of Art, 2012, p. 87.
Behrendt, Kurt. How to Read Buddhist Art. New York: The Metropolitan Museum of Art, 2019, pp. 94–95, fig. 67.
The Met's Libraries and Research Centers provide unparalleled resources for research and welcome an international community of students and scholars.
The Met Collection API is where all makers, creators, researchers, and dreamers can connect to the most up-to-date data and public domain images for The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.
The Met's collection of Asian art—more than 35,000 objects, ranging in date from the third millennium B.C. to the twenty-first century—is one of the largest and most comprehensive in the world.