Statue of Fudo Myo-o within sub-temple.
An image of the fierce-looking protective deity Fudo-myo-o enshrined within the temple in cocrejpn0030.
Not far from the mausoleum is this perhaps centuries old mound, about ten feet (3 meters) high. It is dedicated to the spirits of those who died without anyone to remember them.
This is the same mound in other photos viewed here from a distance.
This monument is made of thousands of small statues of the deity Jizo, who specializes in helping the souls of children who died prematurely.
This is a view of the space between the shrine on the left and the much larger mausoleum building on the right, under which eaves this photo was taken.
These are the statues from cocrjepn0210.
This is the same statue as in cocrejpn0183.
This image and all others identified as ecasia000072 through ecasia000278, are scans of images from the James Thorp Collection, Earlham College. An explanation and description of the collection and its origin are included in the description of image I.D. ecasia000072, "Altar of Heaven at night, Beijing," the first Thorp image presented in this project collection.
Images of amorous couples adorn the outer entrances to several of the caves. These couples are understood to be auspicious symbols of good fortune, fertility and prosperity.
Seated in a throne-like setting, the Buddha is depicted with his hands in the teaching pose. His feet rest on a lotus, symbol of enlightenment, and supernatural beings are carved around him, ostensibly also attending to his teachings. The throne was constructed in the shape of a stupa within the cave, with ample room around it for monks and pilgrims to circumambulate the image.
This Buddha figure was carved to appear seated on a pedastal behind an ornate doorway carved with bodhisattva figures in different poses, sitting and standing. This Buddha hands are held in the dharmacakra mudra, the gesture of teaching.
Gandharvas (celestial male musicians) flanked by apsarases (celestial nymphs) float on either side of the opening over the balcony entrance to the Chaitya Hall. These auspicious heavenly creatures represent good fortune for all who enter this site.
In the heart of the village of Khuldabad is the mosque built around this simple tomb of the last Mughal Emperor of India, Aurangzeb. During his rule, 1658 to 1707 CE, Aurangzeb expanded the Mughal empire through extended wars of conquest, mostly in the Deccan. In 1707, at the age of 88, Aurangzeb died near the city named for him, Aurangabad. According to his wishes, he was buried in the Deccan town of Khuldabad in this simple tomb.
A staunchly religious man, Aurangzeb enforced Sharia law for all, forbidding drinking and gambling in his realm, and reinstating the hated jizya tax on non-Muslims.
These local men rolled out a white canvas cloth to create a pure space on this verandah on a cool afternoon in January to sing a qawwali concert for several guests. Qawwali songs inspire listeners to remember the life of the Prophet Muhammad, the lives of early saints of the Chishti order like Nizamuddin Awliya, and the Deccani saints, Zar Zari Zar Baksh and his brother Burhan ud-din, both discisiples of Nizzamuddin Awliya.
Next to an image of Kamadeva, god of desire, and his consort, Rati, is this panel containing apsarases and these gandharvas, heavenly creatures also associated with sensuality, music, and desire.
At the Tomb Shrine of the mother of Zar Zari Zar Baksh, women tie glass bangles over the door lintel into the shrine room as symbols of their petitions.
On a pillar of the temple is this gray makara, a mythical aquatic beast associated with the Ganges gharial, a species of crocodile. The makara is associated with Kamadeva, god of desire, as well as the goddess Ganga and the Vedic god of the sea, Varuna.
On a pillar of the temple is this stylized peacock. The peacock is sometimes associated with the god Brahma and his consort, Saraswati.
A closeup of the wedding ceremony of Shiva and Parvati. See also cbind0102.
The Manu Stambha stands just inside the temple courtyard.
Confucian statue, found in the Confucian temple directly across from a Tibetan Buddhist monastery in Beijing.
Parshvanatha, a digambara monk, is always depicted resting against the coils of a snake and protected under the hoods of snakes. He is also shown over the wheel of a chariot, with elephants, lions, and devotees at his feet.