Stories Told by Buddhist Statues in Beijing (佛敎像)

Beijing Capital Museum · Lee Jae-seong · Miyazaki International University

Key Information!

◆ Location: No. 16 Fuxingmenwai Avenue, Xicheng District, Beijing ◆ Opening Hours: 09:00–17:00 (Last admission 16:00) ◆ Closed: Mondays

◆ Admission: Free (Advance telephone reservation required)

◆ How to Get There: Line 1, Muxidi Station, Exit C1, approximately 300 meters walk

Entering the Beijing Capital Museum

On the morning of December 28, 2014, after visiting the Mao Zedong Memorial Hall early in the morning, I departed for the Beijing Capital Museum, which was the subject of my presentation. My presentation was originally scheduled for the second day of the Beijing field trip. However, as is often the case with travel, things did not proceed exactly as planned and on time, and ultimately, my presentation ended up being the very last one on the final day of the 2-night, 3-day trip. Consequently, I could not let my guard down until the very end, and this is partly why my expression in most of the photographs appears somewhat somber. 7. Stories Told by Buddhist Statues in Beijing: Beijing Capital Museum

There were two reasons why I chose the Beijing Capital Museum as the site for my field trip. First, I believed that the capital city of a nation best showcases its civilizational standards. Second, I considered museums to be the spaces that most effectively encapsulate and represent a nation's history. As this was my first visit to China, I was confident that exploring the capital's museum, even if only superficially, would serve as an excellent starting point for experiencing Chinese civilization and history.

Upon arriving at the Beijing Capital Museum and beginning my presentation about the building, I made a lighthearted joke, suggesting it was a place showcasing the history of Beijing's water supply and piping systems. However, met with a rather cold reception, I commenced the official field trip of the Beijing Capital Museum. In fact, when the Beijing Capital Museum was established in 1953, it was originally located within the Confucius Temple near the Forbidden City. Although it officially opened in 1981, it was rebuilt as part of a major cultural construction project during the 10th Five-Year Plan and relocated to its current site, opening on May 18, 2006. The museum is a six-story building, including the basement, and each floor exhibits ceramics, bronzes, calligraphy, paintings, jade crafts, and Buddhist statues. As one faces the main entrance of the Beijing Capital Museum, the first thing that captures attention is the building's architectural design. The exterior features a shape resembling a bronze-colored earthenware vessel. However, this vessel shape is actually part of a cylindrical structure that extends diagonally from inside the museum to the outside. Various special exhibitions were being held within this cylinder. Separate admission fees were required to view these special exhibition halls.

The museum is composed of a permanent exhibition hall, themed exhibition halls, and temporary exhibition halls. The museum's opening hours are from 9 AM to 5 PM, with the last admission at 4 PM. I naturally assumed that, like other museums in Korea, entry would be possible at any time without prior reservation, but this was far from the truth. On the second day of the field trip, feeling a sense of unease, I contacted the Beijing Capital Museum with the help of Seunghee and Juwon and was informed that admission was possible only with a reservation made at least one day in advance. Realizing this early, I was able to visit the museum as planned. 7. Stories Told by Buddhist Statues in Beijing: Beijing Capital Museum

Among the museum's numerous exhibition halls, the Buddhist statue (佛敎像) exhibition hall on the fourth floor of the Beijing Capital Museum was the most captivating. I specifically used the term Buddhist statue (佛敎像) rather than Buddha statue (佛像) for a valid reason. While generally, Buddhist sculptures are collectively referred to as Buddha statues (佛像), the term Buddha statue (佛像) strictly refers to sculptures of the Buddha. To encompass sculptures of other Buddhist figures such as Bodhisattvas or the Four Heavenly Kings, the term Buddhist statue (佛敎像) is more appropriate. Returning to the main topic, the Buddhist statue exhibition hall on the fourth floor of the Beijing Capital Museum displays Buddhist statues created during the Yuan, Ming, and Qing dynasties. In particular, Tibetan Buddhist statues, or Kham Buddhist statues, caught my eye. Broadly categorizing the styles of Chinese Buddhist statues into three types—traditional Chinese, Tibetan, and Sino-Tibetan eclectic—I was quite surprised to find that Tibetan-style Buddhist statues occupied a significant portion of the exhibition hall. How did Tibetan Buddhist statues or Tibetan-style Buddhist statues spread to Beijing? I began to wonder if the Buddhist statues from different Chinese dynasties displayed at the Beijing Capital Museum might reflect certain international political characteristics. To resolve these questions, I decided to examine the Buddhist statues closely.

Lamaism and the Central Plains of China

Before closely observing the Buddhist statues with the curiosity of whether their styles might indicate specific international political characteristics, it is necessary to briefly look back at the history of China. In Chinese history, the period when exchanges between Beijing and Tibet likely became active would be the Yuan Dynasty. Given that the Yuan Dynasty adopted Tibetan Buddhism, or Lamaism, as its state religion, the connection between China's Central Plains and Tibet likely began in earnest during the Yuan Dynasty. Although the relationship between Lamaism and China's Central Plains dates back to the Yuan period, the era when this connection deepened and flourished the most was undoubtedly the Qing Dynasty. The relationship between the Qing court and Lamaism became particularly strong during the reigns of Emperors Shunzhi and Qianlong. 7. Stories Told by Buddhist Statues in Beijing: Beijing Capital Museum

In 1653, Emperor Shunzhi of the Qing Dynasty (reigned 1643-1661) warmly welcomed the 5th Dalai Lama (1617-1682) from Tibet. This led to an increase in the influence of Tibetan Buddhism in China's Central Plains, allowing Tibetan-style Buddhist statues to spread to Beijing and be exhibited today at the Beijing Capital Museum. First, we will briefly examine the relationship between Tibetan Buddhism and mainland China before delving into the meeting between the 5th Dalai Lama and Emperor Shunzhi.

Tibet, being geographically located in the interior of Asia, naturally had extensive interactions with surrounding nomadic peoples, and through these multifaceted exchanges, Buddhism was introduced (Cho Jae-song, 2004). Buddhism was first transmitted from India to Tibet in the 7th century AD. Around the 12th century AD, prominent monks from India migrated to the Tibetan region, and as a result, the Tibetan Buddhist community became established as the successor to Indian Buddhism. Consequently, Tibetan Buddhism naturally assumed a position of higher religious importance.

Tibetan Buddhism is also known in Chinese as Zangchuan (藏傳) Buddhism or Lamaism. The term 'Lama' itself originates from the word 'Blama,' which means a virtuous teacher. Over time, in China, Tibetan Buddhist monks came to be referred to as Lamas, and this usage became fixed, leading to the term Lamaism for Buddhism that venerates Lamas. The well-known proper noun 'Dalai Lama' is a combination of the Tibetan word 'Lama' and the Mongolian word 'Dalai,' meaning 'great ocean.' The fact that the Mongolian language is included in the name 'Dalai Lama,' the leader of Lamaism, highlights the close relationship between Lamaism and the Yuan Dynasty, which was a Mongol empire.

As mentioned earlier, Lamaism had extensive interactions with surrounding nomadic peoples,

,

and among them, the nomadic Mongols were one of the peoples who actively embraced Lamaism. Kublai Khan, the grandson of Genghis Khan and the founder of the Yuan Dynasty (1206-1367), appointed a Tibetan monk as his Imperial Preceptor (Guoshi), thereby acknowledging the status of Tibetan Buddhism. For this reason, the influence of Lamaism gradually expanded within the Mongol Empire, and China's Central Plains were no exception. In relation to Buddhist statues, the Yuan Dynasty was a period of introduction for Tibetan Buddhist statues, and thus, many of the Yuan Dynasty Buddhist statues displayed at the Beijing Capital Museum are of Tibetan style. A notable characteristic of Yuan Dynasty Tibetan-style Buddhist statues is their broad shoulders and narrow waists, which may reflect the ethnic characteristics of the Mongol people. The prominent depiction of nipples is a common feature of Tibetan-style Buddhist statues. Perhaps the quickest way to identify a Tibetan or Tibetan-style Buddhist statue is to check for the presence of nipples. This is a method I discovered while looking at various photographs of Chinese Buddhist statues.

! When I first mentioned this, everyone felt a bit embarrassed. However, as we began to enjoy distinguishing whether Buddhist statues were influenced by Tibet or not using this method, I felt fortunate to have shared this useful knowledge.

However, Lamaism during the Yuan Dynasty became closely intertwined with state politics, taking on a more secular than religious character, which ultimately became one of the reasons for the Yuan Dynasty's downfall. Following the collapse of the Yuan Dynasty, the influence of Lamaism naturally declined.

Zhu Yuanzhang (1328-1398), who overthrew the Yuan Dynasty and founded the Ming Dynasty (1368-1644), was himself a former monk at Huangjue Temple. Aware that the Yuan Dynasty had been weakened by Lamaism, he maintained a distance from it. While his policies prohibited Han Chinese from practicing Lamaism, he did not reject Lamaism itself (Bae Jin-dal, 2005). Of course, when Lamaist monks actually visited Beijing

they were treated with great respect. This likely signifies that Lamaism was still accorded a degree of religious respect even after the fall of the Yuan Dynasty. This historical context is also related to the emergence of eclectic-style Buddhist statues during the Ming Dynasty, which combined characteristics of traditional Chinese and Tibetan styles. In eclectic-style Buddhist statues, the facial expression is solemn, unlike the subtle smile seen in Tibetan-style Buddhist statues, reflecting the influence of the traditional Chinese style. 7. Stories Told by Buddhist Statues in Beijing: Beijing Capital Museum However, the protrusion of nipples, a characteristic of the Tibetan style, indicates that the sculptural methods of the Tibetan style were adopted to some extent during that period.

Another northern nomadic group, the Manchus, established the Qing Dynasty (1636-1912) and conquered the Central Plains after the Ming Dynasty. With the resurgence of the Manchus, Lamaism also experienced its second golden age, owing to the close relationship between the Qing court and Lamaism. Indeed, the founding spirit of the first emperor, Hong Taiji, is said to be rooted in Tibetan Buddhism, Lamaism, demonstrating the Qing Dynasty's profound connection with it (Gye Hwan, 2014). The fact that the word 'Manchu' itself is derived from 'Manjushri' (文殊) signifies the special importance of Buddhism to the Qing Dynasty. Both Emperor Shunzhi and especially Emperor Qianlong considered themselves manifestations of Manjushri Bodhisattva. Manjushri Bodhisattva (文殊菩薩, Bodhisattva Manjusri) is regarded in Buddhism as the spiritual embodiment of just and compassionate rulers, also known as the Wheel-Turning Monarch or, in Sanskrit, Chakravartin. This figure is closely associated with Mount Wutai in Shanxi Province, China, a place of religious significance located about 160 kilometers southwest of Beijing, which has been designated as the abode of Manjushri Bodhisattva in China since the 7th century AD. In the 13th century, Manjushri Bodhisattva formed a connection with Kublai Khan of the Yuan Dynasty, giving Mount Wutai new political significance, which later became a reason for Qing emperors to frequently visit the mountain (Elliot, 2011). The relationship between the Qing Dynasty and Lamaism was officially formalized in early 1653 when Emperor Shunzhi enfeoffed the 5th Dalai Lama. The meeting between the two figures occurred when the 5th Dalai Lama visited Beijing, and such visits by foreign envoys to the emperor were understood as tribute (chaogong). However, the meeting between Emperor Shunzhi and the 5th Dalai Lama differed from typical tribute missions from foreign envoys in three ways (Kim Seong-soo, 2009). First, attempts to invite the 5th Dalai Lama began during the reign of Emperor Hong Taiji (1626-1643). Second, the 5th Dalai Lama was treated with such extreme deference that the emperor left the palace and met him in the imperial garden, Nanyuan. Third, at the banquet hosted by Emperor Shunzhi for the 5th Dalai Lama, they sat side-by-side on seats of nearly equal height, making it difficult to discern any difference. This can also be confirmed in murals at the Potala Palace in Lhasa and the Samye Monastery in southern Tibet. Meanwhile, according to the records left by the 5th Dalai Lama,

Another northern nomadic people, the Manchus, established the Qing Dynasty (1636-1912) and conquered China after the Ming Dynasty. With the revival of the Manchu people, Tibetan Buddhism also entered its second golden age, as the Qing court maintained close ties with Tibetan Buddhism. Indeed, the Qing Dynasty's relationship with Tibetan Buddhism was so profound that the founding spirit of its founder, Hong Taiji, was based on Tibetan Buddhism (Ji Huan 2014). The fact that the origin of the term 'Manchu' is derived from 'Manjusri,' a bodhisattva, signifies the special importance of Buddhism to the Qing Dynasty. The Shunzhi Emperor and particularly the Qianlong Emperor considered themselves manifestations of Manjusri (文殊菩薩, bodhisattva Manjusri), a figure in Buddhism regarded as the spiritual embodiment of just and compassionate kings, also known as chakravartins. This figure is closely associated with Mount Wutai in Shanxi Province, China, a place of religious significance approximately 160 kilometers southwest of Beijing, designated as the home of Manjusri since the 7th century CE. In the 13th century, a connection was formed between Manjusri and Kublai Khan, the emperor of the Yuan Dynasty, imbuing Mount Wutai with new political significance, which later led Qing emperors to frequently visit the mountain (Elliot 2011). The relationship between the Qing Dynasty and Tibetan Buddhism was officially established in early 1653 when the Shunzhi Emperor enfeoffed the 5th Dalai Lama. The meeting between the two figures occurred during the 5th Dalai Lama's visit to Beijing, and such visits by foreign envoys to the emperor were understood as tributary missions (朝貢). However, the meeting between the Shunzhi Emperor and the 5th Dalai Lama differed from typical tributary visits (Kim Sung-soo 2009). First, attempts to invite the 5th Dalai Lama began during the reign of Hong Taiji (崇德帝, reigned 1626-1643). Second, the Shunzhi Emperor treated the 5th Dalai Lama with extreme deference, even leaving the imperial palace to meet him in the imperial garden, the Southern Garden (南苑). Third, in the banquet held for the 5th Dalai Lama, the Shunzhi Emperor sat alongside him on seats of similar height, creating an indistinguishable difference. This can also be confirmed in murals at the Potala Palace in Lhasa and the Samye Monastery in southern Tibet. Meanwhile, according to records left by the 5th Dalai Lama,

After traveling a distance equivalent to four arrows' flight, I dismounted and began to walk

and the Emperor also rose from his seat. We walked towards each other for about ten paces,

clasped hands, and inquired about each other's well-being. Afterward, the Emperor sat on a chair of waist height,

and invited me to sit nearby, though my seat was slightly lower than the Emperor's. When drinking tea, he offered it to me first,

but I declined, stating it was beyond my capacity, so we drank together simultaneously.

He showed me such profound courtesy (Wang Furen, 1982, p. 328).

These three differences indicate that Lamaism received special treatment during the Qing Dynasty. This preferential treatment of Lamaism is also evident in the imperial edict conferring the title upon the 5th Dalai Lama, issued by Emperor Shunzhi. The edict proclaimed that the relationship had continued since the time of Emperor Hong Taiji and that the 5th Dalai Lama was a great religious leader (Kim Seong-soo, 2009). 7. Stories Told by Buddhist Statues in Beijing: Beijing Capital Museum

These three differences suggest that Tibetan Buddhism received special treatment during the Qing Dynasty. This preferential treatment of Tibetan Buddhism is also evident in the imperial edict bestowing the title upon the 5th Dalai Lama, issued by the Shunzhi Emperor to the 5th Dalai Lama (7. Stories Told by Beijing Buddhist Figures: The Imperial Edict Conferring the Title upon the 5th Dalai Lama at the Beijing Capital Museum). The content proclaimed that the affinity between them had continued since the time of Hong Taiji and that the 5th Dalai Lama was a great religious leader (Kim Sung-soo 2009).

By the grace of Heaven, ruling over time (the present), the Emperor's decree: 'I hear that the way of ruling all beings and the way of standing alone and being virtuous are not the same; similarly, the principles by which those who have passed away and those who exist in the world establish teachings also differ. If that is the case, then the mind

that is pure, actions that follow heavenly nature, and the leader of all people who guides the world in a good direction

all converge to one purpose. You, Lobsang Gyatso, Dalai Lama, cultivate luminous intellect correctly

and possess profound wisdom, thus governing both mind and actions.

Considering all things as illusory, you widely propagate the Buddhist Dharma

and teach and guide sentient beings. The Buddhist Dharma flourishes in the West, and its good

name is known in the East. Your father, Emperor Taizong the Cultured (太宗文皇帝), heard

of this. Therefore, I decree that you, who have attained the highest spiritual realization,

have illuminated the path of the Buddhas and Bodhisattvas, and have compassionately guided all beings.

You have established a great monastery and have spread the teachings of the Dharma, bringing benefit to all beings.

It is fitting that you be honored with the title of Dalai Lama, Great Dharma King, Holder of the Golden Seal.

May your teachings flourish and your influence spread!

praising and sending envoys to meet him, you (the Dalai Lama) had, in advance,

known the will of heaven and said, 'Let us meet in the Year of the Dragon (1652).'

I, by the grace of heaven, control time and, after pacifying the realm,

thought that a truly appropriate time had come to invite you. Now, I see that

you are benevolent, temperate in speech, and possess intelligence, wisdom, and scholarship,

widely opening the doors to benevolence and the pursuit of reason. This is like stairs on a bright road, like a boat, or like the stars of Buddhism in the [heavenly] mountains.

Therefore, I bestowed upon you the highest praise

and seal,

Golden Book

proclaiming you 'Great Bodhisattva of the Western Heaven, the Buddha of Absolute Freedom, and the leader of all Buddhist sects in the world,'

the (Ordinary Vajradhara) Dalai Lama.' As you have prospered Buddhism by visiting at the appropriate time, all rejoiced and arranged a banquet.

You have made Buddhism flourish and saved countless sentient beings. For this reason,

we shall call this the highest of the high vehicles (Mahayana). Consequently,

I have bestowed upon you

a Golden Book

Golden Book

gave." (re-cited from The First Historical Archives of China 2002, 10-11; Kim Sung-soo 2007, 75).

Following the meeting between Emperor Shunzhi and the 5th Dalai Lama, another significant encounter between the Qing Dynasty and Tibetan Buddhism occurred during the reign of Emperor Qianlong. In 1780, when Emperor Qianlong turned seventy, the 6th Panchen Lama personally visited Rehe (currently known as Chengde) to celebrate the emperor's birthday. Accompanied by the Joseon envoy mission, Yeonam Park Ji-won, who also went to Rehe to celebrate Emperor Qianlong's seventieth birthday, visited the city. 1 The 6th Panchen Lama was a leader in Tibetan Buddhism, second only to the Dalai Lama. 7. Stories Told by Buddhist Statues in Beijing: According to the Beijing Museum of History, Emperor Qianlong ordered the Joseon envoy mission, who had come to celebrate his birthday, to pay homage to the 6th Panchen Lama with the respect due to a teacher, as he was like a teacher to him. This anecdote offers a glimpse into how exceptionally Emperor Qianlong regarded the 6th Panchen Lama.

The 6th Panchen Lama was a leader in Tibetan Buddhism, second only to the Dalai Lama. 7. Stories Told by Buddhist Statues in Beijing: According to the Beijing Museum of History, Emperor Qianlong ordered the Joseon envoy mission, who had come to celebrate his birthday, to pay homage to the 6th Panchen Lama with the respect due to a teacher, as he was like a teacher to him. This anecdote offers a glimpse into how exceptionally Emperor Qianlong regarded the 6th Panchen Lama.

Tibetan Buddhist Statues: From Tibet to Beijing

The Tibetan-style Buddhist statues displayed at the Beijing Museum of History present a different atmosphere compared to the Buddhist statues we have seen so far. The characteristic of Tibetan-style Buddhist statues is their sensuous beauty, influenced by India and Nepal. If the transmission of Tibetan-style Buddhist statues to China's Central Plains began in the Yuan Dynasty, their golden age was the Qing Dynasty. This stems from the special relationship between the Qing Dynasty and Tibetan Buddhism, as mentioned earlier. Although Tibetan-style Buddhist statues were popular in Beijing, Manchuria, and Mongolia from the Yuan Dynasty onwards, Chinese traditional-style Buddhist statues fundamentally formed the mainstream. However, during the reigns of Emperors Kangxi, Yongzheng, and Qianlong, with the support of the Qing court, many Tibetan-style Buddhist statues began to be produced (Bae Jin-dal 2005). To me, who had previously only associated China with a Confucian state image, the fact that sensuous Tibetan-style Buddhist statues were produced with imperial patronage was quite shocking.

Leaving the Beijing Museum of History

For the Qing Dynasty, Confucianism was an important tool of governance to integrate the majority Han Chinese population with the minority Manchu population. Indeed, Emperor Qianlong mentioned that the Qing Dynasty proudly worshipped the teachings of Confucianism, valued the Way, and honored Confucius through rituals (Elliot 2011). Compared to Joseon's policy of adhering to Confucianism and rejecting Buddhism, the deep relationship between the Qing Dynasty and Tibetan Buddhism seemed very intriguing. For the Qing Dynasty, preserving their Manchu identity while capturing the hearts of the majority Han Chinese and simultaneously embracing the ethnic minorities within the empire was likely a significant political consideration. Without embracing all of these, the empire would have fragmented. This is related to why both Tibetan and traditional Chinese styles are seen in Qing Dynasty Buddhist statues. In the 18th century, Buddhist statues began to be Sinicized, as the Forbidden City provided a series of guidelines for their production. In the fifth year of Qianlong's reign (1740), the 'Zhaoxiang Liangdu Jing' (Statue Casting Manual) was compiled, describing the standards for Buddhist statue production. Based on this, Tibetan Buddhist statues were created, showing a trend towards greater standardization and formalization. Around the fourteenth year of Qianlong's reign (1749), the 'Jie Fo Pu Sa Sheng Xiang Zan' (Praise of Buddha and Bodhisattva Icons) authored by Rolpe Dorje is believed to be an important book related to Tibetan-style Buddhist statues commissioned by the Qing imperial court, and many Buddhist statues were likely produced based on this text (Bae Jin-dal 2005). The series of Buddhist statue production guidelines issued by the Forbidden City can be said to have aimed at 'uniformity.' In other words, the production of Buddhist statues was related to the issue of imperial integration, and this goal was achieved in conjunction with Sinicization or Hanification. The Sinicization of these Tibetan-style Buddhist statues clearly illustrates the position of Tibetan Buddhism in the Qing Dynasty at that time. It was embraced by the Qing court without alienating the majority Han Chinese. Therefore, it is thought that the Qing emperors' patronage of Tibetan-style Buddhist statue production was a strategy to keep Tibet as part of the empire. ■ Let's Watch and Think Together! Oh Seung-hee: Thanks to Jaesung's entertaining presentation, where he became an expert on Tibetan Buddhist statues,

I was able to examine the Buddhist statues in detail and with interest.

It was good to reflect on the process of creating the space of 'Beijing' and the meaning of Beijing

as a capital. Shin Bo-ram: (I hear your pain……) It seems like a witty article that shows how the role of Buddhism (or more precisely, Tibetan Buddhism) in China's foreign policy has changed through the evolution of Buddhist statues.

If you are interested in religion and diplomacy, it seems like a topic worth further research in the future (it would be a multi-faceted and integrated study combining art history, anthropology, and political diplomacy). Then we can truly understand why they were so obsessed with nipples. The face of a god can actually be seen as a mirror reflecting the weaknesses and desires of the humans living in that era, so even those unusually prominent parts must have some meaning.

It would be a multi-faceted and integrated study combining art history, anthropology, and political diplomacy.

If you are interested in religion and diplomacy, it seems like a topic worth further research in the future.

It would be a multi-faceted and integrated study combining art history, anthropology, and political diplomacy.

Then we can truly understand why they were so obsessed with nipples. The face of a god can actually be seen as a mirror reflecting the weaknesses and desires of the humans living in that era, so even those unusually prominent parts must have some meaning.

The face of a god can actually be seen as a mirror reflecting the weaknesses and desires of the humans living in that era, so even those unusually prominent parts must have some meaning.

It can be seen as a mirror reflecting the weaknesses and desires of the humans living in that era, so even those unusually prominent parts must have some meaning.

So even those unusually prominent parts must have some meaning.

There must be some meaning.

Kim Yu-jeong: Starting with contemplating the status of a 'national' museum versus a 'capital' museum, the process of appreciating the elegant Buddhist statues and discovering favorite ceramics was sufficient to feel the charm of the Capital Museum. Although I turned away with regret as the special exhibition on Emperor Qianlong had ended, I could vaguely sense Emperor Qianlong's role as a 'composite monarch' through other artifacts.

I thought that the balance of knowing when to use violence and 'cultural power' appropriately as a means of governance was the foundation of Emperor Qianlong's capability to lead the Qing Dynasty to its golden age.

The process of appreciating the elegant Buddhist statues and discovering favorite ceramics was sufficient to feel the charm of the Capital Museum.

The process of appreciating the elegant Buddhist statues and discovering favorite ceramics was sufficient to feel the charm of the Capital Museum. Although I turned away with regret as the special exhibition on Emperor Qianlong had ended, I could vaguely sense Emperor Qianlong's role as a 'composite monarch' through other artifacts.

Although I turned away with regret as the special exhibition on Emperor Qianlong had ended, I could vaguely sense Emperor Qianlong's role as a 'composite monarch' through other artifacts.

7. Stories Told by Buddhist Statues in Beijing: Beijing Museum of History

I thought that the balance of knowing when to use violence and 'cultural power' appropriately as a means of governance was the foundation of Emperor Qianlong's capability to lead the Qing Dynasty to its golden age.

I thought that the balance of knowing when to use violence and 'cultural power' appropriately as a means of governance was the foundation of Emperor Qianlong's capability to lead the Qing Dynasty to its golden age.

I thought that the balance of knowing when to use violence and 'cultural power' appropriately as a means of governance was the foundation of Emperor Qianlong's capability to lead the Qing Dynasty to its golden age. The gift shop at the Capital Museum was better organized than any other place.

The gift shop at the Capital Museum was better organized than any other place.

I recall leaving with a sense of satisfaction after each person bought something useful to remember Beijing by.

Each person bought something useful to remember Beijing by and left with a sense of satisfaction.

I recall leaving with a sense of satisfaction after each person bought something useful to remember Beijing by.

Kim Seon-kyung: I felt so sorry that Jaesung couldn't even get a foot massage comfortably because he had to give a presentation on the last day. I remember his presentation, where he made us laugh while explaining the characteristics of Tibetan Buddhist statues.

I felt so sorry that Jaesung couldn't even get a foot massage comfortably because he had to give a presentation on the last day. I remember his presentation, where he made us laugh while explaining the characteristics of Tibetan Buddhist statues.

I remember his presentation, where he made us laugh while explaining the characteristics of Tibetan Buddhist statues.

Reading this article, it really sounds like Jaesung~^^

Kim Min-geol: From the perspective of the reader, the theme of the article, which analyzes the 'composite' elements embedded in Chinese history centered on Qing Dynasty Buddhist statues, was interesting.

The theme of the article, which analyzes the 'composite' elements embedded in Chinese history centered on Qing Dynasty Buddhist statues, was interesting.

The use of close-up photos of Buddhist statues made the article feel more vivid and impressive.

The use of close-up photos of Buddhist statues made the article feel more vivid and impressive.

Lee Ju-won: From the ambitious ad-lib about displaying the plumbing system (?) to viewing the Buddhist statues with the heart (?), which can be euphemistically called Jaesung's unique

approach)

The presentation by Jaeseong, the Buddhist statue interpreter, was both refreshingly engaging and substantively informative.

It was the final presentation, so it must have been difficult, but I was very grateful that you successfully concluded it!

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