WASHINGTON, DC - Chinese art lovers, spiritual seekers, and perennial procrastinators have just a few days left to enjoy the divine “Return of the Buddha: The Qingzhou Discoveries” exhibition at the Smithsonian Institution’s Arthur M. Sackler Gallery in Washington, DC. The exhibition closes August 8th and the Sackler has special programming planned to send it off in grand style.

Return of the Buddha is a stunning display of 35 sixth century Chinese Buddhist statues that were the accidental excavation of a construction crew leveling a Qingzhou sports field in 1969. The field apparently was the site of the Longxing (Dragon Rise) Temple that had been destroyed many years before. Located on China’s northeast coast in Shandong Province, Qingzhou is a small city that was once renowned for its limestone statuary. The Buddha statues were among 400 objects that had been buried in a large pit at some point in the 12th century. They were created during a 50-year period that spanned the Northern Wei (386-534), Eastern Wei (534-550) and the Northern Qi (550-557) dynasties. Artisans in each period developed their own signature style and the changes are reflected in the various statues.

A stunning Buddhist stela with seated Buddhas carved on all four sides welcomes visitors into the exhibition. With its message of peace and “Thousand Buddha” design, representing a gathering of Buddhas of all ages and universes, the stela immediately inspires a sense of serenity and anticipation in visitors.

Most of the statues in the exhibition were originally brightly colored with golden bodies and blue, tightly curled hair. The Buddha is oftentimes rendered with an ushnisha, a pronounced topknot on the head that exhibition organizers believe symbolized “transcendent wisdom.” Some Buddhas are shown standing, others are seated. Scholars could not always identify the Buddha being honored by a particular statue. Some are believed to represent the Historical Buddha, Shakyamuni, while others depict Maitreya, the Buddha of the Future. Bodhisattva Guanyin, known for her immense compassion, is also represented. According to Buddhist thought, once a Buddha statue is formally consecrated, it can receive the spiritual body, or fashen, of the Buddha and offer protection and salvation.

Among the standouts in this extraordinary exhibition is a Seated Buddha with a srivatsa painted in the center of his chest. Although modern-day people believe it symbolizes good fortune, according to some Buddhist teachings, the srivatsa, or swastika, represents a Buddha’s level; the more srivatsas, the higher the level. This particular seated Buddha was carved during the Northern Qi dynasty. He sits serenely with his eyes half-closed in meditation.

An ornately carved Standing Bodhisattva, also of the Northern Qi dynasty, could depict Bodhisattva Guanyin who was also known as Bodhisattva Avalokitesvara. Her full facial features are rendered in the naturalistic style characteristic of Northern Qi artists. The Bodhisattva is elegantly adorned with rows of pearls and other jewels, a royal headdress, and a finely detailed gown. A figure carved in her headdress is said to be Buddha Amitabha. Unlike many of the sculptures which have plain, flat backs, the Standing Bodhisattva’s magnificent adornment continues on the back of the statue.

With its oblong face, downward gaze and ethereal smile, one of the standing Northern Qi Buddhas appears so serene and wise that one can easily feel the presence of the Divine. This Standing Buddha has the curly hair and elongated ears that are typical of the period and he is wearing a draped garment that lends a gentle quality to what could have been an imposing altar figure.

Each period has at least one Triad With Mandorla in the exhibition. These sculptures depict three central figures, typically a large Buddha flanked by smaller Buddhas or Bodhisattvas. The figures on a late Eastern Wei Triad With Mandorla are intricately carved with elegant facial features and ornately decorated robes. Their faces are radiant with calm yet joyous expressions.

Return of the Buddha: The Qingzhou Discoveries was made possible by the China Cultural Property Promotion Association and the Shandong Provincial Cultural Department. To mark the closing of the exhibition, the Sackler Gallery will extend its hours on Thursday, August 5 and Friday, August 6 and offer a variety of music, tours, food and family programs.