Constructed in the Jinglong era (707-710), namely the end of the Early Tang and the beginning of the High Tang, this cave was constructed as the family temple by the Yin Family at Dunhuang. Part of the paintings was renovated in the Later Tang and the Five Dyansties, and the statues were renovated in the Qing dynasty. The main chamber has a truncated pyramidal ceiling which features a medallion pattern in the center enclosed by the twisted vines and draperies that extend to the four slopes covered with the thousand Buddha motifs (partly damaged). There is a niche with a flat entrance in the west wall housing a seated Buddha renovated in the Qing dynasty, and painted images of four bodhisattvas and eight disciples. A bodhisattva is painted on each side of the niche. The south side of the adobe platform on the north side of the niche has an inscription with the portraits and titles of the Yin Family members, Yin Ciqiong and Yin Ciwang. Inside the central frame on the south wall
Located in the middle section of the Southern Area of Mogao, this cave was constructed in the High Tang and renovated in the Middle Tang and Five Dynasties. The main chamber has a truncated pyramidal ceiling with a large lotus pattern in the ceiling center. Four illustrations of the Maitreya sutra, the Universal Gate of the Avalokitesvara sutra, the Amitabha sutra and the Usnisa Vijaya Dharani Sutra are respectively painted on the west, south, north and east slopes. The west niche has a grouping of seven -stucco figures renovated in the Qing dynasty. The stories start on the north wall, then continue on the east wall and end on the south wall. All represent the episodes in the Lotus Sutra. The corridor has a flat ceiling, on which part of the illustration of Defeating Mara has survived. Those paintings of the Five Dynasties on the south wall of the corridor are about the god of the sun in uncertain Esoteric Buddhist scriptures, and the others are all damaged. Part of the thousand
Located on the middle section of the Southern area of Mogao, constructed in the Early Tang and renovated in the Late Tang, this is a hall cave of medium size with a truncated pyramidal ceiling. The ceiling cener highlight a pattern of two coiled dragon and lotuses with draperies extending to the four slopes. There are asparas flying around the central design (sootiness), and the thousand Buddha motif on the four slopes are black due to sootiness.There west niche with a double-recessed entrance contains a seven-figure group of statues: a seated Buddha, two disciples, and four bodhisatvas (one lost). The walls in the inner niche are decorated with an aureole of flame motifs, halos, and on both sides are a disciple and an apsara. The top of the outer niche is a niche beam decorated with flames and lotuses, and there is an apsara on either side. The west wall in the niche contain a niche pillar and a pensive bodhisattva, while the north and south walls respectively show a bodhisattva.
The date of construction is not clear and it is supposed that this cave was constructed in the Early Tang period. This cave consists of the front chamber with a gabled ceiling, which partly survives, and the main chamber which is square in plan with a truncated pyramidal ceiling. The themes of the murals are mainly Buddhist historical stories. The painted statues were renovated in the Five Dynasties, Western Xia and the Qing dynasty. The ceiling center depicts a large medallion surrounded by the draperies which extend to the four slopes, and the four slopes are covered with the thousand Buddha motifs. There is a niche with a flat ceiing in the west wall, which contains a five-stucco grouping, all renovated in the Qing dynasty. The central figure in the niche is The Buddha seated with legs pendent, flanked by two disciples, two bodhisattvas who stand on a lotus throne. On the ceiling of the niche is a parasol with Bodhi trees and two apsaras. The wall is covered with the mountains
part of the south wall presents an illustration of the Amitabha sutra, in which the pavilions and platforms are separated by green water and the buildings are connected by various bridges. Amitabha is in the center, and on the platforms on both sides of Amitabha are groups of bodhisattvas respectively led by Avalokitesvara or Mahasthamaprapta. On the platform below the central Buddha are bodhisattvas, disciples, and music and dance scenes. In the pond there are different magic birds including Kalavinka.The lower part of the south wall depicts three Buddhist nuns and twenty-three female donor figures. The upper part of the north wall is occupied with an illustration of the Amitabha sutra (two pieces were taken away by Langdon Warner), which was divided into two sections from top down. The center of the upper section shows a preaching scene of Maitreya Bodhisattva in Tusita Heaven based on The Sutra of Maitreya's Rebirth up in the Heaven. The other parts show the three Assemblies
Located on the upper level of the Southern Area at Mogao, this cave was constructed in the Late Sui dynasty and renovated in the Five Dynasties and Qing dynasty. Its main chamber is a hall cave with a truncated pyramidal ceiling. The ceiling center features a pattern of lotuses and twisted vines, around it are draperies with triangular and pearled borders. The four slopes are covered with the thousand Buddha motifs. There is a double-recessed niche in the west wall, containing a seven-figure group: a central Buddha seated with legs pendent, two disciples (already lost) and four bodhisattvas (renovated in the Qing dynasty). On the top of the niche are 12 flying apsaras in different positions. On the wall behind the Buddha statue is a nimbus of flames and incarnated boys flanked by nine bodhisattvas on either side. Below them are images of Vasistha and Mrgasirsa. The outer niche has a lintel decorated with flames and lotuses, which is divided into the upper and lower level by pearled
, and 2. they are painted based on the Lotus Sutra and the Nirvana Sutra. This description accepts the first opinion. The west niche has a double-recessed entrance with a square bottom and an arch top, housing a seven-figure group: a seated Buddha, two disciples, four bodhisattvas. There upper of the two sides out of the niche is devoted to the Vimalakirti sutra illustration, the image of Vimalakirti on the south and that of Manjusri on the north. Below them are five disciples and four bodhisattvas. On the lower part of the west wall are pictures of the offerings and bodhisattvas painted in the Song dynasty. Both the south and north walls have a square shallow niche in the center housing the statues of a seated Buddha and two bodhisattvas. There are several marks of sovatthika (meaning auspicious) on the lower brim of the kasaya. Around the niche are thousand Buddha motifs. below the niche are bodhisattvas painted in the Song dynasty. There is a preaching scene on the space above the entrance
This cave, constructed in the High Tang and renovated in the Qing dynasty, has a truncated pyramidal ceiling and a niche in the west wall. The ceiling center of the main chamber is a design of a large medallion surrounded by different decorative borders, one after another, of the connected pearls, half medallion, scales, and draperies. The four slopes are covered with the thousand Buddha motifs. The west niche which has a flat ceiling contains a central Buddha made in the Tang dynasty, renovated in the Qing dynasty, two disciples reshaped in the Qing dynasty, and two bodhisattvas repainted in the Qing dynasty. Most of the ceiling of the niche is damaged. The north and south sides of the niche each depict a bodhisattva. There is a platform made of adobe on either side out of the niche, on which stands a bodhisattva of the Qing dynasty. The east wall is covered with an illustration of Vimalakirti sutra, which consists of three scenes in the form of the Chinese character "品". The space
Constructed in the High Tang period, this cave has a truncated pyramidal ceiling. The ceiling center features a medallion pattern composed of flowers and clouds and draperies. The draperies extend to the four slopes covered with the thousand Buddha motifs (partly damaged). A niche with a flat ceiling in the west wall contains a seven figure group made in the Tang dynasty and repainted in the Qing dynasty. The ceiling is decorated with a parasol and lotuses. Each of the north and south sides out of the niche depicts a Bodhisattva. The south wall is covered with a western pure land illustration, the middle and lower parts of it was damaged. The north wall is also covered with an Amitayus sutra illustration with two side scenes respectively for the Sixteen Meditation and the story between Bimbisara and Ajatasattu. The lower part is lost. Most of the east wall has collapsed, ony a few images of the thousand Buddha motifs have survived on the north side of the entrance.
Constructed in the Late Tang, this is a hall cave with a truncated pyramidal ceiling and has been badly damaged. There is a tent-like niche in the west wall, in which the original statues have been damaged. There is is a pattern composed of a crossed vajra and a medallion on the niche top. The west slope in the niche has a picture of three seated Buddhas (only two preserved) and an incarnated boy, the other four slopes each have a picture of three seated Buddhas. The west, north and south walls in the niche are divided into a upper section and a lower section. All the upper section exhibit a picture of three seated Buddhas, but on the west wall only two are preserved. The lower sections are all covered with screen paintings. The four screen paintings on the west show six disciples, while the six screen paintings on both the north and the south walls each has a bodhisattva. The brim of the niche is decorated with vines and pomegranate mofits. Below the niche is a votive text, flanked
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