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
Vinayaka, and the opposite west side show Lakşmī above a three-headed eight-armed guarding warrior and Elephant-headed Vinayaka. Each of the upper corner is filled with an apsara. The space above the entrance displays five seated Buddhas. On the north side of the entrance wall is a scene of Avalokitesvara offering treasures to the poor, and on the south side of the entrance is a scene of Avalokitesvara with a bottle in hand giving water to the hungry ghosts. There is no corridor and front-chamber.
The construction of this middle sized hall cave with a truncated pyramidal ceiling was prior to the tenth year of Xiantong in the Late Tang (869) and it was renovated in the Five Dynasties.There is an ink inscription on the east wall above the entrance, which reads: "Spondored by Monk Suoyi, a Buddhist official from the Jinguangming Temple." There are altogether 10 sutra illustrations in the main chamber. The south and north sides out of the west niches repectively depict the illustrations of Samantabhadra and Manjusri. The upper part of the south wall is filled with the illustrations of the Lotus sutra, the Amitayur-dhyana Sutra, and the Maitreya sutra from west to east. The upper part of the north wall is filled with the Garland Sutra, Sutra of the Medicine Buddha, Sutra on the Questions of Devas, and The north and south of the entrance in the east wall are respectively the illustration of Vimalakirti sutra and Panikarasuttau sutra. The spaces below the illustrations on the south
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
There are six apsaras on the niche beam, who are flying toward the central offerings. The north and south sides out of the niche are devoted to the Conception and the Great Departure respectively, both containing two bodhisattvas in the lower part. Beneath the niche are the offerings flanked by five bodhisattvas on either side.Each of the south and north walls are covered with a central preaching scene amid the thousand Buddha motifs. The south wall also depicts a row of female donors of the Early Tang (blurred) and the opposite north, a row of female donors of the Late Tang (blurred).The space above the entrance in the east wall is divided into the upper and lower sections. The upper is covered with the thousand Buddha motifs and there was a painting of seven Buddhas of the Early Tang in the lower part (destroyed when the corridor was renovated in the Late Tang). The corridor has a tent-like ceiling, which was rebuilt in the Late Tang. In the center is an illustration of the Medicine Buddha.
The hall cave was sponsored by the couple of Cao Yuanzhong, military governor of the Gui-yi-jun regime as their family temple in the tenth century, part of the murals were renovated in the Song dynasty. It is located at the lower level on the middle section of the Southern Area at Mogao and it is one of the largest caves at Mogao, consisting of a front chamber, a corridor and a main chamber. There is a two-stepped central altar in the center of the hall. It is called the hall of Manjusri in Dunhuang documents. The main chamber has a truncated pyramidal ceiling, and the ceiling center features a large parasol motif, in the center of the parasol are five lotuses, a entwining dragon and parrots. On the four slopes are preaching scenes surrounded by the thousand Buddha motifs. The four arch recesses in the four corners of the ceiling respectively depict the four great heavenly kings, namely, Dhrtarastra in the southeast recess, Virudhaka (mostly damaged) in southwest, Virupaksa
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
Constructed in the Early Tang and renovated in the Five Dynasties and Qing dynasty, this cave has a truncated pyramidal ceiling. In the ceiling center is a pattern of a large medallion composed of lotuses in the center, looking like a five-colored Dharma wheel, and it is surrounded by circles of various motifs such as the clouds, honeysuckles, flowers, triangles, and draperies.The four slopes each depict three apsaras flying around the center in a same direction. At the bottom are the thousand Buddha motifs. A niche is dug out of the west wall, containing a central seated Buddha flanked by two disciples and four bodhisattvas. All except the torso, costume and the diamond throne were renovated or painted in the Later Qing dynasty. On the two sides of the niche, the thousand Buddha motifs are painted in the upper and incarnated boys on lotuses are painted below. There is a desk with offerings on it and six bodhisattvas at the bottom of the west wall, most of which are blurred. The upper
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
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