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This cave was constructed in the Tang dynasty and its corridor was renovated in the Song dynasty. It has a truncated pyramidal ceiling and a west niche. The ceiling of the main chamber features a medallion pattern formed by four cloud motifs and the draperies extend to the four slopes which are covered with the thousand Buddha motifs with a seated Buddha in the center. The tent-like ceiling of the west niche contains a five figure group: one Buddha, two bodhisattvas and two disciples. The U shaped altar has six small frames decorated with musicians. The center of the niche ceiling highlights a painted medallion. The west slope is decorated with draperies on the upper and two screen paintings below, which illustrate Buddha's life stories including the bathing scene of the prince by nine dragons. The north slope shows the same design as the south one, but the screen paintings illustrate the Three Assembly of Maitreya, namely the Maitreya sutra illustration. The edge of the niche
Constructed in the High Tang and renovated in the Late Tang and Western Xia, this cave has a truncated pyramidal ceiling. Most of the main chamber has collapsed. Now there is only a part of the west slope of the ceiling with a half medallion motif and a part of the north slope of the ceiling with a head of a bhiksu survived. The tent-like niche in the west wall contains a group of stucco figures of the High Tang period: a seated Buddha, two disciples, two bodhisattvas, and two heavenly kings. There is a platform on which stands guardian warriors on both the north and south sides alongside the niche. There is an illustration of the Vimalakirti sutra on the south wall (most of it is damaged). Below the sutra illustration are sixteen donor figures of the Western Xia. The north wall is covered with an Amitayus sutra illustration (the upper part is lost) with two side scenes for the Sixteen Meditations and the story between Bimbisara and Ajatasattu. Below it are six female donors and five
Located on the middle section of the Southern Area at Mogao and constructed in the Early Tang dynasty (renovated in the Middle Tang, Later Tang, Five Dynasties, Song and Qing dynasties), this cave has a truncated pyramidal ceiling and a niche in the west wall. It is one of the representative Tang dynasty caves. It was perhaps in the Song or Western Xia period that the paintings in this cave were all covered with the thousand Buddha motifs. In 1944, the Dunhuang Art Research Institute removed the upper layer murals on the four walls, revealing the original Early Tang paintings. The west niche contains a central Buddha flanked by two disciples and two bodhisattvas (renovated in the Qing dynasty). The donor figures of the Early Tang below the niche are vague. The illustrations of the Vimalakirti and Manjusri are respectively rendered on the two sides out of the niche. The south wall is occupied by the Amitayus sutra illustration, and the north wall by the Medicine Buddha illustration.
Constructed in the late Northern Wei and the early Western Wei, this single-chambered cave is square in plan with a truncated pyrmidal ceiling. The ceiling center features a combination motif of an inverted lotus, flames, honeysuckles and lotuses. The four slopes are devoted to the paintings of "the heaven and earth with various images." The upper part depicts a world where Buddhism coexists with Taoism. In the center of the west slope is four-armed four-eyed Asura guarded by two dragons standing in the sea and holding the sun and the moon in his hands. Behind him are Mt.Sumeru and the Tusita Heaven. On both sides of Mt. Sumeru are gods of the Thunder, the Lightning, Wind and Rain who created a scene of thunder and lighting, in addition to the Scarlet Bird, Wuhuo, Garuda and apsaras. In the upper center of the east slope is a Mani Pearl held high by two guardian warriors and flanked by apsaras. The Scarlet Bird and the peacock fly towards each other. The image of King Father
The niche beam shaped like a dragon is supported by two pillars wrapped in painted silk. Most molded figurines on the two sides or above the niche have been damaged, only a few are preserved. The other three sides each have two niches, one above the other. The upper niches shaped like the Chinese traditional gateway on the south and north sides each contain a cross-legged Maitreya bodhisattva, while the lower arch niches contain a dhyana Buddha. The upper niche shaped in the form of two spreading trees and the lower arch niche in the west side each contain a dhyana Buddha flanked by two attendant bodhisattvas out of the niche. There are molded figurines on the two sides and above the upper niche, which are blackened by sootiness. On the four sides of the central pillar below the niches are images of yakshas.A niche with the Chinese styled gateway is dug out of the side walls under the gabled ceiling and contains a cross-legged Maitreya bodhisattva. And four arch niches are made in each
and hands have been damaged) and wearing a kasaya with the right shoulder exposed. The folds were made by sticking on strips of mud and inscribing natural and smooth lines. The exterior of the niche is divided into an upper level and a lower level, which are respectively covered with ten attendant bodhisattvas. On the top of the niche are four apsaras and Buddha's halos. The niche lintel is decorated with reborn children on lotuses and a dragon head on each end. There was a heavenly king alongside each side of the niche. Now there is only one left. This is the only painted statue of lokapala of the Northern Dynasties at Mogao. Above the niche are molded statues stuck to the surface, and below, along the edge of the niche are donors of the Northern Wei (obscured). At the bottom of the base are donors of the Song dynasty (obscured). There other three sides each have a upper niche and a lower niche. The two upper niches on the south and north sides are shaped like the Han Chinese city gates
and hunting scenes are painted. There is a big niche in the west wall which has two small side cells. The west niche contains a seated Buddha with legs pendent and preaching. The side cells in the niche each have a meditation monk with a cowl. The upper part of the space out of the niche is occupied with various images of all kinds of devas and heretic figures, such as the gods of the Sun and the Moon, the gods of the stars, Visnu, Mahesvara, Kumara, Vinayaka, and worshipping bodhisattvas, below them are four heavenly kings and Vasistha. The brim of the niche at the bottom is decorated with the honeysuckle motifs. The North wall consists of the upper, middle and lower parts. The upper part is devoted to eleven musician apsaras holding different music instruments. The middle part is covered with the narrative story of five hundred robbers, which ends with the scene of Sakyamuni and Prabhutaratna sitting side by side. The lower part contains four cells. The spaces between the cells on the side
of Kashi's hunting (east side). Below them are six celetial musicians and apsaras. The figures in the story paintings wore Chinese style attire, and the painting style inherited the tradition of the Central Plains. An arch niche is dug out of the west wall housing a statue of seated Buddha with legs pendent. Behind the statue on the wall is a nimbus consisting of a circle of manifested Buddha images, and a Buddha inside flames. Each of the upper side behind the Buddha are two apsaras holding music instruments and the lower side with two precious pearls. On the niche lintel in bas-relief are colorful flames and incarnated boys. The niche pillars are decorated with lotuses with a dragon's head on the top. On both north and south sides out of the niche are two bodhisattvas and two statues of bodhisattvas, only the lotus thrones are preserved today. Below the niche are lotus patterns.The south wall in the main chamber contains a preaching scene in the center surrounded by the thousand Buddha
Constructed in the Sui dynasty and Renovated in the Five Dynasties, this cave consists of a main chamber, a corridor and a front chamber. The main chamber has a gabled ceiling in the front and a central pillar connecting the ground with the flat ceiling in the back. On the two slopes of the gabled ceiling are jataka tales painted in two horizontal bands, and on the flat ceiling are pictures of the Sui dynasty preaching scenes and painted laternendecke motifs. The central pillar is shaped like Mt. Sumeru formed by a seven-stepped inverted pagoda on the upper and a two-stepped square base on the ground. There is a arch niche in each side of the central pillar. The east one contains the statues of a Buddha and two disciples (the one on the north side is lost) and two bodhisattva statues flanking the entrance (the one on the north side is preserved, though damaged partly). The niche has a painted lintel in bas-relief with a dragon-headed beam and pillars decorated with lotus motifs.
is shaped like Mt. Sumeru: it consists of the upper part of an inverted round seven-storeyed pagoda and a two stepped square throne on the ground. The upper six storeys are decorated with the small molded Buddhas and lowest storey contains a lotus with four dragons around the lotus stem. A niche is dug out in each of the four sides of the throne. The arch niche in the east side contains the statues of one Buddha and two disciples made in the Qing dynasty. On each side out of the niche is a bodhisattva statue renovated in the Qing dynasty. below the niche are images of bhiksus, bhiksunis, male and female donors. The arch niche in the south side contains a Buddha statue and a disciple, made in the Qing dynasty. On the wall inside the niche are two incarnated children, and on each side out of the niche is a statue of a bodhisattva, renovated in the Qing dynasty. Below the niche are male and female donor figure and yakshas, painted in the Sui dynasty. The arch niche in the north side contains
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