is a preaching scene, in which Mt. Sumeru is painted in the upper with eight temple halls stand on it. The two sides and below the preaching scene are covered with more than 30 scenes of figures and buildings in the landscape context, and each scene has one or several cartouches with unidentified words. The middle part below the preaching scene is a cartouche with some words identified. The lower parts show severe flaking and loss of paint. There is an alien-styled figure on the lower right side. Opinions about the contents of the murals differ: some consider it was executed according to the Lotus Sutra, while some think it is based on the Usnisa Vijaya Dharani Sutra. We accept that the content is according to the USnisa Vijaya Dharani Sutra. The whole north wall is covered with the Amitayus sutra illustration, which consists of three parts: the pure land of Amitabha in the center, the story between Binbisara and Ajatsatru on the west side and the Sixteen Meditations on the east side. The whole
Constructed in the Yuan dynasty (A.D.1279-1368), this is a small hall cave with a truncated pyramidal ceiling whose center in bas relief is a design of four painted dragons (the central part is damaged) . The four slopes are covered with connected fountain patterns (those on the east slope are partially lost and those on the north and south slopes are blurred); and the west niche contains an eight-armed Avalokitesvara of the Qing dynasty. In the center of the south wall is a standing eleven-headed thousand-armed and thousand-eyed Avalokitesvara. Each of the upper corners is filled with an apsara. The east side of the central Avalokitesvara has an image of Indra above a seated deva and the opposite west side has a seated deva above Brahma. In the center of the north wall is a standing eleven-headed thousand-armed and thousand-eyed Avalokitesvara. The east side of the central image depicts Vasistha above the images of a three-headed and six-armed guarding warrior and pig-headed
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
era (851). There is a painting of two trees of the Late Tang on the north wall. Under the tree on the west side is an standing upasika (holding a scepter and towel). A cloth bag is hung on the tree. Under the tree on the east side is a Buddhsit nun (bhiskuni, holding a silk fan), and a water kettle is hang on the tree. There are no wall paintings on the south and east walls, no corridor and no front chamber.
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.
in the northwest, and Vaisravana in the northeast recess. On the south, north, and east walls are eleven sutra illustration altogether and below these illustrations are Buddha's life stories and donor figures. The whole west wall is covered with a large-sized map of Mt Wutai (13 meters long and 3.6 meters high). On the upper part of each sidewall are five sutra illustrations, below them are thirty-three screen paintings illustrating Buddha's life stories. There are also tens of donor figures of the Cao family and inscriptions preserved on the east, north and south walls. The statues on the central altar are completely destroyed, only the traces of the paws of a lion can be seen on the back screen on which traces of some images are visible. On the upper part of the east wall is a Vimalakirti sutra illustration and below are donor figures. On the ceiling of the corridor is a six-fold medallion pattern with draperies on the two slopes. On the south and north walls of the corridor are images
in bas relief (renovated in the Qing dynasty) which is connected with the landscape in the murals on the south and north sides out of the niche. Above the niche are Buddhas and clouds. A Buddha seated in meditation was painted below the niche in the Western Xia. Underliying this layer are remains of murals of the Early Tang and the Five dynasties.The upper section of the south wall is decorated with the Thousand-Buddha motif, and the middle section is covered with three stories of Buddhist history from the west side to the east side, 1. Two Stone Buddha's floating on the River in the Western Jin Dynasty, 2. a Golden Image Appearing from the River in Yangzhou in the Eastern Jin Dynasty, and 3. Emperor Yang of the Sui Dynasty Welcoming Master Tanyan. The lower section has images of seven Bodhisattvas. The upper part of the north wall is covered with the Thousand Buddha motif, and on the middle part are five stories of Buddhist history from west to east: 1. Emperor Wu of the Western Han
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
the railings of heavenly palaces and fifteen seated Buddhas on the upper, a central preacing scene in which the Buddha wears a crown with a manifested Buddha image, and eight dhyana Buddhas on either side, and lower with 47 donors of the Sui dynasty and 28 male donors of the Five Dynasties. The top part of the east wall contains 17 preaching scenes each wtih one Buddha flanked by two bodhisattvas. Above the entrance is a picture of seven Buddhas, painted in the Sui dynasty. On each side of the entrance are eight dhyana Buddhas above the entrance are oxen, horse-drawn chariots and several Five Dynasty male donors. There are 116 preaching scenes altogether in this cave, in each the central seated Buddha holds different mudras and has different bodhi trees and canopies. This cave has the largest number of preaching scenes at Mogao. On the top of the corridor is a picture of Ksitigabha and the Ten Kings painted in the Five Dynasties. There is an inscription with the words "Monk Daoming." The north
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