dunhuang cave paintings

ICP License Number: 10100088 (GanSu) . Due to the collapse of the east wall, only a tiny part of the gable ceiling is preserved today. Learn more about our vision, events, locations & programs. The drapery around the center extends to the four slopes. And those on the east slope include episodes of feeding the tiger and building a pagoda. There is a platform on which stands guardian warriors on both the north and south sides alongside the niche. Above the water are platforms and two side corridors, the pavillion with an east Asian hip and gable roof consists of two storeys, three jian in depth and three jian in width. On the ceiling of the niche are apsaras. They may be old hemp paper scrolls in Chinese and many other languages, Tibetan pothis, and paintings on hemp, silk or paper. The south wall is occupied by the Amitayus sutra illustration, and the north wall by the Medicine Buddha illustration. The decorative borders of twisted vines connect the the four walls with the four slopes. Part of the paintings was renovated in the Later Tang and the Five Dyansties, and the statues were renovated in the Qing dynasty. On the upper part of the east wall is a Vimalakirti sutra illustration and below are donor figures. This cave had been abandoned for a thousand years. Many early figures in the murals in Dunhuang also used painting techniques originated from India where shading was applied to achieve a three-dimensional or chiaroscuro effect. An illustration of Sakyamuni's temptation by Mara. The subject matter of the great majority of the scrolls is Buddhist in nature, but it also covers a diverse material. 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. Most are sutra paintings, images of Buddha, and narrative paintings. [41] Efforts are now underway to reconstitute the Library Cave manuscripts digitally, and they are now available as part of International Dunhuang Project. He had discovered, by accident, the world’s oldest paper archive. Below are celestial musicians, six apsaras, and draperies. The main chamber is square in plan and has a truncated pyramidal ceiling. On the north side of the entrance is an attendant bodhisattva and a yaksha, on the north side, a preaching scene of the Maiatreya sutra and a row of donors in the lower part (alreadly obscured). [25][27][28] In 1939 Kuomintang soldiers stationed at Dunhuang caused some damage to the murals and statues at the site. Sumeru is painted in the upper with eight temple halls stand on it. Pelliot was interested in the more unusual and exotic of the Dunhuang manuscripts, such as those dealing with the administration and financing of the monastery and associated lay men's groups. A niche is dug out in each of the four sides of the throne. The iconography of Tantric Buddhism, such as the eleven-headed or thousand-armed Avalokitesvara, also started to appear in Mogao wall paintings during the Tang period. 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. The murals are valued for the scale and richness of content as well as their artistry. The lower section also contain four cells, just like those in the south wall. He walked through the doorway and entered a small cave filled from floor to ceiling with scrolls and paintings. 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. The arch niche in the north side contains statues of one Buddha and one disciple, and on each side out of the niche are a bodhisattva statue (only the one on the south side survived), all renovated in the Qing dynasty. On the lower register are guardian warriors. Many of the images have colour added by hand to the printed outline. Originally it was a cave with a central pillar, a gabled ceiling in the front and a flat ceiling in the back. 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. The giant statues however have a stone core. 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). On the north wall is a Later Tang heavenly king.... Summary：Located on the middle section of the Southern Area at Mogao, this cave was constructed in the High Tang and renovated in the Middle Tang, Song and Yuan dynasties. The whole west wall is covered with a large-sized map of Mt Wutai (13 meters long and 3.6 meters high). The corridor was repainted in the Western Xia. On the walls of the niche are eight disciples and two bodhisattvas in gorgeous costumes. However, the density and discolor of these paintings on the four slopes make it very hard to decipher, therefore, opinions about the contents of the four slopes differ. Heaped up in layers, but without any order, there appeared in the dim light of the priest's little lamp a solid mass of manuscript bundles rising to a height of nearly ten feet, and filling, as subsequent measurement showed, close on 500 cubic feet. The space above the entrance in the east wall contains ten celestial musicians, railings, and draperies. 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 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. Summary：This cave was constructed in the later period when Guazhou was ruled by the Western Xia. The north wall was completely occupied by the Amitabha sutra illustration. The two upper niches on the south and north sides are shaped like the Han Chinese city gates with a bodhisattva statue inside, while the other niches contain a dhyana Buddha statue flanked by two bodhisattva statues out of the niches.On the north and south walls below the gabled ceiling are large-sized preaching scenes, most of which are damaged. Kyoto: Hozokan. Five Dynasties, mid-10th century. This sutra is mainly about the belief in Ksitigabha bodhisattva and it consists of four parts respectively on Ksitigabha, on the Ten Wheels, on the Period of Termination, and on the Six Perfections. On the lower part of the west wall are pictures of the offerings and bodhisattvas painted in the Song dynasty. The illustrations of the Vimalakirti and Manjusri are respectively rendered on the two sides out of the niche. The main chamber has a truncated pyramidal ceiling with a large lotus pattern in the ceiling center. 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. 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 upper one contains a Mani Pearl with flames, and the lower one has a seated bodhisattva. 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. The Queen Mother of the West on the south slope wears a high chignon and loose-bodied robe. The west niche contains a seated Buddha with legs pendent and preaching. The upper section are occupied by seven preaching scenes, each containing a votive text and donor figures at the bottom. A common motif in many caves is the areas entirely covered by rows of small seated Buddha figures, after which this and other "Thousand Buddhas Caves" are named. Two further restorations were carried out in the 20th century, and the building is now a 9-storey structure.[44]. The lower sections are all covered with screen paintings. Flying apsaras, or celestial beings may be depicted in the ceiling or above the Buddhas, and figures of donors may be shown along the bottom of the walls. 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 folds were made by sticking on strips of mud and inscribing natural and smooth lines. 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 in the northwest, and Vaisravana in the northeast recess. Compared with the Early Tang sutra illustrations, the combination of the figures, the layout of the buildings, and the treatment of the perspectives displayed greater artistic refinement, especially the perspective. On both sides of the entrance and the window are thousand Buddha motifs. The south side of the west wall depicts the illustration of Samantabhadra while the opposite part shows an illustration of Manjusri (blurred). 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.... Summary：This is a hall cave with a truncated pyramidal ceiling constructed in the High Tang period. [17] From the 4th until the 14th century, caves were constructed by monks to serve as shrines with funds from donors. We accept that the content is according to the USnisa Vijaya Dharani Sutra. The west, north and south walls in the niche are divided into a upper section and a lower section. A bodhisattva is painted on each side of the niche. It is one of the representative cave of the Tang dynasty. On the junction of the south wall and the ground are nine bhiksus and male donors of the Song dynasty, beneath are traces of the Sui dynasty paintings. There is an inscription with the words "Monk Daoming." At the bottom of the base are donors of the Song dynasty (obscured). The routes divided into northern, southern and central branches around the Tarim Basin at Dunhuang. The north and south sides of the entrance wall respectively depict a preaching scene in the upper part and female and male donor figures in the middle. The two giant statues represent Maitreya Buddha. This shading technique is unique to Dunhuang in East Asia at this period as such shading on human faces was generally not done in Chinese paintings until much later when there were influences from European paintings. Behind the statue on the wall is a nimbus consisting of a circle of manifested Buddha images, and a Buddha inside flames. 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. On both of the north and south walls of the corridor are covered with the Buddhas in meditation, only two has survived on each side walls.... Summary：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. The space above the entrance in the east wall illustrates the contents of the Chapter of Buddhist Paradise, the south side deals with the Vimakakirti sutra illustration and the Chapter on the Expediency, and the north side with the scene of Manjusri and the kings, princes and ministers from various peoples and kingdoms. Some of the caves used for meditation are adaptations of the Indian vihara (monastery) cave plan and contain side-chambers just large enough for one person to sit in. He travels to Swarnabhoomi or Sri Lanka and marries beautiful Shivali. There is a arch niche in each side of the central pillar. Rong (2000) provide evidence to support 1002 as the date for sealing the cave,[38] while Huntington (1986) supported a closing around the early to mid-thirteen century. [58], The textiles found in the Library Cave include silk banners, altar hangings, wrappings for manuscripts, and monks' apparel (kāṣāya). On the space above the entrance in the west wall is a Vimalakirti sutra illustration, and the both sides of the entrance are respectively used for the illustrations of Manjusri and Samantabhadra. The south wall in the front chamber has traces of Late Tang paintings (blurred), below them are five male donors (obscured). Below them are 10 female donor figures. Chinese Buddhist cave shrines Mogao caves at Dunhuang The paintings and manuscripts from cave 17 at Mogao (1 of 2) The paintings and manuscripts from cave 17 at Mogao (2 of 2) Figure of a seated court lady Attributed to Zhou Fang, Ladies Wearing Flowers in Their Hair Admonitions Scroll, attributed to Gu Kaizhi Liao dynasty (907 C.E.–1125 C.E.) The south wall depicts the Lotus sutra illustration, also with two side scenes illustrating the Fables of the Magic City, and the lower part is lost. 1. The front chamber of this cave collapsed completely and the east and north slopes of the ceilings are also partly damaged. Fo Tucheng\'s miraculous events; 4. Both are connected by a long corridor. Cave 409, Western Xia. The west side of the south wall is covered with the illustration of the Amitabh sutra and the east side with the illustration of the Maitreya sutra (both incomplete). On the ceiling of the corridor is a six-fold medallion pattern with draperies on the two slopes. The south side of the entrance contains a standing Buddha and two bodhisattva in the center and a row of male donors of the Five Dynasties below (obscured). This cave has the largest number of preaching scenes at Mogao. On the middle register inside and out side of the west niche are apsaras, attendent bodhisattvas, Vasistha and Mrgasirsa; The two side walls each have a preaching scene in the center with rows of donor figures surrounded by the thousand Buddha motifs. [18] The site escaped the persecution of Buddhists ordered by Emperor Wuzong in 845 as it was then under Tibetan control. ... stone paintings and scriptures left from various dynasties. Below them are five disciples and four bodhisattvas. 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. On the upper part of the entrance are respectively an illustration of the Cintamani-cakra and of the Amogha-pasa, and the middle parts are filled with scenes of four dragons paying respect to the Buddha.... Summary：Constructed in the Early Sui and Five Dynasties, renovated in the Qing dynasty, this cave consits of the front chamber, corridor and main chamber. In the next few years, Wang took some manuscripts to show to various officials who expressed varying level of interest, but in 1904 Wang re-sealed the cave following an order by the governor of Gansu concerned about the cost of transporting these documents. The north of the entrance with the picture of the Song dynasty male donor figures is numbered as cave 287 .... DYNASTY:：Northern Zhou Dynasty(A.D.557-581). It is unclear whether such people owned their own blocks, or visited a monastery to have the images printed. The pond where Sakyamuni washed his kasaya and the stone he dried his Kasaya; 3. Other caves may have been funded by merchants, military officers, and other local people such as women's groups. The beam is decorated with painted laternendecke motifs.

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