Summary：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 of the East on the upper part of the north slope is partly damaged, but his four-dragon-drawn chariot is still visible. The Queen Mother of the West on the south slope wears a high chignon and loose-bodied robe. She sits on a three-phoenix-drawn chariot sheltered by a parasol. A large arch niche in the west wall contains a central Buddha and two bodhisattvas. The heads have been renovated. The central Buddha sits with legs pendent, wears Sankaksika, cross-collared Chinese robe and an outer red Kasaya, open in the front, which has a knot at the chest. The left hand was renovated in later times. On the west end of the side walls, two bodhisattvas stand symmetrically on a lotus throne with necklaces. They slantly wear a long skirt. The four walls are divided into three registers. The top registers of the four walls form a circle of heavenly musicians. 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. On the lower register are guardian warriors. The front chamber of this cave collapsed completely and the east and north slopes of the ceilings are also partly damaged. The remaining parts are basically intact....
Mogao Grottoes Cave 285
DYNASTY:：Western Wei Dynasty(A.D.535-556)
Summary：This cave was constructed during the Datong era in the Western Wei (according to the inscriptions on the north wall which has the dates of the fourth year and fifth year of the Datong era of the Western Wei, (538-548) and it is the dated earliest cave among the Dunhuang caves.The main chamber is square in plan and has a truncated pyramidal ceiling. A square altar was made in the center in the Yuan dynasty, and there are four symmetircal cells on each side walls. Inside or at the entrance of some cells are the remnants of the pagoda of the Yuan dynasty. The ceiling center highlights a parasol design, while the four slopes are covered with the images from Chinese mythology such as the traditional Chinese gods, and protectors of Buddhist laws, Mani Pearl, Guardian warriors, apsaras, god of Thunder, auspicious beasts, Fuxi and Nüwa, and etc. The bottom circle of the four slopes contains thirty-six monks in meditation in huts or in the mountain forests where all kinds of animals 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 walls depict karma stories about Bhadrika and his sister, the salvation of a bad ox, a young samanera committing suicide in order to obey Buddhist precepts, and a Brahman sacrificing his body so as to hear the preaching. These all are neither represented in a long strip with successive scenes or in a single picture. Below the story paintings are guardian warriors. The north wall consists of the upper and lower sections. The upper section are occupied by seven preaching scenes, each containing a votive text and donor figures at the bottom. The second and the seventh counting from the west each has an inscription in which the date can be identified. The lower section also contain four cells, just like those in the south wall. Three seated Buddha are painted on the space above the entrance in the east wall. On both the south and north sides of the entrance is a preaching scene in large size. The top layer of the ceiling of the corridor show traces of the bodhisattva in diamond position painted in the Middle Tang dynasty. The south wall has a illustration of Amoghapasa and the north has an illustration of Cintamani-cakra, both date to the Middle Tang period. The front chamber is a rectangle in plan, and the ceiling is a slope with traces of the Song dynasty murals. The west wall in the front chamber has a small cell above the entrance (numbered as cave 286). The south side of the entrance has some traces of the Song dyansty donor figures and below them the Middle Tang paintings can be seen. The north of the entrance with the picture of the Song dynasty male donor figures is numbered as cave 287 ....
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Dunhuang Grottoes is not only a brilliant art treasure of ancient Chinese civilization, but also an important witness to the dialogue and communication between different civilizations that had taken place on the ancient Silk Road. Guided by cultural relics protection philosophy, this Digital Dunhuang Project is pursuing overall digitization, including collection, processing and storage of the Dunhuang Grottoes and related cultural relics by using advanced science and technology. It integrates all kinds of data including the photos,videos,3D data and other literature data into a digital repository of cave cultural relics which is diversified and intellectual, and can be co-shared globally through Internet. A support system will also be constructed for digital asset management system and digital resource science.
The "Digital Dunhuang" project is of demonstration significance in this century, and it has a long way to go. On the basis of extant achievements, we will continue to innovate and cooperate with others to make unremitting efforts for the permanent preservation and sustainable use of Dunhuang's cultural heritage.