Summary：The main chamber is square in plan with a central altar, and the front chamber is rectangular in plan. Both are connected by a long corridor. In the Maitreya sutra illustration in this cave, there is an inscription in ancient Tibetan and an image of a wedding ceremony of a Tibetan man with a Chinese woman, from which it can be determined that it was constructed in the period when Guazhou was occupied by the Tibetans and Shazhou was not yet, namely from the 11th year of Dali era (776) to the second year of Jianzhong (781). Part of the ceiling of the main chamber has collapsed, and the front chamber was renovated in the Five Dynasties. The original paintings are well preserved. On the east wall is a Mandala of Eight Bodhisattvas, on the south wall is an Amitayus sutra illustration, and on the north wall is a Maitreya sutra illustration. On both sides of the illustration are single images of Avalokitesvara, Mahasthamaprapdta and Kistigabha bodhisattvas. On the two sides of the entrance in the west wall are illustrations of Manjusri and Samantabhadra. In the front chamber, the south side and north side of the east wall respectively depict Vidudabha and Vaisravana, who protect the paradise of Buddhism....
Yulin Grottoes Cave 003
DYNASTY:：Western Xia Regime(A.D.1038-1227)
Summary：This cave was constructed in the later period when Guazhou was ruled by the Western Xia. With the diversified contents and art of both exotic and esoteric Buddhism, supported respectively by Chinese and the Tibetans, it is a most representative cave with the most matured and unique art. The cave is rectangular in plan with a dome ceiling. In the central back is an octangular altar with three steps on which stand a few statues of the Qing dynasty. The lower parts of the four walls are platforms of double steps built in the Qing dynasty, on which stand the statues of eighteen arhats. The ceiling is covered with a Mandala: in the center are five Buddhas of five directions. The middle part of the east wall is used for depicting Buddha's life stories, and on the two sides are a mandala of fifty-one headed thousand-armed and thousand-eyed Avalokitesvara of exotic Buddhism, a garbhadhatu-mandala of the esoteric Buddhism, and an illustration of the Sutra on Deva's Questions of exotic Buddhism. On the south wall, starting from the east, are a mandala, the Amitayus sutra illustration and a mandala. The north wall is in the same composition: a mandala, a pure land illustration and a mandala. 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 north and south walls of the corridor are occupied by donor figures....
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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.