Mogao Cave 217 (High Tang 705-781CE)

Mogao Cave 217 (High Tang 705-781CE)

This cave has a square layout, truncated pyramidal ceiling, and a niche with a wide opening. The murals in this cave, including those inside the niche, are very spectacular and represent the achievements of High Tang art.

The ink outline of a monk in the niche wall (P-F96) expresses his lively appearance. His eyebrows and eyelashes are painted sharply. His mouth is half-open as if he is about to say something. The shading with ink and colour is very realistic.

The colour of the Bodhisattvas on both sides outside the niche has oxidized but that does not seem to have had any impact on their beauty. On the south side is Avalokitesvara on the left.

Mahasthama (P-F95) whose attire and jewellery are elaborate. He wears multiple items of clothing and sashes, all with different patterns, demonstrating the light and thin texture of silk (some are even transparent). His jewellery is very detailed but does not appear excessive. The Bodhisattvas at this time exude a very noble demeanor. They have mustaches and are dressed in men’s attire, but look feminine and delicate.

In the central panel on the south wall is a preaching scene (P-F100). Rays of lights radiate from the Buddha’s urna (the white curl between his eyebrows) and usnisa (the fleshy protuberance on his head), and encircle his body three times, represented by three white circular lines. Some studies have concluded that this is the illustration of the Lotus Sutra. However, other studies suggest that it is of the Usnisa Vijaya Dharani Sutra which helps people purify all evil karma (deeds) and eradicate karmic obstruction.

Some scholars argue that on the east side of the central panel is the depiction of how Usnisa Vijaya Dharani sutra was introduced to China in the Tang. Starting horizontally from the top east corner, an Indian monk Buddhapala makes a pilgrimage to the sacred home of Manjusri, Mt. Wutai. He meets an old man (Manjusri’s manifestation) who tells him to return to India to get the sutra. On the second register, an Indian city is depicted. Then the monk on horseback is back in China, and (on the third register) offers the sutra to the emperor and receives 30 rolls of silk as a reward (3 rolls shown in this picture as symbolic of 30). The landscape of Mt. Wutai is gorgeous.

According to the Usnisa Vijaya Dharani sutra, one of the benefits of reciting the mantra in the sutra is to liberate the deceased from suffering by being reborn in the Pure Land. On the second register of the south side of the preaching scene, a person is sprinkling sand that was blessed with this mantra onto the deceased. This is the only example of such scene in Dunhuang and has never been seen in the depictions of Lotus sutra in other caves.

The depiction of the Pure Land in this cave is very spectacular and well organized. Pavilions, cloisters and a central hall are connected to form an architectural complex, (P-cave 217, High Tang, 五卷本P103), they are symmetrically arranged in three registers: on the middle one is the Buddha, with many flanking Bodhisattvas, preaching on a platform in the centre of the painting shown in a level view. On the upper register is, in a view from below, the complex architecture which is as huge as a palace or a big monastery (the grandest buildings in people’s minds) with flying celestials expressing the magnificent nature of Buddha’s world. The lower register depicts, in a bird’s-eye view, offerings and entertainment to express the joyfulness when people are reborn there. The panoramic scenes are complicated, without appearing disorderly. It is an astute design with uninhibited dynamism. (P-The Conjured City cave 217

On a vertical margin beside the Pure Land painting is Queen Vaidehi’s Meditation (P-F105) in which the details of the sixteen methods of visualization are depicted. Devotees practicing the methods would be reborn in the Amitayus’s Pure Land.

On the east wall is the Universal Gate Chapter of the Lotus Sutra, which describes the salvation of Avalokitesvara when the suffering beings are calling on him. The scenes (P-F-110) depict Guanyin appearing when the people are in peril and call on him.

Two dancers (P-F107) in this paradise are performing in a quick tempo. The flying sashes indicate their strong and quick movements.

In general, the cave is very special because of its painted images (Buddhas, Bodhisattvas and laities performing different activities), architecture, landscape and contemporary custom; and the colouring technique of the paintings. It provides valuable information for understanding the society of the High Tang.