- Introduction - The History & Functions of the Mogao Caves - The Founding & Development of the Mogao Caves - Cave Design & Decoration - Basic Design - Statuary - Mural Motifs - Apsara - Musicians - Thousand Buddhas - Vajra Warriors - Donors - Decorative Designs - Auspicious Symbols - A Glossary of Prominent Mural References - Cultural Synthesis & Development - Periodization of the Caves There are many variations in the architecture, statuary and murals of the 492 caves built over a thousand-year period. Here will be offered an introduction to the basic themes present in a majority of caves. Basic Design The most basic cave design is that of a rectangular room. Meditation caves, called chanku, have two small meditation rooms either side of a main hall. A later development was the incorporation of a four-sided column in the center of the main hall, whose purpose was to create a circumambulatory path for worshippers around the cave. Overhead, until midway through the sixth century, the cave roof's cross-sectional shape was usually that of the top of an inverted U, also known as an "inverted dipper" ceiling. Later, a tiered canopy structure, modeled on an Imperial umbrella, was developed. While the most basic cave has one altar in its western wall, one with a central column might have one to four altars installed in the wide faces of this central column. Inside the altars, and also in wall niches, are placed painted stucco statues. Colorful murals cover every inch of the surrounding cave walls, the notion of plenitude being fundamental to many of the various painted themes. The floors are often covered with kiln-fired, lotus-patterned tiles. The ceiling usually bears a chessboard or caisson pattern (See "Decorative Designs" in a later section). Of the four walls, the most important is the western wall, opposite the easterly entrance for prominent viewing. The cave's main theme is painted in its center. Common arrangements for this central image include single-theme paintings, group paintings, a comic-strip sequence of small tableau, gigantic sutra illustrations and screen paintings (where the wall is divided into usually six painted parts in the style of a screen.) Depending on decorative fashions and on whether the image's purpose was to portray an individual, landscape, deity or story, various formats could be chosen for allocating wall space around the main image. Back To Top Statuary Murals form the main component of Dunhuang's art. This is a suitable juncture to introduce the common layout and subjects of the painted stucco statues. The first caves featured the Buddha (enlightened one), either as Maitreya (Buddha of the future) or as Sakyamuni (the historical Buddha, Prince Siddartha Gautama) with attendant Bodhisattvas either side. More often than not the Buddha is shown in a meditative posture - a reference to the original purpose of cave shrines. In the Northern Wei dynasty (439-534), two disciples were added to this arrangement: Ananda (Sakyamuni's youthful cousin, known for his intelligence) and Kasyapa (a stern disciple famous for his strict devotion). This enlarged the group to five. From the Tang dynasty (618-907), seven to ten statues were customarily grouped around the Buddha in hierarchical order. Outside the disciples and Bodhisattvas would appear Lokapalas (guardian warriors), Vajra warriors (protectors of the Buddhist law) and kneeling attendants. These would be reinforced by paintings on the back wall behind the statues. For example, behind statues of the two disciples Ananda and Kasyapa might be painted eight eminent monks bringing the total number to the ten chief disciples of Buddha. The three most famous stucco statues at the Mogao Caves are the early Tang dynasty (618-781) Northern and Southern Buddhas, 33 meters (approx. 100 feet) and 26 meters (approx. 80 feet) tall, and the massive 16 meter wide (50 foot) Sleeping Buddha. Since the Northern Buddha has been the subject of many renovations, the first dating to the tenth century, the Southern Buddha is usually accorded greater attention. Back To Top Mural Motifs Apsara Derived from Hindu mythology, an apsara is a celestial courtesan. In India, they were originally portrayed as nude, haloed female musicians, riding in clouds and showering flower petals. When this mythological character traveled from India to the more conservative cultural climate of Confucianist China, its bold presentation was toned down. The apsara of the Mogao caves do not travel on clouds, nor are they painted with a halo. Similarly, the potent sexuality of the Indian figure has been muted; only the upper torso of the Dunhuang apsara is naked, and this is partly obscured by the innovation of a long Persian scarf that floats around the flying angel. Often these mythological beings are used to decorate wide borders along the upper parts of walls, commonly at divisions between the top of the wall and the ceiling or within the ceiling design itself. For the pictoral development of apsara, please consult the Apsara Photogallery. Back To Top Musicians There are three different types of music portrayed at the Mogao Caves, that of the Chinese heartland, that of the western regions (the present day western provinces of Gansu, Ningxia and Xinjiang) and lastly "celestial music", originally taken from the land of the Buddha, used for liturgical and meditative purposes. The pre-Tang dynasty caves stress the importance of liturgical music by often featuring its musicians in the upper parts of the walls, a positioning akin to the apsara. Back To Top Thousand Buddhas One of the alternative names for the Mogao Caves is the "Thousand Buddha Caves". This number should not be taken literally. Firstly, it refers to the density of the caves' innumerable Buddha images and statues. Secondly, thousand buddhas or qianfo is also used to refer to the miniature Buddha figures painted in a pattern on many walls. A stereotype is grouped with four or five differently colored copies and this grouping is repeated across the wall to create a myriad concentration of Buddha images. The intensity of this repetition is designed to fuel the religious mysticism surrounding the "realm of the Buddha". Back To Top Vajra Warriors These are the ferocious-looking guardians of dharma (Buddhist law) that customarily appear on the lower parts of many cave walls. They are powerfully built, often painted with upraised arms or performing martial exercises. During the Tang dynasty in particular their physique and musculature were exaggerated for aesthetic effect. Back To Top Donors Donors are customarily identified with text labels by their images. Indian cave shrines do not contain pictures of donors. In the earliest Chinese caves of the fourth century, donors are featured. They are presented as a class of individual rather than as individuals themselves. There is minimal characterization distinguishing between hundreds of named portraits featured as addendum on the lower parts of the walls. Donors were proud merely to be included in the murals as venerators of Buddhism. By the Tang dynasty (618-907), the portrayal of donors had changed significantly. They are shown in larger than life portraits on either side of the corridor leading to the cave, as well as on the eastern wall directly opposite the main western one, even pictured greeting the Buddhist deities facing them. Indeed, cave 98 has 169 portraits of the distinguished, local Cao family and cave 220, known as the "Zhai Family Cave", has ten generations of the Zhai family. What had begun as the extension of a pre-established Confucianist ethic of ancestor worship had evolved to fulfill the role of clan hall. The Mogao Caves prime role as Buddhist shrine had been supplemented with a secondary one as a clan hall. It was not just in size and number that the presentation of donors differed. Whereas the depiction of the deities was bound by age-old conventions, the painting of laity evolved according to the dictates of fashion. For example, the dress of the deities remains invariably Indian throughout the caves whereas that of the donors varies. Similarly, the Tang dynasty penchant for expansive waistlines is reflected in the well-nourished triple chins of the donors of this period. The inviolability of convention in painting deities carries through to coloring techniques. The original Indian-inspired three-dimensional perspective technique is employed throughout the centuries for the depiction of deities whereas new coloring refinements are constantly introduced for images of the laity (See Painting Technique). Back To Top Decorative Designs Towards the early Tang period (618-781), an important innovation in cave design occurred; this was the shift in ceiling design from that of the top of an inverted U (also known as an "inverted dipper") towards a canopy design, modeled on the Emperor's umbrella. This innovation in its wake resulted in further evolutions in cave design. The first was the introduction of the caisson into the square of the canopy ceiling. The caisson is a painted square, customarily decorated with a circular design featuring a lotus. It can be further enhanced with an interlinked rabbit ear decoration as well as traditional Chinese ceiling emblems. The second evolution of this period was a shift in decorative focus away from the apsara (celestial courtesans) and deities (thousand Buddhas) towards greater accentuation of geometric and floral shapes. This is not to suggest that apsara and thousand Buddhas were no longer included in the decorative design, but to indicate merely that they became the most important of many new patterns. The rich multiplicity of new patterns resulted in a wide range of design from floral patterns (lotuses, pomegranates and curry leaves amongst many others), to geometric patterns (inspired by interlocked branches and dancing dragons, amongst others) to textile patterns. A further area of decorative evolution is in the costumes. Archeological evidence from Tang dynasty burial sites, particularly at nearby Turpan, have uncovered examples of the beautifully woven, complicated brocade designs that are featured in the murals and stucco statues of the Mogao Caves. This evolution of costume can be clearly seen in the painted dress of donors. Back To Top Auspicious Symbols The aim for this section is not to familiarize readers with the meanings and history of auspicious symbols, but rather to touch upon a fascinating phenomenon, which helps explain part of the enormous significance of the Mogao Caves to Central Asian art history. Starting in the latter half of the Tang dynasty (781-907), following the enormous boom in traffic along the Silk Road, auspicious symbols from Central Asia and Northern India were replicated on the walls of the Mogao Caves. As a result of war and destruction in their homeland, in some cases, the Mogao Cave image is the only surviving extant example of the imported auspicious symbol. Back To Top