Cave 2 of the Yulin Grottoes, located at the lower layer of the eastern cliff, was constructed during the Western Xia Dynasty (from 11th to 13th century). This cave assumed the format of an inverted dipper ceiling which was predominant since the Tang Dynasty. Wall paintings in this cave are original, yet the statues on the central Buddhist altar were renovated during Qing Dynasty, including the statue of Manjusri Bodhisattva ridding a green lion.
The inverted dipper ceiling was painted with a whirling dragon design, which is creative in configuration and painting skill. The north and the south walls present preaching scenes. A well painted image of Water-Moon Bodhisattva is preserved on each side of the entrance at the west wall, each is of high artistic attainment and superior quality among its kind.
Totally 27 images of Water-Moon Bodhisattva painted during the Five Dynasties, Song and Western Xia period are preserved at Mogao Grottoes in Dunhuang, Yulin Grottoes at Anxi, the Eastern Thousand-Buddha Caves and the Five Temples at Subei, they occupy an important position in the grottoes art in Dunhuang during its late period. Water-Moon Bodhisattva is one of the thirty-three reincarnations of Bodhisattva, who is painted as viewing in tranquillity the moon in water, thus the name comes. Water-Moon Bodhisattva was created by Zhou Fang, a palace painting artist in the middle Tang period; its popularity attributes to not only its newness but also to the saying that those who provide offerings to Water-Moon Bodhisattva would be relieved from hardships and misfortunes.
The image of Water-Moon Bodhisattva on the north wall is painted sitting freely on a ratna throne in misty moonlight, looking as if an elegant rich lady. Beside are mountains and rocks and bamboos. The Bodhisattva is vestured by a transparent aura, with her head up, looking at the crescent moon sheltered from clouds. Water is running before her, from which lotus flowers are blossoming. The scene presents that the Bodhisattva seems to be immersed in her far thought at such a tranquil moony night, while she also looks like listening to the misfortunes of the worldly people and ready to release their suffering souls from their hardships. To the right side of the scene is painted with a lovely and naive boy who is riding on clouds to come to show his pilgrimage to the Bodhisattva, to its right below presents a scene of the well-known western pilgrimage of the eminent monk of Tang Dynasty.
The main tone of the whole scene is fresh and elegant mineral green. While the image of Water-Moon Bodhisattva on the other side of the wall is quite distinct with its decorative rocks, application of verdant color and clouds, which are arranged in symmetry and unification. The approach to landscape painting embodies the artistic features of that in the Southern Song Dynasty. |
Asia Travel 
Articles: (
Newest publication