Introduction of Three Buddhas in Maijishan Mountain

Cave 135 (commonly known as Paradise Cave)

It was excavated in the late Northern Wei Dynasty (5 16-534) and is one of the three largest grottoes in Xia. Commonly known as "Paradise Cave", it is also called "Paradise" in Wang Renyu's "Gossip about Yutang". The horizontal rectangular flat-topped cave is unique in that there are three open windows on the upper part of the front wall. There are 17 statues in the whole cave. The clay sculpture of one Buddha and two Bodhisattvas in the main wall niche and the stone sculpture of one Buddha and two Bodhisattvas in the left cave are both excellent works with both form and spirit. The mural preservation area is about 50 square meters. The upper part of the main wall is painted with nirvana, and the eight kings on the right compete for relics. The composition is accurate and vivid, showing the fierce battle scene.

/Kloc-Cave 0/42: Time and Northern Wei Dynasty

Excavated in the late Northern Wei Dynasty (5 16-534), there are three buddhas, bodhisattvas and disciples in the cave. On the wall, there are statues of Buddha, Bodhisattva, Tian Fei and his supporters. It is one of the most abundant caves with strict layout and various forms.

Cave 37: Time and Sui Dynasty

Cave shape: round niche, destroyed before. Statue: There is a Buddha sitting in the niche, and a bodhisattva is threatened on the right. Features: The main Buddha is 2 2. 10/0m high, with a low flat spiral bun on the top, slightly damaged, Fiona Fang face, shoulder frame, square seat, and semi-circular lotus platform in the middle, with handsome figure and serene expression. Sitting on the right side of the Buddha statue, with a height of 1.85 meters, wearing a Chinese bun crown, with a plump face, a slender figure, natural posture with hands folded on the chest, and a concise and vivid expression, it is a fine sculpture of Maijishan in Sui Dynasty.

Cave 127

Cave-shaped: large-scale top cave, horizontally rectangular, with a top height of 4.5 meters, a surrounding height of 3.95 meters, a width of 8.60 meters and a depth of 5 meters. In the center of the ceiling is a horizontal rectangular algae well with four trapezoidal curtains around it. There are shallow niches on the front wall, left wall and right wall of the cave, and murals are painted on the four walls and the whole roof of the cave. Statue: There are one Buddha and two Bodhisattvas carved in the main niche, and the sitting Buddha in the shallow niche on the left and right walls has been reshaped by later generations, which is bloated and inflexible. The bodhisattvas (clay sculptures) on both sides were originally of the type of showing bones and clear images, and there were one Buddha and two bodhisattvas in the middle of the cave, which were statues of the Song Dynasty and rebuilt in the Ming Dynasty. The stone Buddha statue and the Erwei Bodhisattva are exquisite stone illustrations. Sitting at the height of Buddha 1.69 meters, with a slightly long bun face, thin eyebrows and thin lips, wearing a shoulder robe. Raise your right hand to make a fearless seal, and make a wish seal with your left hand. The hanging skirt covers most of the sumeru, and the corners of the mouth are slightly upturned, smiling slightly and looking solemn. Bodhisattvas on both sides are 1.22 meters high, each with a high bun. They wear monk sticks, heavenly clothes, silks and long skirts, and their appearance is dignified and elegant, and their skin is delicate and soft. The backlight and light of the sitting Buddha stone carving are the same complete stone as the statue, carved into relief beauty, in harmony with the round carved Buddha statue. In the center of Xiangguang, there is a big compound lotus flower, which is surrounded by lotus and honeysuckle branches with curved vines. The carved lotus flower in the middle of the upper part turns into a Buddha statue, and six female artists fly towards each other from left to right, which constitutes the peripheral decoration of Xiangguang. Two apprentices, two flying apprentices and two patrons are carved against the light, and the relatively static character dynamics are in contrast with the flying in the auspicious light, which has vivid and cheerful decorative interest. The sitting Buddha in the left and right niches was remolded in the Song Dynasty and lifeless. On both sides, the clay sculpture with a high bun and a treasure crown threatens the bodhisattva, and the costumes are gorgeous and the charm is outstanding. The formation of smiling face is influenced by the culture of the Southern Dynasties, and it is a typical show with a clear face. The bodhisattva on the right side of the left wall is quiet and modest. On the left, the Bodhisattva is cheerful and lively. She leaned against her upper body and put on a respectful posture with a slight exaggeration, which was very interesting in life. Mural: This cave is the most magnificent and exquisite mural in Maijishan Grottoes, and it is also the most intact, about 99 square meters, all decorated with murals except three niches. Except for the re-painted about 1.2 1 m2 in the Ming Dynasty, all the Buddhist temples in the cave are original works of the Northern Wei Dynasty, with rich contents and perfect forms, and most of them are fine works. (1) The main wall painting is huge, with a length of 2.20m and a width of 8.22m, which is slightly damaged. Respectively painted with the last teachings of Sakyamuni, after nirvana, Ye Jia showed his feet; The scene of eight kings sharing relics and raising towers for support is the theme of the whole cave, which is magnificent and lifelike. (2) On the upper part of the left wall, the Vimal precept is 2.30 meters long and 4.48 meters wide, which is a common theme in the history of Buddhist art in China. However, in the Northern Dynasties, murals with such detailed contents, huge frames and highly mature Buddhist scriptures were rare. Stories and characters are mainly based on the content of the scene. The characters and painting techniques in the picture have typical China characteristics, and the shape of the heavenly girl is very similar to the copy of the handed down "Luoshen Fu Tu". The plot combination is ingenious and the painting method is exquisite, which is a masterpiece in the early painting. ③ The western pure land change on the upper right wall, with a length of 1.63m and a width of 4.55m, is the earliest (largest) and most complete modern western pure land change in China's grottoes. Although there is peeling and blurring in the picture, people, buildings, flowers and trees are clearly distinguishable. The composition of the whole picture is patchy, the line drawing is like silkworms spinning, and the technique is mature. It is an excellent work with early characteristics. (4) the front wall seven buddha ten evil ten good. The upper part of the front wall is a seven-Buddha figure, with a length of1.47m and a width of 8.22m.. Seven buddha, the first seven buddha, consists of seven rows of sitting pictures, flanked by bodhisattvas, disciples and monks. Draw ten evils and ten virtues on both sides of the lower part, about 14 square meter. Most of them have been blackened by smoke, and some of them are still slightly clear. There are more than ten titles on the ink book list, and four can be distinguished: "It's good to be in hell" and "It's good to be in hell". "This person can benefit from doing ten good deeds" and "Lohan welcomes the time", and the picture expresses the idea of punishing evil and persuading good. As seven buddha said, "All evil deeds, all good deeds and all self-purification are Buddhas. ⑤ The story of Prince Sasaki Bunsen hangs on the top of the grottoes. The second one is trapezoidal, with the upper left bottom 1.34m, the lower bottom 3.80m, the height 1.48m, the upper right bottom 1.05m, the lower bottom 2.50m and the height1. According to the book "The Sage and Fool's Sutra: The Zen Sense of Mahasa in the Tiger's Mouth", Zuo Pi painted a big city, with Miyagi in the city and Welissa Gonzaga outside the city. After laying down his life to feed the tiger, the second brother hurried back to inform. The king in the city fainted when he heard the letter, rescue and other scenes. You put a picture of Zhang Dashan. Under the cliff, tigers are fierce and hungry. When Sasana jumped off the cliff, the king heard the news and led the crowd. The two pictures basically contain all the main plots of the story. Because of peeling and rambling, we can't see the scene of going to the tower. The story content in the picture is closely combined with the environmental scenery, and the composition is ingenious and vivid, with a strong tragic atmosphere. ⑥ The grottoes are straight, which is a story. Use long scrolls to draw large-scale travel maps. From left to right, there were two times, the first time was galloping, the second time had stopped slowly, and the third time the king got off the bus, and several people stood and waited. Because the map is too damaged, the content is unknown. All landowners report before the cave top, the swallow is born. In front of this cave, I used a long scroll handed down from China to compose a picture for Yan Zi. Divided into right, middle and left sections, Jia Yi Wang Jinshan's hunting, hunting, accidental death and blind parents' death, blind parents' enlightenment and other complex and continuous scenes are vivid and natural, which integrate the plot of the characters with the natural landscape. It is not only a long story painting, but also a landscape figure painting. ⑧ Indra Day, the ceiling patio, is1.32m long and 4.68m horizontal. Indra rode a dragon car with an umbrella cover. The flag was flying behind the car, surrounded by countless flying Lapras. In front of you, there is a lotus platform, surrounded by countless actresses. The whole picture is full of momentum, with countless ribbons and floating clouds.

Cave 44: Time: Western Wei Dynasty

Cave form: a quadrangular pyramid-shaped roof cave with a height of 2.25m, a width of 3.20m and a depth of1.9m. The front of the cave collapsed, leaving only the statue behind. Statue: A Buddha sits in the main niche, and a bodhisattva is served on the left and right outside the niche, and a disciple is molded on the back of the left and right walls. Features: The Buddha statue is 1.60m high, with water vortex pattern and high meat bun, with monk branches tied on the chest and cassock over the shoulder, which makes the seat fall. There are traces of painting on the bun, chest and dress, and the folds of the hanging clothes covering the Buddha's seat are all round lines, with thick texture, distinct layers and rich decorative interest. The square garden of Buddha's face is moderate, dignified and elegant, and slightly amiable when viewed from above, which embodies the aesthetic feeling of statues in the Western Wei Dynasty. Outside the niche, the Bodhisattva is 1.30 meters high, wearing a crown of three strands of hair, hanging over her shoulders to her elbows, naked, and wearing a shawl on her shoulders. The disciple on the side wall is wearing a necklace and skirt, with a height of1.07m and a simple image.

/Kloc-Cave 0/23: Time and the Western Wei Dynasty

Cave shape: a flat-topped square cave with a top height of 2.47 meters, a width of 2.45 meters and a depth of 2.35 meters. Around it, a low altar base with a height of 30 cm is dug, and a circular arch shallow niche is opened on the left and right walls, and a square Buddha seat is made on the altar base in front of the left and right niches. Statues: one Buddha and two Bodhisattvas on the main wall, Vimalakīrti on the left wall, Manjusri Bodhisattva on the right wall, two disciples on the inside and two waiters (male and female) on the outside. Features: The Buddha statues in the grottoes are lifelike and beautiful, and the bodhisattva is delicate and graceful. Vimalakīrti is the theme of this grotto. Vimalakīrti lay man and Manjusri Bodhisattva tied a knot on the square altar on the left and right walls, fell down and sat down. Mo Wei's abstinence from change is one of the most popular Buddhist art themes from the Northern Dynasties to the Sui and Tang Dynasties since Wei and Jin Dynasties, and it often appears in paintings. There is a record of Gu Kaizhi's portrait of Vimalakīrti in the crock temple in the Eastern Jin Dynasty, and there is a record of "showing the disease clearly and hiding a few words". Vimalakīrti of this cave is 1.22 meters high, with a small bun, slim figure, like the image of a feudal scholar-bureaucrat, witty, calm and serene, which is different from the sickly old people usually seen on murals and reliefs. Manjusri Bodhisattva is 1.20 meters tall, luxuriantly dressed, showing calm, fearless, natural and unrestrained demeanor, childlike, simple in shape, suitable for boys and girls. Dressed in national costumes, the statue focuses on depicting the characters' faces, while dealing with the body and dynamics in a relatively static and concise way, thus highlighting the expression of the characters' expressions and inner world. Mr. Wang Chaowen, a famous art critic and aesthetician in China, spoke highly of these two statues. Mural: It's damaged, only a little remains.

Cave 165

Location: the eastern end of the middle layer of Shia. Time: During the Western Qin Dynasty or the early Northern Wei Dynasty, the existing statues were all in the Southern Song Dynasty. Cave shape: rectangular open niche. Statue: The original statue was completely destroyed, leaving only the Buddha statue and backlight. There is a statue of Maitreya Buddha Bodhisattva on the main wall of the cave, with a monk branch inside and a shoulder-length gown outside, sitting in a daze. There is a statue of a middle-aged woman provider on the left and right, with a high bun and an oval face. The eyebrows are long and connected with the nose, the corners of the eyes are upturned, the mouth is very small, and she is wearing a secular women's dress at that time, a long-necked dress and a right waist. The long skirt covers the toes, the right hand is raised and the left hand is drooping. The lines of the clothes are natural and smooth, slim, beautiful and distinctive, which is a true portrayal of the ladies in the upper class at that time. The bodhisattva on the left wall, with a square scarf on his head, shining forehead and naked upper body, wears a small coat with inclined collar inside and a gown with open collar outside, and makes a Guanyin statue with his hands crossed in front of his abdomen and palms facing up. The top of the right-wall bodhisattva is tied with a high bun, and its face is the same as that of the left-wall bodhisattva. The bodhisattvas on the left and right walls are dignified and beautiful in appearance, elegant in manners, delicate in skin, enjoying themselves, gentle and amiable, and distinctive in personality. There are five big Song sculptures in this cave, none of which are painted. The charm of the image and the texture of the clothes are expressed by mud, which is one of the important characteristics of this grotto statue and the masterpiece of Song sculpture. Mural: There are almost no pictures, only three bodies are backlit with blue-green flame patterns. In addition, a few painted geisha music can be seen vaguely above the background light of the Bodhisattva on the left. Inscription: In the Buddha's light on the left side wall and on the right side of the Bodhisattva, there is a line engraved in ink on the clay cover compiled after the Song Dynasty: the eighth day of April in Chen.

Cave 5

Commonly known as "Niu Ertang". Location: Located at the highest point on the west side of Dongya, on the left side of Upper seven buddha Pavilion. Times: Reconstruction in Sui, Early Tang, Song and Ming Dynasties. Cave shape: Cliff pavilion cave built like wood, with a cave corridor in front and two caves in the back. It is a "three-Buddha" cave with an oval plane and a dome at the top. Statue: Carve a Buddha, two disciples and four bodhisattvas in the cave. Although it was rebuilt by later generations, it still maintained the sculpture style from the late Tang Dynasty to the early Tang Dynasty. On both sides outside the cave, there is a large circular arch niche, each niche consists of a Buddha and two bodhisattvas. Hualuo Bodhisattva has a high crown on her head, a dignified and beautiful face, a half-naked chest, bare arms and plump skin. But the posture and clothing are different, and the figure is slightly curved and graceful. Later generations vividly called the bodhisattva in the Tang Dynasty a doll in the palace, which has the artistic style of "fullness and roundness". There is a statue of the heavenly king carved on the right outside the niche, wearing armor, wide-eyed and dignified. The calf lying on its back held its head high and its knees bent, struggling to get up, and its posture was extremely vivid. This is the so-called "golden hoof and silver horn" in Yutang gossip. Therefore, the cave is also called "Niuertang". The folklore about calves is also very touching. According to legend, the king of Niu Ertang should be standing on the lotus platform at his feet. However, the calf lying motionless in the grotto gallery is a magical cow. It is very powerful. If it roars, the sky collapses and the mountains collapse, it will often bring endless disasters to all beings. The calf's nature attracted the attention and vigilance of the King of Heaven. One day, Tianwang found that the calf stretched its neck and shook four times before getting up. Fearing that the calf's action would bring great disaster to all beings, Tianwang jumped down to save the mountain and firmly stepped on the calf's back. After several struggles, the calf failed to jump up, thus avoiding an impending disaster. Today, the heavenly king is still stepping on this magical cow, and it seems that he has not forgotten to protect people's safety. Beautiful legends reflect people's hopes and prayers for peace, tranquility and a happy life. Murals: The murals in the niche are all redrawn in the Ming Dynasty, except that the "West Pure Land Change" is painted on the upper right side of the niche, and there are dozens of female customers and maids wearing narrow-sleeved long skirts around their necks. In addition, on the right side of a flat chess, a horse is drawn in the middle, surrounded by clouds and rain, with colorful lotus flowers and beads as the foil. It may be the symbolic work of the prince crossing the city, with bright colors and vivid images, and it is also one of the representative works of the early Tang Dynasty. Inscription: On both sides of the middle niche arch are: Guihai in Jiajing of Ming Dynasty (AD 1563), 4th year of Song Yuanfeng (AD 108 1), 8th year of Xining (AD 1075) and 5th year of Chongning (AD/KLOC-0)

Cave 4

Go to seven buddha Pavilion, also known as Scattered Flower House. Location: Located at the highest point above the Three Buddhas on the East Cliff, about 70 meters from the ground, it is the largest and tallest grotto in McKee, and also the most splendid and spectacular palace grotto. Times: Northern Zhou Dynasty, Tang Dynasty, Song Dynasty, Ming Dynasty, Reconstruction. Cave shape: the roof of the cave is a single-eaved hall with seven long profiles, eight columns in front, and seven sides of the roof are side by side. The cave is 15m high, 3 1.7m wide and 13m deep. Due to the Tianshui earthquake in the 22nd year of Kaiyuan in Tang Dynasty, six pillars and the flat foundation of the front porch collapsed, leaving only the stone pillars on both sides. Statue: The original statues of one Buddha and two disciples, six bodhisattvas or one Buddha and eight bodhisattvas in the cave were continuously restored in the Tang, Song, Yuan and Ming Dynasties, and the statues are no longer the original appearance. The door curtain of the embossed door curtain outside the Buddhist shrine is decorated with flame patterns, pearls, scales and tassels. Very gorgeous and spectacular. There are stone tires and clay sculptures between the niches. "Eight Dragons" has images of evil spirits such as heaven, dragon and hag. And Su Song, two 4.2-meter-tall King Kong Lux, are masterpieces of King Kong Lux, with strong bones, prominent muscles and exaggerated shapes, but both of them are extremely powerful, magnificent and superb in carving skills. On the cliff above the cave, there are five groups of bony plastic musicians flying in the air, all of which are original works of the Northern Zhou Dynasty. In each group, the muscles of the flying four-body, face and limbs are partially embossed, and the rest are painted with clothing lines, skirts and shawls. Some people are playing musical instruments, while others are dancing with offerings and flying freely in the void of flowers and auspicious clouds. The ingenious and unique form of expression not only adds lightness and beauty to the characters' movement, but also embodies the author's outstanding wisdom and rich imagination. When the cave was built, the famous writer Geng Xin was invited to write an inscription for it. This cave is commonly known as the scattered flower house. It is said that this is because the flowers here are scattered, and the Buddha will bring you good luck and blessings. When we climb the front porch of seven buddha Pavilion, lean against the railing and scatter colorful pieces of paper into the air, you will see beautiful pieces of paper swirling and falling slowly. Miraculously, in an instant, these pieces of paper rushed up again, and after rising to a certain height, they slowly spread down. This spectacle, a beautiful legend spread among the people, is very intriguing. The story is about the seven giant buddhas in seven buddha reading room. After the completion of the Buddha Pavilion, the Buddha was invited to give lectures here, and the participants gathered in His Excellency seven buddha. Twenty-eight flying statues practicing in seven buddha Pavilion were very excited when they saw this grand occasion. In order to identify whether the attendees sincerely believe in Buddhism, she scattered flowers from the air to all beings on the ground. If they are sincere, the falling rain will fly to the sky; If the petals fall on someone's shoulders, it means that his custom has not been broken and the world of mortals has not been broken. As a result, the scattered flying flowers flew in the air for a long time, and none of them fell, which proved that all the monks who came to listen to the Dharma sincerely respected the Buddha. Today, tourists throw pieces of paper into space from time to time, and they are delighted to watch the rising pieces of paper flying in the air. Over time, people used to call seven buddha Pavilion "Scattered Flowers Building". Murals: The murals of the seven Buddhist shrines were redrawn in the late Ming and early Qing Dynasties. Only the large-scale "skinny" flying group paintings on the outside of the niche and the four Buddhist story paintings left on the flat chess on the front porch are original works of the Northern Zhou Dynasty, which are quite distinctive. There are five "lean meat sculptures" flying in the sky, about 30 square meters. Everything is a flying four-body. Its face and body parts are made of a thin layer of fine mud. Others, such as clothes, streamers, ornaments and surrounding clouds and flowers, are all painted in color, vivid, three-dimensional and beautiful. It is indeed a rare masterpiece, especially in the four major Buddhist stories. Especially the slow red horse, Visha Xiao Wei, whose figure and charm were drawn, whenever people look at it from different positions and different angles, there are different trends and trends, because the producers at that time skillfully used the composition methods of scattered perspective and focus perspective, and properly considered the illusory relationship of people looking up. It shows that ancient painters in China have mastered the perspective principle and superb skills. Inscription: On the lower part of the column on the west side of the fourth cave, there is a shallow inscription with three lines and sixteen characters: "Fang masons know the law, Zhao Huokai has three niches, Zhao Songduo". In addition, in the lower murals on both sides of the main Buddha in the second niche, there are two inscriptions on the statue of heavy makeup in the twenty-fifth year of the Yuan Dynasty (AD 1365). The six-character mantra of Tianwang written in ink and Tibetan on the left side of the front porch is an ancient Tibetan inscription before the Tang Dynasty. In each niche, there are also the oaths and inscriptions of the mural paintings with thick makeup in the late Ming and early Qing dynasties, as well as the inscriptions of officials and pilgrims in the Song, Ming and Qing dynasties inside and outside the colonnade.

Cave 12 1

Orientation: the western end of the upper layer of the west cliff. Time: Late Northern Wei Dynasty, Song Zhongxiu. Cave shape: a flat square cave with a caisson on it. The front, left and right walls of the cave are provided with pointed arches; The cave is 2.55m high, 2.36m wide and 2.15m deep. Statue: There is a Buddha statue in each of the three niches. In the main niche, the left and right walls and the middle door are shaped by two lux. The upper body of the Buddha statue was reshaped in the Song Dynasty, and the skirt of the lower body hung down in front of the seat, stumbling on the square platform, and the disciples wore robes and skirts. Left disciple Taluoji. Bodhisattva wears robes. Bodhisattva has a close relationship with his disciples, smiling, holding his chest with his hands and clapping his hands to celebrate, as if whispering, just like a brother and sister in real life, full of youthful vitality and touching emotions, making people feel natural and cordial. The head of Lux was reconstructed in the Song Dynasty. Zuo Li is naked in the world, wearing a skirt, a shawl with a circular cross on her abdomen, a diamond rod in her left hand and a windbreak belt in her right hand, while you Lishi is standing in a wide-sleeved coat and a long skirt, with her hands hanging down and wearing protective armor, strong and brave, with a dignified and awe-inspiring spirit. This cave is one of the important representative caves along the Northern Wei Dynasty. Murals: Buddhas and Bodhisattvas painted against light and light. Most of the murals in the caisson have peeled off and been blackened, only floating in the air, faintly visible. Inscription: None