Constructed in the Late Tang, this is a hall cave with a truncated pyramidal ceiling and has been badly damaged. There is a tent-like niche in the west wall, in which the original statues have been damaged. There is is a pattern composed of a crossed vajra and a medallion on the niche top. The west slope in the niche has a picture of three seated Buddhas (only two preserved) and an incarnated boy, the other four slopes each have a picture of three seated Buddhas. The west, north and south walls in the niche are divided into a upper section and a lower section. All the upper section exhibit a picture of three seated Buddhas, but on the west wall only two are preserved. The lower sections are all covered with screen paintings. The four screen paintings on the west show six disciples, while the six screen paintings on both the north and the south walls each has a bodhisattva. The brim of the niche is decorated with vines and pomegranate mofits. Below the niche is a votive text, flanked by one Buddhist monk, two nuns, two male donors and one female donor. The ceiling, east slope and south slope are severely damaged. The west side of the south wall is devoted to the illustration of the Medicine Buddha and the east side to the illustration of the Sutra on Devas\' Questions. Below them are seven male donor figures. The west side of the south wall is covered with the illustration of the Amitabh sutra and the east side with the illustration of the Maitreya sutra (both incomplete). Below them are 10 female donor figures. On the north side of the entrance in the east wall is an illustration of Cintamani-cakra with two female donors below and on the south side is an illustration of Amogha-pasa (the upper part is lost) with three male donor figures below. Notes: According to a a votive text below the west niche (now invisible), this cave was constructed in the 12th year of Xiantong era (871).
The north side of the entrance in the east wall is an illustration of Cintamani-cakra, below it are two female donors who wear a high chignon with hairpins, colorful coat and plain skirts, red shoes with the head bent upwards. They hold a lacquer or cloth wrapper in hands. Beside them is an ink inscription on a red ground: in order to forsake the bad life, (someone\'s name) and my daughter Xihe make offerings of six Buddha images wholeheartedly. Outside of the niche, there are traces of six seated Buddhas in the upper place, which might be the six Buddha donated or painted by Xihe. This is the only example at Mogao that the maidservant of lower social status could have her portrait painted in the cave. However, this verifies that such caves of small or medium size were usually donated by people of different social classes. On the south side of the entrance is an illustration of Amogha-pasa (the upper part is lost) with three male donor figures below.
Mogao Grottoes Cave 107 Main Chamber South Wall
The south wall is covered by two illustrations, the one of the Medicine Buddha is on the west side and that of the Sutra on Devas\' Questions on the east side, both showing severe loss of paint. There are seven male donors below the illustrations.
Mogao Grottoes Cave 107 Main Chamber West Wall
A niche is dug out of the west wall, and the statues in it have been lost. There is is a pattern composed of a crossed vajra and a medallion on the niche top. The west slope in the niche has a picture of three seated Buddhas (only two preserved) and an incarnated boy, and on each of the other three slopes is an image of three seated Buddhas. The west, north and south walls in the niche are divided into an upper section and a lower section. All of the upper section exhibits a picture of three seated Buddhas, but on the west wall only two preserved. The lower sections are all covered with screen paintings, and there are four screen paintings on the west wall showing six disciples (the two on the south side respectively depict the elder disciple Kasyapa in kasaya with landscape motifs and brown monastic shoes and followed by two young disciples) ,while the six screen paintings on both the north and the south walls each has a bodhisattva.Below the niche is a votive text, flanked by one Buddhist monks, two nuns, two male donors and one female donor. The north and south sides out of the niche respectively depict an image of Vaisramana. According to a a votive text below the west niche (now invisible), this cave was constructed in the 12th year of Xiantong era (871).
Mogao Grottoes Cave 107 Main Chamber North Wall
The north wall is covered by two illustration, the one of the Amitabha sutra on the west and the other of the Maitreya sutra on the east, both showing severe loss of paint. The Maitreya sutra illustration is particularly hard to identify. In the Amitabha sutra illustration, the seven-treasured pond is well preserved, which looks like an arch shape, in which a Kalavinka is playing the pipa. Jivamjivaka and a peakcock are painted on the two sides. There are ten female donor figures below.
Mogao Grottoes Cave 107 Main Chamber South Slope
Three seated Buddhas
Mogao Grottoes Cave 107 Main Chamber West Slope
Three seated Buddhas (two preserved now) and an incarnated boy
Copyright ownership belongs to the Dunhuang Academy. Without the written authorization of the Dunhuang Academy, any organization, enterprise, web sites and individuals shall not copy, reprint, mirror or use any contents of this site in any way. The authorized data shall be used within the scope of the authorization and indicate the source, and shall not be provided to any third party, or we will retain the right to pursue legal responsibilities. Please feel free to contact us with any questions you may have.
Cookie Privacy Notice
Your privacy is very important to us. This Privacy Notice explains what personal data the Digital Dunhuang Repository (shortened as Digital Dunhuang below) collects from you, through our interactions with you and through our services, and how we use that data.
This statement applies to all the services provided by Digital Dunhuang. With the expansion of Digital Dunhuang's services, this statement will be kept updated by the Digital Dunhuang without additional notices. The updated privacy will be an effective replacement of the original one once it is publicized in our website.
Digital Dunhuang provides personalized services by using Cookie to help with personalized online experience, collect and store useful information, including language settings and search and browse preferences. Cookie will not keep track of personal information such as account number and password.
The Cookie of Digital Dunhuang can only be read by our website, and you can modify your browser settings to accept or refuse the Cookie according to your requirements though we suggest you to accept it. If your browser is set to refuse the Cookie, Digital Dunhuang will not be able to provide you with personalized services though the website is still accessible.
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.