Constructed in the High Tang and renovated in the Late Tang and Western Xia, this cave has a truncated pyramidal ceiling. Most of the main chamber has collapsed. Now there is only a part of the west slope of the ceiling with a half medallion motif and a part of the north slope of the ceiling with a head of a bhiksu survived. The tent-like niche in the west wall contains a group of stucco figures of the High Tang period: a seated Buddha, two disciples, two bodhisattvas, and two heavenly kings. There is a platform on which stands guardian warriors on both the north and south sides alongside the niche. There is an illustration of the Vimalakirti sutra on the south wall (most of it is damaged). Below the sutra illustration are sixteen donor figures of the Western Xia. The north wall is covered with an Amitayus sutra illustration (the upper part is lost) with two side scenes for the Sixteen Meditations and the story between Bimbisara and Ajatasattu. Below it are six female donors and five male donors of the High Tang and four Western Xia female donors (upper part is lost). The upper part of the east wall is damaged. The south side of the entrance contains the images of a Ksitigabha and a Avalokitesvara as well as a Tang dynasty female donor. The north side is covered with the thousand Buddha motifs, below them are images of an Avalokitesvara and a Tang dynasty male donor. There is a preaching scene on the ceiling of the corridor. The south wall of the corridor is devoted to the illustration of Amogha-pasa and the north wall to the Cintamani-cakra illustration, both were painted in the Late Tang. In the front chamber, there is a preahing scene of the Later Tang on the space above the entrance in the west wall (blurred), A Late Tang heavenly king is painted on each of the south and north sides of the entrance (blurred). The south wall in the front chamber has traces of Late Tang paintings (blurred), below them are five male donors (obscured). On the north wall is a Later Tang heavenly king.
The upper part is damaged. The south side of the entrance shows images of Kistigabha, Avalokitesvara (the head is damaged) and a female donor of the Tang dynasty. The south side contains images of the thousand Buddha motifs, Avalokitesvara, and a male donor of the Tang dynasty.
Mogao Grottoes Cave 194 Main Chamber South Wall
The north wall is covered with the illustration of the Vimalakirti sutra (most is damaged), namely the debate between Manjusri on the west side and Vimalakirti on the east side. Below Vimalakirti are scenes of princes or kings from various kingdoms, and below Manjusri are images of the emperor, disciples and bhiksus.The middle part is a picture of a bodhisattva with a bowl, and from the bowl flows out tasty rice, an episode from the Chapter of Sugandha Buddha in the Lotus sutra. The lower part of the illustration contains sixteen female and male donors painted in the Western Xia period.
Mogao Grottoes Cave 194 Main Chamber West Wall
The tent-like niche in the west wall contains a group of stucco figures of the High Tang period: a seated Buddha, two disciples, two bodhisattvas, two heavenly kings. There is a platform on each of the north and south sides of the niche. On each of the platform stands a guardian warrior. The brim of the niche is decorated with the cloud patterns (partly damaged) and ocean pomegranate vines. Below the niche are donor figures of the Western Xia (blurred). Below the platform on the south side are donor figures of the Western Xia (seven figures are preserved), and below the one on the north side are male donor figures of the Western Xia (two figures are preserved but blurred)
Mogao Grottoes Cave 194 Main Chamber North Wall
An illustration of the Amitayus sutra is rendered on the north wall (partly damaged), in which Amitabha sits in the center, flanked by Avalokitesvara and Mahasthamaprapdta, and other bodhisattvas. Below the Buddha are dancers and musicians. The west side depicts the story between Bimbisara and Ajatasattu, which includes the scenes of "imprisoning king Bimbisara" and "Visit of Queen Vaidehi." The east side depicts the Sixteen Meditations. The lower part of the illustration include six female donors, five male donors of the Tang dynasty and four female donors of the Western Xia (the upper part is damaged, revealing a seated Buddha image of the High Tang period).
Mogao Grottoes Cave 194 Main Chamber West Slope
Only part of the half medallion motif on the lower part has survived
Mogao Grottoes Cave 194 Main Chamber North Slope
Part of a Bhiksu\'s head is preserved
Mogao Grottoes Cave 194 Corridor South Wall
An Illustration of Amogha-pasa dating back to the Late Tang
Mogao Grottoes Cave 194 Corridor North Wall
An illustration of Cintamani-cakra dating back to the Late Tang
Mogao Grottoes Cave 194 Corridor Ceiling
A preaching scene
Mogao Grottoes Cave 194 Front Chamber South Wall
Late Tang paintings (obscured). Each of the north and south sides of the entrance has a heavenly king image of the Late Tang period (obscured).
Mogao Grottoes Cave 194 Front Chamber West Wall
A preaching scene is rendered on the space above the entrance, and a heavenly king of the Late Tang is on each of the south and north sides of the entrance, both date back to the Later Tang and are obscured.
Mogao Grottoes Cave 194 Front Chamber North Wall
An image of heavenly king painted in the Late Tang period
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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.