About 1900 kilometres west of Beijing lies the City of Dunhuang, a town that mainly developed due to its strategic location along the Silk Road. Sitting at the edge of Takla Makan and Gobi deserts, the town acted as a critical gateway for traders and travellers setting out of Silk Road either from the road's southern or northern arms ( Agnew & Jinshi, 1997) . Because of the strategic location, the town acted as the last oasis before travellers along the road could embark on the journey of skirting Takla Makan desert when heading to Kashi, whether the Chinese travellers set out through the southern or northern routes, they would eventually avoid the desert and reach Kashi. Silk Road linked China to Rome and any other country the road passed, including India and Tibet ( Agnew & Jinshi, 1997) . Silk Road was not entirely for trading; the road also acted as an information highway and led to the spread of art, cultures and religion. Through this information highway that Indians managed to spread their religion Buddhism (which originated in India in the 6 th century) to China ( Agnew & Jinshi, 1997). The spread of Buddhism through the route is visible near the Dunhuang town (28 kilometres due south of Dunhuang) in the Magao Caves filled with Buddhist clay statues and wall paintings.
Figure 1.
Map of Silk Road showing the location of Dunhuang
Note : From China's Buddhist treasures at Dunhuang , by Agnew, N., & Jinshi, F, 1997.
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The rock temples, Magao Caves in Dunhuang, came because of Buddhist pilgrims travelling along the Silk Road. The town being a primary gateway meant that most worshipers passed by, and the soft sandstone and conglomerate rocks present in the 1600 meter cliff facilitated the pilgrims to dig up the caves to act as shrines where they would offer prayers for safe passage during their journeys ( Agnew & Jinshi, 1997) . These monks continued caving the cliff for more than ten centuries to set up more shrines, lodgings, and libraries. Because this trade took place over a long period and involved Buddhists from different social classes, the caves Magao caves have diverse trade records, Buddhism customs, manufacturing practices and Buddhism sacred prayers ( Agnew & Jinshi, 1997) . The caves also have records of how Chinese Buddhism emerged from the original Indian Buddhism, and Magao Grottoes represents the collections of this transformation. Several decades later, when Tibetans conquered China and converted large parts to Islam, Dunhuang proved to be so remote; hence, the revolution power did not affect Magao Caves; therefore, the caves preserved all the Magao Grottoes until 1907 when archaeologists Sven Hedin and Paul Pelliot discovered this cultural heritage leading to the discovery of 750 caves.
Mogao Caves
The idea behind Magao Caves came from visions monk, Yuezen had when he arrived at Singing Sand Mountain. In the "vision of light", the monk saw "golden Buddha blazing in the cliff" ( Hays, 2021). After the vision, the monk carved the first cave smaller than a coffin; however, it would inspire other monastic communities to cave more enormous caves to show their devotion to religion. In the caves, these devotees began adorning the caves they dug with images of Buddha. Between the 4 th and 11 th century Silk Road brought Buddhism to China, and during the period, reach patrons supported Buddhist monks in excavating Magao Caves throughout ten dynasties ( Hays, 2021) . During this period, Magao Caves were constructed without pause; when a new ruler took over, they opted to finance the excavation of new caves rather than destroying the previous caves until they ran out of room in the cliff and no more caves could be built. In various shapes and sizes, the 735 caves in Mogao represent Buddhist rock art sanctuary; out of this number, 492 are cave temples and are currently preserved ( Hays, 2021) . One of the most essential preserved caves is Magao Cave 302, which genuinely stores information about Buddha and a source of material cultural information.
Mogao Grottoes Cave 302
Believed to have been constructed between 581-618 during the Sui dynasty, Cave 302 holds the oldest information about Buddha and Buddhism and cultural exchanges information that took place along the Silk Road. The cave's remains is an outer chamber with a short passageway around a central pillar( Bell, 2000) . The passageway is attached to a central pillar, and the cave has "small niches on the external walls about eye-level" ( Bell, 2000). The ceiling around the central pillar in the cave has two patterns; the eastern part is gabled, while in the centre, the ceiling has series of lantern elements ( Bell, 2000) . The gabled eastern antechamber only occupies a small portion of the ceiling.
Figure 2
Cave 302
Note : From Mogao GrottoesCave 302 , by Dunhuang Academy, 2021. https://www.e-dunhuang.com/cave/10.0001/0001.0001.0302
The signs of renovations in the five dynasties are still visible in the ceiling of cave 302 on the flat ceiling. There are paintings of Jakata tales in two horizontal bands on the slopes of the gabbed ceiling, while the flat ceiling has pictures of laternendecke motifs and Sui dynasty scenes.
The central pillar has two parts, a two-stepped square base and a top shaped like an inverted pagoda with seven steps; it takes the shape of Mt. Sumeru. On each side of the central pillar sits an arch niche ( Bell, 2000) . On entrance, the arch niche on the side is that of bodhisattva statues ( Dunhuang Academy, 2021) . In the entrance, the Eastern pillar, there is a statue of Buddha with two disciples though the second statue of one of the disciples to the south is missing.
Figure 3
The central pillar
Note : From Mogao GrottoesCave 302 , by Dunhuang Academy, 2021. https://www.e-dunhuang.com/cave/10.0001/0001.0001.0302
At the centre of the northern pillar sits a Buddha statue with two bodhisattvas though the statue of one bodhisattva is missing.
Figure 4
Statue in the central pillar
Note : From Mogao GrottoesCave 302 , by Dunhuang Academy, 2021. https://www.e-dunhuang.com/cave/10.0001/0001.0001.0302
The western pillar also has Buddha and two disciples' statue, though in bad conditions, with one disciple missing.
Figure 5
Western statues
Note : From Mogao GrottoesCave 302 , by Dunhuang Academy, 2021. https://www.e-dunhuang.com/cave/10.0001/0001.0001.0302
On the southern side, a Buddha statue with two bodhisattvas with one disciple missing and the other destroyed.
Figure 6
Southern statues
Note : From Mogao GrottoesCave 302 , by Dunhuang Academy, 2021. https://www.e-dunhuang.com/cave/10.0001/0001.0001.0302
The central pillar has a dragon-headed beam painted in bas-relief and decorated with lotus motifs
Figure 7
Dragon painted beam
Note : From Mogao GrottoesCave 302 , by Dunhuang Academy, 2021. https://www.e-dunhuang.com/cave/10.0001/0001.0001.0302
The walls of cave 302 also have different depictions of statues dug out on some walls and paintings on all the walls. The west wall has a dugout containing statues of Buddha, two disciples and two bodhisattvas. The two bodhisattvas are in bad conditions, and none of them has their head. There are images of two incarnated boys on the same wall on the inner niche, eight bhikshunis on the lower niche and traces of Sui dynasty paintings beneath the bhikshunis ( Dunhuang Academy, 2021) . On the other hand, the southern wall has paintings depicting heavenly musicians, draperies running from west to east and railings. The middle of the southern wall is covered with thousands of buddha motifs as a sign of Medicine Budha. This wall's central niche houses statues of budha, two disciples, and two bodhisattvas where one disciple and one bodhisattva are missing ( Dunhuang Academy, 2021) . The southern wall meets the floor at a place where there are paintings of nine bhiksus, traces of Sui dynasty paintings and male donors. Both Sakyamuni and Prabhutaratna's paintings preach on the upper parts of the northern wall, while on the lower parts, rows of paintings from Sui dynasty paintings ( Dunhuang Academy, 2021) . Finally, there are paintings of heavenly musicians, draperies, railings, bhikkhus, thousand Buddha motifs, and donors on the space above the entrance.
Figure 8
Cave 302 walls
Note : From Mogao GrottoesCave 302 , by Dunhuang Academy, 2021. https://www.e-dunhuang.com/cave/10.0001/0001.0001.0302
Most of the ceiling and walls of cave 302 are damaged, and this has ruined some original paintings, which renovations cannot bring back to their original glories. The paintings on the northern wall were damaged when a halo was dug through the wall ( Dunhuang Academy, 2021) . The damages destroyed imagery depicting Sakyamuni and Prabhutaratna preaching scenes. On the other hand, most ceilings have collapsed and ruined depictions such as those on the tent-like ceilings depicting thousand-eyed Avalokitesvara of the Song dynasty.
Figure 9
Damage on the wall
Note : From Mogao GrottoesCave 302 , by Dunhuang Academy, 2021. https://www.e-dunhuang.com/cave/10.0001/0001.0001.0302
Significance of Cave 302
Magao Grottoes Cave 302 has essential paintings, which give vivid descriptions of Buddhism at its golden age in china during the Sui dynasty (518-618). The paintings also give scenes of cultural exchanges along the silk road during the trade missions ( Wu, 2008) . The style of construction and the central pillar paintings give us a deep understanding of Buddhism as it represents Santa Jataka, a central figure in the religion. In the ceiling paintings, there is a chronological layout of events during Jataka rule in the Sui dynasty ( Wu, 2008) . When you read these pictures from north to south, the imagery depicts ten chronological scenes when the king of Benares went hunting with his attendant.
Figure 10
Ceiling imagery
Note : From Mogao GrottoesCave 302 , by Dunhuang Academy, 2021. https://www.e-dunhuang.com/cave/10.0001/0001.0001.0302
When the painting is arranged in chronological order, the events come out clearly
Figure 11
Ceiling picture explained
Note : From The Jataka tales of the Mogao caves, China in anthropological perspective , by Wu 2008. https://search.proquest.com/openview/55e9a6e85f006dd82754605c492a618b/1?pq-origsite=gscholar&cbl=18750&diss=y
In the first depiction, the king's attendant is waiting for the king so that they can go hunting and because the king asked him to go with him hunting.
Figure 12
Event 1
In the second depiction, the king and his servant are riding horses to the forest.
Figure 13
Event 2
Note : From The Jataka tales of the Mogao caves, China in anthropological perspective , by Wu 2008. https://search.proquest.com/openview/55e9a6e85f006dd82754605c492a618b/1?pq-origsite=gscholar&cbl=18750&diss=y
In the third depiction, the king sees birds and a deer by the riverbank and shoots the dear dead with an arrow, only to find out that he mistaken Syama for a drinking deer ( Wu, 2008) . The fourth painting describes why the king mistook Sayma for a deer, Sayma went to fetch water from the river, but because he feared scaring other animals, he decided to wear a dear-skin coat.
Figure 14
Event 3 and 4
Note : From The Jataka tales of the Mogao caves, China in anthropological perspective , by Wu 2008. https://search.proquest.com/openview/55e9a6e85f006dd82754605c492a618b/1?pq-origsite=gscholar&cbl=18750&diss=y
In the fifth painting, the king moves closer to the dying Syama. Syama, before dying, asks the king to care for his dying parents he is leaving behind.
Figure 15
Event 5
Note : From The Jataka tales of the Mogao caves, China in anthropological perspective , by Wu 2008. https://search.proquest.com/openview/55e9a6e85f006dd82754605c492a618b/1?pq-origsite=gscholar&cbl=18750&diss=y
The sixth event depicts the king on his way to meet Syama parents.
Figure 16
Event 6
Note : From The Jataka tales of the Mogao caves, China in anthropological perspective , by Wu 2008. https://search.proquest.com/openview/55e9a6e85f006dd82754605c492a618b/1?pq-origsite=gscholar&cbl=18750&diss=y
In the seventh picture, the king goes for Syma's parent huts to tell them what happened.
Figure 17
Event 7
Note : From The Jataka tales of the Mogao caves, China in anthropological perspective , by Wu 2008. https://search.proquest.com/openview/55e9a6e85f006dd82754605c492a618b/1?pq-origsite=gscholar&cbl=18750&diss=y
In the eighth imagery, the king reaches Syama's parents home and informs them of what has happened, after which the king leads them to where the event occurred.
Figure 18
Event 8
Note : From The Jataka tales of the Mogao caves, China in anthropological perspective , by Wu 2008. https://search.proquest.com/openview/55e9a6e85f006dd82754605c492a618b/1?pq-origsite=gscholar&cbl=18750&diss=y
In the ninth depiction, Syama's father weeps in deep sorrow holding his boy's heads. They pray to heavens that piety them and restore the life of their boy. The tenth event shows Indra giving Syama magic medicine that restores to wholeness.
Figure 19
Event 9 and 10
Note : From The Jataka tales of the Mogao caves, China in anthropological perspective , by Wu 2008. https://search.proquest.com/openview/55e9a6e85f006dd82754605c492a618b/1?pq-origsite=gscholar&cbl=18750&diss=y
The chronological events depicted in the paintings on the ceiling of cave 302 pass cultural history and pass that conveyed Buddhism concept of purity and loyalty during the Sui dynasty. These paintings show how the monks wanted to pass the two virtues of filial piety to the Chinese congregation by giving an example that the virtue could lead to the restoration of life ( Wu, 2008) . Bodhisattva way of Buddhism demands people to be able to sacrifice themselves for the benefit of others, which rewards Buddhists with altruism, enabling them to live external lives ( Wu, 2008) . In the cave, the presence of different statues of Buddha, disciples, bodhisattva and representations of dragons in the central pillar show how Buddhism uses symbolism to preserve religion and culture. Buddhism also preserves the same religion and culture using imagery of bhikshunis, donors, celestial musicians, and preaching scenes. Apart from promoting Buddhism, the paintings of a camel pulling a cart in the paintings of Cave 302 depicts how Silk Trade took place. The use of camel depict modes of trade missions people use in cultural exchange during the period. This is a true testimony of how the caves preserved such cultural history.
Preserved information about religion or culture is rare to find today, and because of this, Magao Grottes Cave 302 is a vital source of cultural and religious information. With works depicting Buddhism and trade along Silk Road as far as the fourth century, cave 303 has historical features worth preserving because it would be rare to find such a gem anywhere globally. For Buddhism and their materialistic culture, where all these began is preserved in the cave.
References
Agnew, N., & Jinshi, F. (1997). China's Buddhist treasures at Dunhuang. Scientific American , 277 (1), 40-45.
Bell, A. P. (2000). Didactic narration: Jataka iconography in Dunhuang with a catalogue of jataka representations in China (Vol. 69). LIT Verlag Münster. https://books.google.com/books?hl=en&lr=&id=77hHrXX4COgC&oi=fnd&pg=PA11&dq=Didactic+Narration:+Jataka+Iconography+in+Dunhuang+with+a+Catalogue+of+...&ots=qEdMCveers&sig=RJr6nUTzSgYqVLSCo5KFjxiYEGA
Dunhuang Academy. (2021). Mogao GrottoesCave 302 . Digital Dunhuang. https://www.e-dunhuang.com/cave/10.0001/0001.0001.0302
Hays, J. (2021). Mogao caves: Its history and cave art . Facts and Details. https://factsanddetails.com/china/cat15/sub103/entry-6521.html
Wu, M. K. (2008). The Jataka tales of the Mogao caves, China in anthropological perspective . Washington State University. https://search.proquest.com/openview/55e9a6e85f006dd82754605c492a618b/1?pq-origsite=gscholar&cbl=18750&diss=y