Located in the arid expanses of the Turfan Basin, an extraordinary cave complex offers a unique insight into the intersection of art, religion and meditation practices in ancient China. Toyok Cave 20 (Tuyugou), located in the Xinjiang Desert, is home to one of the oldest and most significant examples of Buddhist Pure Land art, with illustrations based on the Visualization Sūtra, a key text for practitioners of Pure Land. the Pure Land. Dating back to the late 6th century, this cave is a testament to devotional practices and the intricate relationship between text and image in Buddhist meditation.
The Visualization Sūtra, central to the Pure Land tradition, guides practitioners through a series of visualizations designed to achieve rebirth in Sukhāvatī, the western Pure Land of Buddha Amitābha. The mural paintings on the left wall of Cave 20 are among the earliest known visual representations of these meditative practices. As Dr. Yi Zhao of Hong Kong Polytechnic University explains, these murals were not merely decorative; They were an integral part of the spiritual exercises performed within the cave, providing visual cues to assist the monks in their meditation. Dr. Zhao's study, published in Religions, highlights how these images functioned as a meditation manual, with each scene carefully selected to help practitioners visualize key elements of the Visualization Sutra.
Dr. Zhao notes: “By examining the iconography of each square-shaped unit of the painting on the left wall of the cave, I maintain that this painting presents the first seven visualizations, as well as the twelfth visualization, which is taught in the Sutra. of the visualization. .” This detailed analysis underscores the importance of the murals in guiding practitioners through the complex visualizations necessary for rebirth in Sukhāvatī.
The murals in Cave 20 depict several of the “Thirteen Visualizations” described in the sutra, including the Jeweled Towers, the Jeweled Pools, and the Lotus Seat, among others. These visualizations were crucial for practitioners seeking to cleanse their karma and achieve the spiritual purity necessary for rebirth in Sukhāvatī. The images on the left wall are particularly notable for their detailed description of these visualizations. For example, the Jeweled Pond visualization, which features intricate depictions of flowing water and lotus flowers, is designed to help meditators imagine the serene environment of the Pure Land. Similarly, the visualization of the Lotus Seat, with its suspended banners and radiant jewels, provides a visual anchor for practitioners to focus their meditation on the magnificent throne of Amitābha Buddha.
The study also explores the complex iconography and structural design of the cave, revealing how the murals were strategically placed to guide the meditation process. Dr. Zhao states: “These images and inscriptions were based on the visualization Sūtra, but they are not simply a pictorial transliteration of the sutra together with textual excerpts from it.” The monks would begin their meditation in front of the right wall, which depicts scenes of impure contemplation, an essential preliminary step in purifying the mind before engaging in Pure Land visualizations. Once prepared, they turned to the left wall to participate in visualizations leading to the ultimate goal of rebirth in the Pure Land, symbolized by the lotus ponds on the back wall.
Dr. Zhao's research not only highlights the religious significance of these murals but also provides insight into the broader cultural and historical context of the region. The Toyok Grottoes, part of the broader network of Buddhist sites in the Turfan area, reflect the confluence of diverse cultural influences, including Chinese, Central Asian and Indian traditions. The murals in Cave 20, with their mix of local artistic styles and Buddhist iconography, exemplify the rich cultural exchanges that took place along the Silk Roads.
“This partially collapsed cave in the Chinese Central Asian desert deserves attention as it is the only material existence that tells us about the early form of the Visualization Sutra, as well as the practices adopted by people to seek rebirth on Earth. Pura Occidental, in a region where this apocryphal sutra was believed to be fulfilled,” Dr. Zhao said.
The findings of this study underscore the importance of preserving these historic sites, which offer invaluable information about the religious practices and artistic achievements of ancient civilizations. Dr. Zhao emphasizes the urgency of preservation, noting: “Today, the wall paintings are in serious condition. Some of the paintings that will be discussed in this article no longer exist in situ, due to both natural erosion and looting activities in the 19th and 20th centuries.” The study serves as a call to action for greater preservation efforts, ensuring that these cultural treasures remain accessible for future generations to study and appreciate.
In conclusion, Toyok Cave 20 (Tuyugou) stands as a crucial link in the history of Buddhist art and meditation practices. Dr. Yi Zhao's careful analysis of the murals and contextual understanding of their role in meditation practices offer a deeper appreciation of this ancient site. This research not only sheds light on past religious life but also enriches our understanding of the cultural dynamics that shaped the development of Buddhist art in the region.
Magazine reference
Zhao, Yi. “Toyok Cave 20 (Tuyugou): A Pure Land Cave Temple in the Desert with the First Illustrations of the Display Sūtra.” Religions 15 (2024): 576. DOI: https://doi.org/10.3390/rel15050576
Image gallery
Please click on the image to view it larger.
About the author
doctor zhao He is an assistant professor (research) of Chinese material culture and museum studies at the Hong Kong Polytechnic University. He earned his PhD in Art History from the University of Kansas in 2023. He works primarily on visual materials and Buddhist heritages in China before the Tang dynasty (ca. 1street – 6th c.), with emphasis on its collision and fusion with early Chinese funerary art, as well as the interactions between Buddhism and various local cultures along the Silk Roads, especially in the understudied area of Central Asia.
His articles have appeared/will appear in prestigious magazines such as Asian Art Archives, Artibus Asiae, Religions and etc. His current book project titled “Resonance between Temples and Tombs: Art, Beliefs, and Practices of the Heavens and Pure Lands in Early Medieval China (2North Dakota to 6th century)” has received a three-year grant from the Hong Kong University Grants Committee under the General Research Fund scheme.
Leave feedback about this