Maijishan Grottoes – one of China’s four major grottoes

Cave 4, also known as the Upper Seven Buddhas Pavilion, is an awe-inspiring structure measuring 31.7 meters wide, 16 meters high, and 13 meters deep. Built during the Northern Zhou Dynasty by Li Chongxin, the Grand Commander of Qinzhou, for his grandfather’s blessing, this cave is a grand palace-style grotto. The entire cave is built into the mountain, with a roof featuring a hipped-gable design. The roof structure, including the ridge, chiwei (decorative fish tail), and tiles, are intricately carved into the rock.

The lower part of the cave showcases seven niches in a row, each with a pointed canopy. These niches are adorned with flame-shaped jewels and intricate floral designs, with drapes hanging from the sides. The ends feature sculpted auspicious animals like dragons, phoenixes, and elephants holding tassels in their mouths. Inside each niche, there is an octagonal pillar at each corner, with lotus bud decorations at the intersections of the pillars and rods, blending structural necessity with aesthetic elegance. This design emulates ancient Buddhist altars.

Each niche houses a Buddha statue, making a total of seven Buddhas in the cave. The front eaves are supported by eight large stone columns, each 7.3 meters tall and 1.2 meters in diameter, with lotus-shaped bases. The columns are decorated with complex architectural elements, including large brackets and beams. The ceiling features divided panels, and the overall structure is grand and imposing. This cave is the largest palace-style grotto in China, surpassing similar caves in Dunhuang, Yungang, Longmen, and Tianlongshan in both scale and decoration. Originally, the cave had six additional central stone columns supporting the roof, but these were destroyed during a significant earthquake in 600 AD, leaving only the columns on the east and west sides intact along with a small portion of the ceiling.

Cave 13, commonly referred to as the “Eastern Cliff Great Buddha,” is located in the middle section of the eastern cliff. Initially carved during the Sui Dynasty and refurbished during the Southern Song Dynasty, this shallow niche is nearly square, measuring 17 meters high and 18 meters wide. It features high-relief stone carvings covered with clay, depicting one Buddha and two Bodhisattvas. Cave 13 houses the largest group of stone-carved clay sculptures in Maijishan.

The central figure is Amitabha Buddha, standing 15.7 meters tall. The Buddha’s face is full and round, with low-relief coiled hair and a fleshy protuberance (ushnisha) on the top of the head. The Buddha has long, curved eyebrows, downcast eyes, and slightly upturned corners of the mouth, exuding a serene and compassionate demeanor. The ears are closely set against the cheeks, and the neck features three engraved lines, resembling silkworm segments. The statue sits with a straight back and a prominent chest, with feet resting on a lotus pedestal. The Buddha is depicted wearing an inner garment and an outer robe with flowing drapery lines. Although the hands are missing, it is inferred from the remnants that the left hand was placed on the left knee while the right hand was raised in a gesture of fearlessness and granting wishes. The expression on the Buddha’s face combines solemnity with a touch of compassion, as if gazing upon the myriad beings of the world.

Cave 44 of the Maijishan Grottoes is renowned for its main Buddha statue, famously referred to as the “Oriental Smile.” This Buddha, with its downcast eyes and gentle smile, exudes a serene and compassionate presence. The statue is believed to be modeled after Empress Yifu, the wife of Emperor Wen of the Western Wei Dynasty, and was sculpted by Prince Wudu to honor his mother. This connection lends the statue an especially tender and feminine quality, making it a symbol of maternal grace and kindness. The “Oriental Smile” of this Buddha has captivated researchers and visitors alike, symbolizing peace and benevolence.

Cave 98, also known as the “Western Cliff Great Buddha,” is situated in the middle section of the western cliff. This grotto features a vertical rectangular relief, housing a large Buddha flanked by two Bodhisattvas. The entire sculpture is 14 meters high, 10 meters wide, and 1 meter deep. The central standing Buddha, towering at 12.2 meters, was originally crafted during the Northern Wei Dynasty and has undergone numerous restorations during the Northern Zhou, Song, Yuan, Ming, and Qing dynasties. As a result, the original appearance has largely been lost.

The current Buddha statue features a flat, tightly coiled hair bun typical of Song and Yuan dynasty sculptures, with a prominent ushnisha (a cranial protuberance symbolizing wisdom). The face is painted in vibrant red hues, with a broad forehead and a slender jawline. The eyebrows are curved, with three arc lines above, and the eyes gaze straight ahead, with slightly drooping corners and prominent lower eyelids. The nose is high and the mouth broad, with corners turned down slightly. The ears are short and slightly flared outwards, with three silkworm segment-like lines engraved on the neck. These characteristics exhibit a blend of Ming and Qing dynasty clay sculpture features. The Buddha’s short neck, sloping shoulders, and prominent chest and abdomen complete the majestic yet compassionate figure.

Cave 121 at Maijishan Grottoes is a square-shaped cave with a domed ceiling, measuring 2.53 meters in height, 2.36 meters in width, and 2.13 meters in depth. This cave features deep niches on its central, left, and right walls, each housing a statue of Buddha. Although these statues underwent surface repairs during the Song Dynasty, a closer inspection reveals that the original Northern Wei sculptures remain well-preserved beneath the Song modifications.

The central niche is particularly striking, with small round sculptures of disciples adorning the upper sides, five on each side. These detailed figures add a layer of depth and historical context to the main Buddha sculptures, demonstrating the intricate artistry of the time.

One of the most enchanting features of Cave 121 is the pair of sculptures located on the right side of the main Buddha niche. This group includes a Bodhisattva and a disciple, depicted with their shoulders gently touching and heads inclined towards each other, sharing a secretive, sweet smile. This captivating scene, often referred to as “Whispering Secrets,” showcases the delicate and expressive craftsmanship that characterizes the Maijishan Grottoes.

Cave 127 is a rectangular cave with a tent-like ceiling, measuring 8.0 meters in width, 4.0 meters in depth, and 4.0 meters in height. The front wall features an entrance, while the main, left, and right walls each have a niche housing a Buddha statue. The remaining wall surfaces are adorned with intricate murals, making Cave 127 the richest in wall paintings among the Maijishan Grottoes.

The murals depict various Buddhist sutras and stories, including the Western Pure Land Transformation, Vimalakirti Sutra Transformation, Nirvana Sutra Transformation, Hell Transformation, Shanzi Jataka, Ten Virtues and Ten Evils, the departure of Indra, and the Seven Buddhas. These murals are among the earliest and largest sutra story paintings in China.

One of the most notable murals is the “Shanzi Jataka,” which is 7.2 meters long and 1.4 meters high. This mural narrates the story of Prince Shanzi through a series of interconnected scenes, including the king’s procession, hunting, the accidental shooting of Prince Shanzi, his plea for forgiveness, visiting his blind parents, their lamentations, and the divine intervention that follows. The mural’s style is akin to a comic strip, seamlessly linking different events. The depiction of mountains, rivers, forests, and large rocks showcases unique compositions and techniques, setting it apart in early Chinese landscape painting.

Cave 133 is celebrated for the charming statue of a young monk in Niche 9, sculpted during the Northern Wei period. This figure, standing less than one meter tall, depicts a child-like monk, appearing to be under ten years old. When viewed up close, the statue reveals a sweet smile on the monk’s innocent face, capturing a sense of youthful innocence and joy. This delightful and expressive sculpture has become one of the must-visit highlights of the Maijishan Grottoes, often evoking a smile from visitors as they connect with its endearing charm.

Originally, Cave 135 featured a triad of Buddha statues, created during the Northern Wei period. This layout included one central niche on the main wall and two side niches on the east and west walls. However, during the Northern Zhou period, two additional niches were added to the main wall, resulting in a five-Buddha arrangement.

The central niche on the main wall houses a group of sculptures depicting one Buddha flanked by two Bodhisattvas. The Buddha statue stands at 1.23 meters tall, with a prominent ushnisha (cranial protuberance) and downward-gazing eyes, conveying a serene and compassionate demeanor. The Buddha’s face is elongated, with delicate features, a slender neck, and narrow shoulders. The right hand is raised in the fear-not mudra (gesture), while the left hand is in the wish-granting mudra, though the fingers are slightly damaged. The statue is draped in a double-collared robe that flows gracefully.

The Bodhisattvas on either side of the Buddha are each 1.38 meters tall. Their bodies are flattened against the wall, with their upper torsos slightly leaning forward, as if attentively listening. They feature fan-shaped high buns, slender necks, and narrow shoulders, with round ornaments adorning their shoulders. The Bodhisattvas’ faces are clear and elegant, with half-open eyes and slightly parted lips, revealing subtle smiles. Their expressions convey a sense of devotion and reverence, reflecting their attentive listening to the Buddha’s teachings.

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