Niangniangba Things to Do

On the intermediate level on the western cliff is Cave 87, home of one of the more enigmatic and evocative statues. On the right is an extremely rare statue of Kayapa, Buddha's devoted disciple, companion of Ananda. This is a really wonderful statue, abd although still somewhat rigid, the human features are allowed to shine through much more clearly than with contemporary statues of Buddha and the Bodhisattvas, suggesting that there was a code for the artist-monks preventing them from representing Buddha as realistic to human form as perhaps they could do. The old monk is rounded, fragile and has real expression, as he mutters a prayer. This is probably the real true treasure of Maijishan, yet is in a comparatively minor cave.

The upper western part of the complex is not on all the tours, unless you insist. Cave 115 is worth a trip up those extra flights of stairs. But the real star of this part is Cave 127, where the stunning frescos have survived largely undamaged. One key fresco shows the Jataka of Shanzi. Shanzi doted on his bind parents, but was shot and died while meditating in the royal forest. When the king learned of the boys devotion to his parents, he vowed to look after them as if they were his own parents. Buddha was so overcome by everyone's actions that he created a cure that restored the son to life and also made the king's life easier as well.
On another fresco is the Jataka of Prince Mahasattva, who coming across a starving female tiger with her cub; the prince sacrificed himself to the female tiger so the cub would live.
In these and other early frescos, by the way, the black colouring was originally red.
Some of the statues in Cave 127 are also particularly compelling, with fine details while keeping the angular, chiselled features. Note also the unusual halos, as pointed out by Frances Wood, but not by tour guides!

Just two caves westwards from cave 76, in cave 74, there is a wonderfully decorated Gandharan Bodhisattva, crowned and bejewelled. Interesting on this sculpture is the haotie design on the crown: the haotie was an ancient legendary Chinese beast believed to ward off evil spirits. Even from the early days of Chinese Buddhism, the 'new' religion was liberally suffused with Chinese traditions!

Cave 133, way up from the "74 and 76" level, is a huge complex funereal cave, complete with frescos associated with death and reincarnation, and contains work from several periods. It is also called the Thousand Buddha Cave because of the vast numbers of tiny Buddhas in niches. The stone tablets, each with intricate and delicate carvings are particularly good. But the star of this cave has to be the disciple with the wonderful smile, his head cocked slightly. It's so lifelike, you expect him to utter some observation or fable. (A similar statue can be found in Cave 121 right over on the western side, below Cave 127, where the disciple and a Bodhisattva are to be found naughtily whispering something to each other while no-one is looking!). This cave is considered to be the best cave at Maijishan.

Down a flight from cave 74, is the "Chinese Bodhisattva" showing early representation of Chinese clothing and features which started to become more obvious in the Northern Wei period.

Cave 5 (Wood's Cave 7), on the top row, is called the Niuertang Hall - or Calf Cave, dates from the Sui period but wasn't completed until the Tang. It is large with an internal corridor with columns. Most of the sculptures are Sui originals, although one Bodhisattva (near the door) dates from the Ming. The most significant one is of Maharajakayika with one foot resting on a calf, his fierce eyes holding the entire audience in their intensity. One of the Boddhisattvas is particularly typical of Tang multi-coloured scultptures usually seen in a smaller scale in temples in Xian. Although she is missing her right hand, the serene face is thoughtful and the sculpture is as thoughtful as it is graceful. (Given Frances Wood's rather curt mention of Maharajakayika, I did wonder if she had ever actually seen it!)

In Cave 80, which is close to the lowest crossover walkway between the eastern and western cliffs, there is a partial cave, where only the rear part remains. This is close to the central area that collapsed in the 734 earthquake. The statues here date from the early Northern Wei period.

Cave 78, on almost the lowest level on the western side, is one of the earliest caves, dating from the Later Qin period. Three Buddhas are seated on a platform, with two Bodhisattvas either side of Sakyamuni. Sakyamuni's face has clearly been repaired, but is still entirely representative of the Gandharan-style Later Qin sculptures: it is big, solid and robust. The features are simple and the angles well formed. It's not subtle! (I think this is what Wood calls Cave 100)

Up one flight of stairs between caves 76 and 74 is one of the best frescos of the legendary apsaras, painted on the rear part of the ceiling during the Northern Wei period. Note that despite all the fuss over apsaras here and at Dunhuang, it is possible to see statues at the much under-rated Matisi complexes near Zhangye.

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Historical records show that the first caves were decorated in the Later Qin dynasty (384-417). The earliest proven cave dates more recently from 502 though, and carving and decoration continued until the devastating earthquake in 734.
Today, some 7000 statues remain in 194 caves and niches in two groups, the smaller eastern side and the more extensive western side. The central area originally held many caves but this part was destroyed by the earthquake.

The following provides information on some of the most interesting caves and niches. Not all the caves will be opened by the guides but you can at least ask if there are particular caves you would like to see. If you are referring to Frances Wood's "China Blue Guide" note that many of the caves have changed numbers!

One of the best known, and best kept, statues at Maijishan is kept "til first" in Cave 44. Somevisitors have been disappointed that, in some respects, it's all 'downhill' from this icon of Maijishan, and one of the most famous sculptures in Chinese history. It is also called the Chinese Mona Lisa, because of the eternal enigmatic smile. It was made at the peak of Maijishan's glory in the Western Wei, and is both complete and undamaged by time or man.

Many guides also head quickly for the huge statues of "Cave" 13, the huge Buddha and Bodhisattvas that can be seen from a distance. But up close it is difficult to see them. Buddha reaches up 16 metres above you and you are so close to his feet that any appreciation of form or function is rather limited. It seems often the case in China that the visitor is shown straight to the biggest statues, and they often disappoint (as at Dunhuang).

Cave 4, known as the Upper Seven Buddhas Building is a complicated structure of caves, sculptures and wooden eaves which are probably representative of the kind of effect Maijishan had before the great earthquake destroyed much of the central part of the cliff. These Northern Dynasties complex is complex and deserves a book in its own right.