Images of Hell and Salvation in a Late Seventh Century Cave in Dunhuang, Gansu Province, China

The murals of Dunhuang Cave 321 commissioned by the Yin family at the end of the seventh century have two very special illustrations—one of Dizang, Kṣitigarbha, the Bodhisattva of Hell, and the other of an Eleven-headed Guanyin, a manifestation of the Bodhisattva of Compassion, Avalokiteśvara. These extraordinary illustrations have garnered a great deal of interest and several scholarly interpretations. This article will begin by analyzing the depictions of hell and rescue in the cave murals and compare them to the scriptures that describe Dizang, who on account of his great compassion, offers the faithful redemption. Call on him and he will save you from a number of perils including the torments of hell; he can assume up to forty-four manifestations to facilitate his purpose. Salvation, released from karma, is also the primary message of the Eleven-headed Guanyin, Ekādaśamukha Avalokiteśvara. The creation of both images reflects the Buddhist teachings at the court of Empress Wu (武后 624-705, r. 684-705). With her generous patronage, Buddhist art burgeoned and such new iconographical themes based on new translations of sūtras found expression. Her court, an important city on the silk road, was a cosmopolitan one where an international and metropolitan style prevailed for both religious and secular themes which became a standard style in China and traveled to East Asia. Thus, the décor of Cave 321 presents new iconography in an international Tang style accomplished with the support of Empress Wu.