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Build in Tang Dynasty (713-805 CE). The pagoda is 5.22m high. The foundation's base has carvings of apsara playing musical instruments. The central section is possibly made of marble. The entrance has a pair of guardian of law(金刚力士). The top of the entrance has a lion, dragon and apsara dancing. The top of the pagoda is made of nine-story.

寺中有唐代九级方石塔一对，石塔建于唐开元元年至貞元二十一年（713—805）。两塔东西相距八点六米，坐北朝南，系九层叠涩密檐式方形石塔，由基台、基座、塔身、塔檐、塔顶组成。塔身南壁开拱券门，塔身镌佛祖、弟子及神王。东塔通高五点二二米。塔身四角呈抛物线形，很是优美。两塔基座上方形束腰须弥座，四壁雕刻不同姿势乐妓，各持笛、笙、鼓、琵琶、箜篌等乐器，正在动情地演奏姿态，是研究古代音乐史的珍贵资料。两塔塔刹及东塔第一层塔檐被毁。西塔塔身东壁有题记。塔基座上建有四面拱形双阶级踏道，室内拱有佛和菩萨像，室外两侧刻有护法天王、力士。是供人参拜的佛塔。

Build in Tang Dynasty (713-805 CE). The pagoda is 5.22m high. The foundation's base has carvings of apsara playing musical instruments. The central section is possibly made of marble. The entrance has a pair of guardian of law(金刚力士). The top of the entrance has a lion, dragon and apsara dancing. The top of the pagoda is made of nine-story.

寺中有唐代九级方石塔一对，石塔建于唐开元元年至貞元二十一年（713—805）。两塔东西相距八点六米，坐北朝南，系九层叠涩密檐式方形石塔，由基台、基座、塔身、塔檐、塔顶组成。塔身南壁开拱券门，塔身镌佛祖、弟子及神王。东塔通高五点二二米。塔身四角呈抛物线形，很是优美。两塔基座上方形束腰须弥座，四壁雕刻不同姿势乐妓，各持笛、笙、鼓、琵琶、箜篌等乐器，正在动情地演奏姿态，是研究古代音乐史的珍贵资料。两塔塔刹及东塔第一层塔檐被毁。西塔塔身东壁有题记。塔基座上建有四面拱形双阶级踏道，室内拱有佛和菩萨像，室外两侧刻有护法天王、力士。是供人参拜的佛塔。

Build in Tang Dynasty (713-805 CE). The pagoda is 5.56m high. The foundation's base has carvings of apsara playing musical instruments. The central section is possibly made of marble. The entrance has a guardian of law(金刚力士) on the left and a heavenly king(天王) on the right (Such pairing is odd and not found on the other pagoda, the right heavenly king being a smaller size might be the result of a failed carving of a bigger size guardian of law). The top of the entrance has a lion, dragon and apsara dancing. The top of the pagoda is made of nine-story.

寺中有唐代九级方石塔一对，石塔建于唐开元元年至貞元二十一年（713—805）。两塔东西相距八点六米，坐北朝南，系九层叠涩密檐式方形石塔，由基台、基座、塔身、塔檐、塔顶组成。塔身南壁开拱券门，塔身镌佛、弟子及金刚力士。西塔通高五点五六米。塔身四角呈抛物线形，很是优美。两塔基座上方形束腰须弥座，四壁雕刻不同姿势乐妓，各持笛、笙、鼓、琵琶、箜篌等乐器，正在动情地演奏姿态，两塔塔刹及东塔第一层塔檐被毁。西塔塔身东壁有题记。塔基座上建有四面拱形双阶级踏道，室内拱有佛和菩萨像，室外两侧刻有护法天王、力士。是供人参拜的佛塔。

Build in Tang Dynasty (713-805 CE). The pagoda is 5.56m high. The foundation's base has carvings of apsara playing musical instruments. The central section is possibly made of marble. The entrance has a guardian of law(金刚力士) on the left and a heavenly king(天王) on the right (Such pairing is odd and not found on the other pagoda, the right heavenly king being a smaller size might be the result of a failed carving of a bigger size guardian of law). The top of the entrance has a lion, dragon and apsara dancing. The top of the pagoda is made of nine-story.

寺中有唐代九级方石塔一对，石塔建于唐开元元年至貞元二十一年（713—805）。两塔东西相距八点六米，坐北朝南，系九层叠涩密檐式方形石塔，由基台、基座、塔身、塔檐、塔顶组成。塔身南壁开拱券门，塔身镌佛、弟子及金刚力士。西塔通高五点五六米。塔身四角呈抛物线形，很是优美。两塔基座上方形束腰须弥座，四壁雕刻不同姿势乐妓，各持笛、笙、鼓、琵琶、箜篌等乐器，正在动情地演奏姿态，两塔塔刹及东塔第一层塔檐被毁。西塔塔身东壁有题记。塔基座上建有四面拱形双阶级踏道，室内拱有佛和菩萨像，室外两侧刻有护法天王、力士。是供人参拜的佛塔。

Build in Tang Dynasty (713-805 CE). The pagoda is 5.22m high. The foundation's base has carvings of apsara playing musical instruments. The central section is possibly made of marble. The entrance has a pair of guardian of law(金刚力士). The top of the entrance has a lion, dragon and apsara dancing. The top of the pagoda is made of nine-story.

寺中有唐代九级方石塔一对，石塔建于唐开元元年至貞元二十一年（713—805）。两塔东西相距八点六米，坐北朝南，系九层叠涩密檐式方形石塔，由基台、基座、塔身、塔檐、塔顶组成。塔身南壁开拱券门，塔身镌佛祖、弟子及神王。东塔通高五点二二米。塔身四角呈抛物线形，很是优美。两塔基座上方形束腰须弥座，四壁雕刻不同姿势乐妓，各持笛、笙、鼓、琵琶、箜篌等乐器，正在动情地演奏姿态，是研究古代音乐史的珍贵资料。两塔塔刹及东塔第一层塔檐被毁。西塔塔身东壁有题记。塔基座上建有四面拱形双阶级踏道，室内拱有佛和菩萨像，室外两侧刻有护法天王、力士。是供人参拜的佛塔。

Build in Tang Dynasty (713-805 CE). The pagoda is 5.22m high. The foundation's base has carvings of apsara playing musical instruments. The central section is possibly made of marble. The entrance has a pair of guardian of law(金刚力士). The top of the entrance has a lion, dragon and apsara dancing. The top of the pagoda is made of nine-story.

寺中有唐代九级方石塔一对，石塔建于唐开元元年至貞元二十一年（713—805）。两塔东西相距八点六米，坐北朝南，系九层叠涩密檐式方形石塔，由基台、基座、塔身、塔檐、塔顶组成。塔身南壁开拱券门，塔身镌佛祖、弟子及神王。东塔通高五点二二米。塔身四角呈抛物线形，很是优美。两塔基座上方形束腰须弥座，四壁雕刻不同姿势乐妓，各持笛、笙、鼓、琵琶、箜篌等乐器，正在动情地演奏姿态，是研究古代音乐史的珍贵资料。两塔塔刹及东塔第一层塔檐被毁。西塔塔身东壁有题记。塔基座上建有四面拱形双阶级踏道，室内拱有佛和菩萨像，室外两侧刻有护法天王、力士。是供人参拜的佛塔。

Build in Tang Dynasty (713-805 CE). The pagoda is 5.22m high. The foundation's base has carvings of apsara playing musical instruments. The central section is possibly made of marble. The entrance has a pair of guardian of law(金刚力士). The top of the entrance has a lion, dragon and apsara dancing. The top of the pagoda is made of nine-story.

寺中有唐代九级方石塔一对，石塔建于唐开元元年至貞元二十一年（713—805）。两塔东西相距八点六米，坐北朝南，系九层叠涩密檐式方形石塔，由基台、基座、塔身、塔檐、塔顶组成。塔身南壁开拱券门，塔身镌佛祖、弟子及神王。东塔通高五点二二米。塔身四角呈抛物线形，很是优美。两塔基座上方形束腰须弥座，四壁雕刻不同姿势乐妓，各持笛、笙、鼓、琵琶、箜篌等乐器，正在动情地演奏姿态，是研究古代音乐史的珍贵资料。两塔塔刹及东塔第一层塔檐被毁。西塔塔身东壁有题记。塔基座上建有四面拱形双阶级踏道，室内拱有佛和菩萨像，室外两侧刻有护法天王、力士。是供人参拜的佛塔。

Cave 3, Northern Wei Dynasty coffered ceiling with relief of apsaras and lotus.

Gongxain Grottoes was first build by the order of Xiaoweng Emperor of Late Northern Wei Dyndasty (467-499 CE), after the fall of Northern Wei, Local belivers in the following dynasty countines to carve niches of buddha. There are five central grottoes, all carved in Northern Wei Dynasty (Some remained unfinished or were abandoned during the early construction phase.) Since the grottoes have royal status, its scultpure repersent the shift from the Yungang style to the Longmen style.

巩义石窟创建于北魏(据唐代龙朔二年（662年）的《后魏孝文帝故希玄寺之碑》记载，北魏孝文帝在此创建伽蓝, 具有一定皇家性质的石窟)，是继龙门石窟后，北魏时期的又一佛教艺术宝库。东魏、西魏、北齐、唐、宋、金、明，以及清代雍正年间，该石窟群都重修过。佛像的雕造，以北魏为主，在北齐和唐代是又进行了较多的开凿。现存石窟5个、千佛龛1个、摩崖造像3尊、摩崖造像龛225个、碑刻题记256方、佛像7743尊。

Cave 3, Northern Wei Dynasty relief of apsaras,

Gongxain Grottoes was first build by the order of Xiaoweng Emperor of Late Northern Wei Dyndasty (467-499 CE), after the fall of Northern Wei, Local belivers in the following dynasty countines to carve niches of buddha. There are five central grottoes, all carved in Northern Wei Dynasty (Some remained unfinished or were abandoned during the early construction phase.) Since the grottoes have royal status, its scultpure repersent the shift from the Yungang style to the Longmen style.

巩义石窟创建于北魏(据唐代龙朔二年（662年）的《后魏孝文帝故希玄寺之碑》记载，北魏孝文帝在此创建伽蓝, 具有一定皇家性质的石窟)，是继龙门石窟后，北魏时期的又一佛教艺术宝库。东魏、西魏、北齐、唐、宋、金、明，以及清代雍正年间，该石窟群都重修过。佛像的雕造，以北魏为主，在北齐和唐代是又进行了较多的开凿。现存石窟5个、千佛龛1个、摩崖造像3尊、摩崖造像龛225个、碑刻题记256方、佛像7743尊。

Cave 3, Northern Wei Dynasty coffered ceiling with relief of apsaras and lotus.

Gongxain Grottoes was first build by the order of Xiaoweng Emperor of Late Northern Wei Dyndasty (467-499 CE), after the fall of Northern Wei, Local belivers in the following dynasty countines to carve niches of buddha. There are five central grottoes, all carved in Northern Wei Dynasty (Some remained unfinished or were abandoned during the early construction phase.) Since the grottoes have royal status, its scultpure repersent the shift from the Yungang style to the Longmen style.

巩义石窟创建于北魏(据唐代龙朔二年（662年）的《后魏孝文帝故希玄寺之碑》记载，北魏孝文帝在此创建伽蓝, 具有一定皇家性质的石窟)，是继龙门石窟后，北魏时期的又一佛教艺术宝库。东魏、西魏、北齐、唐、宋、金、明，以及清代雍正年间，该石窟群都重修过。佛像的雕造，以北魏为主，在北齐和唐代是又进行了较多的开凿。现存石窟5个、千佛龛1个、摩崖造像3尊、摩崖造像龛225个、碑刻题记256方、佛像7743尊。

Cave 3, Northern Wei Dynasty coffered ceiling with relief of apsaras and lotus.

Gongxain Grottoes was first build by the order of Xiaoweng Emperor of Late Northern Wei Dyndasty (467-499 CE), after the fall of Northern Wei, Local belivers in the following dynasty countines to carve niches of buddha. There are five central grottoes, all carved in Northern Wei Dynasty (Some remained unfinished or were abandoned during the early construction phase.) Since the grottoes have royal status, its scultpure repersent the shift from the Yungang style to the Longmen style.

巩义石窟创建于北魏(据唐代龙朔二年（662年）的《后魏孝文帝故希玄寺之碑》记载，北魏孝文帝在此创建伽蓝, 具有一定皇家性质的石窟)，是继龙门石窟后，北魏时期的又一佛教艺术宝库。东魏、西魏、北齐、唐、宋、金、明，以及清代雍正年间，该石窟群都重修过。佛像的雕造，以北魏为主，在北齐和唐代是又进行了较多的开凿。现存石窟5个、千佛龛1个、摩崖造像3尊、摩崖造像龛225个、碑刻题记256方、佛像7743尊。

Cave 1, Northern Wei Dynasty coffered ceiling with relief of apsaras and lotus.

Gongxain Grottoes was first build by the order of Xiaoweng Emperor of Late Northern Wei Dyndasty (467-499 CE), after the fall of Northern Wei, Local belivers in the following dynasty countines to carve niches of buddha. There are five central grottoes, all carved in Northern Wei Dynasty (Some remained unfinished or were abandoned during the early construction phase.) Since the grottoes have royal status, its scultpure repersent the shift from the Yungang style to the Longmen style.

巩义石窟创建于北魏(据唐代龙朔二年（662年）的《后魏孝文帝故希玄寺之碑》记载，北魏孝文帝在此创建伽蓝, 具有一定皇家性质的石窟)，是继龙门石窟后，北魏时期的又一佛教艺术宝库。东魏、西魏、北齐、唐、宋、金、明，以及清代雍正年间，该石窟群都重修过。佛像的雕造，以北魏为主，在北齐和唐代是又进行了较多的开凿。现存石窟5个、千佛龛1个、摩崖造像3尊、摩崖造像龛225个、碑刻题记256方、佛像7743尊。

F1921.1 H x 550–577 CE Poorly removed from the wall of Cave 2, Southern Xiangtangshan Cave, Hebei province. Limestone with traces of pigment W: 120.8 x 340 cm (47 9/16 x 133 7/8 in)

The jeweled trees and lush scenery suggest a gathering of Buddhas, bodhisattvas (enlightened beings), and blessed souls, perhaps in one of the four directional Buddhist paradises. Traces of color on the stone hint at the brilliance of the mural, which was originally painted with gold and bright colors.The relief-sculpture mural most likely once decorated a stupa-pillar, or large square shaft, attached to the center of the rear wall of one of the caves at Southern Xiangtangshan, a court-sponsored Buddhist cave-temple created during the Northern Qi dynasty. Several scholars suggest that the mural came from Cave 2 at Southern Xiangtangshan. A related object in the Freer's collection is F1921.2.

整幅画面分成三个部分，中央表现佛陀说法场面。两侧场景有佛菩萨，但却不像通常说法图那样以佛为中心布局。两侧的佛像均为侧面，右侧画面中的佛前有一菩萨合十礼拜，佛出右手摩菩萨顶。两侧场景中，除了周边菩萨眷属围绕，下方均坐有五位菩萨。整幅浮雕可能表现的是佛经故事。

F1921.1 H x 550–577 CE Poorly removed from the wall of Cave 2, Southern Xiangtangshan Cave, Hebei province. Limestone with traces of pigment W: 120.8 x 340 cm (47 9/16 x 133 7/8 in)

The jeweled trees and lush scenery suggest a gathering of Buddhas, bodhisattvas (enlightened beings), and blessed souls, perhaps in one of the four directional Buddhist paradises. Traces of color on the stone hint at the brilliance of the mural, which was originally painted with gold and bright colors.The relief-sculpture mural most likely once decorated a stupa-pillar, or large square shaft, attached to the center of the rear wall of one of the caves at Southern Xiangtangshan, a court-sponsored Buddhist cave-temple created during the Northern Qi dynasty. Several scholars suggest that the mural came from Cave 2 at Southern Xiangtangshan. A related object in the Freer's collection is F1921.2.

整幅画面分成三个部分，中央表现佛陀说法场面。两侧场景有佛菩萨，但却不像通常说法图那样以佛为中心布局。两侧的佛像均为侧面，右侧画面中的佛前有一菩萨合十礼拜，佛出右手摩菩萨顶。两侧场景中，除了周边菩萨眷属围绕，下方均坐有五位菩萨。整幅浮雕可能表现的是佛经故事。

F1921.2 550–577 CE Poorly removed from the wall (top of the entrance to Cave 2, Southern Xiangtangshan Cave, Hebei province) Limestone with traces of pigment H x W: 120.8 x 340 cm (47 9/16 x 133 7/8 in)

This large relief is almost eleven feet long. At the center, a Buddha sits under a canopy decorated with strings of large jewels. He raises his right hand to make a teaching or preaching gesture. Seated deva crowd around him. Above the canopy, more Buddhas and bodhisattvas sit on lotus and are distinguished by the halos around their heads. Other flying divinities and musical instruments float in the sky. One tall lavish building appears at each side of the relief. A rectangular pond, flanked by the bodhisattvas Avalokiteshvara and Mahasthamaprapta, lies in front of the central Buddha. It is the focus of attention of the Buddha and the two principal bodhisattvas. Inside the pond, small childlike figures sit on lotus blossoms or are enclosed inside the flowers. These represent reborn souls, some lotus blossoms are still tightly closed and others are in full bloom.

The Buddha is Amitabha, the Buddha of Infinite Light. He resides in his heavenly realm called the Western Paradise, or Pure Land. Devotees believe that absolute faith in Amitabha empowers a person to be reborn in his paradise. According to the scriptures, the Western Paradise is a land of bliss. People there enjoy peace and plenty. Beautiful music sounds from the sky. Trees grow precious jewels. The relief depicts Amitabha welcoming newly reborn souls who emerge from lotus blossoms. It is believed to be the earliest known illustration of the Western Paradise in Chinese art.

The relief comes from the wall of a cave at Xiangtangshan, literally “Mountain of Echoing Halls,” in Northern China. The Buddhist cave temples of Xiangtangshan are a group of worship halls or shrines carved into the mountains during the sixth century. Created with the financial support of the royal family and officials, the caves represent the power and prestige of the throne and the popularity of Buddhist belief at the time. The relief was originally carved on top of the entrance to Cave 2, facing the main altar of the cave. Sculptures of Amitabha and other divinities also stood on the altar. One would have felt as if entering the heavenly dwelling of the Buddha Amitabha when walking into the cave.

来自南响堂山二号窟入口顶部窟壁，画面中央佛坐于莲台上扬掌说法，两侧是听法的菩萨众，还有殿堂楼阁，空工有乘云来去的佛与菩萨。这铺经变为北齐时代所造，可以说是中国北方时代最早的经变图。

F1921.1 H x 550–577 CE Poorly removed from the wall of Cave 2, Southern Xiangtangshan Cave, Hebei province. Limestone with traces of pigment W: 120.8 x 340 cm (47 9/16 x 133 7/8 in)

The jeweled trees and lush scenery suggest a gathering of Buddhas, bodhisattvas (enlightened beings), and blessed souls, perhaps in one of the four directional Buddhist paradises. Traces of color on the stone hint at the brilliance of the mural, which was originally painted with gold and bright colors.The relief-sculpture mural most likely once decorated a stupa-pillar, or large square shaft, attached to the center of the rear wall of one of the caves at Southern Xiangtangshan, a court-sponsored Buddhist cave-temple created during the Northern Qi dynasty. Several scholars suggest that the mural came from Cave 2 at Southern Xiangtangshan. A related object in the Freer's collection is F1921.2.

整幅画面分成三个部分，中央表现佛陀说法场面。两侧场景有佛菩萨，但却不像通常说法图那样以佛为中心布局。两侧的佛像均为侧面，右侧画面中的佛前有一菩萨合十礼拜，佛出右手摩菩萨顶。两侧场景中，除了周边菩萨眷属围绕，下方均坐有五位菩萨。整幅浮雕可能表现的是佛经故事。

F1921.1 H x 550–577 CE Poorly removed from the wall of Cave 2, Southern Xiangtangshan Cave, Hebei province. Limestone with traces of pigment W: 120.8 x 340 cm (47 9/16 x 133 7/8 in)

The jeweled trees and lush scenery suggest a gathering of Buddhas, bodhisattvas (enlightened beings), and blessed souls, perhaps in one of the four directional Buddhist paradises. Traces of color on the stone hint at the brilliance of the mural, which was originally painted with gold and bright colors.The relief-sculpture mural most likely once decorated a stupa-pillar, or large square shaft, attached to the center of the rear wall of one of the caves at Southern Xiangtangshan, a court-sponsored Buddhist cave-temple created during the Northern Qi dynasty. Several scholars suggest that the mural came from Cave 2 at Southern Xiangtangshan. A related object in the Freer's collection is F1921.2.

整幅画面分成三个部分，中央表现佛陀说法场面。两侧场景有佛菩萨，但却不像通常说法图那样以佛为中心布局。两侧的佛像均为侧面，右侧画面中的佛前有一菩萨合十礼拜，佛出右手摩菩萨顶。两侧场景中，除了周边菩萨眷属围绕，下方均坐有五位菩萨。整幅浮雕可能表现的是佛经故事。

F1921.1 H x 550–577 CE Poorly removed from the wall of Cave 2, Southern Xiangtangshan Cave, Hebei province. Limestone with traces of pigment W: 120.8 x 340 cm (47 9/16 x 133 7/8 in)

The jeweled trees and lush scenery suggest a gathering of Buddhas, bodhisattvas (enlightened beings), and blessed souls, perhaps in one of the four directional Buddhist paradises. Traces of color on the stone hint at the brilliance of the mural, which was originally painted with gold and bright colors.The relief-sculpture mural most likely once decorated a stupa-pillar, or large square shaft, attached to the center of the rear wall of one of the caves at Southern Xiangtangshan, a court-sponsored Buddhist cave-temple created during the Northern Qi dynasty. Several scholars suggest that the mural came from Cave 2 at Southern Xiangtangshan. A related object in the Freer's collection is F1921.2.

整幅画面分成三个部分，中央表现佛陀说法场面。两侧场景有佛菩萨，但却不像通常说法图那样以佛为中心布局。两侧的佛像均为侧面，右侧画面中的佛前有一菩萨合十礼拜，佛出右手摩菩萨顶。两侧场景中，除了周边菩萨眷属围绕，下方均坐有五位菩萨。整幅浮雕可能表现的是佛经故事。

F1921.1 H x 550–577 CE Poorly removed from the wall of Cave 2, Southern Xiangtangshan Cave, Hebei province. Limestone with traces of pigment W: 120.8 x 340 cm (47 9/16 x 133 7/8 in)

The jeweled trees and lush scenery suggest a gathering of Buddhas, bodhisattvas (enlightened beings), and blessed souls, perhaps in one of the four directional Buddhist paradises. Traces of color on the stone hint at the brilliance of the mural, which was originally painted with gold and bright colors.The relief-sculpture mural most likely once decorated a stupa-pillar, or large square shaft, attached to the center of the rear wall of one of the caves at Southern Xiangtangshan, a court-sponsored Buddhist cave-temple created during the Northern Qi dynasty. Several scholars suggest that the mural came from Cave 2 at Southern Xiangtangshan. A related object in the Freer's collection is F1921.2.

整幅画面分成三个部分，中央表现佛陀说法场面。两侧场景有佛菩萨，但却不像通常说法图那样以佛为中心布局。两侧的佛像均为侧面，右侧画面中的佛前有一菩萨合十礼拜，佛出右手摩菩萨顶。两侧场景中，除了周边菩萨眷属围绕，下方均坐有五位菩萨。整幅浮雕可能表现的是佛经故事。

F1921.2 550–577 CE Poorly removed from the wall (top of the entrance to Cave 2, Southern Xiangtangshan Cave, Hebei province) Limestone with traces of pigment H x W: 120.8 x 340 cm (47 9/16 x 133 7/8 in)

This large relief is almost eleven feet long. At the center, a Buddha sits under a canopy decorated with strings of large jewels. He raises his right hand to make a teaching or preaching gesture. Seated deva crowd around him. Above the canopy, more Buddhas and bodhisattvas sit on lotus and are distinguished by the halos around their heads. Other flying divinities and musical instruments float in the sky. One tall lavish building appears at each side of the relief. A rectangular pond, flanked by the bodhisattvas Avalokiteshvara and Mahasthamaprapta, lies in front of the central Buddha. It is the focus of attention of the Buddha and the two principal bodhisattvas. Inside the pond, small childlike figures sit on lotus blossoms or are enclosed inside the flowers. These represent reborn souls, some lotus blossoms are still tightly closed and others are in full bloom.

The Buddha is Amitabha, the Buddha of Infinite Light. He resides in his heavenly realm called the Western Paradise, or Pure Land. Devotees believe that absolute faith in Amitabha empowers a person to be reborn in his paradise. According to the scriptures, the Western Paradise is a land of bliss. People there enjoy peace and plenty. Beautiful music sounds from the sky. Trees grow precious jewels. The relief depicts Amitabha welcoming newly reborn souls who emerge from lotus blossoms. It is believed to be the earliest known illustration of the Western Paradise in Chinese art.

The relief comes from the wall of a cave at Xiangtangshan, literally “Mountain of Echoing Halls,” in Northern China. The Buddhist cave temples of Xiangtangshan are a group of worship halls or shrines carved into the mountains during the sixth century. Created with the financial support of the royal family and officials, the caves represent the power and prestige of the throne and the popularity of Buddhist belief at the time. The relief was originally carved on top of the entrance to Cave 2, facing the main altar of the cave. Sculptures of Amitabha and other divinities also stood on the altar. One would have felt as if entering the heavenly dwelling of the Buddha Amitabha when walking into the cave.

来自南响堂山二号窟入口顶部窟壁，画面中央佛坐于莲台上扬掌说法，两侧是听法的菩萨众，还有殿堂楼阁，空工有乘云来去的佛与菩萨。这铺经变为北齐时代所造，可以说是中国北方时代最早的经变图。