(1) Contribution to the Silk Roads’ OUV

Bingling Cave-Temple Complex, continuously carved from 4th century AD to 10th century AD, are the caves with earliest history dating inscription along the Yellow River on the Silk Roads with construction year inscribed. The Buddhist art at Bingling Cave-Temple Complex reflects multiple influences from the West, South China and Central China as the temple was located at a transport node. The caves built in the Sixteen Kingdoms and the Northern Dynasty period (4th century AD-6th century AD) embody influences from figure of Kasmira monk Dharma-priya, Amitayus Buddha popular at that time in South China and images in Saddharmapundarika Sutra in Chang’an. The influence of Tibetan Buddhism is observed through a large number of Ming Dynasty murals. Niche 6 of Cave169 preserves the earliest ever found clear dating inscription (420 AD) in Buddhist cave-temples in China. Hence the statues and murals in Cave 169 become benchmarks for Central China and Northern China Buddhist caves study. As the earliest Buddhist cave temple on the transitional zones between Hosi Corridor and Central China, it bears exceptional testimony to the early period of Buddhism transmission in China.

(2) General information

Bingling Cave-Temple Complex is about 52 km away from the southwest of Yongjing County, Linxia Hui Autonomous Prefecture, Gansu Province. The caves are carved on various levels of the cliff of west Dasi Ravine, 350 meters in length and 60 meters in height, on Xiaojishi Mountain, northern bank of the Yellow River. They were built from late 4th century (Western Qin Dynasty), continued to be carved between 5th century and 10^th century, and maintained in later dynasties of Song, Yuan, Ming, Qing. The main caves consist of 27-meter high Cliffside Great Buddha Cave (No. 171 cave, 27 meters high) of Tang Dynasty on the north of the cliff, and many medium and small caves. There are 185 nominated caves, 776 statues, and murals of 912 square meters. There are 4 caves of Western Qin Dynasty, 40 caves of Northern Wei and Norther Zhou Dynasties, 138 caves of Sui and Tang dynasties, 3 caves of Ming Dynasty and 62 inscriptions.

(3) Attributes

Bingling Cave-Temple Complex was built on the transport node connecting Central China with Hosi Corridor and Qinghai-Tibet Plateau, composed by 185 Buddhist caves on cliff built from 4th century to 10th century continuously. It embodied the transmission of Buddhism eastbound and its fusion with Central China culture. In particular, the caves, sculptures and murals of 4th and 5th century AD (Sixteen Kingdoms period - a collection of numerous short-lived sovereign kingdoms) demonstrate the India Gandhara and Mathura artistic style transmitted by Kucha caves under the influence of “Liangzhou Style”106. Meanwhile, the caves also embrace the stone carvings and painting techniques of Han and Jin Dynasties in Central China to exemplify the characteristics of the preliminary fusion of Chinese and Western art. The inscription with clear dating information witnesses the early period of Buddhism’s transmission to Central China. The caves, for its advantageous location, are able to embody influences from arts of different periods and regions.

Caves, murals and sculptures in 4th and 5th century (Sixteen Kingdoms Period) preserved in Bingling Cave- Temple Complex are special proof of Buddhist cave style in its early transmission in Central China. The twenty-four lines of inscriptions carved in the first year of Jianhong Period on the northern wall of Cave 169 are the earliest inscriptions among Chinese caves. In Cave 169, there are earliest murals in China of western three-Buddha theme (in Niche 6), the subject matter of Sakyamuni and Prabhutaratna Buddha sitting together (in Mural 11), and Maitreya image (in Niche 6)107 , which were seen in later Dunhuang, Yungang and Longmen Caves.

The Cave Statues and Buddha images in murals of Western Qin Dynasty (4th century AD to 5th century AD), represented by Cave 169, reflect the influence of Indian Gandhara and Mathura art under “Liangzhou Style” transmitted by Kucha caves. Meanwhile, the caves also embrace the stone car vings of Han and Jin Dynasties in Central China to exemplify the characteristics of the preliminary combination of Chinese and Western ar t. Murals of the same time, especially donator’s images, reflect Southern Dynasties ar tistic characters. Statues and murals in Cave 125 and 126 of Northern Wei Dynasty created in late 5th century embody the artistic feature of “slim-figure, delicate-face, loose-fitting-gown, wide-girdle” popular in Central China to become masterpieces of Chinese early Buddhist art. The many caves carved after 6th century mark the climax of Bingling Cave-Temple Complex. The Buddhist statues grow to be plump and well-proportioned, which agrees with the artistic style of Central China in Sui and Tang Dynasties. 

As the transport node in the border area which was contested by different regimes, Bingling Cave-Temple Complex, compared with other Buddhist caves, contain more historic information reflecting the relationship between different ethnic groups along the Silk Roads. The caves reflecting the relationship between Tang Dynasty and Ancient Tibet, and the Tibetan words and Tangut inscriptions in later caves witnessed the many national regimes in Hosi region and their culture and arts activities in history.

Bingling Cave-Temple Complex was occupied by Tibetans after 8th century. Inscription by Zhang Chujin in 678 AD (the third year of Yifeng period in Tang Dynasty) in upper Cave 64, and “Lingyan Temple Inscription” in the right side of Cave 148 recorded in detail the prosperity of Bingling Cave-Temple Complex and relationship between Tang Dynasty and Ancient Tibetan Empire, as historical witness of the interchange of Han and Tibetan people during Tang Dynasty. Tangut inscriptions to the south of Cave 168 and in Cave 8 bear witness to the activities of Tangut people in Western Xia regime(early in 11th centur y AD). After the Yuan Dynasty (12^th century), Tibetan Buddhism was popular in the region. Tibetan Buddhist remains of Yuan and Ming dynasties include statues in Cave 70, murals in Cave 3 and Tibetan inscriptions near Cave