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wide) runs along the three walls, intersected by the windows and doorway
on the front wall. Most of the narrative was concentrated in the upper part
of the cave, that is on the ceiling and the two lunettes. This layout is not
replicated in any other cave in Kuča (Fig. 6).
The iconography of Caves 118, as well as that of Cave 117, 116 and 110
below, was first investigated by Grünwedel (1912, pp. 102-119), thereafter
large sections of these painting were removed to Germany and are stored
in the Museum für Asiatische Kunst in Berlin – some were lost during
World War II.
Cave 117 presents another set of interesting features. Its antechamber,
wider than the main chamber, is the largest antechamber in District Six;
its original depth cannot be established since the front section of it has
collapsed. Not only is it large, but its floor is also carved at a lower level
than that of the main chamber. The ceiling consists of carved rafters,
imitating timber architecture, set against a flat ceiling. There are at least
three different layers of painting in the antechamber, main chamber and
the reveals of the doorway between the two rooms. The plan of the main
chamber is square, somewhat irregular, topped by a truncated pyramid
Figure 6. Cave 118. Below: plan and view of the restored façade. Above: the disposition of the
paintings on the four walls of the main chamber (starting from the left): front wall, right wall,
main wall, left wall
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Vignato. Qizil: an Interpretation of District Six, Caves 109-121 in Gunei
153
ceiling. An altar set slightly back is atypically rectangular, as most of the
extant altars in square caves Qizil are perfectly square. This altar would
have held the statuary which would have served as the main focus of wor-
ship. The narrative painted on the main wall would have acted as a back-
ground to said statues. A right understanding of the décor is complicated
by the fact there are three superimposed layers of paintings, of which
part are in the original place, others are in the Museum für Asiatische
Kunst in Berlin. The final hurdle is the thick strata of soot covering walls
and ceiling which serves to further obscure the paintings. The paintings
are displayed in rows of seated Buddha and in horizontal registers. The
identification of the painted narrative requires in depth investigation (Zin
2015, pp. 19-27). Sections of this décor are presently kept in the Museum
für Asiatische Kunst in Berlin.
The importance of this cave for future research cannot be underesti-
mated. Once the themes and style of the three strata of the paintings are
completely understood and described, we will have the clearest evidence
not only of the development of style, but, most importantly, a clear view of
the successive stages of development of the narrative, and the evolution of
the doctrine therein implied. Scientific testing of pigments from each of the
layers of painting would likely shed light on the materials and techniques
used in different periods. This data could then in turn be compared with
materials from other caves. These murals can shed considerable light on
several aspects of these caves if appropriately studied.
Cave 116 is the last of the three caves painted in Style A. Its relative
position, compared to that of the Caves 115 and 177, suggests that it was
the last of the three to be carved. Part of the rock-carved antechamber
collapsed but was later restored by adding a cantilevered structure. The
plan of the main chamber is a transverse rectangle topped by a transverse
barrel-vaulted ceiling with a flat crown. The structure is somewhat similar
to that of Cave 118, with a similar cornice around the four walls. The front
wall, however, is different with a doorway on the left and a relatively small
window on the right. The placement of the paintings is again unique: the
main painting, surrounded by a large cornice, occupied almost entirely the
right wall; it is presently heavily damaged, but it might have represented a
monk (or Buddha?) seated in meditation. The other painting occupied the
left lunette; presently its content is barely visible and originally showed
monks meditating in cemeteries (Howard, Vignato 2015, pp. 108-109).
The decor included also an ornamental strip painted in the upper-middle
section of the walls (Fig. 7).
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Figure 7. Cave 116. Plan and disposition of the paintings on the four walls of the main
chamber (on the left): front wall and right wall; (above) main wall; (right) left wall of the main
chamber and left wall of the antechamber, with the marks of a groove used for the support
of the cantilevered wooden structure in front of the cave
Continuing westwards, the next few caves form the most complex group
in the district. The original core consisted of central pillar Cave 114 and
monastic cell Cave 115, each with its individual antechamber carved out of
the rock. A collapse has seriously damaged the antechamber of Cave 114,
causing the loss of crucial information. The remaining features, however,
are sufficient to reconstruct the original state of the group. The caves were
completely carved out of the rock and accessed through a doorway carved
in the front wall of the antechamber of Cave 114. Cave 115 was then ac-
cessed through the doorway carved into the left wall of the antechamber
of Cave 114. Following the collapse of its original antechamber a timber
balcony was then installed (described below). It is likely during this phase
that the group was expanded by widening the antechamber westward to
make space for Cave 113 – although this is a numbered cave it was actu-
ally an internal stairway giving access to the caves carved further up the
cliff (Fig. 8).