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Vignato. Qizil: an Interpretation of District Six, Caves 109-121 in Gunei
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Figure 8. Group 112A-115. The original core of the group was formed of Caves 114-115. It was
then enlarged to comprise the stairway Cave 113 and all the other caves, carved at the upper
levels – Caves 112A, 112, 112B, 112C, 113A
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Vignato. Qizil: an Interpretation of District Six, Caves 109-121 in Gunei
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A cursory examination of characteristics of Cave 114, reveals it to be
a regular central pillar cave all be it with a uniquely large niche at the
centre of the main wall. This was surrounded by the remains of a three-
dimensional rendering of a mountainous landscape. On the main wall of
the niche – not visible when the main statue was in its place – was painted
a bodhisattva. A repository was excavated into the floor of the niche and
then covered with wooden planks. Atypical was also the complex wooden
structure forming the cornice on the side and front walls. One peculiar
feature of the decor in the rear areas is the rows of nuns painted on the in-
ner walls of the corridors. Again, all the paintings are blackened with soot.
The fact that monastic cell Cave 115 could be accessed only through the
doorway opened on the left wall of the antechamber of Cave 114 means
that Cave 115 was either a contemporary or later feature, and that the two
caves were related. A door was installed over the entrance to the monastic
cell in order to grant the occupant some privacy. The atypical plan of the
entrance areas of the monastic cell, with one extra stretch of the corridor
than normal also served to improve privacy.
The superimposed features on the cliff irrefutably establish that the
internal stairway – Cave 113 – was a later addition to the core group
formed by Caves 114 and 115, a crucial piece of information that assigns
a relatively late dating to all the caves reached through it. They are mo-
nastic cell Cave 112 and three meditation cells intended for prolonged
periods of meditation – Caves 112A, 112B and 113A. Still higher up is
a small cell. It is regularly carved with an arched soffit, plastered and
painted with uniform firebrick paint – provisionally called Cave 112C; it
is a meditation cell of the type used for short periods of meditation. A
more detailed discussion of the caves of this upper section of the group
is beyond the remit of this paper, but as the above description indicates
the caves in the upper reaches were carved chiefly for meditation with
one residential cave, the monastic cell Cave 112. Since none of these
caves were decorated Cave 114 remained the exclusive ritual focus of
this enlarged group.
Caves 110, 111 and 111A, form a small group carved in a very high po-
sition on the cliff. They are relatively isolated in comparison to the caves
described so far. Due to their location at the inner most end of the district
they had to be carved very high on the cliff since this was the best pos-
sible location, in terms of rock quality and sunlight hours, even though
it required the construction of an inner staircase in order to reach them
safely. The remains of the stairway are now clearly visible due to the col-
lapse of a large section of the cliff. The stairway ended on a level with the
floor of their shared antechamber. This chamber was originally carved
completely out of the rock. The antechamber displayed an ‘L’ shape plan,
with a wider space in front of Caves 111 and 111A, while the space in front
of Cave 110 was narrower (Fig. 9).
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Vignato. Qizil: an Interpretation of District Six, Caves 109-121 in Gunei
157
Figure 9. Group 110-111A. Notice the stairway from the left and the partially remaining
rock-carved antechamber in front of the caves
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Vignato. Qizil: an Interpretation of District Six, Caves 109-121 in Gunei
Annali di Ca’ Foscari. Serie orientale, 52, 2016, pp. 145-172
ISSN 2385-3042
The first cave encountered upon reaching the top of the stairway was
Cave 110, a square cave the side walls of which show the largest number of
episodes of Shakyamuni’s life of any cave in Qizil. The longitudinal barrel
vaulted ceiling creates a lunette above the main wall with a representation
of Mara’s temptation of Shakyamuni, this is balanced by a second lunette
above the doorway, which depicts a Bodhisattva preaching in a heavenly
palace (Fig. 10).
Figure 10. Cave
110, layout of the
paintings in the
lateral walls. Top,
left to right, right
and main wall.
Below: left and front
walls
Cave 111 has an atypical structure, the only cave of this type in Kuča: be-
sides the shared antechamber, it consisted of undecorated main and inner
chambers plastered but not whitewashed, and although there are no traces
of the fireplace, it is blackened by soot. These characteristics, together
with the fact that the cave was sufficiently large as to allow a person to
sleep within it, suggest that it might have been used as a monastic cell.
Lastly, on the left wall of the antechamber a doorway gave access to Cave
111A, placed at a right angle compared to Caves 110-111. This cave has
now completely collapsed, but we can still identify it by the remaining
inner reveal of its doorway, the marks used to install the door-frame and
part of the right wall of the main chamber. This cave can be interpreted
as a storage cave on the basis comparison with similar caves.
The westernmost end of District Six is the head of the valley. It is the