Abstract

Yulin Cave 3 is dominated by exoteric Buddhist images as the unifying framework of the cave, with esoteric mandala images arranged on the ceiling and the four walls. Together they form a tantric maṇḍala space with the nature of a ritual arena, serving as a stone-cave site for daily practice. This paper focuses on the controversial Pure Land tableau on the south wall. Based on iconographic features, it argues that this mural should in fact be identified as the Maitreya Ascension Sutra tableau. Further examination shows that above the Eight Stūpas tableau on the east wall, the Nirvāṇa image is flanked by a composition of “Seven Buddhas + Maitreya.” Beneath the Mañjuśrī and attendants on the west wall, a scene of Sudhana worshiping the helmsman is depicted. The treasures held by the Dragon King and others should be understood as “ox-head sandalwood.” On this basis, the mural program is shown to embody the doctrine of the Avataṃsaka, encompassing the ten directions and three times, together with beliefs in rebirth in the Western Pure Land and Maitreya’s Pure Land. The presence of esoteric mandalas and the central Buddha altar defines this cave as a tantric maṇḍala with dual functions of “worship” and “practice”.

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