Cave 9 was cut into the eastern edge of the western section at Tianlongshan in the Tang dynasty. It consists of a huge niche with two levels. The upper level is set back and has a massive colossal Maitreya Buddha image more than 7.5 meters high, seated with his back against the cliff and his head reaching nearly to the cliff top. The lower level has three large bodhisattvas carved in the round, a central standing eleven-headed Avalokitesvara (Guanyin) and two seated bodhisattvas at the sides, each riding on an animal. The Guanyin figure stands 5.5 meters high. Its head is a modern replacement for the original one. The bodhisattva on the east side, mounted on an elephant, is Samantabhadra (Puxian), and the one on the west side, sitting on a lion, is Manjusri (Wenshu). The large group of carvings is protected by a tall wooden structure that was reconstructed in recent times. The original building, believed to be from the Tang, was repaired in the tenth century, as recorded on the stele dated 975 preserved at the site.
This video was part of the \"The Buddhist Cave Temples and Sculptures of Tianlongshan--historical photographs and New Imaging Technology\" which opened as half of the larger exhibition Sites and Images: Two Research Projects of Oxford University and the University of Chicago at the OCAT Institute, Beijing. It was on display from September 16 - December 31, 2017. The exhibition made use of old photographic records and new forms of imaging technology to reconstruct the history and former appearance of the cave shrines. The early photographs are an important source of evidence of the appearance of the Tianlongshan caves before they were damaged, but they may also have been a cause of the plundering of the fine sculptures, attracting the attention of art collectors and dealers. Photographs from sale catalogs and museum archives also record the progress of the dispersal of the sculptures in the art market and their acquisition by museums and private collectors around the world. The gallery displays included information about the history of the caves, the recent history of the sculptures and the digital 3D models of sculptures and caves. Installations allowed interactive viewing of the 3D models and explained the process of collecting and processing 3D data to create the 3D models.
该视频是“天龙山的佛教石窟寺庙和雕塑——历史照片和新成像技术”的一部分，该展览作为大型展览的一半开幕 地点和图像：牛津大学和芝加哥大学在 OCAT 的两个研究项目北京研究所。于2017年9月16日至12月31日展出。展览利用旧照片记录和新形式的成像技术，重建了洞穴神社的历史和旧貌。早期的照片是天龙山洞窟受损前的重要证据来源，但也可能是精美雕塑遭到掠夺的原因，引起了艺术品收藏家和交易商的关注。拍卖目录和博物馆档案中的照片也记录了这些雕塑在艺术市场上的传播过程以及它们被世界各地的博物馆和私人收藏家收购的过程。画廊展示了有关洞穴历史、雕塑的近期历史以及雕塑和洞穴的数字 3D 模型的信息。装置允许交互式查看 3D 模型，并解释了收集和处理 3D 数据以创建 3D 模型的过程。
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