The Dazu area is perennially humid, making it conducive to the survival and reproduction of organisms 
such as mold, bacteria, and lichens, which pose serious biological disease problems to the Dazu Rock Carvings. In this study, traditional microbial culture and metagenomic sequencing techniques are used to identify and classify the types of biological diseases in the Reclining Buddha at Baoding Mountain and Xiaofowan, Dazu Rock Carvings, and to investigate and evaluate their damage levels. Laboratory culture and isolation identifies 7 species of molds and bacteria, while molecular-level sequencing identifies as many as 180 known microbial genera, including more than 80 genera of bacteria and over 30 genera of fungi, covering 4 categories: bacteria, fungi, viruses, and parasites. To effectively prevent and eradicate microorganisms and thereby reduce their damage to the rock carvings, biological disease control agents are developed and screened through a combination of laboratory verification and application effect evaluation. Continuous observation and testing of the experimental sample areas in the Reclining Buddha at Baoding Mountain and Xiaofowan indicate that the occurrence of biological diseases such as mold, algae, and moss in the experimental group is significantly less than that in the untreated control group. After 6 years of continuous follow-up research, the application effect of the biological disease control agent shows goodefficacy, with an effective duration of up to 3 years, efficiently inhibiting mold, lichens, bacteria, etc, and the inhibitory effect begins to decline after more than 3 years.

There is a stele named Biography of Liu Benzun of the Tang Dynasty remaining at Baoding Mountain, 
Dazu. In Dazu and the neighboring Anyue area, there are three sets of Ten Austerities, mainly depicting the 
cultivation and preaching activities of Liu Benzun, a lay Buddhist of the Esoteric School in the late Tang Dynasty 
specializing in the Five-Part Esoteric Dharma of the Great Wheel and skilled in treating diseases with religious 
means such as talismans and incantations. He had a wide social influence in the western Sichuan region at that 
time. Liu Benzun’s medical and preaching activities reflect the reality of Buddhist monks promoting Buddhism through medicine under the complex political situation in the late Tang and Five Dynasties period, and reveal the development of Buddhist medicine and local religions since the Tang Dynasty, which have significant historical value.

The Baoshi Mountain Cliff Carvings are located on Baoshi Mountain, Hangzhou. There are 23 cliff  niches, 29 cliff statues, and 11 cliff inscriptions extant. From 2021 to 2024, the authors conducted a detailed investigation of the niches, statues, inscriptions, and other contents of the Baoshi Mountain Cliff Carvings, and found many inscriptions from the Northern Song Dynasty that had not been documented in any historical records. Therefore, the Baoshi Mountain Cliff Carvings were re-dated and re-periodized, leading to the conclusion that they were first carved in the Northern Song Dynasty and continued through the Yuan, Ming, and Qing dynasties and into the Republican period. Due to its extensive historical span, rich subject content, and diverse inscriptions, it stands as a valuable example among the cliff carvings around West Lake in Hangzhou.

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Grotto temples stand as historical witnesses to the mutual exchange between Chinese civilization and 
other civilizations. Among them, the vast number of small and medium-sized grotto temples have long faced 
systematic inadequacies in conservation, representing a vulnerable segment in China's cave temple conservation and utilization system. This study employs the small and medium-sized grottoes of the Dazu Rock Carvings as empirical cases and through a detailed interpretation of their multidimensional value system and an analysis of current challenges, it proposes five fundamental principles for their conservation and utilization. Furthermore, this study systematizes the innovative practices recently implemented by the Academy of Dazu Rock Carvings and it not only highlights that a systematic strategy effectively tackles core issues like structural vulnerability and management fragmentation, but also positively influences value interpretation and social function activation.

The phenomenon of temporal and spatial superimposition and integration of Northern Dynasties elements 
and Tang Dynasty statues in Cave 45 of Huangze Temple in Guangyuan makes it present a unique artistic style. This artistic phenomenon not only showcases the diversity of the grotto statues but has also drawn academic attention to the exact construction date of this cave. The special hybrid spatial structure that combines the “three niches on three walls” layout with a central pillar in Cave 45 demonstrates the diversity of architectures in Buddhist grottoes from the Guangyuan region during the Northern Dynasties period. Furthermore, the decorative patterns on the central pillar show strong similarities to styles prevalent in the grotto art of the Central Plains during the late Northern Wei dynasty, reflecting the influence of the sinicized artistic style represented by the Longmen Grottoes. Therefore, the architectural form and decorative imagery of Cave 45 serve not only as crucial evidence for its dating but also as important proof for the southward transmission of the grotto art of the late Northern Wei Dynasty from the Central Plains to the southwestern regions.

The Sutra of Bhaisajyaguru serves as the primary scripture for the Bhaisajyaguru faith. In the history of 
sutra translation in China, it has been translated into Chinese five times. With the exception of the Liu Song Dynasty translation, the other four versions are preserved in Taishō Tripiṭaka. However, only Bhaisajyaguru-Vaidūrya-Prabhāsa-Saptabuddha-Pūrva-Pranidhana-Sūtra, translated by Yijing of the Tang Dynasty, was transmitted to Tangut. Tangut monks translated Yijing’s Chinese version into Tangut, with some copies preserved in Tangut texts unearthed at Khara-Khoto and Dunhuang. This paper primarily examines the Tangut version of Bhaisajyaguru-Vaidūrya-Prabhāsa-Saptabuddha-Pūrva-Pranidhana-Sūtra unearthed at Khara-Khoto, along with its ritual practices. Specifically, by translating and interpreting Tangut scripture fragments from Khara-Khoto held in British collections, this paper determines the number of extant pages and corrects erroneous indentifications. Subsequently, it investigates the date of the Tangut translation of the sutra and the Tangut monk Dehui’s honorary title as well as his compilation of Homa Ritual for the Bhaisajyaguru-Vaidūrya- Prabhāsa-Saptabuddha, and finally examines various influencing factors of the circulation of the sutra within Tangut.

During the Song Dynasty, Changzhou was classified as an upper-level and military prefecture. Its three  subordinate counties, including Dazu, Yongchuan, and Changyuan, were all designated as upper-level counties. 
According to the local administrative system of the Song Dynasty, it should have been staffed by local officials 
such as the Prefect, the Vice Prefect, prefectural school officers, administrative and clerical staff, and countylevel officials. Based on the historical records of the Song Dynasty and inscriptions of the Dazu Rock Carvings, this article compiles a list of local officials who served in Changzhou, aiming to outline the structure of its 
local bureaucracy during the Song era. The research identifies a total of 77 individuals, including 27 prefects, 3 
vice‑prefects, 5 prefectural‑school officers, 16 administrative and county staff, 16 county magistrates, 1 official in charge of liquor monopoly and taxation, and 9 other prefectural and county officials. However, since He Guangzhen is counted twice for simultaneously serving as County Magistrate and acting Vice Prefect, the final adjusted number of distinct officials in Changzhou is 76.

From November 28 to December 1, 2025, the Youth Ambassador Program for Asian Cultural Heritage 
Conservation: 2025 International Youth Academic Exchange on Cave Temples was held in Dazu, Chongqing. 
The event was hosted by the China Academy of Cultural Heritage, the People’s Government of Dazu District, 
Chongqing, and the Academy of Dazu Rock Carvings, and co-organized by the Chongqing Key Laboratory of 
Conservation and Digitalization for Humid-Environment Sandstone Grottoes as well as the Editorial Department of Studies in Dazu Rock Carvings.Young scholars and experts from China, the United Kingdom, Italy, India, Pakistan, Cambodia, Ethiopia, Sri Lanka, Honduras, the Maldives, Sudan and other countries conducted high-level discussions around the theme of Conservation and Inheritance·Innovation and Collaboration.

During the Tubo’s management of the Silk Road, the translation and dissemination of Buddhist scriptures 
became a central focus of the spread of civilization and cultural exchange. The Chinese translation of the Sutra 
of the Vows of Samantabhadra serves as a classic example of Buddhist scripture translation along the Silk Road 
and the Tang-Tubo Ancient Road. With strong support from the Tubo royal court, the Tibetan Zen master Yeshe 
Yang, leading his team of Tibetans and allied monks, carved numerous statues of Vairocana and the Eight Great 
Bodhisattvas along the Tang-Tubo Ancient Road. On the side of these statues, the Esoteric Buddhism scripture, 
Sutra of the Vows of Samantabhadra is often inscribed. Due to the widespread faith and dissemination of this 
scripture along the Tang-Tubo Ancient Road and in Dunhuang, under the decree of the Tibetan emperor, the 
Tibetan translator Wufenbie translated the sutra into Chinese based on the Tibetan version which could serve as the reference text for proofreading and correcting discrepancies and errors in the Chinese copies during the transmission process.

Nankansi Cliff Sculptures were carved into a huge rock on the lower ground of Zhaizipo, Nankan Village, Xinsheng Town, Tongnan District. A total of 11 niches have been discovered, featuring mainly Buddhist 
figures such as Ksitigarbha, Avalokitesvara, and the Three Saints of the West, as well as the Taoist deities including Tianzun and Xuanwu Dadi. The statues can be divided into four groups. Based on their characteristics and inscribed dates, it is inferred that the carving began in the mid-to-late Tang Dynasty, revived in the Southern Song Dynasty, and continued during the Ming and Qing dynasties. The Nankansi Cliff Sculptures have rich themes, unique styles, long age spans, and important stone inscriptions, which have significant value for the study of grotto temples in the Tongnan area and the broader Sichuan-Chongqing region.

Traces of the Sarvāstivādins in the Buddhist Monasteries of Kucha by Vignato Giuseppe and Satomi 
Hiyama, is a remarkable contribution to recent scholarship on the cave temple complex at Kucha. The authors’ field survey records and their systematic compilation of research by German scholars for a century hold significant academic value. Based on the layout, function, principal statues, and wall decorations of both free-standing temples and cave temples, combined with Buddhist doctrines, the authors classifiy Kucha’s cave temples and free-standing temples into two major traditions: A and B. Taking the “Tradition A” Buddhist remains, represented by square caves with domed or coffered ceilings, as the center, and using Sarvāstivāda thought as the thread, the study deduces that this type of cave temple has the attributes of the Hinayāna Sarvāstivāda. This paper contends that there is no conclusive evidence for attributing “Tradition A” caves exclusively to the Hinayāna Sarvāstivāda school. It argues that nearly half of the maṭapas in the Kucha region cannot be classified as purely Hinayāna Sarvāstivāda and should instead be understood as the outcome of the long-term coexistence of Hinayāna and Mahāyāna Buddhism.

The 6th niche of the Huazhi Temple Cliff Carvings in Qionglai is a rare example of large-scaleThousand-Buddha sculptures from the Tang Dynasty in the Sichuan region. The Inscription on the Statues at Huazhi Temple 
preserved in the nich, has undergone several reprints, during which multiple errors were caused, especially the 
Wuliangshoufo(Amitabha Buddha) being mistakenly engraved as Wuliangzhufo(Immeasurable Buddhas). According to the inscription, the 6th niche of Huazhi Temple was carved by the monk from Zhangjing Temple in Chang’an and Baihe Temple in Qiongzhou. Therefore, this niche combines the characteristics of both Chang’an and Sichuan’s style. In terms of religious function, considering the long-term coexistence of Sengcai and Fazhao in Zhangjing Temple, it is speculated that the 6th niche of Huazhi Temple may be related to Dharmalparyaya. Through the 6th niche of Huazhi Temple, we can directly observe the vibrant Buddhist cultural exchange between Sichuan and Chang’an during the Tang Dynasty.

Cave No. 6 of the Shifotang Grottoes in Fuxian County was carved in 1117 CE (the seventh year of the Zhenghe era during the Northern Song Dynasty). Its construction was presided over by monk Yuanzhi, funded by four local devotees including Liu Yan, and carved by artisans such as Jie Ziyong, a member of the famous Jie family of craftsmen in Fuzhou. It is a typical example of a grotto sponsored by the folk in northern Shaanxi during the Song and Jin dynasties. The statues inside the cave are centered around a distinctive combination of the Five Hundred Arhats and the Shakyamuni’s Parinirvana, which is unique to northern Shaanxi. Additionally, it includes images related to the manifestations on Wutai Mountain and the independent Venerable Elder Manjusri Bodhisattva, reflecting the Wutai Mountain Buddhist belief system. This cave is a representative example of the themes and ideologies of Buddhist sculpture in northern Shaanxi during the Song and Jin dynasties and holds significant value for the study of grottoes from this period in the region.

Apart from the immovable cultural relics such as cave statues, murals, inscriptions and pagodas, the 
Bingling Temple Grottoes also contains more than 700 movable cultural relics. In this study, the collection history, conservation journey, and value significance of these cultural relics are introduced in an all-round way to offer a more thorough understanding of the overall value and significance of the Bingling Temple Grottoes, as well as the local culture derived from them. The aim is to foster broader collaborative efforts in the future, enabling better preservation, research, and dynamic utilization of these cultural relics.

The research team led by Professor Lei Yuhua, through their Research on the Archaeology of Architectural Facades of Southern Chinese Grottoes, breaks the tradition of non-communication between the 
conservation engineering, archaeology and art studies of grotto temples. By employing an interdisciplinary 
methodology, the study systematically examines the distribution, characteristics, and significant value of grottoes in southern China. Utilizing archaeological methods, it investigates and analyzes front-cave architectures, ruins, and protective facilities of southern Chinese grottoes across different dynasties, with a particular focus on the SichuanChongqing area. The research reinterprets the “original state” of southern grottoes and decodes the multifaceted meanings of cliff engravings. The findings bridges the gap between academia and practice, fills a critical gap in the survey of front-cave architectures and related ruins of southern Buddhist grottoes, reconstructs the historical archives of protective facilities of cliff carvings and southern grottoes, and provides valuable recommendations for the construction of protective infrastructure for southern grottoes today.

This paper focuses on the mold-imprinted brick decorated with a pagoda pattern from the Former Shu  unearthed at Ma’anshan in Deyang. By identifying the pictorial content of the brick and closely examining its 
inscriptions, the study analyzes various types of information preserved on it. Based on archaeological findings and Buddhist scriptures, it is proposed that this brick was likely used in building the underground palace (digong) of a thirteen-story dense-eaved pagoda. The construction of this pagoda appears to have been linked to the cult of Dhāraṇī. The unique nature of such bricks allowed widespread public participation in the pagoda’s construction, forming a collective devotional activity within the region. On a methodological level, due to the lack of relatively complete archaeological context and historical documentation for such research materials, this study aims to explore the historical context of the Ma’anshan pagoda-pattern brick through iconographic analysis, supplemented by comparative archaeological evidence.

During the late Tang Dynasty, an indigenous Chinese Bodhisattva known as the Path-Guiding 
Bodhisattva emerged in Buddhist art, holding a soul-summoning banner to lead the deceased through the 
intermediate state (bardo) towards rebirth in the Western Pure Land of Ultimate Bliss. Apart from Dunhuang, the Bashu region is an important area for the development of Path-Guiding Bodhisattva statues. Currently, 15 related statues have been discovered, distributed in Zizhong, Neijiang, Anyue, Dazu and Rongchang. The notable elements of the Path-Guiding Bodhisattva statues are the soul-summoning banner and the deceased. The former can be traced back to the banner with the function of guiding and summoning the soul in the local funeral rituals during the Spring and Autumn and Warring States periods. The latter is the symbol of the deceased’s intermediate existence (bardo). Unlike the single-figure presentation of the Path-Guiding Bodhisattva in Dunhuang murals, the Path-Guiding Bodhisattvas statues in the Bashu region are often shown in combination with figures such as Avalokitesvara and Ksitigarbha. This configuration shows a clear temporal logic of salvific functions: Avalokitesvara’s salvation in the present world, Ksitigarbha’s redemption in the underworld, and the Path-Guiding Bodhisattva’s leading to the Pure Land, thus satisfying the dual devotional needs of the faithful—seeking both peace in the present life and liberation in the next.

This study employs Electrical Resistivity Tomography (ERT) and the active surface wave method to conduct geophysical exploration in the northern cliff area of Dafowan, Dazu Rock Carvings, where unloading fracture development is identified, aiming to achieve a detailed characterization of unloading fracture patterns. The 
sandstone rock mass in the study area exhibits extensive fracture development induced by tectonic movements 
and weathering processes, posing a significant threat to the stability of the rock carvings. ERT is employed to 
delineate resistivity distributions and identify water-bearing fracture zones, while the active surface wave method 
is utilized to invert shear wave velocity fields and evaluate fracture development intensity. Results demonstrate that ERT effectively identifies spatial positions and geometric configurations of fractures, whereas the active surface wave method reliably verifies the integrity of deep rock masses. The synergistic application of these two methods significantly improves the characterization accuracy of fracture systems, providing a scientific basis for stability assessment and subsequent engineering interventions of dangerous rock masses.

A Manjusri’s image is painted on the west wall in Cave 19 in Yulin Grottoes, Guazhou. Mount Wutai is painted as background in the mural of Cave 19. This article focuses on this representation of Mount Wutai, examining in detail its imagery, including the Five Hundred Arhats, the golden bell, the holy lamp, the golden world, the powerful Vajra, the body light, Naga king, the Buddha’s footprint, the pilgrim, the golden bridge, the Ten Thousand Bodhisattvas, the auspicious bird, the Buddha’s head, Buddhapālita and the old man, etc. At the 
same time, it discusses new changes of the image of Mount Wutai in Dunhuang during the Five Dynasties and the significant role of this image in connecting the past and the future. 

The cliff carvings and burial niches on Mount Longdeng are located on the mountainside in Longshan Village, Jiasi Town, Jiangjin District, Chongqing. A total of 7 sculptural niches and 19 burial niches have been 

discovered. Most burial niches take the form of a pavilion-style stupa or a rectangular burial pit, with some 

distributed in groups together with the statues.The sculptural subjects include the Medicine Buddha, the Bodhisattva of Longevity, and Water-Moon Avalokitesvara, reflecting religious aspirations: wishing long life for monks, delivering the deceased, and seeking rebirth in the Pure Land. The inscriptions in the burial niches document monastic funerary practices and burial customs such as performing Shuilu Dharma Assemblies, constructing longevity stupas, and arranging extended burials. Based on the niche forms, sculptural features, and inscriptions, the remains date primarily from the mid-Northern Song to the early Southern Song dynasties. These cliff carvings and burial niches may be related to the Chanju Temple in the Song Dynasty as recorded in historical texts.

 After the outbreak of the War of Resistance Against Japan, a large number of universities and research 
institutions were relocated to Sichuan, Chongqing, Yunnan and other areas, and consequently many scholars began to turn their research focus to this region. During this period, the Society for Research in Chinese Architecture carried out the Sichuan-Xikang Ancient Architecture Survey, conducting archaeological investigations of grotto statues in Sichuan, Chongqing and other areas. On the eve of the end of the War of Resistance Against Japan, the Dazu Rock Carvings Investigation Team performed the first archaeological survey of the Dazu Rock Carvings, and concluded that they could be ranked alongside the Yungang and Longmen Grottoes as one of China’s three major grotto sites. The series of archaeological surveys in this period marked the first investigation of the Sichuan-Chongqing grottoes with modern academic significance, and constituted a significant event of Chinese grotto archaeology during the Republican era. The contents of the investigation provided valuable materials for the research in this field, laying a foundation for the later Sichuan-Chongqing grotto archaeology.

Maitreya worship was prevalent in Kucha, in the Western Regions. In the Cave 114 of Kizil Grottoes, a sitting Maitreya Bodhisattva is painted on the main wall of the main chamber, marking the peak of Maitreya 
worship at the Kizil Grottoes. This paper identifies the narrative depicted on the semicircular surface above the 
door on the front wall as Sixteen Brahmins Visiting the Buddha, which recounts Maitreya’s conversion in the time of Sakyamuni. Additionally, the diamond-shaped Jātaka narratives on the vaulted ceiling of the main chamber and Praṇidhāna illustrations painted above each side of the entrance passage together enhance the atmosphere of bodhisattva-path cultivation. The main chamber of the cave, with Maitreya as the principal figure, focuses on the theme of the bodhisattva path. Previous studies have inferred that Cave 112-115 constituted a Buddhist nunnery in ancient Kucha. Therefore, the designers and practitioners of this cave should belong to a community of Kucha Bhikṣuṇī who revered Maitreya and pursued Buddhahood.

The Yilizhai Cliff Carvings are located in Dongfeng Town, Yanjiang District, Ziyang City, adjacent to a major transportation route. The 41 extant Buddhist niches were carved in two phases: an early phase and a later 
phase. The statues built in the early phase are predominantly carved into broad and smooth cliff faces, featuring medium-to-large statues with a wide range of subjects. They date from the second half of the 8th century to the first half of the 9th century. The statues constructed in the later phase are mostly attached to the side walls of large niches or scattered on cliff faces, with small niches dominating and limited subject matter, dating from the second half of the 9th century to the early 10th century. The change in subjects of the carvings between the two phases are closely related to the transformation of Buddhist belief in Sichuan region from the late Tang Dynasty to the Five Dynasties, reflecting distinct characteristics of the times. The numerous mortise holes and groove traces on the cliff face reflect the continuous efforts by devotees throughout history to build and preserve the grottoes, demonstrating the continuity and transmission of Buddhist faith among the local populace.

The mature application of multispectral imaging technology in the fields of cultural heritage conservation 
and scientific archaeology has provided a novel technical approach for investigating the current condition of murals. This method facilitates a more comprehensive understanding of the original state of murals, broadens the scope of mural studies, and enriches the sources of related research materials. This paper focuses on the application of multispectral imaging in the investigation of the Transformation Tableau of the Sutra of Repaying Kindness on the north wall of the main chamber of Cave 31 at the Mogao Grottoes. It systematically discusses the underlying principles, equipment configuration, imaging methodology, and practical effects of this approach.

Mr. Chang Qing’s new book, Buddhist Art in Linyou: the Grottoes and Images, focuses on the important 
political status of Jiucheng Palace during the Sui and Tang Dynasties, as well as the unique geographical location of Linyou relative to Chang’an. Adopting an interdisciplinary research method that integrates archaeology and art history, this study not only catalogs all the Buddhist grottoes and cliff sculptures in Linyou, but also analyzes their stylistic features and construction dates, thus contributing numerous precious first-hand materials for restoring the prosperous development of Buddhist art in Chang’an. The book is rich in published materials, with rigorous arguments and a broad perspective. Its research integrates micro-level textual criticism with macro-level analysis, opening up a new path for reverse research on Buddhist art in Chang’an and promoting the construction and refinement of the genealogical framework of Chinese Buddhist art.

Condition assessment serves as the foundation for studying the deterioration mechanisms of stone heritage and formulating conservation measures. However, traditional photogrammetry-based identification methods for heritage deterioration often suffer from excessive subjectivity, over-reliance on engineer experience, and low efficiency. To address these issues, this study proposes an intelligent identification method based on hyperspectral imaging technology, using the rock carvings at Fengshan Temple in Dazu as a case study. A hyperspectral imaging system covering the 400-1000 nm wavelength range is employed. Signal-to-noise ratio is enhanced through preprocessing techniques including Savitzky-Golay smoothing filter, normalization, and continuum removal. To reduce spectral redundancy, key wavelength features are extracted by using Competitive Adaptive Reweighted Sampling (CARS), Random Frog Leap Algorithm (RFLA), and Successive Projections Algorithm (SPA). The performance of Random Forest (RF) classification models incorporating these features is compared. Results show that spectral feature separability has significantly improved after preprocessing, with a noise reduction rate of 89%. The CARS-RF model achieves the best overall performance. It can accurately distinguish deterioration types such as flaking and powdering exhibiting lower boundary recognition errors in micro-regions compared to other models, and its identification results are highly consistent with field survey findings. Quantitative analysis reveals that mild weathering is the predominant deterioration type, accounting for 31.71%, followed by powdering (28.65%) and flaking (23.02%). Painted residue weathering is least prevalent, at only 16.62%. These proportions closely match the field investigation records. This method provides robust technical support for the digital conservation of stone heritage, and its hyperspectral feature extraction strategy can be extended to the inspection of similar cultural heritage.

A total of 4 stupa-shaped burial niches have been discovered in Nanchong City, three in the Daxiangshan Grottoes and one in the Baishan Cliff Tombs, all dating to the Song Dynasty. The square recesses in these niches were mainly used for placing the remains of Buddhist devotees. The 18th niche in the Daxiangshan Grottoes was primarily built according to the Buddhosnisa Vijaya Dharani Sutra translated by Buddhapala. The body of the stupa was only engraved with mantras. This resulted not only from the trend toward simplification in sutra inscription at the time, but also from the height and number of sides of the stupa, as well as the important function of the mantras. The appearance of stupa-shaped burial niches is closely related to the prevalence of the hell belief at the time, the sutra’s role in breaking through hell, the functional zoning, and the use of funerary stupas.

The water damage caused by humid and rainy environments has become a critical issue threatening the long-term preservation of cave temples in Sichuan and Chongqing. By integrating historical documents and cliff-surface relics, this study systematically reviews the traditional water-control measures adopted during the construction or restoration of cave temples in this region, revealing a scientific and systematic approach to addressing water damage. The research indicates that the core of traditional water-management wisdom lies in the holistic planning adapted to the cliff topography and the combined application of multiple measures. These methods can be categorized into three main types: the first is blocking, which involves constructing protective cave-eave structures, skillfully designing the roof forms of the niches, and digging internal drainage tunnels to physically isolate statues from direct water impact; the second is diversion and drainage, which entails scientifically building intercepting gutters, drainage channels, and underground conduits on the cliff surfaces and floors, both inside and outside the niches, to guide and discharge unintercepted surface runoff and seepage; the third is ingenious utilization, which integrates seepage points that are difficult to eliminate with iconographic themes (such as the Nine Dragons Bathing the Prince) or practical facilities (such as wells), thereby transforming water damage into scenic or functional value. These measures are not applied in isolation but are coordinated on the scale of the entire cave-temple complex, forming a three-dimensional waterproof network that extends from the cliff top to the cave interior, and from blocking to drainage. An in-depth study and reference to these traditional practices offer valuable insights for guiding contemporary conservation of cave temples, particularly in implementing the modern principles of holistic planning, site-specific adaptation, and minimal intervention in water damage management.

The Guangyuan Guanyinyan Cliff Carvings, located at a strategic point along the Jinniu Ancient Road，are divided into the South Cliff and North Cliff with a total of 131 niches, serving as an important Buddhist site of the Tang Dynasty in northern Sichuan. Based on the latest archaeological survey, through an examination of the cliff face, the statues can be classified into six groups according to the stratigraphic relationships of niches, sculptural features, and 26 dated inscriptions. The carving process can be divided into three periods and five phases, from the Kaiyuan era to the late Tang Dynasty. Two peaks and two declines in the carving activity can be identified with a clear developmental sequence. The donors were mainly composed of non-local merchant groups, which confirms its deep connection with the Shu Roads and its distinct folk-commercial nature.

Located east of Nanchizi Street in Dongcheng District, Beijing, adjacent to the Forbidden City, Pudu Temple is an important Buddhist temple supported by the imperial family during the Ming and Qing Dynasties. This paper takes the revolving sutra repository at the southeast corner of the auxiliary hall of Ciji Hall in Pudu Temple as the research object: on the one hand, by placing it in the spatial context of the entire temple, and analysing the documentary accounts by visiting scholars during the Republican era and surviving historical photographs, we can reconstruct the internal structure and exterior decoration of this revolving sutra repository; on the other hand, through the identification and textual research of the marble balustrade of the revolving sutra repository, and by comparing it with the bronze Mount Sumeru at Yonghe Temple, it is found that the revolving sutra repository at Pudu Temple is a miniature model that replicates the Buddhist cosmic world through three-dimensional structure.

The periodization and dating of the late-period Dunhuang grottoes (including those from the late Cao, Shazhou Uyghur, Western Xia, and Yuan periods) have in recent years become both a focal issue and a major bottleneck in Dunhuang grotto research. Scholarly disagreements remain considerable, with some views even standing in complete opposition to one another. Why has such a situation arisen? A survey of existing scholarship suggests that four key factors underlie this problem: the chronological attribution of the green murals; the origins and development of Shazhou Uyghur art; the relationship between visitors’ inscriptions and grotto construction; and the relationship between the dating of unearthed materials from the Northern Section and the construction of Mogao Caves during the Western Xia and Yuan periods. Resolving these four issues is the key to removing the major obstacles to the periodization and dating of the late-period Dunhuang grottoes. Through careful analysis, it can be found that these problems are not complicated when approached from a scientific perspective. The much-debated green murals can be reasonably dated to the early Western Xia period; the relationship between Uyghur-style mural art and the green murals is in fact remarkably close; the large number of visitors’ inscriptions can only indicate the overall decline of the Dunhuang grotto complex and the terminus ante quem of the relevant grottoes; and the predominance of artifacts from the Western Xia, and especially the Yuan, unearthed from the Northern Section sufficiently demonstrates that large-scale grotto construction at Mogao had ceased by the Yuan Dynasty.

Since the rise of Liu Benzun’s Buddhism in the upper Yangtze River region in eastern Sichuan at the end of the 12th century, the practice of building statues and conducting rituals had become an important means of reaching local communities. The Illustrations of the Perfect Enlightenment Sutra is one of the popular themes in Chinese Buddhist art in the Song Dynasty. The adoption of this subject matter by Liu Benzun’s Buddhism, on the one hand, reflects its engagement with the religious culture and beliefs of the time; on the other hand, it demonstrates its emphasis on establishing its own identity and meanings during its spread among local communities.

The main part of the Qianfoyan Rock Carvings was built between the 1st and 10th years of the Yongle reign of the Ming Dynasty (1403—1412). As a small grotto of the early Ming, it provides a well-defined chronological reference within the Dazu Rock Carvings. The 14 niches mainly focus on Pure Land belief, and thesubjects include the Twelve Light Buddha, the Three Saints of the West, the Illustration of the Amitayurdhyana Sutra, Thousand Buddhas, Ksitigarbha, Avalokitesvara, and the Seven Buddhas of the Past. The Qianfoyan Rock Carvings are of great academic value for refining the chronological sequence of the Dazu Rock Carvings and for the study of the spread of Pure Land belief, folk Buddhist art, and the transformation of grotto art in eastern Sichuan during the Ming Dynasty.

On May 23 to 24, 2026, the 7th Chengdu-Chongqing Twin Cities Historical and Cultural Academic Exchange Conference was held in Dazu, Chongqing. Nearly one hundred scholars from universities, research;institutions, and cultural heritage institutions against the backdrop of the Chengdu-Chongqing Twin Cities Economic Circle and the construction of the Bashu Cultural Tourism Corridor, conducted in-depth discussions and exchanges centering on ancient Bashu and contemporary Chengdu-Chongqing, covering such aspects as historical documents and grotto archaeology of the Bashu region, Yangtze River civilization and water conservancy heritage,the culture of resistance during the War of Resistance Against Japanese Aggression and red memories, as well as the conservation and revitalization of cultural heritage. The conference fully demonstrated the academic frontiers and theoretical depth of current research on the history and culture of the Chengdu-Chongqing twin cities.

Artistic Research on the Images of Bashu Guanyin during the Tang and Song Dynasties takes the extant Guanyin sculptures in the Bashu region from the Tang and Song Dynasties as its research object. By building a systematic academic framework, the book deeply explains the key features of Bashu Buddhist art: its open and inclusive spirit, its innovative and local subject matter and iconographic patterns, and its utilitarian and syncretic religious practices. The study comprehensively employs methods from art history, archaeology, and quantitative analysis to reveal the free recombination of Guanyin iconographic programs, the maturation of regional styles, and original contributions. On this basis, it examines the history of civilizational integration from a micro perspective, highlights regional cultural subjectivity, reflects the spiritual landscape of society, and offers insights for the transmission and innovation of contemporary cultural heritage.