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In this paper, I examine the iconography, religious function and text–image relationship of one of the earliest illustrations of the apocryphal Visualization Sūtra, namely, the mural painting on the left (south) wall of Cave 20 at the Toyok Grottoes in Turfan created in the late sixth century. I study this mural with a structuralist approach to situate it within the overall pictorial program of the cave temple. I argue that this wall painting was designed as a set of visual and verbal cues to assist the meditating monks in situ to separately visualize the different individual visions constituting the “Thirteen Visualizations” taught in the sutra, excluding the five visions directly related to the Amitāyus Triad, namely, the eighth, ninth, tenth, eleventh and thirteenth visualizations. These five visualizations were likely facilitated by icons of the Amitāyus Triad placed in the center of the cave. The meditators started from the contemplations of the impure represented on the right (north) wall as preparatory practices to eliminate their sins, improve their karma and thereby enhance their spiritual purity to a level appropriate for performing the Pure Land visualizations. They then turned to the left wall to perform the Pure Land visualizations represented there that end with the twelfth visualization: imagining oneself being reborn in Sukhāvatī. Continuing from the twelfth visualization, the meditators facing the rear wall entered the Western Pure Land via the lotus ponds represented on the rear wall while in a state of meditational concentration.
Zhao Yi (Fri,) studied this question.