English: High Tang period (c. 705–706) mural painting in the South Wall of the Main Chamber of Cave 217 in Mogao Grottos (Dunhuang), according to Tong, Meng (2014). The Reshaped Buddhist Cosmos: A Study of the Iconography of the Main Chamber of Cave 45, Mogao Grottoes, Dunhuang. The University of Alabama. p. 84 ([1]). According to Wang, Eugene Y. (2005). Shaping the Lotus Sutra. Buddhist Visual Culture in Medieval China. Seattle; London: University of Washington Press. p. 103-115 ([2]), it is a Lotus Sutra tableau, depicting in the central part the preaching Buddha, with the "Summit of Being" (Akanishtha Heaven) atop of him. Though a Buddhist Heaven, the "Summit of Being" in the painting is probably modeled according to a Daoist framework of a Heaven in The Salvation Scripture, in which souls are described to ascend to the Southern Palace and the Jade Purity (Wang, 2005, p. 156-161). It is located above a mushroom-shaped Mount Sumeru behind the preaching Buddha, which is surrounded by the sea and the Iron Ring Mountains - this transmits to the observer a cosmological view and a topographic perspective which evokes interiority, shifting with exteriority (Wang, 2005, p. 310) Also present are other figures with monastic robes, a weeping woman on top of a cloud to the upper right of the center part, and a chakravartin king to the right of the center part (the only figure with a halo that is a lay-person). To the right, is the parable of the Phantom City (or Illusory City) (Wang, 2005, p. 103-115).