Based on the archaeological investigation and the synthetic study of Buddhist sculptures of the Tang Dynasty, the author argues that the relief from the Seven-Jewel-Tower can be divided into two groups: one was dated to AD 703～704, when the building was set up by the Empress Wu Zetian; while the other group was dated as around AD 724, when the building was restored. Referring to the same kind of contemporary monuments, the first group is presumed to be reconstructed as a four–sided tower, comprising the basement,the body and the cover. The basement is eight-sided, with the one Seated Shakyamuni and Two Attendants relief, and the other seven sides with Ekadasamukha relief attached respectively. The body is four-sided-tower with four Buddha images attached in each side, demonstrating the prevalence of the four-world-four-Buddha belief during the Early Tang and the Wuzhou period. The architecture,sculpture and wall painting were closely integrated and strongly influenced by the Gupta style. As the representative monument of the Wuzhou Buddhism Visual Culture, Seven-Jewel-Tower is also the identity of the Wuzhou Dynasty.
