During the Northern dynasties, works of art based on the Vimalakīrti nirdeśa sūtra may be divided into two types based on physical location: those located in grottoes, and freestanding sculptures. As the grottoes were immovable, we can identify and read about the development of the works of art based on the Vimalakīrti nirdeśa sūtra through observations which reflected natives' understanding of the Vimalakīrti nirdeśa sūtra beliefs at the time. By comparison, the existing freestanding sculptures are easier to move, and so most of them are no longer in their original environment. While it is difficult to explain the original historical significance through a single work, if we can consider the unearthed locations, the uncertainty of the spaces can be reduced. Observing separate regions shows the similarities and differences of context in each region. Therefore, this article will be based on the observation of freestanding sculptures that represent images from the Vimalakīrti nirdeśa sūtra. In accordance with the distinction between regions and times, we can look at the manifestation and image composition of the works to know their evolution. This further supplements the study of artwork on the Vimalakīrti nirdeśa sūtra during the Northern dynasties.
