The Buddhist cave temple carved into the rock provides a large space for the ritual in general in which a structure of Stupa is built in the center of the space purely for religious worship empty of Sarira, and the temple is formed around this Stupa. Relief-Stupa of the cave temple indicates the similar shape that of Relief-religious worship of flat land temple. However, there appears a small difference in representation since the background of formation of the cave temple differs in that of flat land temple. Specially, Caitya Stupa of currently existing cave temples have been damaged to lose of their original shape only possible to be analyzed the stylistic development through Relief-Stupa from which the characteristic of Stupa could be understood. The early cave temple could be characterized with a balanced structure consists of upturn bowl, steeple stone with simple drum & Hamikawasnagae, in which it appears strongly the detail factor characteristics of drum & steeple of having system with Caitya Stupa. In the post cave temple, the subject of worship moved to statue of Buddha due to the influence of Gandhara, Mathura art which reduced the importance of Stupa. This illustrates in Relief-stupa as well the style change as well as changes in detail factor. The sculpture appeared at the limited location either the wall of Caitya shrine or pillar in vihara cave with stronger decorative meaning. Contrast to the Relief Stupa of early flat land temples or the cave temples mentioned above sculptured with symbolism, however, the post cave temple showed the relief structure based on the plan of flat plan.

Stupa in India divides into two: stupa in flatland temple with a character of tomb, and devotional stupa made for offering. The difference of such character is made by whether there is any Sari, and main center for worship is flatland stupa where Sari is settled. Stupa in flatland temple is targeted to that with Sari, whose character is applied into Relief-stupa. The characteristics of Relief-stupa can be divided into two: a relief with similar type of flatland stupa in the form, and a devotional relief in which drum and upper part of tower are developed. The Relief-stupa of flatland temple could be confirmed at tower gate of Sanchi tower, decoration of handrail, and the wall attached to Amaravati and Nagarjunakonda stupa. To the contrary, drum and upper wheel part in the Relief-stupa are developed in the votive stupa. Such characteristics had different features according to usage: The example of former is that there is an expression of landscape of stupa built at that time, and the example of latter is those which had similar type of stone cave temple or offering tower near stupa. Thus, the meaning is subject to the existing of Sari. Stupa building developed along with the development of Buddhist structural activity with the existing popular tradition. And its influence was expanded along with various cultures locally. And, the structure and tower reflected various types and thoughts. Stupa reflected its building site and method according to types, and was created in a new form by its usage.

As Overturned-bowl Stupa of India, the origin of Stupa, is accepted by neighboring countries, pure form and local characteristics combined to bring change in unique style for each country. Such change is established as new style through combination with contemporary tradition in China. In this thesis, pattern of Stupa shown in Longmen Grottoes’ Relief-Stupa relieves. Since study on how Indian Stupa was introduced into China has been partially undertaken, this study focuses on the pattern of Stupas from that perspective. 40 Stupas were explored during field work with naked eyes, among about 50 stupas reported on the research data by Longmen Grottoes Institute. Relief-Stupa relieves of Longmen Grottoes are as important as Yungang Grottoes. While Yungang Grottoes were built during a period when Gandhara style and Occidental expression were adopted and integrated with Chinese culture and Buddhism, building of Longmen Grottoes can be called a starting point of ‘Chinese’ style of Buddhist culture and Stupa, fully integrated with Chinese culture.