Tang-Dynasty Painted Statues Group

The painted statues in the Mogao Caves comprehensively reflect the development and evolution of Chinese painted sculpture art, composing a genuine, systematic history of the form. Cave 45 is particularly noted as a representative work of the painted sculpture art in the Mogao Caves. Currently, Cave 45 houses a group of seven statues: one Buddha, two disciples, two Bodhisattvas, and two Heavenly Kings. This group is the most complete, vividly realistic collection of the painted sculptures preserved in the Dunhuang Caves.

The main Buddha is seated in a lotus position on a waist- bound Diamond Throne. With a full and round face, elongated eyes, straight nose, and a well-defined mouth, the Buddha wears a monastic robe underneath and an outer shoulder drape with flowing garment patterns and rich, deep colors. The halo behind his head and body set against raised clay strips adorned with golden decorations creates a striking interplay that enhances the three- dimensionality and opulence of the figures. On either side stand Kasyapa and Ananda, one old, one young; the former is composed and dignified, while the latter youthful and carefree, creating a sharp contrast between aged wit and innocence..The two Bodhisattvas wear gentle smiles, exuding warmth and kindness. Their upper bodies are bare, with skin as white as pure nephrite. The draped ribbons and luxurious long skirts elegantly complement their graceful, curvaceous S-shaped figures, creating a harmonious blend of the ethereal and the opulent. The Heavenly Kings on the northern and southern sides are clad in golden armor and war skirts, with fierce expressions and wide-open mouths. One hand rests on their hips while the other is raised in a threatening fist, presenting a fearful, imposing demeanor. This creates a stark contrast with the graceful Bodhisattvas and devoted disciples, showcasing both gentleness and powerfulness. The overall composition of the sculptures conveys a dynamic interplay between movement and stillness, clearly reflecting the distinct inner worlds and diverse personalities of each figure. This truly represents the essence of Chinese painted sculpture art.

唐代彩塑群像

莫高窟彩塑全面系統(tǒng)地反映了中國彩塑藝術(shù)的發(fā)展演變過程，是一部真實系統(tǒng)的彩塑史，第45窟更是莫高窟彩塑藝術(shù)的代表之作。莫高窟第45窟現(xiàn)存一佛二弟子二菩薩二天王共七尊像，是敦煌石窟中保存最完整、人物形象最生動寫實的一組彩塑像。

主佛結(jié)跏趺坐在束腰式金剛座上，他面相豐滿圓潤，雙目修長，口端鼻正，內(nèi)著僧祇支，外穿通肩式袈裟，衣紋流暢自如，色彩渾厚深沉。身后的頭光和身光，及一道道凸起的泥條金飾，繪塑互映，更顯得層次分明，富麗堂皇。分立在兩旁的迦葉和阿難，一老一少，一個老成持重，一個年輕灑脫，一個睿智達(dá)練，一個童心外溢，形成鮮明的對比。

兩身菩薩，面帶微笑，溫婉慈祥，袒露上身，肌膚潔白如玉，斜披的飄帶以及華美的長裙，與婀娜多姿一波三折的S形軀體，巧妙結(jié)合在一起，既超凡脫俗，又雍容華貴。南北兩側(cè)的天王，上穿金甲，下著戰(zhàn)裙，瞪目張口，一手掐腰，一手揮拳，威武兇猛，與溫柔的菩薩和虔誠的弟子，一武一文，形成強烈的對比。整鋪造像顯得有動有靜，動靜結(jié)合，內(nèi)心世界明顯，性格各異，實為中國彩塑藝術(shù)的精華。