Mogao Cave 204, Early Tang Dynasty

This cave was excavated at the end of the Sui Dynasty and the beginning of the Tang Dynasty. It features an inverted dome ceiling, with paintings of flying Apsaras and lotus flowers at the center of the caisson ceiling. The four walls are adorned with paintings of a thousand Buddhas, and in the center of the south and north walls, there are narrative paintings, each with a layout depicting the preaching of the Dharma, below which are sixteen bodhisattvas offering their support. On the west wall, there is a double-layered niche, with the main statue being that of Sakyamuni Buddha, flanked by his two chief disciples, Mahakasyapa and Ananda, as well as four bodhisattvas. The bodhisattvas wear floral crowns and have dignified facial expressions, with long, flowing ribbons that retain the characteristics of Sui Dynasty sculptures. However, the diagonally draped monastic robes have been replaced by silk sashes typical of the early Tang Dynasty. Apart from slight green accents on the eyebrows and ornaments, the statues are predominantly flesh-red, conveying a sense of depth and subtlety. The two bodhisattvas on the upper south side of the outer niche appear as two smiling, playful young girls. The bodhisattva statue on the north side of the outer niche is 2.11 meters tall, and although it has been restored in later generations, it still retains the original essence, vigor, and spirit. The figure is slightly robust, with well-proportioned features, a full and expressive face, and a rounded and ample chest, showing a fine attention to detail within its robust form. While it still bears the influence of the Sui Dynasty, it also possesses the characteristics of Tang Dynasty sculptures, with well-defined muscles and bones. The ceiling of the niche is painted with flying Apsaras and celestial beings riding dragons. In this painting, the flowing clouds and the decorative style of the Sui Dynasty niche ceiling share similarities, but the artistry is more mature. The depiction of flying Apsaras during the Tang Dynasty underwent significant changes, moving from romantic exaggeration to realism, transforming from celestial beings to charming palace maidens and dancers. The murals have fully entered the realm of figure painting, with fine brushwork and vivid colors, creating distinct and lively images. The early Tang Dynasty flying Apsaras, in their form, tend toward secularization and closeness to real life, even depicting them in a fashionable style of the time, essentially becoming a type of lady painting defined by line drawing and realistic coloring, with distinct Chinese characteristics and national style. Everything from the hairstyles, clothing, jewelry, fluttering ribbons, to the facial decorations reflects the social customs of the time. Moreover, the facial features of the flying Apsaras have shifted to those of the Central Plains people, with the Western Regions' facial features no longer present. The basic characteristics of the flying Apsaras that are still preserved include being semi-nude, bare-armed, barefoot, and adorned with arm bracelets. The image that blends celestial beings with mortals integrates the thoughts and emotions of both the Buddhist realm and the human world, and as such, it has been favored by people for a long time, never fading in popularity.