美人菩萨
莫高窟初唐第57窟洞窟规模虽小，但整窟壁画绘制极其精湛，南壁所绘观音菩萨更是众多的唐代菩萨画像中的上乘佳作。观音菩萨是西方净土的主要人物，以“闻声救度”而获得信众的欢迎。此尊菩萨体态婀娜，容颜秀丽，长目细眉，唇红鼻直，无髭须，头微侧，目俯视，身躯略作S形，尽显文静典雅的女子柔美之姿。菩萨额上、鬓边、眼睑、两颊、下颏均以淡朱晕染，突显肌肤光洁细腻之感。衣饰各种花纹均勾白线，显出丝绸织物之绮丽。
人物冠饰、璎珞、臂钏皆以沥粉堆金制成，尽显华贵之感。沥粉堆金是传统彩画工艺之一，即用尖端有孔的管子，其后装有胶和土粉混合成的膏状物，按彩画图案先挤出隆起的花纹，上面再贴以金箔。这一工艺的特殊之处在于纹样高出物面，并在它的上面贴金、银箔及上色等，呈现出图案的立体感。这种古老的民间制作工艺，早在盛唐时期已被广泛采用。从这尊菩萨像上，可窥知唐人生活的富足和初唐艺术的富丽。敦煌壁画虽然绘有大量的菩萨形象，但被誉为“美人菩萨”的只此一尊，莫高窟第57窟也因其得名为“美人窟”。
Beauty Bodhisattva
Cave 57 of the Mogao Caves, dating from the early Tang Dynasty, is relatively small in scale, but the murals within are exquisitely crafted. The depiction of Avalokiteshvara (Guanyin) on the southern wall stands out as a premier example among the many Bodhisattva images from the Tang Dynasty. Guanyin is a central figure in the Western Pure Land, revered for her ability to "hear the cries of the world and offer salvation", which has won her the devotion of many believers. This Bodhisattva is portrayed in a graceful figure and a beautiful face, featuring elongated eyes and slender brows, red lips, a straight nose, and no facial hair. Her head is slightly tilted, with her gaze directed downwards, and her body is subtly curved in a gentle "S bend", showcasing the quiet elegance and feminine beauty of a refined woman. Her forehead, hairline, eyelids, cheeks, and chin are adorned with a light rosy hue, highlighting the smooth, delicate quality of her skin. The clothing is detailed with various patterns outlined in white, enhancing the splendor of the silk fabric.
The adornments on the figure including the crown, jewelry, and armlets are made with the technique of "sprinkling powder to pile up gold", showcasing a sense of opulence. "Sprinkling powder to pile up gold" is one of the traditional painting techniques, which employs a piping bag fitted with a narrow nozzle to apply an adhesive-clay composite paste, forming embossed motifs based on the underlying painted design. Gold leaf is subsequently gilded onto the raised surfaces. The uniqueness of this technique lies in its raised motif, which allows for the application of gold and silver leaf, or color, presenting a three-dimensional quality to the patterns. This ancient folk crafting method was widely adopted as early as the High Tang period. From this Bodhisattva image, one can glimpse the affluence of Tang lifestyles and the richness of early Tang art. Although Dunhuang murals depict a vast number of Bodhisattva images, only this one is renowned as the Beauty Bodhisattva, leading Cave 57 to be nicknamed the "Cave of Beauty".
