唐代彩塑群像
莫高窟彩塑全面系统地反映了中国彩塑艺术的发展演变过程，是一部真实系统的彩塑史，第45窟更是莫高窟彩塑艺术的代表之作。莫高窟第45窟现存一佛二弟子二菩萨二天王共七尊像，是敦煌石窟中保存最完整、人物形象最生动写实的一组彩塑像。
主佛结跏趺坐在束腰式金刚座上，他面相丰满圆润，双目修长，口端鼻正，内着僧祇支，外穿通肩式袈裟，衣纹流畅自如，色彩浑厚深沉。身后的头光和身光，及一道道凸起的泥条金饰，绘塑互映，更显得层次分明，富丽堂皇。分立在两旁的迦叶和阿难，一老一少，一个老成持重，一个年轻洒脱，一个睿智达练，一个童心外溢，形成鲜明的对比。
两身菩萨，面带微笑，温婉慈祥，袒露上身，肌肤洁白如玉，斜披的飘带以及华美的长裙，与婀娜多姿一波三折的S形躯体，巧妙结合在一起，既超凡脱俗，又雍容华贵。南北两侧的天王，上穿金甲，下着战裙，瞪目张口，一手掐腰，一手挥拳，威武凶猛，与温柔的菩萨和虔诚的弟子，一武一文，形成强烈的对比。整铺造像显得有动有静，动静结合，内心世界明显，性格各异，实为中国彩塑艺术的精华。
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.
