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".

美人菩薩

莫高窟初唐第57窟洞窟規(guī)模雖小，但整窟壁畫繪制極其精湛，南壁所繪觀音菩薩更是眾多的唐代菩薩畫像中的上乘佳作。觀音菩薩是西方凈土的主要人物，以“聞聲救度”而獲得信眾的歡迎。此尊菩薩體態(tài)婀娜，容顏秀麗，長目細眉，唇紅鼻直，無髭須，頭微側(cè)，目俯視，身軀略作S形，盡顯文靜典雅的女子柔美之姿。菩薩額上、鬢邊、眼瞼、兩頰、下頦均以淡朱暈染，突顯肌膚光潔細膩之感。衣飾各種花紋均勾白線，顯出絲綢織物之綺麗。

人物冠飾、瓔珞、臂釧皆以瀝粉堆金制成，盡顯華貴之感。瀝粉堆金是傳統(tǒng)彩畫工藝之一，即用尖端有孔的管子，其后裝有膠和土粉混合成的膏狀物，按彩畫圖案先擠出隆起的花紋，上面再貼以金箔。這一工藝的特殊之處在于紋樣高出物面，并在它的上面貼金、銀箔及上色等，呈現(xiàn)出圖案的立體感。這種古老的民間制作工藝，早在盛唐時期已被廣泛采用。從這尊菩薩像上，可窺知唐人生活的富足和初唐藝術(shù)的富麗。敦煌壁畫雖然繪有大量的菩薩形象，但被譽為“美人菩薩”的只此一尊，莫高窟第57窟也因其得名為“美人窟”。