1, Dunhuang murals and other grotto art originated in India. Due to the humid climate and long rainy season in the South Asian subcontinent where India is located, these factors are not conducive to spiritual practice. Therefore, early Indians chose to live and meditate in natural caves with warm winters and cool summers to exercise their bodies and minds. This architectural method was later spread to China, and Buddhism carried it forward.

2. In Indian grottoes, the proportion, posture and facial expression of human body are realistic and ideal; In terms of gender, the characteristics are distinct, and the physiological characteristics of men and women in the congregation are very obvious. China has inherited this tradition, but the nude image has been greatly reduced.

3. On the one hand, the early caves in Dunhuang conform to the Buddhist scriptures: the saints in Buddhism are "neither male nor female", while Confucian ethics holds that nudity is immoral. After the Sui Dynasty, the female bodhisattva appeared obviously, with a plump and charming face, a green beard on her lips and no breasts on her chest, but gentle and graceful. Dunhuang painters, like the Central Plains, are feminine and secular in order to "please the public".

4. Take the mural "Rebound Pipa" as an example. In Dunhuang murals, Tian Fei, the rebounding pipa, is the attendant of Buddha and Bodhisattva, whose main function is to "entertain Buddha". The total number of flying in Dunhuang is close to 6,000, and the flying in each era has distinct characteristics of the times, from which we can see the development track of foreign flying into flying in China.