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在阿旃铊石窟,印象最深的不是佛教的庄严,不是本生故事的教化,难忘的是许多生动感人的绘画形象,尤其是壁画中迷人的女性形象。在石窟壁画中,女性形象是以配角和群众的形象出现的,甚至是天花板装饰图案的一部分,她们是为解释佛教本生故事而存在的,由于这些形象被古代绘画大师高超的艺术造诣和对佛的虔诚绘制成感人的艺术形象,使她们的艺术魅力超出壁画故事的范围,从而成为独立的有生命力的绘画作品。像第一窟“魔王的袭击和诱惑”中的妖女、“马哈加纳卡本生图”中的舞
In Imam thallium grottoes, the deepest impression is not the solemnity of Buddhism. It is not the enlightenment of the story of the students. It is unforgettable that many vivid and touching paintings, especially the charming female figures in the murals. In grotto murals, the images of women appear as a supporting and mass image, and even as part of the decorative patterns of the ceilings. They exist for the purpose of explaining the buddhist Bunsen’s stories. As these images are highly accomplished by ancient masters in painting and The devoutness of the Buddha draws into a touching artistic image, making their artistic charm beyond the scope of the mural story and thus becoming an independent and viable painting. Like the first cave “Raiders and temptations” in the demon girl, “Mahagunaka card Bunny ” in the dance