碧血黄沙,西风古道瘦马,断肠人在天涯。在鸠摩罗什从龟兹前往长安的漫漫弘法路上,石窟艺术是照耀他足迹的一盏盏明灯。作为一种宗教文化,石窟艺术取材于佛教故事,兴于魏晋,盛于隋唐。它吸收了印度健陀罗艺术精华,融汇了中国绘画和雕塑的传统技法和审美情趣,反映了佛教思想及其汉化过程,是研究中国社会史、佛教史、艺术史及中外文化交流史的珍贵资料。石窟艺术与佛教关系十分密切,为当时信佛的人们服务。因信仰佛教的各阶级、各阶层人物不同,他们所属的佛教宗派也不一样,因而在造像与壁画的 Blood yellow sand, westerly wind thin horse, heartbroken people in the world. On the long road to Dhaka from Kuching to Chang’an, the art of grottoes is a lantern illuminating his footsteps. As a kind of religious culture, the art of grottoes is based on the Buddhist stories. It was flourished in the Sui and Tang Dynasties. It absorbs the essence of Indian Chalala and integrates the traditional techniques and aesthetic taste of Chinese painting and sculpture. It reflects the Buddhist thought and its process of localization, and is a study of the history of Chinese society, Buddhism, art history and the history of Sino-foreign cultural exchanges Precious information. Grottoes art and Buddhism are very close, for the people who believe in Buddhism at the time. Due to the different classes and beliefs of Buddhism, the Buddhist sects to which they belong are also different. Therefore, in the aspect of statues and murals