The Dunhuang Grottoes are a world cultural heritage that attracts worldwide attention, and Zhang Daqian is the first person to comprehensively organize, copy, study, inherit and develop Dunhuang art. From 1941 to 1943, Zhang Daqian copied 276 works in Dunhuang. This experience has greatly changed Zhang Daqian's artistic creations. The characters are fuller and more vivid, the lines are smooth and full of change, the colors are rich and dignified, yet dignified. After the baptism of Dunhuang art, his vision is broader, his momentum is more magnificent, his skills are more sophisticated, his techniques are more varied, and his artistic level has risen to a whole new level. Since then, Zhang Daqian's style of painting has also changed, making good use of complex strokes to emphasize colors, elegant and gorgeous, and chic and magnificent, known as "Li Bai in painting", "China's painting fairy today".
In May 1941, Zhang Daqian brought his third wife Yang Wanjun (the second wife Huang Ningsu joined), his son Zhang Xinzhi, his nephew Zhang Peter, students Xiao Jianchu and Liu Lishang and several mounters, and later hired the Tibetan painter Sonandamba's four Disciples and others went to Dunhuang to investigate and study the grottoes in the grottoes. Facing the wall for nearly three years, he was crawling in the corner of a dim cave, fascinated by the colorful Buddhist sanctuary, and dumped in magnificent art scrolls. Zhang Daqian had faced the wall in Dunhuang for two years and seven months. He copied 276 murals from the sixteen Dynasties, the two Wei Dynasty, the Northern Zhou Dynasty, the Sui Dynasty, the Tang Dynasty, the Five Dynasties, the Song Dynasty, the Liangxia Dynasty and the Yuan Dynasty. The world has also laid the foundation for future paintings, especially figure paintings.
The original mural in this picture is located in Cave 57 of Mogao Grottoes and was painted in the early Tang Dynasty. This "Big Buddha Statue" is recolored and brightly colored, and it is one of the masterpieces in Zhang Daqian's many Dunhuang Guanyin statues. The bottom of the painting is yellow, with a double concentric round head light from the head of the Buddha, wearing a three-bead crown on the high hair, and decorated with the moon. The eyebrows are slender, with high nose and lips, full and round, gentle and beautiful, and magnificent. The upper body is exposed, wearing a red skirt, decorated with a collar and wristbands, and a cape hanging from the shoulders around the arms to the side of the body, the corners are long. Holding Jinlian in his left hand to the shoulder represents the pure nature of the mind and saves the six beings. Barefoot,
two-footed blue lotus. The body is well-proportioned, full-bodied, and stands in a "three-curved form." The statue is elegant and kind, giving a solemn and solemn feeling.
The color of the clothes decoration is mostly stone green, stone green, earth red, and the bodhisattva is decorated with jewellery. The picture is gorgeous and noble. The clothes and costumes of the figures in the religious murals are a realistic reflection of the daily dress of social figures at that time, and they have changed with time. In the early Tang Dynasty, women's clothing consisted of small sleeves and narrow coats, plus half-arms, and draped around the shoulders. Until the middle and late Tang Dynasty, the characteristics of wide and fat dresses and gigantic clothes were gradually appearing.