Since Dunhuang Mogao Grottoes excavated the first cave has been 16oo years of history, through the sixteen countries, through the Northern Wei, Western Wei, Northern Zhou, Sui, Tang, Five Dynasties, Song, Yuan, Ming and Qing dynasties have been excavated caves. There are 492 surviving caves, and there are more than 50,000 square meters of mural paintings in the caves alone through the ages, making it the most muralized grotto group in China and the world, with a very rich content. Dunhuang mural painting is the main part of Dunhuang art, rich in content, huge scale, exquisite skills, especially in the mural painting there is a class named feeder mural painting, but also has a unique artistic value and research value. It is these murals in the feeder, from generation to generation, dedicated to excavating grottoes, building Buddha, painting murals, and finally created a brilliant Dunhuang culture. First, the prosperity of Buddhist culture gave birth to the grottoes feeder Wei Jin and North and South Dynasties period, the world of chaos in the Central Plains, many prestigious families and cultured scholars have come to the Hexi to avoid the war, prompting the main road of communication between China and the West ~ ~ ~ ~ the Hexi Corridor of the culture has been an unprecedented increase. The successive establishment of the five Liang Dynasty also concentrated a large number of talents. The arrival of the great families in the Central Plains, as well as the improvement of local cultural standards and the existence of a large number of scholars, provided a knowledge base for the acceptance of foreign cultures in the region, and also made it possible for foreign cultures to be sent to the Central Plains. During the late Han, Wei and Jin dynasties, Buddhism quickly spread to Dunhuang with the arrival of the scholarly clans from the central plains. Regime changes and wars at the time provided the conditions for the spread and development of Buddhism in Dunhuang. During the Western Jin Dynasty, Zhu Faguo, a high priest of the Yuezhi clan who lived in Dunhuang, led a large number of disciples to translate sutras and preach, build temples and excavate caves. In addition, the monks who came to Dunhuang from the east and went to the west were many and varied, giving Dunhuang's Buddhism a constant injection of vitality. The turbulence of the real world made it possible for people to practice Buddhism and pursue a better afterlife. The direct rule of the five Northern Wei dynasties over Dunhuang brought the Buddhist culture of the Central Plains to the region. For a time, local and Central Plains dignitaries excavated caves in Dunhuang. Dunhuang Cave preserved the Northern Wei emperor extra horse harnessed by the side of a team of captains Feng Xi in Luozhou hand copied the "miscellaneous Abhidharma Heart Sutra", but also found the Northern Wei emperor Guangyang Wang Hui'an wish to embroider the remains of the Buddha, a number of Buddhist high officials have been to Dunhuang and excavation of large-scale Buddhist caves, the upper and lower levels of effect to the local people of all classes to do the example of the practice of Buddhism, the opening of a cave became a red-hot fashion in the community. After the Sui Dynasty united the north and south, China began to move towards the heyday of the two Han Dynasty, in the ruling class of Buddhism under the impetus of the wave, Dunhuang people from all walks of life in just over thirty years, only in the Mogao Grottoes, one of the seventy to eighty caves, set off a grottoes built ***. Into the Tang Dynasty, the further integration of nationalities, the frontier continues to open up, Buddhism continues to spread to the Central Plains and flourished, economic development and the Silk Road, but also enriched the content of Dunhuang culture. A large number of court writing scriptures from Chang'an transported to Dunhuang, the holy city of Buddhism further injection of Han Buddhism influence, a number of emperors have personally ordered the construction of temples in Chang'an and other places to vigorously promote Buddhism. In this context, the Tang Dynasty, Dunhuang's family is still continuing to excavate home caves, to the highly Buddhist Wu Zetian reign, Mogao Caves has continued to excavate more than 1,000 caves, and built to imitate the image of Maitreya Wu Zetian image (Cave 96, the northern big like). Second, the feeder is the real creator of the Mogao Caves in people marveled at Dunhuang Mogao caves, murals of the exquisite and grand, statues of colorful and colorful, there is always the question: these caves are what people build? Why did they build so many caves? In fact, as long as you are a person with a heart, in the cave can find the answer, the answer is the mural on the feeder image. Feeder is the owner of these caves, is the builder of Mogao Grottoes. Feeder portraits, is a very important part of the art of Dunhuang caves. The so-called feeder that is funded by the wish to excavate the cave merit Lord, the cave owner, the Lord and its related such as family, relatives or members of the social relations, of course, does not mean that they are the cave excavation of the craftsmen and other characters. The supporters were Dunhuang's great clans, local governors, and monastic masters, as well as the general lower-class commoners. They were active figures in Dunhuang's history, so these portraits are of great historical value. The portraits of the feeders are found in most of the Dunhuang caves, and they are the first-hand information for the study of the era of cave construction and the cave masters, as well as the valuable physical data for the study of Dunhuang costumes. Provider portraits from the sixteen Northern Dynasties to Yuan, from small to large, to the Five Dynasties Song and the size of real people in general, and is a family figure in a cave, there is the nature of the ancestral temple. The spread of Buddhism attaches great importance to the creation of images, that believers in the face of the Buddha, bodhisattva images such as seeing its true face, can be dedicated to worship. Therefore, the Buddhist scriptures, there is a special "statue of merit and virtue of the sutra" to promote the benefits of image-making. For the rich and powerful, making statues of gods and goddesses not only allows them to enjoy a life of luxury and opportunity now, but also allows them to enter the "Western World of Ultimate Bliss" after death. For the common people, Buddhism also teaches that if they can "make statues of the Buddha according to their ability," they can leave the sea of poverty and misery forever and live in affluence. Therefore, both the rich and the poor came to open caves to make statues and to paint statues with names. Buddhists in order to show piety and religious beliefs, when the offerings, their own image painted in the Buddha's image of the lower or left and right, the hands of the incense burner or incense flowers, queuing respect or kneeling on the ground to worship, the list of the name, official position, and so on. This kind of grottoes for the funding of the image of the giver painted by the merit of the painting is the feeder image. Third, the characteristics of the Mogao Caves feeder images Mogao Caves feeder images are very distinctive. Supporters are all full-body and more for the group; monks and nuns group portrait, family group portrait, people group portrait, the government bureaucrats group portrait. These portraits include all classes, all ethnic groups, all sectors of men, women and children of the living, the dead, is the widest range of social characters of a portrait. Mogao Grottoes existing feeder portraits more than 8,000 bodies, before and after the continuation of more than 1,000 years, is China's largest ancient portrait painting atlas. Dunhuang murals feeder, can be roughly divided into six categories: First, local officials. That is, the Dunhuang Hexi Corridor and other local officials, up to the princes and nobles, down to the government officials and their families; Second, the garrison generals. That is, at the time of Heshi, Dunhuang, Yumen Pass, Yangguan and other places of the section minister, military generals, lieutenants, etc.; Third, the monastery monks. Including monks, temple masters, masters, bhikkhu, bhikkuni, yu bhasai, yu bahai, etc.; Fourth, the common people people. Such as car drivers, horsemen, attendants, guards and fan, staff, holding clothes, holding things, etc.; five, minority figures. Provider portraits of the master and servant combined with the composition of the emergence of a strong hierarchy, the master like a big in the front, the slave like a small in the back, arranged in the shape. Portrait of the big high more than ten feet, the small only more than an inch. Some cave feeder portraits up to more than a thousand bodies. Early portrait size is small, the content is generally only show the piety and respect of the heart of the feeder. Tang dynasty feeder portraits into a period of prosperity, the image of real, obvious personality, vivid, prosperous and beautiful. Portrait by the small for the amplitude, more painted in the cave at the eye-catching, the title list content details. Five Dynasties appeared a large number of Guasha Cao family portrait, painting institute has a special portrait painter feeder, ancestor three generations of one by one, as the image of the family tree. The feeder portraits from the initial feeder ritual Buddha, gradually changed to serve the political utility of propaganda. Fourth, the feeder image is the most realistic reflection of the social reality of Dunhuang at the time by Mr. Duan Wenjie, the earliest restoration of the Governor's wife Taiyuan Wang's ritual Buddha Figure is the largest of the Dunhuang Mogao Grottoes feeder image. This portrait **** 12 people, the first body image is the largest, standing powder piled up gold titled "" Governor Mrs. Taiyuan Wang's heart to feed ", the second body, the third body is the daughter of the Governor's wife, followed by 9 people for the slave girl. And according to research, and this picture opposite the north wall painted with the dudu Le Ting Luang and son, male servants, north and south walls together is the dudu Le Ting Luang family ritual Buddha picture. The structure and mood of this painting to create a breakthrough in the previous generation of neat and serious ranks of supporters, the position of the characters are staggered, free and lively, especially in the background of the characters in the design of the willow, daylilies, mandarin, and bees and butterflies flying, and have a taste of life. At the same time, it also reflects the economic prosperity of the Tang Dynasty, social stability and the affluence of people's lives. In the "ü-Tsang king Li Shengtian offering statue," a picture, but also a profound revelation of the relationship between ü-Tsang and Shazhou (Dunhuang) at the time of the rulers. The Yutian Yuchi clan of ü-Tsang was given the surname ""Li"" in the Tang Dynasty, and in the third year of Tianfu in the Later Jin Dynasty of the Fifth Dynasty, Li Shengtian was ordained as the ""King of the Dabao Kingdom of ü-Tsang"". History records that Li Shengtian was the son-in-law of Cao Zhijin, the supreme ruler of Shazhou (Dunhuang), and that after the edict, he and his wife, Cao, painted their statue of sustenance in the Buddhist caves constructed by Cao Zhijin in Mogao Grottoes. The portrait wore a tassel on his head and a dragon robe, no different from the Han Dynasty's Son of Heaven. According to historical records, after Gao Juzhi's mission to ütepe, he remembered what he had seen and said, "The Sacred Heavenly Clothes and Crowns are like those of China." With this portrait is the same, reflecting the close relationship between ü-Tsang and the Shazhou Chinese dynasty. The migratory princess Longxi Li and other offerings from the Mogao Grottoes, Cave 61, the owner of the cave is Dunhuang at the time of the supreme ruler of Cao Zhijin son of Cao Yuanzhong. In the four ladies offerings like, the first figure called "" late mother ", is Cao Zhijin's Ganzhou migratory migratory wife, the second figure called "" sister ", is Cao Zhijin's daughter, Yuanzhong's sister, married to Ganzhou migratory migratory, the third figure is also Yuanzhong's sister, married to ü-Tsiman Hui migratory birds, the fourth body image called "" late mother ", is Cao Zhijin's first wife, Yuan Zhong's biological mother. The order of the portraits and marital relations, reflecting the Shazhou Cao's regime and Ganzhou migratory birds, ü-Tsang migratory birds relationship. From the "ü-Tepan King Li Sheng days to support the image" and "migratory birds Princess Longxi Li and other support like", we can easily see that the stability of the Dunhuang regime at that time with its neighboring and family policy is closely related. Fifth, the feeder portrait is a rich historical and artistic treasure trove Dunhuang Mogao Grottoes 492 caves, almost all of the feeder portraits, and most of them have list inscription. According to rough statistics, the existing inscription of about 7,000, these inscriptions reflect the identity of the status of the feeder as well as the background of the times, are the record of the real thing, and most of the historical records are not recorded, for the study of Dunhuang, Hexi and the Silk Road political, military, economic, religious and cultural exchanges between China and the West, is a rare and precious information. At the same time, Dunhuang mural portraits of the feeder is a masterpiece of ancient Chinese portraits. The surviving portraits of feeders from various dynasties clearly show the development process and fine tradition of traditional figure painting in China. The simple Han Confucian style portraits, the bone style of the Wei and Jin dynasties, the magnificent and rich Sui and Tang dynasties and Song dynasties and Song dynasty figures rich in secular life habits can be found here in the same style. The thousand-year-old Dunhuang feeder portraits are the largest atlas of ancient portraits in China, and their discovery and utilization will serve as a good reference for modern figure painting. It can be imagined that in the Sui and Tang dynasties, when Buddhism flourished, it is not known how many skilled craftsmen and artists were in the service of the activity of excavating caves, especially those first-class painters, when they devoted themselves to accomplishing the realm of cultivation in the past and the next life, what kind of moods were they in to accomplish the present faces of those powerful families and dignitaries? In the world of Buddha there is no distinction between noble and lowly, while the clear are clear and the turbid are turbid. Danqing saints did not leave themselves a self-portrait! (Source: Lanzhou Evening News)