Mogao Cave 158

Mogao Cave 158 was constructed during Middle Tang (781-848AD). Cave 158 was constructed in Middle Tang period according to an inscription on the north wall of the corridor and a Tibetan inscription on the same wall (lost, based on a photo taken by Pelliot in 1908). And the sculptures and mural style in this cave also help to infer that this cave dates from later period of Middle Tang.
On the altar totally obscuring the west wall rests a stone-bodied, clay-stuccoed reclining figure of Sakyamuni, which is 16 meters long with waving hair, curving eyebrows, half-opened eyes and closed mouth. The natural and quiet appearance suggests it is just a short break after an outing rather than the death. To the south is a standing stucco figure of past Buddha Kayapa and to the north is the Future Buddha Maitreya seated in yizuo posture. All the sculptures and paintings in this cave form the nirvana theme focusing on Sakyamumi.
The scene of the ten mourning disciples is painted on the south wall focusing on the ten great disciples. An elder above the bhiksu images hurries with a walking stick represents that Kasyapa goes to the Kusinagara after knowing Buddha's nirvana. On the upper part of the north wall is a scene of Upali ascending to the Tusita Heaven to inform Lady Maya of Sakyamuni's nirvana. Below are the kings of various kingdoms centering on Chinese Emperor in a capacious-sleeved imperial robe, The other kings, who expose their chest, cut their nose or ears, reflect the funeral customs of showing sadness by self-mutilation in the Western Region. Their appearances and costumes are visual materials for studying the exchanges between different nations in the Western Regions.
To the south side of the altar are scene of Cunda's final worship, Vajrapani falling onto the ground out of deep sorrow and Subhadra entering nirvana before the Buddha. To the north side are scenes of Mailas worshipping Sakyamuni's nirvana with music, aromatic flowers and songs. On the space above the entrance of the east wall is an illustration of Cintamanicakra, which first appeared in Early Tang, and was popular in Middle and Late Tang.