uncertainty, and when dates are adjusted to the 95% probability level (2σ) as standard archaeological practice requires, then the timespan between the earliest and lowest dates becomes so large (about 200 to 300 years), as to make individual comparisons between the caves meaningless. Most researchers now use an approach combining artistic and architectural analysis together with carbon-dating, as a way to approach a reliable nomenclature, as proposed by Marylin Martin Rhie from 2001. Caves, murals and architecture In 1906, the German expedition team of Albert Grünwedel explored the Kizil Caves. Albert von Le Coq, who worked under the direction Grünwedel, had to leave in June 1906 due to health problems. Grünwedel generally photographed and copied the murals, before removing those he considered essential. Most of the fragments removed are now in Museum of Asian Art (formerly Museum für Indische Kunst) in Dahlem, Berlin. Other explorers removed some fragments of murals, that may now be found in museums in Russia, Japan, Korea and United States. Although the site has been both damaged and looted, around 5000 square metres of wall paintings remain, These murals mostly depict Jataka stories, avadanas, and legends of the Buddha, and are an artistic representation in the tradition of the Hinayana school of the Sarvastivadas. Carbon-testing and stylistical analysis helped determine three main periods in the paintings at Kizil, which cover a period from 300 CE to 650 CE. The early art of Kizil correspond to the Western school of art in the Tarim Basin, and mainly displays influences from Gandhara and the Iranian world, particularly influence from the Hephtalites, and no influence from East Asia. The Kizil Caves were designated by the Germans by a series of names, and have been separately numbered by the Chinese. A correspondence chart has been produced by Rhie. Some very early caves, now numbered 90–17 to 90–24, have been discovered since the 1990s in the lower parts of the cliff at the entrance of the central valley. These caves were square or rectangular with barrel-vaulted ceilings, but without any decorations. General characteristics A notable feature of the murals in Kizil is the extensive use of blue pigments, including the precious ultramarine pigment derived from lapis lazuli from Afghanistan. In the classification of the art of the region by Ernst Waldschmidt, there are three distinct periods: the murals from the first phase are characterized by the use of reddish pigments, while