rock at the back of the cave, into which was bored a circular corridor allowing for circumambulation. There is a niche in the "central pillar" designed to house a statue of the Buddha, and two other niches on each side of the main entrance, and niches in the back corridor. The central niche probably depicted the Buddha meditating in the Indrasala Cave, with a background decoration of a mountain, a recurring central theme at Kizil. Maitreya, the Buddha of the future, in the Tusita Heaven, appears in a beautiful mural over the exit door. Structurally, the cave remains relatively simple, as it does not have an anteroom or vestibule. The style of the paintings is derived from the Art of Gandhara and Kashmir, the Art of Mathura and early Gupta art, with striking influences from Roman art and the art of Palmyra. Kumārajīva is known to have travelled repeatedly between Kucha and Kashmir around this time, and he may have been instrumental, among many others, in the transmission of this art. The structural prototype of the cave may be Kara Tepe in Bactria. The flat, well-delineated surfaces of the paintings remind of the Roman Opus sectile technique, which prospered circa 331–359 CE. Cave 14: Central Asian traders Cave 14, a small and nearly square room with a vaulted ceiling (2.17x2.17 meters), is considered as later than the "Cave of the Musicians", and dated to the late 4th century CE to early 5th century CE, circa 400 CE, by Rhie. The cave has many designs showing Central Asian traders encountering various dangers on their way, such as being lost in the dark, and being saved by the Dragon-King Mabi. Cave 14 is considered as an important historical marker for the dress styles or the armour types worn by some of the figures. Cave 17: Tocharian royalty (circa 500 CE) Cave 17 (Cave of the Bodhisattva Vault) is large "central pillar" cave located near Cave 14, and high up on the rock to the right of Cave 8. It was probably the main cave of the group of caves from 14 to 19, which also includes several undecorated living quarters or viharas, and was dedicted to religious services. Su Bai dates Cave 17 to the Second Stage (395–465 CE -+65), together with Cave 14. Luo and Wang date it to 465 CE +-65. Rhie attributes Cave 17 to circa 500, based on