the Statues. 2) In the opposite location, on the left wall, Grünwedel described a sermon scene in which the Buddha "only had his feet remaining", corresponding to the panel photographed by Charles Nouette in-situ in 1907. 3) Finally Grünwedel described a sermon scene with only a "kneeling adorant" remaining, corresponding to the kneeling Vajrapani, known to have come from the Cave of the Statues. The style of these panels from the main cella is markedly different from the refined, "classical" style of the side corridor vaults and the back corridor. They suggests different painters and different schools of art. In the cella, the paintings are much bolder, using intense colors, thicker lines and simpler patterns, as in the "Cowherd Nanda". The colors of the paintings in the cella, although more intense, are still limited to browns, greens and oranges. The big eyes and wide eyelids remind of late Kushana works. These new types of paintings suggest the emergence of a bold new style in Kucha around that time. A painter, holding a cup of paint, and whose clothes "exactly match" the painters in the "Cave of the Painters" (caftan, boots...) is visible in one of the murals of the cave. Originally at the front end of the left corridor, behind the first statue, the painting is now located in the Hermitage Museum. Two more devotee figures with the same clothes were located in the back corridor as well. One of the statues is a man in a particular type of armour with sectioned areas, which used to stand as a protector (possibly a Vajrapani) to the left side of the colossal Buddha of the main cella. This type of armour was in use for several centuries in art of the Northern segment of the Silk Road, and later became prevalent in China. The head is a tentative addition. Lü Guang, a Chinese general sent by Emperor Fu Jian (r. 357–385) of the Former Qin dynasty (351–394), who temporarily conquered Kucha in 383–385 CE, mentioned the powerful armour of Kuchaen soldiers, a type of chainmail and lamellar armour of Sasanian inspiration which can also be seen in the paintings of the Kizil Caves: The side corridors are structurally highly sophisticated and remain visible to this day. A low platform runs along the external wall of each corridor, on which rows of statues were displayed, with murals behind them including the figure