for this kind of vaulted cave can be found in Bactria at Kara Tepe, dating from the 2nd-3rd century CE. In the middle of the back wall of the main cella stands a large painting (3.42 m wide and 2.16 m high), with an unidentified scene of a King with attendants, possibly "The skill and music in the heavenly palace" (天宫伎乐). The attitudes and postures of the figures remind the reliefs of 3rd–4th century CE Nagarjunakonda. A king is seated at the center, with numerous attendants surrounding him, especially a near-naked woman seated to his left. They wear heavy round earrings with a central rosette design. The modeling of the faces reminds of the statuary of Hadda in Gandhara. The picture is elaborately framed by five successive decorative borders with naturalistic vine rinceau, suggestive of Roman art. The colors of the murals are various shades of brown, with smatterings of light green, but no blue, defining the so-called "orange and green" style. The center of the ceiling has motifs of the sun and moon, two monks, and a bird flying with a human figure in its claws. The sides of the ceiling are composed of diamond-shaped mountains, around which are naturalistic motifs of humans, animals, lakes and trees, a possibly Near-Eastern design which was generally adopted in later caves at Kizil. A band of fantastic animals separated the ceiling from the side walls. The general style appears to be early, and possibly derived from Kashmir and Cave 24 at Bamiyan. The lunettes bordering the ceiling display ornate Buddhist scenes. The right lunette is difficult to identify, but seems to represent a king or a Bodhisattava bending towards a warrior figure. The bottom portion shows a palatial scene, with a figure on a couch surrounded by devatas. The left lunette shows the Buddha of the future Maitreya in the Tusita Heaven. Below this is a depiction of Mount Sumeru surrounding by various Nagas, figures of devotees, and animals. Small figures of kneeling devotees in tunics, about 40 centimeters tall, some armed with a dagger, appear next to the left and right corners of the back-wall mural: probably noble and wealthy Kuchean donors of the 4th century CE. One of the donors holds three burning incense cones. He is dressed in a bordered and turned-up, collarless tunic with close-fitting sleeves. The tunic, which reaches slightly above the knee, is belted. The pants