There is a window above the door, and around the window there are traces of multi-layer paintings. Above the window are lotuses (blackened). On the south and north sides of the door and on the wall above the door are heavenly musicians above the thousand Buddha motifs. On the lower walls are guardian warriors (obscured).

In the niche under the gabled ceiling is a cross-legged bodhisattva, and above it are nine heavenly musicians, and under the two ends of the beam and the rafters are wooden brackets. On the two sides out of the niche are the thousand Buddha motifs. Below the niche is an illustration of Defeating Mara. This is the earliest mural of this theme in Dunhuang caves. In the center of the picture, Sakyamuni sits on the throne under the bodhi tree with his hands in Bhumyakramana mudra, on his two sides are Mara\'s armies holding various weapon to attack. The scene on the lower right side depicts Mara\'s three daughters trying to tempt Sakyamuni. They each wear a crown, a cloak, and a long skirts of Kizil style. With magical power, Sakyamuni transformed them into three ugly old women, which is painted on the left side.Right to the west side of Mara\'s Attack is the tale of the Sattva Jataka. The story goes like this: Three princes went hunting in the forests and found a hungry tigress with a few cubs on their way. The third prince sacrificed himself to save the tigeress. Various episodes of different time are arranged in a same picture, which are separated from each other by the mountains, forests and motifs. The episodes include: three princes seeing a hungry tigress and its cubs in the middle on the upper part, Sattva sticking his throat and jumping down on the upper west side; Sattva feeding himself to the tigress on the lower west, two brothers reporting to their parents on the lower east, and finally his parents crying in sorrow and building a pagoda for Sattva on the upper east side.The wall in the back is also divided into three registers: the upper register has seventeen heavenly musicians, and the middle register has four arch niches containing either a preaching Buddha or a dhyana Buddha. There were originally two flanking attendant bodhisattvas, now only one is survived in the second and third niches. The interior walls of the four niches respectively have four, six, six and eight lotuses and children playing on lotuses. The niches are connected to each other by the niche beams decorated with honeysuckle motifs. Out of the niche on the west end are an apsara and two attendant bodhisattvas. The west side of the Sattva Jataka is filled with the thousand Buddha motifs, and in the center of which is a preaching scene. Below the niches is a decorative border and below the border are twenty-five yakshas.

On the top register are eighteen heavenly aparas, and below are the thousand Buddha motifs, in the center of which is a white-robed Buddha in Dharmachakra mudra who is flanked by two standing Bodhisattvas. This picture is well preserved, and the haloing traces are still visible. The dense and smooth folds of the kasaya give it a sense of three-dimensions. A decorative border below separates it from the lower seventeen yaksha images.

In the niche under the gabled ceiling is a cross-legged bodhisattva. Above the niche are a seated Buddha and four apsaras. The top register depicts heavenly musicians, and only eight of them are preserved today (blackened as a result of sootiness). Under the two ends of the beam and the rafters are wooden brackets.On the two sides out of the niche are the thousand Buddha motifs, and below the niche is the karma story of Nanda. In the picture, Sakyamuni sits preaching, and on his two sides are three completely same episodes in symmetry: namely Nanda sitting in meditation in the mountain forests, Nanda listening to Buddha\'s preaching, and Nanda bidding farewell to his beautiful wife. The figure to the lower right of the Buddha is Nanda, and the scenes in the lower corners suggest Nanda\'s attachment to his wife. This is the only example of this story at Dunhuang.Below the niches is the Sibi Jataka tale starting from the east side. The story is as follows: King Sibi would use his own flesh to save a dove chased by a hawk, and finally he sacrificed himself because no matter how much flesh was cut off, it was still lighter than the weight of the dove. In the picture, King Sibi sits in the center, and the main episodes and figures are symmetrically arranged on both sides in a same picture, which include: a hawk chasing a dove; the dove turning to the king for help; the queen persuading the king from doing so; cutting flesh from King Sibi; King Sibi sitting on the weight; the praise of celestial beings and people; and weighing the dove. King Sibi sits in a easy going posture. Above him is the scene of the hawk chasing the dove; and on the right side are attendants in panic, and on the left are people praising King Sibi\'s conduct. In the lower left corner there is a man in non-Chinese styled costume holding a weight.The wall in the back is also divided into three registers: the upper register has eighteen heavenly musicians, and the middle register has four arch niches containing either a preaching Buddha or a dhyana Buddha. The interior walls of the four niches respectively have four, six, four and six children playing on lotuses. The niches are connected to each other by the niche beams decorated with honeysuckle motifs. The west side of the Sattva jataka is filled with the thousand Buddha motifs, in the center of which is a preaching scene of the white-robed Buddha. Below the niches is a decorative border and below the border are twenty-five yakshas.

The arch niche contains a cross-legged Maitreya Buddha with a waving updo and an outer red kasaya tightly clinging to the body. In the niche on the south wall is the trace of one bodhisattva and on the north wall are traces of two bodhisattvas. There were originally two bodhisattva statues outside, now only the one on the north side is preserved. The nimbus decorated with apsaras and flames is flanked by two apsaras and six bodhisattvas on each side. Below on the south are Vasistha and on the north Mrgasirsa. There is a lion painted on each of the throne. The lintel molded in bas relief is decorated with honeysuckle motifs and children playing on lotuses. The molded beam has a dragon head supported by pillars wrapped in silk. Above the lintel are two apsaras and on two sides are sixteen molded figurines altogether. Below the niche on the base are images of ten yakshas.

The arch niche contains a cross-legged Maitreya Buddha with a waving updo and an outer red kasaya tightly clinging to the body. In the niche on the south wall is the trace of one bodhisattva and on the north wall are traces of two bodhisattvas. There were originally two bodhisattva statues outside, now only the one on the north side is preserved. The nimbus decorated with apsaras and flames is flanked by two apsaras and six bodhisattvas on each side. Below on the south are Vasistha and on the north Mrgasirsa. There is a lion painted on each of the throne. The lintel molded in bas relief is decorated with honeysuckle motifs and children playing on lotuses. The molded beam has a dragon head supported by pillars wrapped in silk. Above the lintel are two apsaras and on two sides are sixteen molded figurines altogether. Below the niche on the base are images of ten yakshas.

The arch niche contains a cross-legged Maitreya Buddha with a waving updo and an outer red kasaya tightly clinging to the body. In the niche on the south wall is the trace of one bodhisattva and on the north wall are traces of two bodhisattvas. There were originally two bodhisattva statues outside, now only the one on the north side is preserved. The nimbus decorated with apsaras and flames is flanked by two apsaras and six bodhisattvas on each side. Below on the south are Vasistha and on the north Mrgasirsa. There is a lion painted on each of the throne. The lintel molded in bas relief is decorated with honeysuckle motifs and children playing on lotuses. The molded beam has a dragon head supported by pillars wrapped in silk. Above the lintel are two apsaras and on two sides are sixteen molded figurines altogether. Below the niche on the base are images of ten yakshas.

The arch niche contains a cross-legged Maitreya Buddha with a waving updo and an outer red kasaya tightly clinging to the body. In the niche on the south wall is the trace of one bodhisattva and on the north wall are traces of two bodhisattvas. There were originally two bodhisattva statues outside, now only the one on the north side is preserved. The nimbus decorated with apsaras and flames is flanked by two apsaras and six bodhisattvas on each side. Below on the south are Vasistha and on the north Mrgasirsa. There is a lion painted on each of the throne. The lintel molded in bas relief is decorated with honeysuckle motifs and children playing on lotuses. The molded beam has a dragon head supported by pillars wrapped in silk. Above the lintel are two apsaras and on two sides are sixteen molded figurines altogether. Below the niche on the base are images of ten yakshas.

On the flat ceiling in the back are painted laternendecke motifs in succession, which has a lotus in the center and asparas, honeysuckle or flames in the four corners.On the space between the laternendeke motifs on the south and north sides of the central pillar is a pair of apsaras.

There are sixteen molded rafters on the two slopes of the front gabled ceiling, on he both ends of the beam and under the rafters are painted wooden brackets. Between the rafters are images of celestial beings holding lotuses.

There are sixteen molded rafters on the two slopes of the front gabled ceiling, on he both ends of the beam and under the rafters are painted wooden brackets. Between the rafters are images of celestial beings holding lotuses.

There are sixteen molded rafters on the two slopes of the front gabled ceiling, on he both ends of the beam and under the rafters are painted wooden brackets. Between the rafters are images of celestial beings holding lotuses.

North wall Part of a preaching scene is preserved.