佛教以其造像众多而称“像教”,由汉代初传至晋,造像尚具有浓郁的犍陀罗的风格。南北朝出现具有汉族士大夫瘦骨清相、褒衣博带特点的造像,及至唐代,造像的结构更趋于合理生动,佛、菩萨神态庄严、形象饱满、特征中原化,体现大唐活泼自信的审美情怀,故唐代佛教造像有“菩萨如宫娃”之喻。同时由于密教的流行,神奇而狰狞的密教造像也开始出现。元明清三朝是密教盛行时期,由尼泊尔艺术家阿尼哥传授的“梵式”造像自元代流传下来,并由西藏传入内地,不同程度地与中原传承的唐代造像风格相融合,进而形成内地略异于西藏的密教造像风格。清代,密教的弘传有着特殊的政治背景,内地的密宗造像是以当时著名的佛教圣地如承德、北京、五台山为中心的。东部地区密宗造像则一直鲜为人知,该文介绍的正是有“黄教东部中心”之称的阜新蒙古族自治县的密宗摩崖造像。 Buddhism with its many statues and said “like to teach”, from early Han to Jin, statues still have a rich Gandhara style. In the Northern and Southern Dynasties, there appeared statues with the characteristics of the Han nationality doctors, such as the appearance of the thin bone and the appearance of the belts of the Han people. By the Tang dynasty, the structure of statues became more vivid and vivid. Aesthetic feelings, so the Buddhist statues of the Tang Dynasty, “Buddha as a palace baby” metaphor. At the same time, because of the popularity of clericalism, magical and obscene images of clergy begin to emerge. The Yuan, Ming and Qing dynasties were the period when the secret religion was prevailing. The “Brahma” statue handed down by Nepali artist Ani Ge passed down from the Yuan Dynasty and was introduced from the Tibet to the Mainland to some extent by the imagery style of the Tang Dynasty inherited from the Central Plains. Forming a slightly different style of the Miyajima in Tibet. In the Qing Dynasty, the preaching of Miyajima had a special political background. The Tantric statues in the Mainland were centered on the famous Buddhist shrines of the time such as Chengde, Beijing and Mount Wutai. The Tantra statues in the eastern region have been little known. This paper introduces the Tantric Cliff statues of the Fuxin Mongolian Autonomous County with the title of “Eastern Church of the Yellow Emperor.”