The Impact of the Artistic Style of the Buddhist frescoes on the Composition and Modeling in the Northern Dynasties to the Early Tang Dynasty -- Taking the No.169 Grotto of Bingling Temple, Dunhuang Grotto 275, Grotto 254, Grotto 285, Grotto 249, Grotto 321, Grotto 428, and Grotto 297 as Examples

摘要

From the end of the 5th century to the beginning of the 6th century, in the middle and late Southern and Northern dynasties, China had close trade and cultural exchanges with India, Central Asia, South Asia and other places, and the Chiaroscuro in western painting was transported to Dunhuang through Central Asia at this time. This Indian technique, China calls it concave-and-convex painting. Under the creatively transformation of China, it was gradually transformed into the language of Chinese ink, characterized by thick and light, and was used for three-dimensional composition. Until the early Tang Dynasty of the 8th century, this sketching technique was developed maturely and realized simulated illusion space in the characters, landscape frescoes. In this process of evolution, the aesthetic theory that man is an integral part of nature, parallelogram composition and other Chinese local artistic styles had also been constantly developed in alteration of the aesthetic requirements and concepts of their own national culture. These external and internal factors were directly or indirectly reflected in the composition and sketching of Dunhuang frescoes from the Northern Dynasty to the early Tang Dynasty.