Study On Buddhist Hagiographical Mural Of Kizil Grottoes

This article considers that the murals representing Buddhist themes of the Kizil Caves in the 38 th,76th,84 th,110th,118 th,163th,171 th,189th,205 th,206th,224 th,and the most recent 1st Grottoes are the preserved works of high artistic value that can better explain the style of Kizil murals.Their visual representation of Shakyamuni,if analyzed from the images,together with the figures of heavenly gods and earthly deities,Buddhist disciples,secular characters,demon kings,witches,and Yasha,gives us a concrete understanding of the characterization of Kizil murals.Though verbal language cannot accurately convey this visual cognition,to sum up forcibly,this article attempts to borrow the phrase "the face pure and full like the moon" in the Buddhist scriptures of "80 Minor Characteristics of a Buddha" as the expression to generalize the style of Kizil murals.The ideology of "Cakravartin"(the wheel-turning king)in the Kucha royal family has a close relationship with the "32 Features" and "80 Minor Characteristics" of a Buddha in Buddhist scriptures,and it may also have a direct impact on the image of the local Kizil artist's portrayal of Buddhist hagiography and secular figures.As to the mural painting itself,excluding the influence of themes and rituals,the relationship between the grotto structure and mural painting also encounters the problem of feasibility and readability,for a painter facing an irregular wall,this is the first problem after determining the theme.In this regard,Kizil painters presented an excellent solution that adopted both synchronous and asynchronous isostructure,and the narrative style to integrate painting and sculpture.On several themes such as "birth under the tree," "enlighten the demon," "nirvana in the forest," this article compares the Kizil murals with the frescoes in several other grottoes such as Ajanta,Dunhuang,Maijishan,and Yungang.It explores that in the face of past painting traditions,the Kizil Grottoes did not choose Gandhara's naturalistic tendency,but paid more attention to the generalized geometry.This conscious rejection and choice not only illustrates the Kizil painters' taste but also reflects the social inclination of Kucha.