The Transmission Of Xiyu Painting To Oriental And Its Localization

The main target of this thesis is about the localization of Xiyu (it also means the eastern part of Central Asia, especially Xinjiang province) painting in Dunhuang. In order to achieve the goal, the author made a comprehensive comparison between the two places regarding the content and the painting style. The thesis consists the following four chapters.The objective of the first chapter is Xiyu Wall Painting. The author made thorough analysis on paintings in Pfauen hohle(Kezier cave76), Hohle mitdemmusikerchor (Kezier cave38), and Schaz hohle (Kezier cave84). These paintings are representations of Xiyu Wall Painting. The author concluded that there are two kinds of basic style of modeling by lines and two kinds of methods of color design, and described the evolution of Aotufa (method of color modeling) and the features of decorative function in Xiyu paintingsThe two kinds of art modeled by lines are the one doesn’t’t pay attention to the true proportion of human beings but pursuits internal dynamic of painting itself. The representation art work of this kind is Pfauen hohle(Kezier cave76). However, The other one stresses the proportion of the human body and illustrates knowledge of how to draw figures. Hohle mitdemmusikerchor (Kezier cave38) is a typical art work of this kind. Between the two kinds, the latter has more influence on Xiyu painting than the former. There are also two kinds of colorings which including the one whose main target is regulating painting and choosing color to be close to the natural color of human beings, but the other one uses contrasting color and pay more attention to the decorative effect. The former is more difficult to paint and is also more important than the later one, however the second method made the majority of Xiyu Wall Paintings. The evolution of Aotufa includes three steps. At first, because of the close relation with Hindu culture, therefore, it pays more attention to facial features other than the structure of the human body. later it started to care for the structure of human body. At last, it used lines to replace color and lost the skills that the first stage has.In the second chapter, the author studied the route of transmission of paintings from Xiyu to Dunhuang based on the ancient literature, travel notes and modern archaeology achievements.The last two chapters are the major part of the thesis. In these two chapters, the author studied the localization of Xiyu paintings in Dunhuang. The conclusions are drawn as follows:1. Dunhuang Wall Painting has close relation with Xiyu Wall Painting.2. In Bei Liang Dynasty, Dunhuang established general layout of wall painting and Bodhisattva’s aesthetic tendency of their own.3. In Bei Wei, the major job Dunhuang Wall Painting had done was that it had learned from the successful experience from Xiyu painting, enriched its content, and improved expression technique. The new phenomenon of the very stage is the appearance of small line and Qinglv color design.4. In Xi Wei, the painting style of Dunhuang had changed greatly. The main reason of it was the influence of ChanZong which changed the layout, content and expression of Dunhuang Wall Painting.5. Dunhuang absorbed decorative art theory of Xiyu paintings, Aotuhua, and widely used it in wall paintings whose typical cases are Pingqi and Renzipi.