The Theory Of The Early Dunhuang Paintings Painting Research

This paper focuses on the researching of the early Dunhuang technique of painting, through analyzing the imitative and creative works of painters, such as Han yueran. Zhang Daqian, Chang Shuhong, Wu Zuoren, Sun Zongwei, Guan Shanyue, Dong Xiwen, Pan Xiezi to inquire what effect the Dunhuang painting copying have on the formation of their technique of painting. In addition, according to the change of the painting style, it investigates the inherent connection between the cultural trends of era and technique innovation, to explore the inherent law of Chinese art heritage and development.In modern Chinese art history, with the transformation from traditional form to modern style, painters make breakthrough unceasingly on two directions:the subjective and objective. The former view of painting on the compromise between the tradition and personality breaks up, while the new one is in urgent need to be built.Under this historic background, painters with their own educational origin, personality and aspiration, are engaged in pursuit of the "tradition". Precisely at that moment, the discovery of Dunhuang provides them a stage for reshaping the "tradition". They may start from the realistic spirit, absorbing the expressive formal language and developing expressive drawing system; they may start from the spirit of freehand brushwork. restraining the indulgent usage of a brush, inclining to the quality of rigorous modeling; they may continue the brushwork and the composition developed by the archaeological inscriptions, reference of the composition and modeling of Dunhuang. and strengthen the formal language’s ability to present the objective world. In this process, both the personality of the writer and the universality of the national spirit are taken into consideration, thereafter, leading to technical advancement in painting.In the evolution process of painting, we can see that it is sealed in the framework of social culture. On one hand, it continuously breaks through the compromising relationship between tradition and personality. On the other hand, it seeks a new kind of balance and wholeness. A new art form in w:hich tradition and personality is compatible has gradually come into being. It forms a "spiral" development path, which makes exactly the heritage and development of Chinese painting rule. It provides Chinese painting innovation with a steady stream of power. Meanwhile, only when we follow this path, can the problems of the heritage and development of Chinese painting art be a serious topic.