The Research On The Figure Of Plant And Mountain In Dunhuang Wallpainting

There seems no one in the world will be as keen as Chinese people on the artistic expression of landscape.From the middle of the Northern Wei dynasty to the Yuan dynasty,Dunhuang wall paintings have witnessed the specific aesthetic fashions of different times,which including the Western Region style,the traditional style of the Han and Jin Dynasties,the new style of the Northern Dynasty,the "fine and exquisite and beautiful" of the Sui Dynasty,the " rich and varied" of the Tang Dynasty,the "one-size-fits-all" of the Cao's Revolutionary Army Period,the tibetan style of the Xixia and the Yuan Dynasty.The harmonious coexistence of different styles,or the new and old iterations,is not only related to the internal factors of art self-discipline development,but also to the external factors such as political economy,social history,national customs,religious culture.How to deduce these factors from the chaotic and complex phenomena is the problem this paper tries to solve,and different research perspectives will lead to completely different conclusions.In the evolution of landscape image,there are three main forces to check and balance each other.One is the synchronous influence of the Chinese landscape painting,the seconde is the influence of the exotic aesthetic concept,and the third is the special religious and cultural connotation.The combination of the three forces constitutes the universality and particularity of the image of the landscape of Dunhuang murals,and also demonstrates its irreplaceable value and charm.More importantly,it suggests that we often need to be prepared to switch research perspectives in the face of complex artistic phenomena,so that it is possible to restore the original appearance to the greatest extent possible.