A Study On Ornamental Aesthetics And Application Of Images In Dunhuang Murals From Northern Dynasty To Sui Dynasty

The values borne by Dunhuang art are self-evident, which not only exist in our tracing to history and source of art, but also exist in the realistic context of creating the present and enlightening the future. The diverse cultural encounters and long-term historical evolution include extremely abundant stylistic elements, and inherit distinctive features of the times and aesthetical values.The paper chooses tree images in early murals in Dunhuang as the research object, delves into the beauty of ornamental form demonstrated during a certain historical period in a concrete and systematic way, and further deepens into the effective combination of traditional painting elements and modern design in the contemporary context of innovative art design. By systematically summarizing the forms that are often ignored in the studies on Dunhuang murals, we can explore into the ornamental patterns of early Dunhuang art from a newer perspective, and promote the re-utilization of the theme in modern artistic creation and design. The paper is divided into two parts. In the first part, the author made a specific analysis of the forms of tree images in Dunhuang murals, and states the theories related to the modeling patterns of trees via images and rules of form aesthetics. In the second part, the author explores into the enlightening significance of early tree images on modern art and design as well as the path of borrowing references. In terms of methodologies, the paper adopts the research method of combining photography analysis and self-verification of creation practices.First of all, through longitudinal analysis and horizontal contrast, the author summarizes the painting patterns of early tree images in each dynasty, finds out the features of the times about form patterns and aesthetical tendency, and further delves into the dynamic process from shocks to integration between the source culture of Buddhism, western culture and local Chinese culture, and finally to the birth of new Dunhuang art characteristics. Second, by the specific practical plan of applying tree elements in murals to modern painting creation, the author deepens into the aesthetical application of Dunhuang art into current cultural background. Through the actual creation process, the author proposes that the references from Dunhuang ornamental images should first base on the overall grasp and in-depth understanding of the patterns of form languages. Relying on unique processing method, linguistic features and ornamental demands, the rich aesthetical perceptions of Dunhuang art forms can be presented in a more flexible manner so as to ultimately elevate the national spirit and cultural profundity of modern ornamental art works.