The Development And Studies Of Chinese Buddha Phase Modeling Art

Buddhist art is an important part of the history of art.The content of Buddhist art is very rich.A series of divine images of Buddhist art are very strange and strange.From the Buddha statues we can see at present,most of the Buddha statues are mainly made of mud,stone,wood and gold copper.The purpose of this paper is to analyze and compare the characteristics of the art of Buddha facies,and to illustrate the characteristics of the art of Buddha in different periods of Han Dynasty.The Buddhist art was born in the galand Gaya.Because of the special location of the Gaya gand and the strong humanistic atmosphere,it has gradually formed a variety of Buddhist statues,in which many cultures such as India,Greece,Rome and Iran have been merged.Thanks to the development of the Silk Road,Buddhist art has gradually entered into Dunhuang,Tibet,and the image of Buddha statues in Han Dynasty has been deeply influenced by it.After the edification of different cultures of different nationalities,the art of Buddha statues began to form the unique artistic features of the statues in the Han Dynasty.Taking the Tang Dynasty as an example,the Tang Dynasty was rich and popular in the country.Therefore,the image of the Buddha statue of the Tang Dynasty showed a solemn and steady appearance,not only with noble and elegant temperament,but also extremely luxuriant and exquisite,and the exquisite and exquisite craftsmanship,so that the whole Buddha statue art showed the elegant appearance in the Tang Dynasty.This article is mainly divided into four parts.In the third part of the article,first of all,a brief description of the changes in the name and hairstyle of each part of the Buddhist face,followed by a discussion on the differences in the styling art of different dynasties in the Han Dynasty and the fundamental reasons for these differences.The first and second parts of the article are mainly about the background of the research and the origin of the Buddha statues,and the fourth part is about the inheritance and development of the Buddha statues.Finally,through the overall combing of the article,summed up the following conclusions: first,because of the different times,the shape of the Shakya Muni Buddha will have a certain change due to people's aesthetic differences;secondly,as a big whole,the Buddhist art is not isolated in each period,and there are certain connections with the surrounding areas.The study of the art of Buddha statue in the Han Dynasty should be combined with the Buddhist art of gand gand.Art itself is a process of continuous development,continuous absorption and continuous integration.Through the comparative study of the styling features of Shakya Muni's Buddhist face in different periods of Han and China,it is integrated into many fields of art,such as iconography,history,ethnology,and so on.From time to time,and the combination of space,the evolution of the features of the facial modeling of Buddha's face in different periods of the Han Dynasty is elaborated.Through the research and analysis of the styling features of Shakya Muni's facial art in different periods,this paper further shows the rich cultural connotation of Shakya Muni's facial modeling art and the comprehensive reasons for the difference of Shakya Muni's Buddhist appearance in different periods.