Study On Chinese Grotto Inscription Art And Its Digital Application Construction

The art of Chinese grottoes began in the Han and Wei Dynasties.After half a century,it created the world of Li Tang,and Yu Xuan stretched until Zhao Song.Inscriptions on stone inscriptions use grottoes(rock carvings)as material carriers.On the one hand,they show "non-absolute relevance" of "dual-track parallelism" with the grotto sculpture arts.On the one hand,they echo with contemporary calligraphy art and present a "coupling" of spirituality..In other words,the study of grottoes inscriptions in this paper not only considers the grottoes carrier as the key point to examine the time sequence and causes of the rhythm of the Ming dynasty.It also considers the regional distribution of the Ming-style calligraphy.Through the time,geographical,and formal characteristics of this comprehensive art,it outlines the developmental map of its demise from the beginning of the fifth century AD to the middle of the 12 th century AD.Based on this,the staged and valued discussion of Chinese cave art was carried out.The author believes that the inscriptions on Chinese grottoes should be divided into six periods:(1)Introduction and accommodation: In the early development of Chinese grotto inscriptions,the integration of Chinese native sources with the foreign forms of the South Asian subcontinent;(2)Development and peaks: Inscriptions on Chinese grottoes China's specific historical period and the development of specific locations;(3)Inheritance and change: changes in the aesthetic taste of the inscription arts from the "Northerering Southerly Winds" and the turbulent current situation;(4)Turning and Evolution: The Age of Silence(5)Compatibility and progress: Luoyang in the Tang Dynasty embraces and re-develops various art forms with broad vision;(6)erosion and disappearance: Chinese cave art forms in Batu The last brilliant and brilliant.Looking at the development and changes of the Chinese grotto inscriptions from the Northern Dynasties to the Song Dynasty,we can clearly realize that the divine elements contained in them are dispelling,while the human factors are gradually awakening,showing an increasingly secular and interpersonal trend.The concrete manifestation is the divine refreshment in the perspective of belief and the personal epiphany in the classical reinterpretation process.At the same time,this can also be expressed as the shift of the focus of the grotto inscriptions,gradually extricating itself from expressing utilitarian purposes and desires,and converting them into insights and elucidations of righteousness.At the same time,the inscriptions on Chinese grottoes have been in a dynamic system of changing culture,history,and politics since their birth.While accepting new forms of art,it is also constantly deconstructing and reconstructing itself,and eventually integrates into a rich and unique art system.In the course of this change,if you look at the grotto inscription from a broader perspective,you can summarize the course of change as: the form of the grotto inscription,the carrier and the position are migrating,and the soul is more and more condensed.The relationship between grotto inscriptions and images can be divided into two levels: first,calligraphy and images—two actions within two forms of art;second,text and images—across the field of art.We believe that there is a trend in the development process of Chinese grottoes inscriptions: from the beginning of the relief of the monumental relief to the horizontal resolution of the horizontal and vertical dimensions,the initial integration of the inscriptions and image boundaries can be seen.Then,the dominant text was reconstructed in the southwest region represented by the Dazu Rock Carving,and it was organically combined with the form of common sense and the form of the title and the image.The process of gradually interacting and acculturating the inscriptions and images not only promotes the integration of the two in composition,composition,and art form,but also continuously expands the boundaries of a single art form,providing a new platform for the future.By comparing the grotto inscriptions in the Central Plains with Pingcheng,Shandong,and Batu,we believe that the development of Chinese grotto inscriptions is a dynamic,life-like course.At the end of the 5th century AD,the origins of the early Longmen Grottoes were well-identified,and the whole process of the origin and development of Chinese grotto inscriptions into a complete and independent artistic style can be demonstrated from a definitive chronological order.This is a study of epitaphs and other kinds of inscriptions.Has important supplements and implications.The book style of the Longmen period in the Central Plains has undergone major changes on the basis of Cheng Jiping.The body still maintains the physical form of the librarian,and there is no obvious wave of stippling.In addition to the “Northern Cross” of the book style of the South,the horizontal draw was straightforward,and the “flat draw summary” of Pingcheng's practice was changed to “dark draw tight knot”.Although the brush pen's decrepit pen is slightly long and slightly docile,it can be categorized as a new body that is strong and powerful.It is strong and vigorous,and its aesthetic characteristics represent the prosperous state of the grotto inscriptions.By the middle and fifth half of the fifth century,the artistic style of the inscriptions on the grottoes had been diversified,while the artistic style also showed the death of “Southernization”.From the comparison of the inscriptions in the Central Plains and the Shandong area,it can be seen that on the one hand,the Longmen Grottoes in the late Northern Wei Dynasty and the Gongxian Grottoes in the Eastern and Western Wei periods,and the Shandong Cliffography in the Northern Qi Dynasty and the Northern Zhou Dynasty,the square pens were mostly added with a knife axe.The atmosphere is more dense,so the whole is more vigorous and healthy;and the latter two are more round pens,and the whole is more harmonious.The inscriptions on the Gongxian Grottoes in the Central Plains were more influenced by the book styles in the Southern Dynasties,and the cliff-engraving scriptures in the Shandong region exhibited the retrospective effect of the retro style and the literary style.However,there is also a big difference between the two.The inscriptions on the Gongxian Grottoes are far less impressive than the ones carved on the cliffs of Shandong,while those on the cliffs of Shandong Province are not as elegant as the inscriptions on the inscriptions of the Gongxian Caves.After the sixth century AD,the inscriptions on the Chinese grottos burst out in their final glory and gradually disappeared into the long river of history.When the entire Chinese grottoes have been stagnant and declining,the rising peaks of the Batu Grottoes represented by Anyue and Dazu have continued the historical years of the Chinese grottoes inscription system.Compared with the Longmen Grottoes,from the early Anyue Reclining Buddha House to the style of the grotto in Luoyang region,the book body of the Dazu Rock Carving not only conforms to the objective law of the development of the grotto inscription,but also has a common preference for secular aesthetics.Taken together,the inscriptions of the grottoes in the Bayu region of the Tang dynasty attracted the inscriptions of the Central Plains inscriptions,the Tang Dynasty “writing scriptures” and combined with the Bashu stone carving tradition,forming an inscription style with an era and local style.After research,we believe that the Central Plains region has more important significance and value in the development of Chinese inscriptions in the Chinese grottoes.Specifically,there are six aspects:(a)but the open air: the inscriptions of the Northern Dynasties represented by the “Longmen 20 Products” in the Central Plains have become an important source of the founding and development of the stele at the end of the Qing Dynasties;(ii)Theological teaching: The grotto art inscriptions in the Central Plains are different from the purely calligraphic artistic forms and other works with mundane interest.They have strong religious orientation and beliefs;(3)Harmony and harmony: the harmonious unity of quietness and agility is both life-like and The recognition of organic life is more about the effective practice of art theory and the interpretation of the inherent laws of grotto inscription art.(4)Breaking and then standing: The inscription system of grottoes centered on the Central Plains during the Northern Dynasties,as well as other artistic forms such as epitaphs and cliffs,form a joint force in the purpose of “breaking and then erecting” and crossing the gap between the books and the arts.The traditional rules are perfectly unified in their orientation.(5)Flat and strict: The inscriptions of the grottoes in the Central Plains were born with a distinctive attitude,born out of the statues of the statues and scriptures,and exquisitely sculpted by the era,showing simple,simple and subtle artistic interests.(6)Ze later generations: Regardless of the relationship between time and space,or the development and change model,the Central Plains region is not only the key node of the Chinese inscription system but also an important source for the continuous development of its space-time sample and promotion system.Finally,this article uses digital means in order to achieve better strategic goals for the protection,display,use,and sharing of human common heritage.Statuette is one of the important components of the cultural heritage of the Grottoes.It has very important artistic value,literature value and historical value.Based on the imagery,the use of digital tools,especially edge recognition and contour restoration technology,give full play to the integrity,clarity and clarity of the original material,providing practical space and foundation for the protection of grotto inscription art.