Dunhuang Frescoes Art Form To My Print Creation Enlightenment

Dunhuang frescoes are the largest and most extensive form of cave art at Dunhuang.With origins dating back as far as the pre-Qin dynasty,they have been built and maintained over more than a thousand years by various dynasties,leaving behind a unique style of frescoes from all eras.Dunhuang frescoes reflect both the gradual evolution of Buddhist culture in the east and,to a certain extent,the different spiritual qualities of the cultures of the various dynasties.All of these beautiful and moving frescoes are well-deserved treasures of the Chinese national art treasury.Their artistic forms,techniques,subject matter,and spirituality are all of great value for study.Based on Cave 254 of the Northern Wei period at Dunhuang,this paper uses documentary research and image analysis to analyze representative wall paintings.The thesis attempts to provide a comprehensive introduction to the cave’s wall paintings from the perspective of composition,line,color selection,color form,painting technique,and spiritual connotation.Subsequently,the unique charm of Dunhuang Cave 254’s artistic language is gradually explored.Meanwhile,this paper attempts to combine the art form of Dunhuang’s Northern Wei murals with my own experience in creating watermarked prints.On the one hand,a comparative analysis is made from the perspective of "stylistic language",and its application in my watermark prints is further explained with concrete examples.On the other hand,the "language of color" is explored as a specific form of expression in my watermark prints.Finally,Dunhuang Cave 254 murals are used as an object of analysis to explain how Dunhuang painters have successfully deconstructed the "theme" so that form and content can work together to create images that are still unique and attractive after thousands of years.Ultimately,this paper combines this "deconstruction" approach with watermark prints for a more in-depth study,with the goal of revitalizing the application of Dunhuang’s Northern Wei wall painting language in watermark prints and contributing to the enrichment of the content and form of watermark woodcuts.