The Transformation Of The Creative Idea Of Buddhist Figure Painting In Tang Dynasty From "Leading Bodhisattva Figure"

Although the Bodhisattva Leading the Way of the Tang Dynasty,which was hidden in the Sutra Cave(Cave 17 of Mogao Grottoes,Dunhuang),was exported abroad early,as a typical work of the Buddhist figure painting of the Tang Dynasty,its artistic style and creative ideas were undoubtedly influenced by the political,economic,cultural and other social ideologies of the Tang Dynasty.In this process,how did the traditional painting style and creative ideas change? And what impact has it had on the development of later generations?This article is based on the Bodhisattva Leading the Way in the Tang Dynasty.In the first part of this paper,the research background,significance,research status,research methods and ideas are briefly expounded.In the second part,the art work Guiding Bodhisattva is placed in the cultural system to analyze the promoting effect of the national,religious,ideological and cultural and economic policies of the era on the development of Buddhist figure painting.The study holds that the policy of national exchange quickens the pace of the eastward transmission of Buddhism;The implementation of various religious policies provides a broad policy environment for the improvement of Buddhist thought,expands the audience of Buddhist culture and standardizes the development of Buddhism.The ideological and cultural policy of "three religions in harmony" provided an open cultural environment for the development of Buddhism,and Buddhist thoughts were further enriched.On economic policy,temple economy has provided strong material foundation and human resources for the development of Buddhist culture.The third part of the article analyzes the artistic language and image of "Guiding Bodhisattva" on the basis of the influence of figure painting.Taking the main figures as clues,this paper further explores the history of the changes of Bodhisattva shape and female shape from Wei Jin to Tang Dynasty,explores the commonness among them,and summarizes the artistic style of Buddhist figure painting in Tang Dynasty.Before Wei and Jin dynasties,the image of Bodhisattva had the characteristics of male in the western regions,and gradually showed the characteristics of gender-neutral under the interaction with the Central Plains culture.In Sui and Tang Dynasties,the image of Bodhisattva had the characteristics of feminization.Since the Wei and Jin Dynasties,female images appeared frequently in the paintings and presented the overall artistic characteristics of slim and light;to the Sui Dynasty,they presented the artistic characteristics of beautiful and graceful;to the Tang Dynasty,influenced by the aesthetic tendency of "fat for beauty",they presented the artistic characteristics of rich and round.The fourth part of the article compares the Buddhist figure paintings of the Wei,Jin and Tang dynasties respectively from three different levels of artistic language,artistic image and artistic implication,and digs deeply into the transformation of the creation of Buddhist figure paintings of the Tang Dynasty from the picture to the figure and then to the purpose of painting,and takes "Guiding Bodhisattva" as the object to confirm.The research holds that in the artistic language,the tragic picture is transformed into the beautiful scene;In the artistic image,the scribbled character expression has changed to the fine character expression,and in the artistic implication,the religious character has changed to the caring one.The fifth part of the article takes the painting works of Song Dynasty and after Song Dynasty as the analysis object to explain the influence of the creation concept of Tang Dynasty on the painting works of later generations.The research holds that the secular themes developed in the Tang Dynasty cannot be completely eliminated in a short time;Since the Tang Dynasty,the "beautiful" picture has occupied the mainstream of Buddhist figure painting and the depiction of the figure has become a necessary component of the work.In the conclusion part,the author systematically answers and summarizes the problems discussed in the whole article.Artistic creation is an artistic behavior,but also the process of reflecting reality with artistic language and image,which is not only the expression of the meaning of art itself,but also the expression of the characteristics of The Times.