Abstract: Mogao Grottoes is an art hall integrating sculpture, murals and grottoes. It absorbs the essence of foreign religious art and puts it into practice.

Nationalized and secularized, it has become an art with China characteristics-sculpture is the exquisite plastic arts of Buddhism spreading to the east, and caves are the architectural arts of Chinese and Western religions.

With the combination of techniques, murals reached the acme of painting art in Tang and Song Dynasties.

[Keywords] Mogao Grottoes; Sculpture; Murals; cave

There is an oasis on the Gobi desert in the west of the motherland, and Dunhuang, a famous cultural city at home and abroad, is here. Dunhuang is famous at home and abroad, the main

If there are thousands of honeycomb caves on the cliff 25 kilometers southeast of Mingsha Mountain, it is the Mogao Grottoes. Mogao grottoes is a treasure.

The treasure house of culture and art is an art hall integrating sculpture, murals and caves. This is a huge historical exhibition hall with 492 stones.

There are 24 15 colored sculptures from the Northern Wei Dynasty to the Song, Yuan, Ming and Qing Dynasties, more than 3,000 murals, * * * 45,000 square meters, and 5 wooden structures.

There are also many silk paintings, Buddha statues, utensils and more than 50,000 books, books and prints-this is a society with great Gao Wenxue value and ancient research.

It will be an extremely precious historical document. Studying this heritage of the Mogao Grottoes is of great significance not only to the study of China culture and art, but also to the promotion of the theme of patriotism.

It is beneficial and indispensable to the study of human civilization.

one

There are 24 15 statues in the Mogao grottoes. According to The Times, Su Wei has 365,438+08 statues. Sui plastic 350 bodies; Tang sculptures are the most exquisite, with more than 670; Five generations and twenty-four bodies;

74 Song Dynasty sculptures (including Cave 234 and Cave 400 in Xixia); Su Yuan 7 body; Clear plastic 970 body, though many and rough. These statues span over a thousand years.

In 2000, the statues of various periods were integrated into the aesthetic tastes and ideals of artists of that period, showing different artistic styles in different times.

On these statues, we can see the traces of the development and evolution of China sculpture art, and we can see the China sculpture art caused by the introduction of Buddhist art.

Change, these sculptures themselves are an intuitive history of the development of sculpture art in China.

Among the statues in the Northern Wei Dynasty, the Western Wei Dynasty, the Sui Dynasty, the Tang Dynasty, the Five Dynasties, the Song Dynasty, the Yuan Dynasty and the Qing Dynasty, the Wei, Jin and Tang Dynasties are the most representative. Therefore, only Wei and Tang.

Make a brief analysis of this statue.

Su Wei (represented by Caves 254, 259 and 260) is mostly a standing figure, characterized by a wide forehead, a long nose, thin eyes and long eyebrows, thin lips and cheeks, and a lot of hair.

The bun is wavy, thin and hard, but it lacks the beauty of soft curves. The Buddha's body is wrapped in a sweeping robe, and the Bodhisattva is exposed to the upper body and close to himself.

However, the thin body can be seen faintly under the wrinkled silk dress, giving people a feeling of just coming out of the water, so later generations compare it with "Cao Yi coming out of the water"

Conditions. The statue at this time, no matter from the face, physique and clothing, is not a statue of China, but a mixture of Gandhara art in China and India.

Although the style of clothes has always been China's.

The Sui Dynasty was very short, only 37 years. However, similar to the transition from the north to the south in the history of literature to the Tang Dynasty, plastic arts were formed in an appropriate way.

It shows the transitional characteristics from the appearance of foreigners (mainly Indians) to the appearance of China people. The gene that contributed to this change lies in China people (in fact

All nationalities in the world need to create their own gods. Of course, the culture and art of all ethnic groups cannot exclude the culture and art of other ethnic groups.

The influence of art, but it will never absorb foreign forms alive, but always transform them while absorbing their nutrients and integrate into the nation.

Characteristics, make it nationalized. Judging from the statues of caves 275, 283 and 427 in the Sui Dynasty, they have begun to pursue elegance, haven't they?

Then there is the thin shadow of rhinoplasty and cheek cutting. The nose is low, the face is full, and the outline lines are soft. But there are also disadvantages: big head, long upper body and short lower body.

Although the proportion of body shape is not symmetrical, it gives people a good and stupid feeling. This change should be said to be a progress, indicating that the statue is turning to China.

Enter.

In the Tang Dynasty, with the overall prosperity of literature and art, plastic arts reached an unprecedented peak. The statue experienced the development of the early Tang Dynasty and the prosperous Tang Dynasty.

The mid-Tang Dynasty has become a perfect place. Its evolution trend follows the path from foreign gods to China gods and from gods to people-that is, nature.

Nationalization and secularization of a kind of art, if the sculptors in the early Tang Dynasty, represented by caves 77, 322 and 332, are changing the shape of the Sui Dynasty.

Short and out of proportion, it developed the characteristics of pursuing gorgeous clothes and soft lines, and created a crown robe, pendant chest and wrist protector.

If there is a Buddha statue with a ring, colorful clothes, a plump face and a well-proportioned figure, and a statue of a king with a helmet and armor, then the statue of the Tang Dynasty (with the first

Cave 45, 126, 2 17), and on this basis, modeling and refining are carried out. By the middle Tang Dynasty, the statue had become exquisite and charming.

It reflects the distinctive features of China national plastic arts. Caves 35, 194, 285 and 320 just prove this point. No.285 Jin Ju

Take the Buddha statue on the right side of the cave as an example. This dress has exquisite body, delicate eyes and rich silk texture, which seems to be lifted by the breeze, so it is special.

That serene smile is extremely moving, which fully embodies the beauty, kindness and dignity of women. This bodhisattva is more beautiful than Leonardo da Vinci's famous paintings.

Nalisa is not inferior, but it is earlier than this famous painting 1000 "[1]. The statues of bodhisattvas in the Mogao Grottoes have different postures, either meditating or smiling quietly.

Vision, eyes and corners of the mouth are vivid; Full face, bare arms, extremely soft elasticity-these all give people an amiable attitude.

Feeling, it should be said that they are specimens of beautiful women in the Tang Dynasty. It should be pointed out that both Qian Qian Buddha and Wan Wan Bodhisattva are male, while the Bodhisattva in the Tang Dynasty is obviously

Feminization, this may be because the gentle image of women makes people feel more approachable and more convenient to "benefit all beings." Take the female yin.