DunHuang art aesthetic goods of China
Dunhuang murals, as the artistic treasures of the Silk Road civilization, are still shining with their aesthetic value and spiritual connotation after thousands of years.
1.The flowing rhythm of time and space
Dunhuang murals are constructed with S-shaped curves of celestial gestures, which condense the tumbling of flying shirts and the softness of music and dance kabuki into solidified music. The floating belts undulate like a pentatonic score, and the colorful clouds surround them like musical notes, transforming the two-dimensional murals into a four-dimensional space-time theater through the brushwork of “Wu Dangfeng”. This dynamic aesthetics not only shows the Buddhist philosophy of “impermanence”, but also symbolizes the beauty of the eternal flow of life.
2.The Light of Wisdom in Colors
In the symphony of lapis lazuli blue and malachite green, the Buddha depicted in gold foil is covered with a halo of wisdom. Mural using “superimposed halo method” to create a three-dimensional gradient effect, so that the bodhisattva’s crown celluloid iridescent effect. Cinnabar dyed lotus blossoms between the stone green leaves, this color configuration beyond naturalism, alluding to the “Avatamsaka Sutra” “a flower a world” view of the universe, symbolizing the brilliant spiritual picture in the eyes of the enlightened.
3.The Narrative Revolution of the Sutra Transformation Paintings
The Variations on the Sutra of Immeasurable Life transforms textual teachings into a panoramic visual epic, with architectural perspectives and scenes of humans and gods coexisting in multiple narrative spaces. The interweaving of secular labor and the pure land of Buddha breaks down the boundaries of time and space through the composition of “different times and the same picture”, which not only demonstrates Buddhism’s grand wish for the universalization of all beings, but also implies the Oriental wisdom of the harmonious coexistence of the present world and the other shore.
4.Visual Symphony of Silk Road Civilization
In Cave 285, the carriage of the Sun God coexists with Greek angels, and in Cave 428, the story of Prince Sattva’s life, Persian bead patterns are framed with Han-style landscapes. The juxtaposition of these cultural symbols is not at odds with each other, but rather reaches an aesthetic consensus in the halo of the green landscape. The mandala rotating in the palm of the Buddha is actually a spiritual totem of the blending of multiple civilizations on the Silk Road, signifying the common pursuit of human beings for the best and the most beautiful.
The color scheme of each thangka alludes to the tantric classics, forming a visual “energy field”.