| Autor: |
Shiru WANG, SANDU, Ion |
| Předmět: |
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| Zdroj: |
International Journal of Conservation Science; Oct-Dec2023, Vol. 14 Issue 4, p1443-1462, 20p |
| Abstrakt: |
The article is devoted to an analysis of the figurative concepts of the Dunhuang cave wall paintings. It was determined that, despite the fact that the Dunhuang wall painting is an example of Buddhist art, it represents a syncretism of Buddhism and local beliefs--Taoism and Confucianism--which manifested itself in the depiction of characters from Buddhism and Taoism in one plot. Dunhuang cave murals are not uniform in style and execution techniques. Its genesis testifies that in the early stages it was a literal borrowing of the ancient Indian traditions of Buddhist mural painting; instead, there was a gradual layering of local painting techniques from the Central Plains of China. This led to the diversification of cave wall paintings of later periods and eventually led to the formation of a specific stylistic direction of "Chinese secular Buddhism," in which realistic painting plays an important role--the portrait genre of benefactors and the landscape genre of "mountains and waters.". [ABSTRACT FROM AUTHOR] |
| Databáze: |
Complementary Index |
| Externí odkaz: |
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