Dunhuang is the cave group with the largest number of murals in the world. There are 492 caves with a history of thousands of years in 10 dynasties, with more than 45,000 square meters of murals and more than 2,000 colored sculptures. Themes are mostly taken from Buddhist stories and also reflect folk customs.
Mural painting is the main part of Dunhuang art, with huge scale, exquisite skills and rich content. Like other religious arts, it describes the image, activities and relationship between God and man, in order to pin people's good wishes and appease people's hearts.
Yang Dongsheng, a descendant of Dunhuang Painting School, devoted himself to the inheritance and re-creation of Dunhuang mural art for many years, and gained a lot of experience and attainments. He founded the Dunhuang Zen Painting School, and he was the penance messenger of Dunhuang art communication.
Yang Dongsheng on "Dunhuang Zen" Painting
Dunhuang Zen painting is a kind of re-creation. First of all, it is necessary to determine which era style the painting content should have, and do a lot of research and analysis on its era, content, theme, character modeling characteristics, line drawing characteristics, coloring methods, production techniques, performance skills and so on. Only in this way can we inherit the cultural spirit, then express modern aesthetic elements, faithfully convey artistic beauty to the audience, and let the audience appreciate beauty.
With the tone of creation, then establish the theme and content. After that, the stages of creativity, composition, drafting, revision, finalization, marking, coloring and marking were completed in turn.
The specific steps of creation are: creativity-composition-drafting-revision-finalization * * * Tick * * * Copy the manuscript on rice paper or silk * * * *-Mount the drawing board-tick-color-tick-finishing.
Next, we must have a solid technical foundation and grasp the problems of line, color and spirit, and finally we can complete a good work.
About "line"
Line is the basis of China's painting modeling, and China's ability to express modeling and work content with line has reached a considerable height. The re-creation process of Dunhuang Zen painting is to use this traditional painting art language with high generalization and expressiveness, as well as its concise pen and ink, to create thousands of characters with distinct personalities and complex hearts.
Because of the different painting styles, the changes of lines are more colorful. Most of the early works were drafted with red clay lines and shaped with dark black lines, which were bold and free, vigorous and powerful. When depicting characters, the early iron line drawing is used to express the handsome characters, the dense clothing lines, the gauze texture of the body and the elegance of flying gods.
In the Tang Dynasty, vivid and smooth orchid leaves were used to depict figures with moderate modeling proportions, and to create healthy and plump images and dense clothing patterns. After the Five Dynasties, most of them used different kinds of line drawings to express different shapes. Bodhisattva's face and limbs are drawn with delicate and round iron lines, and clothing lines are drawn with folded reed painting, which has obvious setbacks and sharp edges. People's beards are drawn with You Simiao, with lines like hair, and Lux's prominent muscles are drawn with nails. Different line drawings show different shapes and textures to enhance the realism of images.
On the basis of inheriting the tradition, the line drawing of Dunhuang Zen paintings adds refreshing lines and decorative lines, including not only earth red lines and ink lines, but also white lines and vermilion lines. In this way, the works are richer, thicker and more intriguing. Therefore, without a solid foundation, skillful skills, and an understanding of the simplicity of line drawing modeling and the natural interest in brushwork, it is impossible to reflect the charm of characters with the charm of line drawing itself, and it is also impossible to draw good works.
About "color"
For China's paintings, color and lines are equally important. "Dunhuang Zen" painting inherits the traditional coloring method and is famous for its gorgeous colors. Its use of color is intended to express the inherent color of an object, without pursuing complicated photochemical colors, emphasizing the decorative beauty of colors, but not excessively pursuing the realism of colors. In the complex colors, contrast, contrast and halo are carefully designed to make the colors cross and complement each other.
Most of Dunhuang's early works are mainly earthy red, with cyan, green, vermilion, ochre and white colors, forming bright and warm tones. Sui Dynasty style works are in a transitional period, which not only keeps the early bright and simple tone, but also breeds the splendid and gorgeous tang style.
The color of tang style's works reached the peak of prosperity and brilliance, especially the development of overlapping dyeing and blooming, which enriched the color changes. Using the method of overlapping halo, you can use the same color on a lotus petal or orb from shallow to deep, and stack four or five layers directly, and stack the colors of cyan, green, vermilion and white together to form a colorful effect.
The new daubing method is an important way to express the three-dimensional sense with color in Dunhuang Zen paintings. It absorbs nutrition from the concave-convex method of the western regions, blends into the traditional smudge method of Chinese painting, enriches painting techniques, and creates unique figures with decorative and three-dimensional effects.
The colors of Dunhuang Zen paintings have a unified and harmonious tone in the style expression of each era, and the colors of each painting obey the overall unified layout. After the draft is drawn up, the colors are distributed according to aesthetic laws such as balance, symmetry, repetition, echo and diversity, which makes the works reflecting different periods have different aesthetic feelings of colors and forms the obvious characteristics of works with different styles in each era: 1 simplicity and simplicity. Sixteen countries and the Northern Wei Dynasty. 2. The fresh beauty of the Western Wei Dynasty and Bei Tang; 3. The splendor of Sui and Tang Dynasties is rich and gorgeous; 4. Ming Dynasty in the early Song Dynasty; 5. The coolness and desolation of Xixia; 6. The Yuan Dynasty was simple and elegant.
About "God"
The highest realm of China's painting is "vivid in form, with both form and spirit", and Dunhuang murals focus on the depiction of characters, especially their facial expressions. Whether it is the image of Buddha, Bodhisattva or human, there is a fresh spirit. Only under the conditions of accurate modeling, smooth line drawing, bright colors and vivid charm can we draw a masterpiece handed down from generation to generation.
character introduction
Yang Dongsheng, whose stage name is "Bodhi Painter", 1967 was born in Xi City, Shaanxi Province, China on May 20th. He used to be the executive vice president of Shaanxi Buddhist Art Research Association, the vice president of An Yu Youren Calligraphy Association and the president of An Xiyu Fine Arts Research Institute. Yang Dongsheng studied under Mr. Yang, a master of Dunhuang Painting School. He studied painting for more than 30 years and became a descendant of Dunhuang Painting School and the founder of Dunhuang Zen Painting School.
Yang Dongsheng has seven out of forty this year. /kloc-was officially inherited by his father, Mr. Yang, a Dunhuang artist, when he was 0/6 years old. From Mr. Zhang Daqian, the master of Chinese painting, to the artistic baptism in Dunhuang, to Mr. Chang Shuhong, the older generation of artists in Dunhuang, Mr. Yang, the father of painters, and Yang Dongsheng have been sticking to Dunhuang Grottoes for decades, describing the artistic course of the Buddha flying and the earth shaking, which has been passed down from the family and become the source of inspiration and energy for painters. In 1990s, Yang Dongsheng's works were exhibited in Hongkong and Malaysia, and all of them were collected. In 2004, at the invitation of Foguangshan, a master of nebula, he held a solo exhibition at Foguangyuan Art Museum in Melbourne and Sydney Dojo.
When talking about Dunhuang paintings, Yang Dongsheng said that copying is more creative, because the painter's mind and feelings are a process of spiritual soaring, which combines personal practice, personal aesthetic experience and characteristics of the times. Yang Dongsheng's "Dunhuang Zen" painting school, based on the cultural elements of Dunhuang Zen and the symbols of humanistic temperament in the western regions, and based on the coloring techniques of meticulous painting and rock painting, endowed the content of the works with modern aesthetic agility, which made the works appreciated far and near. If you look at it from a distance, you will get five colors of dry Kun; Throughout the whole picture, you can smell the solemn and auspicious atmosphere of solemnity and sacredness.
Brief introduction of Dunhuang grottoes murals
Grottoes murals, paintings painted on the walls of caves. The first world-famous cave in Dunhuang was built in 366 AD. The murals and colored sculptures in early Dunhuang grottoes were greatly influenced by India and Central Asia. The unique "Dunhuang Style" didn't appear until the Northern Wei Dynasty. By the Western Wei Dynasty, the influence of Central Plains culture on it was more obvious.
The murals in the Northern Dynasties grottoes are important materials for understanding Buddhist paintings in this era, especially the Qizil Grottoes and Dunhuang Mogao Grottoes. There are more than 70 well-preserved murals in 236 caves in Qizil. The earliest existing murals may have started in the second half of the 4th century and continued into the 7th and 8th centuries. The main themes are narrative pictures, Buddhist stories, Buddhist stories and fables. In particular, Bunsen's story paintings are the most unique. They all express a story in the form of a single picture, which has a certain influence on the early murals in Dunhuang.
The first world-famous cave in Dunhuang was built in 366 AD. The murals and colored sculptures in early Dunhuang grottoes were greatly influenced by India and Central Asia. The unique "Dunhuang Style" didn't appear until the Northern Wei Dynasty. By the Western Wei Dynasty, the influence of Central Plains culture on it was more obvious. Most of the paintings created in this period are Buddhist stories and Buddhist stories. Generally speaking, the artistic energy of Dunhuang in the Northern Dynasties was gradually localized. At this time, the themes imported from India and Central Asia and the themes and styles originated from China often gather in the same cave in a unique way, which was reflected in the 249 caves built in the late Northern Wei Dynasty. In this cave, there are bodhisattvas and flying clouds on both sides of the front Buddha statue, and there are many small Buddha statues painted around the Buddha statue, commonly known as "thousand buddhas"; The niche painted above shows flying musicians playing various musical instruments. There are 275 caves * * * Sixteen Countries * * *, 257 caves * * * Northern Wei * *, 254 caves * * * Northern Wei * *, 428 caves * * * Northern Zhou * *, 285 caves * * * Western Wei * * and so on.
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