The Preliminary Discussion About The Buddhist Painting From Han Dynasty To Sui And Tang In Khotan

Khotan as the cultural center of the South Silk Road faces with Kucha which was Middle Silk Road, Karashar-Turpan and Milan-Loulan, across the Tarim Basin. So, it was belong to the cultural circles of western region, and also formed the independent Buddhist painting style with vivid district character.The Khotan Buddhist painting show it's different character from Chinese painting in tools technique, painting carrier, creative methods, creator and disseminator. To study the development stage of Khotan Buddhist painting better, we must consider the divided stage character of Dian history, Chinese history, Chinese Buddhist history and Chinese painting history as a unity. In the paper the author divide it as the peried of preparation, the peried of imitation during transplantation, the peried of hybridization and grafting, the peried of innovation Period, the peried of mutual integration, and penetration five stages.Khotan Buddhist painting developmented on the base of macro background which was formed by Greece, Persia, India, Gandhara, Chinese culture, and infected with Saka,Yuezhi, Loulan-Shanshan, Qiang-Tibetan, Kucha, Karashar-Turpan culture each other. Besides "little Khotan" Buddhist painting, it also contains Niya, Ronglu,Xiaowan, Ningmi.Khotan Buddhism painting creator and disseminator of intertwined, the paper demonstrates Tai Yueshi and Kushan Empire, Sogdian, Buddhist monks and Hostage and their followers, Khotan envoys of Buddhist paintings in the style of the establishment and the propagation process of the role. And on this basis, the proposed chiaroscuro style combined with the use of line and color scale modeling and the line to form the combination of Buddhist Khotan typical creative method of painting.