The Research On The Patterns And Forms Of The Flying Fairies Of Duhuang Caves In The Tang Dynasty

Modeling is very important to painting, and it is the essence of Chinese traditional painting.The traditional Chinese painting mainly relies on modeling. Painting is an art of modeling, andmodeling plays a pivotal role in the painting. Painting would be lifeless without modeling.Modeling of traditional Chinese painting comes from “the unity of heaven and human”. To passon the “meaning” is the purpose of traditional Chinese painting and it emphasizes the dominantposition of personal subjective emotion in the painting. But in the western world modeling inpainting means better perspective and exact proportion. Modeling in traditional painting is aprocess of objective things being reprocessed and recreated and it also has subjective imagecharacteristics in the process. No matter “describing meanings with shapes” from Gu Kaizhi or“nature for external, heart for internal” from Zhang Zao, these concepts are all talking about thecombination the objective and subjective. And they usually mean using the basic shape ofobjective and adding subjective imagination to the working process of the painting. It is the waythat how the modeling is makes Chinese traditional painting so different and so amazing in theart world.In this thesis, the author will analyze and compare some images. The article is divided intofour parts to talk about the Tang Dun Huang flying fairies and to study the modeling intraditional Chinese painting. In the first part, I will introduce the concept of modeling and waysof expressing, and grasp the connotation of Chinese painting from the macro. In the second part,I will introduce the origin and development of flying fairies and this section is divided into twoparts. First, I will introduce the origin of flying fairies so we can have a simple understanding;then, I will analyze the features of flying fairies Wei and Jin Dynasties and the Sui Dynasty asto lay the groundwork for Tang Dun Huang flying fairies. In the third part, I will do specificanalysis of the Tang Dynasty Dun Huang flying fairies. Firstly, I will analyze and compare theimages to the flying fairies from Wei and Jin Dynasty in order to analyze the illusory modelingfeature of Tang Dun Huang flying fairies; Secondly, from the aesthetic of the era, subjectivityof the modeling, and the performance of the line work I will elaborate the reasons why theillusory modeling feature has formed; Finally, I will discuss the difference between the TangDynasty Dun Huang flying Fairies and the religious flying characters in the western world andthen summarize the illusory modeling feature of Tang Dynasty Dun Huang flying fairies and the reasons that it’s caused by. In the fourth part, I will elaborate the modeling concepts thatTang Dynasty Dunhuang flying fairies shows and the effects it causes on contemporarymeticulous figure painting.The Tang Dynasty Dunhuang flying fairies shows the purpose of traditional Chinesepainting. It is to express the feelings and meanings and it is not rigidly adhere to real shapes ofobjectively existing modeling concepts. This also reflects the aesthetic idea of “the unity ofheaven and human” and “the harmony between man and nature”. Due to the introduction ofwestern painting, Contemporary Meticulous figure painting has got into a diversified period.But we should keep the essence of traditional Chinese painting “Chinese style is the key, makethe foreign things serve the Chinese”. When we learn and absorb things from the foreign art westill have to keep the national characteristics in Chinese painting. Chinese Meticulous figurepainting is more artistic and charming.