Comparison Of The Spatial Structure Between The Dunhuang 220 Grottos "Emituo Jing Bian" And Raphael's "The Eucharistic Debate"

China's Dunhuang murals and western Renaissance fresco has an important position in the world art history.Currently,some domestic creators often emphasize too much on the characteristics of nationality.Moreover,some of the domestic creator reject western modern art and theory,so that there are some bottlenecks in the creation and development on the creators.This paper is based on 220 Dunhuang grottos “Emituo JingBian” and Raphael's “The Eucharistic Debate” as the main research object.In addition,this paper will take the Sui and Tang dynasties Dunhuang grottoes and the development of the Renaissance fresco history as the research basis,compare and analysis both of them in language,modes of presentation,and the difference of the space structure.Furthermore,this paper will also summarize the root cause of these differences,and how the Chinese color painting art is different from western painting art.Putting forward the current art creation should be tolerant to accept other art cultures in the face of contemporary international art and theory.Moreover,using the work of local cultural to identity transformation and culture to make the equality of the Chinese and foreign art two-way interactive communication.