View The Influence Of Huichang Calamity On Chinese Painting From The Perspective Of The Relationship Between Buddhism And Painting

Religion and art always have a very close connection.Accompanying the introduction of Buddhism,as its important propaganda tool,Chinese painting has also begun its process of transformation.Behind the paintings and classics,it is clear that the influence of Buddhism and Chinese painting.The remains of the grottoes in the caves show the process of nationalization of foreign art.Meanwhile,this influence is a subtle interaction---Chinese painting has been changed under the influence of various elements such as Buddhas which about the theme,the painting technique and concept has undergone a gradual change.Mr.Zhao Puchu,a Buddhist master,clearly pointed out that the relationship between religion and culture is an inevitable problem which every nation would encounter in the process of cultural development.“The author deeply and systematically studies the changes of Chinese Buddhist painting art through analyzes and interprets Chinese painting about the influence of Buddhism.” The development of Chinese painting from the literati painting Wang Wei to the freehand paintings that prevailed after the Song and Yuan dynasties is related to Zen ideology.” The Tang Dynasty already had a record about extermination of Buddhism and the influence of scholarly painting on Zen Buddhism is even more certain.The article attempts to break the boundaries of disciplines and choose extermination of Buddhism influence on Chinese painting as the entry point,inquire deeply into the souse of the Chinese Buddhist painting that emerged in the Southern and Northern Dynasties and mature in the Tang dynasty and focus on the transformation of Chinese painting which under the foreign art.Meanwhile,analysis of the influence of Buddhism on Chinese painting and the expressions of Chinese painting before and after the Huichang Calamity.To find the Origin of Literati Painting from the Reasons of the Rise of Zen Buddhism by combing the origin of the relationship between Zen and literati painting.There are four chapter in this paper.In the chapter one,I contrast the expressions of Chinese painting before and after the introduction of Buddhism by the analysis of Buddhist paintings under the influence of Gandhara Art in the Southern and Northern Dynasties.As we all known,what remains of Dunhuang Murals can help us to learn about the development of the kinds of paintings during that period,in the chapter two,I tell the painters and their works known for their Buddhist paintings when became mature during the Sui and Tang Dynasties and take Mogao Gotto as an example to visually analyze the grandeur of Buddhist painting at that time.The third and fourth chapters are important chapters of the paper.There are two sections in Chapter Three which is the influence about extermination of Buddhism to Chinese Buddhism art at that time and later Chinese painting style.The Section One is the reason of extermination of Buddhism and the destruction of art in the process.The Section Two is the change in Buddhism painting style before and after Huichang Calamity.The fourth chapter is about the rise of Zen and the development of scholarly painting.In Section One,I the relationship between the extermination of Buddhism and the rise of Zen.Section two and Section three discuss “the Huichang Calamity prompted the prosperity of Zen and influenced the development of Chinese painting.”One of the roots of Chinese traditional culture is continuous integration into the culture of the nation with the heart of the sea for innovation and development.To jump out of the normal perspective,focus on Chinese painting by integrating multiple disciplines,ultimately achieve the reuse and innovation of historical,religious and art knowledge I writing this paper with awe of Chinese traditional culture and love of Chinese painting.