Research On The Image Of Heavenly God In Turpan Area

The heavenly god is one of the gods who have been included in this system since the birth of Buddhism.In Buddhist scriptures,the god of heaven is usually recorded as the emperor’s servant.The image of the heavenly god entered Khotan along the Silk Road,then entered the Central Plains,where it was integrated with the local culture,and later passed back to Turpan.Turpan is located in the necessary place for the communication between the western regions and the Central Plains.It plays the role of intermediary and bridge,which means that Turpan is not only influenced by the style of Dunhuang,but also inevitably influenced by the Buddhist art outside the western regions.Through the analysis of the images of heavenly gods in bozikrik grottoes,tuyugou grottoes,Gaochang ancient city,Jiaohe Ancient City and Dunhuang Mogao Grottoes,this paper discusses the artistic exchange of the images of heavenly gods between Turpan and Central Plains.By defining the region and era,collecting the latest archaeological remains,and comprehensively using the interdisciplinary research methods such as iconology,archaeological typology and Philology,this paper makes textual research and analysis.Based on the image characteristics of Gaochang Uighur Maitreya statue evolution,this paper focuses on the image restoration and dating.According to the changes of times and regions in the dissemination,this paper investigates the development and evolution of the image characteristics and style of Turpan heavenly god.The content of this paper is mainly written in the form of progressive.First,by combing the route of introducing the image of heavenly god into China,this paper analyzes the influence of the local art absorbed by the image in the process of communication on the formation of the image of heavenly god in Turpan.Secondly,according to the documents and investigation reports excavated by various countries in Turpan,the image of the heavenly god is reclassified,the current location and preservation status of the image are described,and the content of the image of the heavenly god is briefly summarized.Thirdly,from the perspective of painting style,the image integrates the style of Central Plains and reflects the diversified style of Turpan Buddhist art in Gaochang Uighur period.Fourth,focus on the fourth chapter,investigating and collecting relevant data,in turpan area of pop image functions and the interpretation of the subject matter and so on,is the outline with the literature handed down from ancient times,grasp the related research situation,both historical and cultural information,a place attention to grasp the research emphasis on the whole,the grand historical time and space and the specific image organic combination,to find suitable spot between doing reasonable divergent thingod,look to whether can recover doers of the word star image.Fifthly,it analyzes the color,composition,combination form and artistic expression of the heavenly god.At the same time,the image of the Heavenly god in Turpan and Central Plains is further compared.Sixth,the introduction route of the Heavenly god belief and the appearance of the position of the Heavenly god of Vishhamun and the change of the belief do detailed elaboration,reveals the cause of the Heavenly god belief in Huihu period.The image of the god of doings in the bezikrik grottoes will be interpreted.Supplement to the images of the Heavenly god in Turpan;As the innovation point of the paper,the analysis of the theme type.On the whole,Turpan is the key area to study the statue and belief of Heavenly gods,which not only keeps certain inheritance and independence,but also forms a perfect system of statue and belief in the process of mutual communication and absorption,and lays a foundation for the spread of the statue and belief of Heavenly gods to the inland.Completed the supplementary recording of the images of the Heavenly god in Turpan;Analysis of subject matter type,etc.