Research On The Lmage Art Of "Record Of Buddha’s Teaching" In Gaochang Uighur Period

"Record of Buddha’s teaching" is a classic theme in Buddhist art,consisting of a series of plots such as buying flowers,scattering flowers,distributing hair,and taking off.Its artistic expression first appeared in Gandhara region.There are so many reliefs of "Record of Buddha’s teaching" unearthed in Gandhara,and the statues are similar in style.With the spread of Buddhism to the east,this theme has been reflected in the Dunhuang Grottoes,Maijishan Grottoes and Yungang Early Grottoes in China.The images of "Record of Buddha’s teaching" unearthed in various regions of China have various forms of expression,reflecting the cultural exchanges between different regions.Many images of "Record of Buddha’s teaching" were found in the Bozikrik Grottoes in Turpan,which were mainly in the Gaochang Uighur period(9th to 12 th centuries)according to statistics,and belong to the later Buddhist art in China.This topic is aimed at the image art of "Record of Buddha’s teaching" in Gaochang Uighur period,which has certain significance for the development and evolution of the subject matter and the image pedigree.The first chapter first sorts out the texts related to the theme of "Record of Buddha’s teaching",and concludes that the texts are not completely identical,the sequence of plot narration is different,and the character names and plot details in the texts are different,which will affect the changes of images.Through sorting out the image pedigree,it includes the reliefs of "Burning Lantern" in Gandhara,the murals of "Burning Lantern" in Xinjiang grottoes,and the "Burning Lantern" images unearthed in Hexi and Central Plains.The image changes in the process of broadcasting.The localization of the early image is strong,and the later image is mixed.There are differences in the images of different periods,which are often reflected in the artistic style and the composition of gods.Chapter 2 and Chapter 3 are the ontological research of image materials.First of all,collect the images of "Record of Buddha’s teaching" in the whole Gaochang Uighur period,judge the materials,and then carry out the content interpretation and research on the evolution and evolution of art styles.Briefly describe the relationship between the statues of the same subject in the same period from the aspects of image drawing position,picture layout,surrounding configuration,etc.At the same time,there are common features between the images,the painting forms are the same,and the local details change slightly.This theme appeared in the early,middle and late grottoes of Gaochang Uighur,covering a wide range.Then analyze the evolution of image localization from the perspective of image composition,character collocation,and narrative mode.When Gaochang Uighur painters created their own paintings,they not only presented strong local characteristics,but also drew on the artistic styles of India,Central Plains and other places.The combination of multiple regional factors made it become a classic pattern again,belonging to the local style of Gaochang.At the same time,this pattern was repeatedly used.However,this image style continues to develop and evolve in Shazhou Uighur Cave.The last chapter focuses on the study of specific problems.To investigate the relationship between "burning the lamp" and the vow painting,the combination of "burning the lamp" and the vow painting has not been found in Gandhara and the Central Plains.This combination style was only seen in the Kucha Grottoes and was affected by it.Using the research method of "architecture and image program" proposed by Wu Hong,this paper discusses the composition of architectural space and the internal logic of murals.For example,the visual focus of the whole cave is determined from the visual orientation of the vow painting.The painter pays more attention to the overall presentation of the cave and the grasp of etiquette when drawing.As for the question of the basis of "Record of Buddha’s teaching",except for the ones with clear titles,it is difficult to grasp the basis of the rest of the cave images.The images are not consistent with the detailed description of the relevant classics.The painter has the freedom to play.The image of " Record of Buddha’s teaching " was streamed to Gaochang,and its traditional art form was artistically processed,which was formed by integrating the artistic expressions of Gandhara,Qiuci and Central Plains.This schema became a paradigm that was very popular during this period.This fully reflects the cultural and artistic exchanges between the Gaochang Uyghur period and surrounding areas.From the point of view of the combination with the whole cave art,it conveys the belief concepts of Gaochang Uighurs such as support,vows,teaching and enlightenment.