A Study On The Changing Style Of J(?)takastory Muralsfrom Kizil To Mogao Grottoes

Kizil Grottoes and Mogao Grottoes,as the key nodes of the eastern spread of primitive Buddhism in India,have left a large number of Buddhist art relics.The Kizil Grottoes,where Kizil Grottoes are located,are the first stop for Indian Buddhism to enter China and the relay station for the sinicization of Buddhist art.It plays a connecting role in the process of spreading Buddhist art to the east.The Mogao Grottoes undertook the important task of sinicization of Indian Buddhist art and completed it here.From Ayita,Bamiyan in Afghanistan,Kizil in Xinjiang,Mogao Grottoes in the Mogao Grottoes of Dunhuang,Maiji Mountain in Tianshui,Yungang in Datong,to Longmen in Luoyang,India has seen from the distribution of Buddhist art that Kizil Grottoes and Mogao Grottoes have superior geographical advantages.In the process of inheriting the art of Kizil Grottoes,the Mogao Grottoes did not reflect the overall imitation and copying of the Buddhist art of Kizil Grottoes.The difference can be seen from the fact that there are not a large number of diamond lattice paintings and animal stories murals in the Mogao Grottoes.The performance of this difference cannot be achieved overnight.It is bound to go through a complex process of absorption,rejection and transformation.What is the leader,what is the participant,and what transformation is going through to form a new mural style has great research value and necessity.This paper takes the Buddhist jātaka story mural style with the most ethnic and regional characteristics of Kizil Grottoes as the research subject,and compares the development process of the jātaka story mural in Mogao Grottoes from the perspective of graphics and images through the research direction with the main line of rheology.Combine vertically and horizontally,and demonstrate the origin and development direction of the style of jātaka story murals in Kizil Grottoes and Mogao Grottoes in a longitudinal and temporal way;This paper studies the influence of the aesthetic ideal and value pursuit dominated by the ethnic culture and regional culture on the acceptance and creative transformation of Buddhist art in the process of the development and transformation of the jātaka story murals in Kizil Grottoes to the Mogao Grottoes from the perspective of regional inheritance.Take the evolution of image form and image selection of jātaka story murals in Kizil Grottoes and Mogao Grottoes as well as the style of jātaka story murals,that is,graphics and images as the starting point.It is demonstrated from many aspects,such as space-time distribution,composition,image selection,decoration,planarity,character image,color rendering techniques,style composition and painting.This paper expounds the changes of Kizil mural jātaka story style and Mogao Grottoes jātaka story mural style,and analyzes the causes of their differences in the process of changing from Kizil Grottoes to Mogao Grottoes jātaka story mural style.Finally,it is found that the new style of the Mogao Grottoes jātaka story murals after the change is the new style formed gradually by the influence of the Central Plains culture on the basis of Western Buddhism,rather than the manifestation of the Indian Buddhism art and Western Buddhism art characteristics taking root in the Central Plains.It can make us clearly understand how the Central Plains culture participated in the integration and transformation of foreign cultures and the development of creativity.On the one hand,it can make us realize the unique and distinctive artistic character of regional culture;On the other hand,it can make us realize the specific factors that promote this change,so that we can use its artistic color creatively in artistic creation,and realize the strong vitality and transformation of the Central Plains culture.