「天衣飛揚，滿壁風動」——敦煌壁畫視覺語彙於現代藝術應用之研究=“The sky clothes are flying, the walls are full of wind”-- Application of the Visual Vocabulary of Dunhuang Murals in Modern Art
As an important part of Dunhuang art, Dunhuang murals blend the advantages of the East and the West and form their own system, enabling people to appreciate the unique visual beauty of “The sky clothes are flying; the walls are full of wind.” The artistic attainments, social customs and religious beliefs presented by Dunhuang murals in different periods are full of the times and are a rich source for modern art. Starting from “The sky clothes are flying, the walls are full of wind”, this paper studies the visual confluence and aesthetic spirit of Dunhuang murals, as well as the cultural inheritance that they provide, as reflected in application to modern art creation. An analysis is presented of the formal characteristics of Dunhuang frescoes in visual discourse, comparing the aesthetic differences between Eastern and Western art, and exploring the aesthetic spirit of Dunhuang fresco art through the different aesthetic perspectives of Eastern and Western approaches to art. The author explores the ideological connotations of “harmony between man and nature” in the Dunhuang mural “The sky clothes are flying, the walls are full of wind”: presenting a fresh examination of the visual vocabulary of Dunhuang murals, the important contribution of Dunhuang murals to traditional culture, and the unique aesthetic value reflected in application to modern art (characteristic differences between the East and the West). The author also considers the following: the visual form of modern art through traditional Taoist thought represented by Laozhuang and rational spirit in a religious atmosphere; the modern thinking reflected in oriental art through the aesthetic culture of Dunhuang murals and presentation of Buddhist spirit in Dunhuang art; and the social microcosms symbolized in modern art and displayed in Dunhuang murals, signaling changes associated with the times. The art of Dunhuang is a blend of Confucianism, ancient Indian Buddhism, Taoism and other cultures, transforming and absorbing the inheritance from different sources to create a unique style of art that draws on the strengths of different cultures; remaining true to its own cultural identity and being nurtured by modern art at a time of rapid development. This paper analyzes the aesthetic characteristics of the visual vocabulary of Dunhuang murals in modern art as well as the author’s own creations. On this basis, it explains the aesthetic spirit of Dunhuang art from traditional mural art to modern art, analyzing the ideological details contained in Dunhuang murals in order to achieve a deeper understanding of the aesthetic spirit of Dunhuang art, flexibly applied to creation of modern art and the reproduction and inheritance of traditional culture.
