敦煌西魏畫風新詮 -- 以莫高窟第285窟工匠及粉本問題為核心=A New Interpretation of the Western Wei (535-556) Painting Style of the Mogao Grottoes -- Focusing on the Artisans and Drafts of Cave 285
The effect of sinicization during the Northern Wei dynasty(386-557) on Buddhist Art can be seen in the characters’ appearances, costumes and chapeaux as well as on the preference for landscape scenes and growing spatial representation skills, which can be regarded as an internally visual transition. Dunhuang murals during the Western Wei dynasty show an initial attempt to represent depth in space. Three groups of artisans participated in creating the murals of Mogao Cave 285. One group painted the west wall, which shows an obvious influence from the west both in content and style; the second group painted the north and east walls,which fails to represent depth of space, though the characters and dresses are of Chinese style; and the third group painted the south wall, which exhibits a mature technique of representing three-dimensional scenes. Thedrafts of caves 290 and 296 from the Northern Zhou dynasty(557-581) have the same origins as those of cave285, suggesting they could probably have been made by the same artisans.
