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俊采星驰2018

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Dunhuang fresco is the composing part of Dunhuang grotto The grotto art of Dunhuang is great and Represented by Mogao Grottoes, the grotto art of Dunhuang is rich and colorful, and exist in large quantities, including frescos, painted sculptures, scriptures, scrolls and a lot of other artistic Among the artistic forms, the relics of the frescos in the Mogao Grottoes are the most In the Tang Dynasty, the Mogao Grottoes had boasted more than a thousand stone Now, 492 grottoes have been left, together with 45000 square meters of frescos in The portrayed social life scenes and appearances of various people of different dynasties before the Tang Dynasty among the frescos of Dunhuang are the precious materials for researching on the clothes and customs of the people of all the ethnics in different The frescos can be divided into Buddha statue paintings, Buddhist sutra paintings, narrative paintings, alimentation paintings, animal paintings, landscape paintings, decoration paintings and so The Buddha statue paintings include the portraits of various Buddha statues and Bodhisattvas while Buddhist sutra paintings, which are also called "sutra converted painting", uses the means of painting to express the contents of Buddhist The narrative paintings, however, are characterized by rich contents, vivid plots and strong traces of life, so, they are embedded with great Alimentation paintings are the portraits of the people who believed in Buddhism and donated funds to build grottoes, together with their relatives and The beautiful natural sceneries in some of the landscape paintings are painted according to the landscapes in sutra, while some others are independent pictures that take landscapes as the main There are also colorful decoration paintings, which were used to decorate the grotto Dunhuang frescos have abundant contents, varied forms and vivid time They reflect that the craftsmen at that time had advanced painting skills and abundant imagination They provide a large amount of objective materials for researching on the Chinese art 翻译过来就行了!

赏析敦煌壁画论文1000字

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anlexander

近日在家闷着甚觉无聊,于是随手拿起了几年前读过的一本书,叫《文化苦旅》,是余秋雨先生在十几年前的作品。还记得几年前买下次书后草草地读完后[因为那时正上高中,时间比较紧],只有一个想法:余先生的目光太犀利,嗅觉太敏锐,思想太独特,竟能写出如此佳作!但近日读后,深感余先生的不容易,因为他带着我走过了一段很沉重,很空白,也很沧桑的历史长路,正如余先生在该书的自序中写到的那样:“一落笔却比过去写的任何文章都显得苍老。” 于是,我也跟随余先生一起聆听下去,欣赏下去,哀叹下去。跟随余先生的脚步,一路逼近莫高窟,当我的一只脚刚刚踏进去时,便感觉到了一股强劲的冲击力深深地刺进了我的心里,我的灵魂!从一开始的青褐深厚的色流一直到很难再找到红色的色流,我们走过了北魏,走过可隋,直到元代,直到永远。这立体的,极富生命力的艺术,让人不得不感叹人类的伟大! 莫高窟壁画艺术固然精美绝伦,但它的背后,则是中国历朝历代的兴衰荣辱。我们说艺术的诞生,必然和当时的社会背景相吻合。用莫高窟壁画艺术来诠释这句话是再好不过的了。 然而,比莫高窟壁画艺术更让人惊魂不定,更让人感慨,更让人叹息的是洞窟里的一个隐藏洞穴。因为在这个洞穴里,藏着无法计数的古物,更藏着中国人的荣耀和耻辱,以及今生后世无数学者的心血!让人痛心的是,洞穴所藏古物十之八九都已流失到国外。造成这一切的,是源于一个道士,一个愚昧无知的道士!但是,比那个道士更让人痛恨的是那些用花言巧语,小手段骗取中国古物的外国人。但是我们必须认识到,当时的中国官员是有能力去保护那些古物的,可他们没有,这是因为几千年积累下的劣根性所致,更是两千多年的封建思想在作祟。 余秋雨先生在文中写到:“偌大的中国,竟存不下几卷经文!比之于被官员大量糟践的情景,我有时甚至想狠心地说一句:宁肯存放在伦敦博物馆了!” 我对次话是十二分的赞成。那些古物固然源自中国,但从整个人类的大环境讲,它却应该是整个人类发展的结晶。再者,从当时中国的大环境考虑,那些古物留在中国,我想,到现在还能够给我们的学者拿来作研究的,应该是少只又少了,更不用提什么“敦煌学”的诞生了。我一直认为,作为古物,要么就让它永久地封存于地下,要么就必须做到有能力去很好的保护它!如果没有那个能力,而它却又重见了天日,倒不如把它让给那些有能力保护它的人。所以,对于所谓的那场敦煌文物的灾难,是福是祸还不一定呢,最起码我认为,不是最好坏的那种。 不管怎么说,敦煌莫高窟的里里外外,都是一段很沉重的历史,要我们的任何一代人去承受,都是有点力不从心的,所以,它需要我们几代人的共同努力去肩负,并重新创造魅力奇迹!
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