What's the difference between the murals in Dunhuang and the patterns in different dynasties?

If we compare the tomb paintings in the Sixteen Kingdoms period with the Dunhuang murals in the same period, we can find that the figures in the tomb paintings have wide sleeves and simple shapes, but they do not pay attention to human anatomy and have a strong symbolic and decorative taste. The figures in Dunhuang frescoes are mostly half-naked or completely naked, and the descriptions are meticulous, and the proportion of human bodies is more accurate and realistic than that of Liu. At the same time, it was painted by China artists. Why is the difference so big? The fundamental reason is that China's paintings and western paintings centered on Greece and Rome belong to two different systems. China is famous for freehand brushwork, while the west is good at realism.

Yin Zhong's painting, based on Confucian ethics, stresses morality, attaches importance to ethics and wears a deep robe, which is profound and caged in clothes. Therefore, the characters have no bones and muscles, and they do not emphasize the three-dimensional sense, but focus on the symbolic decorative beauty of "form and meaning". Tomb paintings in Wei, Jin and Sixteen Countries belong to this system.

Dunhuang murals are directly influenced by the content, form and expression of Qiuci murals, which are directly transmitted from India and Afghanistan. The Buddhist art in India and Afghanistan has already absorbed the nutrition of western art, and the Indian nation can be good at Europe and Chen, so the figures in the murals, especially the bodhisattva, have moderate proportions, reasonable anatomy, beautiful posture and delicate hands, which truly show the beauty of the human body. This kind of realistic technique was accepted by Dun hydrocarbon painters, which greatly strengthened the rationality of mural anatomy, made up for the shortcomings of Han and Jin paintings, and promoted the growth of new national styles.