Wax painting Buddha art

Author: Yu Manhong, edited and illustrated by Sun Bingshan
Publisher:
Publishing Date: 2003-01-01
Features: The "Silk Road" has long been hailed as a vital lifeline for trade, cultural, and artistic exchanges between ancient East and West. Buddhist art from ancient India, after absorbing and integrating the artistic forms of ancient Greece and Rome, was also transmitted to China along this ancient route with the spread of Buddhism. Along this ancient road lie the numerous Buddhist caves of ancient Kuqa, the remnants of Buddhist statues in ancient Gaochang, the splendid Buddhist art of the Mogao Caves in Dunhuang, and the cave complexes of renowned temples and monasteries such as Bingling Temple, Maijishan, Longxi, and Gongxian, Longmen, and others in the Central Plains. These are like strings of brilliant pearls, recording the traces of Sino-Western artistic exchange.
One of the purposes of our wax painting research on Buddhist art from the "Silk Road" is to explore how Indian Buddhist statue art became Sinicized upon reaching China. What are the differences between Chinese and Indian sculptures? What are the characteristics of Chinese sculptures? And so on. Discussing the fundamental differences between Eastern and Western art inevitably involves issues of Eastern and Western culture and philosophy, which is certainly beyond the scope of this brief note. We merely wish to present our preliminary understanding and insights on this topic, along with the traces of ancient artistic exchange evolution we have gathered from this "Silk Road," and our reflections on them to the readers.
This serves as a stepping stone for friends who love and are concerned with the traditional Chinese art in the era of extensive cultural exchange, collision, convergence, and integration between Eastern and Western art.