Dunhuang was once a place that was specially cared for and deeply forgotten by history. There are many symbols full of color and rhythm in this place. Dunhuang Grottoes are not only a world-famous art treasure house, but also a colorful museum of pigment specimens. A large number of samples of painting art pigments in more than ten dynasties from the Northern Dynasty to the Meta-algebra for thousands of years have been preserved, which is an important material for studying the development history of ancient pigment chemistry in China and even the world. After thousands of years of history, the colors in Dunhuang murals are still dazzling, and their individual images and overall colors are very beautiful. This is not only because of the materials developed and selected by artists at that time, but also because artists strengthened the poeticization, emotionalization, modernization and imagery of their works by means of emotional coloring, so that they could never get tired of seeing Dunhuang murals at any time. Now, taking the mural in Cave 6 1 as an example, we can do some rough discussion. 6 1 cave is one of the largest caves in the Mogao grottoes. It was dug by Cao and his wife in the Five Dynasties and redrawn in the Yuan Dynasty. The grottoes of the Five Dynasties have a unique artistic style, rich murals, rigorous layout, more plots for painting, a resurgence of story painting, and many social life scenes on the screen. Cave 6 1 is located in the middle of the south area of Mogao grottoes. The main room is covered with a bucket roof, and the center of the roof is decorated with a dragon lotus well. Four slopes draw thousands of buddhas, and four corners of the cave top draw four heavenly kings. The west wall depicts in detail the grand occasion of Wutai Mountain in Manjusri Bodhisattva Dojo, and the north and south walls are painted with 10 classics. Vimalakīrti, the eastern mural, has been changed, with 49 Cao Shi family donors and 3 monks painted on the lower part of the eastern side of the eastern wall, the southern wall and the northern wall. There are 33 screens on the west side of the north-south wall and the lower part of the west wall, painting Buddhist stories. This is the most detailed Buddhist picture in the late art of Mogao Grottoes. 6 1 Cave is large in scale, typical in shape and rich in content, with well-preserved murals, high in artistic level and complete in content. The huge panoramic view of Wutai Mountain, Buddhist story pictures on the screen, clear and numerous titles and portraits of Cao Shi's family are all very precious research materials. 6 1 dong-Tuan Long Lian's algae well pattern is finely depicted, with three main colors of stone green, ochre and white, and black, yellow and vermilion alternately depicted. The whole picture is green, rich in color, harmonious and elegant, and the facial colors of the characters are varied but unified, which makes the whole picture magnificent and unique. The fiery red Buddha painting on the south wall of the tunnel is completed in cool colors, with three colors of stone green, azurite and white alternating, and the colors are steady and harmonious; Characters' faces and clothes are mostly colored in red and brown, which has a strong sense of rhythm and does not fall into the stereotype; In the second half, the yellow-gray virtual painting creates a picture atmosphere, which produces the perspective effect of color. The color description on the chariot is extremely rich, which can be compared with the color of impressionist oil painting. The whole picture is full of ups and downs in color and a sense of music. The female customers on the north side of the East Wall are presented in warm colors, alternating with red, yellow and black, simple, heavy and generous, giving people a sense of prosperity. There is no empty rope Guanyin on one side of the north wall, which is rich in color, alternating with cold and warm, with strong contrast, giving people a sense of passion. Nanbi Maitreya's classic paintings have complicated images, red and green collocation, strong contrast and a sense of coordination. It is a good example of complementary color matching.

All the murals in Mogao Grottoes are done in dark caves, and all the images are colored in dim light. However, through superb painting skills, the artist makes the painted images vivid, and the colors are unified and coordinated, which is amazing. Only from the Dunhuang murals, we can think from point to surface. Painters paint under dim oil lamps instead of natural light, and there is no natural description, which is the embodiment of the painter's deliberation. The colors are rich, the contrast is strong, the description is fine and the tone is harmonious. In the Six Dynasties, Sheikh put forward "color follows class" in Six Laws, which talked about objectively reflecting things when coloring and describing the surface color of objects. On the other hand, the author believes that artists who create Dunhuang murals use vivid and emotional colors, and fully emphasize their own consciousness, emotion and imagination in the use of materials, and put their emotional colors in the dim grottoes with full passion and under extremely difficult natural conditions, so that the grottoes will shine forever.

Third, Dunhuang murals and the educational thought of being kind to others.

In the murals of the Mogao Grottoes in different periods, there are pictures that reflect the productive labor, social life, clothing system, ancient architecture modeling, music, dance, acrobatics and other scenes at that time, and also record the historical facts of cultural exchanges between China and foreign countries. However, many changes in Dunhuang murals convey the educational idea of caring and kindness. Murals can not only give people a visual feeling in art, but also enable painters to read out educational ideas from them. In order to attract the masses and publicize Buddhist scriptures and dharma, Dunhuang murals must instill abstract and profound Buddhist classics into the masses in a popular, concise and vivid form, inspire them and make them believe and worship. As a result, a large number of story paintings were painted in the cave, which made the masses receive subtle education in the process of watching. The story painting is rich in content, touching in plot, full of life breath and attractive in charm. Bunsen story paintings in Dunhuang murals are vivid stories depicting all kinds of good deeds of Sakyamuni before his death, and propagating "karma" and "penance and good deeds". It is a popular theme in the early murals in Dunhuang, such as "Shaming for feeding the tiger", "King Pi's remains give his life to save the pigeons", "Jiuse Deer give his life to save the people" and "Xu Ge gives his life to serve his relatives". Although they are all branded with religion, they still maintain the true colors of myths, fairy tales and folk stories. For example, The Mohe Samou Beats the Tiger with His Body in Cave 98 describes that Prince Samou of Mohe went out to play with his second brother. On the way home, he saw the tigress and seven tigers hungry, and the tigress wanted to feed her cubs. Mohe Sa beat himself to save the hungry tiger, so he lay beside the tiger, but the tiger was unable to eat him. He cut his throat on the cliff and jumped at the tiger. The hungry tiger drank blood to regain his strength, and then ate something. Second brother cleaned up the mess and raised the tower to support him. For example, Hengjia big products, good things in the sea and so on. They all expressed the idea of educating people to be good and played a certain educational role in maintaining social stability and prosperity. The content and theme of painting bring us many beneficial inspirations. Art serves the public, not only pleasing the audience, but also playing a certain educational role. The works of art with the theme of being positive, healthy and uplifting are still the mainstream of today's society. In the process of artistic creation, we should try our best to integrate positive and healthy ideological content into works of art, so that the audience can not only be influenced by art, but also be infected by education while reading works of art. Of course, art is not a textbook, but I believe that pure unthinking works of art will never be called top grade. If a work of art can't purify the audience's mind more ideologically, it should at least leave a good mood for the audience. In this respect, the artistic creation of Dunhuang murals is quite excellent. Dunhuang murals describe the image, activities and relationship between God and man, in order to pin people's good wishes and appease people's hearts, which fully embodies the educational thought of "being kind to others". Therefore, the style of mural painting is different from that of secular painting. However, any art originates from real life, and any art has its national tradition, so most of their forms are based on the same artistic language and expression, and have the same national style. It can be seen that under the influence of Buddhist thought, ancient artists were original, integrated art and education, and left their glory to future generations.

Dunhuang of mankind, mankind should understand and civilization should continue. It is mysterious and desirable, and it is worthy of all-round and three-dimensional research from different professions and angles in various fields, so as to unveil its mysterious veil earlier and more comprehensively, show its brilliance to mankind, study, read and learn from it for the world, and promote the research and development in related fields of society. We artists should take Dunhuang art as an opportunity, keep pace with the times, inherit and innovate, create the glory of contemporary art as soon as possible, and jointly create a better tomorrow for China art world.