ИСТИНА

Bao Huashi explains the genesis of art in the Han dynasty through iconographic and sociological perspectives, stressing that "there is a complete link between the state's use of art and its political and economic management". After the unification of the North by the Northern Wei Dynasty, the Xianbei culture began to revert to the Han system through the "Hanisation reforms" during the Taihe period, which were manifested in the tendency to "Hanise" the culture of life and the political system, as well as the "Hanisation" of the religion. The religious aspect is reflected in the integration of the "Han style" with different cultural and artistic forms. Taking the decorative motifs of the Nyantong pattern and the child of rebirth at the frieze of the main Buddhist niche in the south-east of the central pillar of Mogaoku Cave 254 as the object of study, and taking into account the rheology of the relevant styles in the tomb art from the Western Han Dynasty to the middle of the Northern Wei Dynasty, it is hereby concluded that the religious decorations in the Northern Wei Dynasty were not only the most important, but the most important. It is argued that the religious decorative art of the Northern Wei dynasty, through its aesthetic tendency, recalls and relates to the artistic standards of the Western Han Dynasty to the mid-Northern Wei Dynasty, and then integrates this aesthetic imagery with Buddhist culture, giving rise to new "styles" in the development of Chinese art history, and influencing the aesthetic tendencies and artistic styles of the Sui and Tang dynasties.