Abstract
Background: Dunhuang Feitian is a decorative artistic image in Buddhist art presented in forms such as painting and sculpture. Due to its rich visual aesthetics and profound cultural connotations and symbolic significance, it demonstrates great potential for application in modern design. Objective: This study aims to deeply analyze the cultural and artistic connotations of Dunhuang Feitian, reveal its symbolic significance and aesthetic value in historical contexts, and examine its application and transformation in modern design. Methods: By employing Panofsky's iconographic analysis, literature research, and case studies, this study thoroughly examines the visual characteristics and cultural symbolism of Dunhuang Feitian and analyzes its cultural heritage and innovative transformation in modern design. Results: The research finds that the application of Dunhuang Feitian in modern design not only extends its religious and cultural symbolism but also provides abundant inspiration and cultural depth for innovative applications in modern design through symbolic modern design techniques. Conclusion: The study illustrates the evolution of Dunhuang Feitian from a religious symbol to a cultural icon. In modern designs such as the "Pipa Bookmark," the "Flying" torch design, and the "Encountering Feitian" game skin design in Honor of Kings, it retains traditional aesthetic characteristics while endowing new cultural symbolism and social significance, offering new perspectives and methods for the inheritance and innovative transformation of traditional culture.
References
Chu Xiaoqing.(2011). Panofsky’s Iconographic Perspective and Its Interpretation in Art History Research. Jiangxi Social Sciences(04),187-192.
Chen Lijuan, Long Zhong.(2023). Application of Dunhuang Feitian Elements in the Design of the Beijing Winter Olympics Projects. China Packaging(01),72-74.
Ding Feng, Li Yinan.(2023). Research on Dunhuang Cultural and Creative Design Strategies for Youth Groups in the New Context. Packaging Engineering(18),354-363. DOI:10.19554/j.cnki.1001-3563.2023.18.042.
Fu Zhiqiang(translator). The Meaning of Visual Arts. Panofsky.(1987). Liaoning People’s Publishing House.
Gao Dexiang.(2021). Tracing the Origin of the Reverse-playing Pipa Dance Posture in Dunhuang Murals. Journal of Beijing Dance Academy(03),1-17.
Guo Qian.(2011). The Modeling Concept of Chinese Painting from the Origin of Dunhuang Feitian — One of the Studies on Feitian Art. Art Review(03),88-93. DOI:10.16364/j.cnki.cn11-4907/j.2011.03.021.
Li Jianye.(2022). From Symbol to Concept: The Design Practice of the “Flying” Torch for the Beijing Winter Olympics. Art Observation(02),22-24.
Li Minyue, Lü Zhao, Guan Ziwei.(2023). A Brief Analysis of the Artistic Beauty Characteristics of Dunhuang Feitian and Its Application in Costume Design. Wool Textile Journal,51(06):55-62. DOI:10.19333/j.mfkj.20221002108.
Li Yingjun.(2020). From the Localization of Feitian to the Internationalization of Dunhuang — Notes on the Creation of the “Riding the Wind and Flying” Series of Costume Works. Art and Design Research(01),50-54.
Liu Jinbao(editor).(2009). One Hundred Years of Dunhuang Studies: History, Current Situation and Trends Volume I. Gansu People’s Publishing House.
Liu Jinjin.(2022). Panofsky’s Difference — Analysis of Iconography, Semiotics and Image Studies. Art Panorama(04),136-145.
Ma De, Zhang Zhaoli.(2023). Knowledge Accumulation in the Inheritance of Dunhuang Art Techniques — Taking the “Reverse-playing Pipa” Paintings and Sculptures as Examples. Art Research(06),45-51. DOI:10.13318/j.cnki.msyj.2023.06.016.
Qiao Yu, Yin Jianwei.(2021). Research on the Application of Traditional Culture from the Perspective of Design Art. Art Observation(04),78.
Shen Tingzhi. Cultural Inheritance and Globalization Conflict in Black Myth: Wukong — Analysis of Paradoxes and Solutions. Academic Exploration,1-9.
Wu Ruoming.(2024). Virtual Narrative and Spatial Production: Object Representation in an Iterative Dunhuang Art Exhibition. Southeast Culture(02),169-175.
Wu Jian.(2022). New Modes of Digital Art Presentation of Cultural Heritage — Taking the Digital Dunhuang Exhibition Concept and Visual Communication as an Example. Art Observation(10),18-22.
Yin Hong.(2015). Feitian and the Regeneration of Dunhuang Art. Journal of Zhengzhou University (Philosophy and Social Sciences Edition)(02),184-189.
Yang Yufei.(2017). Dunhuang “Feitian”: A Cultural Symbol with Chinese Characteristics. China Religion(11),70-71.
Yan Jiazhe.(2012). An Analysis of the Aesthetic Implications of Dunhuang Feitian and Its New Life in Modern Artistic Creativity. Journal of Longdong University(03),134-136.
Zhang Li, Pang Lingbo.(2022). Winter Olympic Expressions of Chinese Elements: “Snow Ruyi” and “Snow Feitian”. Art Observation(02),18-21.
Zhang Peng.(2012). The Flying Feitian of Spiritual Wandering — Research on the “Flying Dynamic Beauty” of Dunhuang Feitian. Qilu Realm of Arts,(06):65-70.
Zhang Yunzhi, Lu Qian.(2013). “Tang Style” and the Character Style of Dunhuang Murals in the Tang Dynasty. Lantai World(36),149-150. DOI:10.16565/j.cnki.1006-7744.2013.36.073.
Zhang Hongyun.(2019). From Form to Concept: A Study of Panofsky’s Artistic Iconography. Doctoral Dissertation of Heilongjiang University. DOI:10.27123/d.cnki.ghlju.2019.001809.
Woo Jiui, Choi Eung Han.(2022). A Study on Ceramic Expression Applying Chinese Dunhuang Mural Elements — Focusing on the Feitian Image. Journal of Korean Society of Ceramic Art,19(2),115-131. DOI:10.22991/ksca.2022.19.2.115
Seo Jasun, Jang Jihoon.(2023). Analysis and Application Research on Decorative Language in Dunhuang Murals. Oriental Art,60,135-151.
Yang Yingming, Wang Shengyu, Zhang Jingfeng.(2024). Film Festival Poster Design in the Context of Globalization: Aesthetic and Cultural Expressions in Busan and Shanghai. Korea and the World,6(6),1067-1100. DOI:10.22743/kwr.2024.6.6.1067
Wang, Jinfeng, Zhang Jingfeng.(2024). A Comparative Study of Chinese and Korean Book Cover Designs Using the “Most Beautiful Books” as Examples. Journal of Cultural Product & Design,76,103-115.

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Copyright (c) 2025 The Author(s). Published by Journal of Global Arts Studies.
