3 thoughts on “Information about Dunhuang Feitian”
Jeffrey
Dunhuang Feitian It Dunhuang Feitian is the business card of Mogao Grottoes in Dunhuang and the sign of Dunhuang art. Just see beautiful flying sky. People think of the art of Mogao Grottoes in Dunhuang. Among the 492 caves in the Mogao Grottoes in Dunhuang, almost the paintings were painted. A total of more than 4,500 body. The number of it can be said to be the most of the caves in the world and Chinese Buddhist grottoes, the most of the caves of flying , the name of the Dunhuang Feitian and the characteristics of the times are as follows:
Dunhuang The name of Feitian's name The name of Dunhuang Feitian called the god celebration of the gods of the Pure Land Heavenly World in Buddhism, such as "Great Brahma", "Merit Heaven", "Good Talent", "Three Thirteen days "and so on. Tang Zangzhongyun: "Foreign calling gods is also the heavens." The god of heaven flying in the air in Buddhism is called flying. Feitian draws more in the murals of Buddhist caves. In Taoism, Taoism refers to the mythical figures of feathers as "immortals", such as "leading fairy", "sky immortal", "red -footed immortal", etc., and the gods who can fly in the air are called Feixian. Essence Song "Taiping Royal Lan" Volume 622 quoted "Tianxianpin" Zhongyun: "Flying clouds, deity and light, thinking that Tianxian, also cloud flying fairy." The soul of the master can rises to the sky. After the introduction of Buddhism into China, it was integrated with Taoism in China. During the Wei, Jin and Northern and Southern Dynasties, which was short long after Buddhism, the flying sky in the murals was also called Feixian, which was not distinguished by Feitian and Feixian. With the in -depth development of Buddhism in China, although Buddhist Feitian and Taoist Feixian blended with each other, but in terms of names, only the air flying gods in the murals of Buddhist caves into Feitian. Dunhuang Feitian is the flying god painted in the Dunhuang Grottoes, and later became a special term for Dunhuang mural art. It Dunhuang Feitian said from the artistic image that it is not a cultural artistic image, but a complex of multiple culture. Although the hometown of Feitian was in India, Dunhuang Feitian was jointly bred by Indian culture, Western region culture, and Central Plains culture. It is the long -term exchanges and incidents of the Indian Buddhist heaven and Chinese Taoist feathers, the Western Regions Feitian, and the Central Plains Feitian, and have the characteristics of Chinese cultural characteristics. It is a non -long -winged pound without feathers, no round light, and relying on colorful clouds with the help of color clouds. It is mainly flying in the sky with floating dresses and flying ribbons. Dunhuang Feitian can be said to be the most genius creation of Chinese artists and a miracle in the history of world art.
The characteristics of the era of Dunhuang Feitian The flying sky in Dunhuang murals. With the construction of the Dunhuang Grottoes, it disappeared. In the long history of these thousands of years, due to the change of dynasties, the transfer of the regime, the economic development and prosperity of the economy, and the frequent exchanges of Chinese and Western culture, the artistic image, attitude and artistic conception, style and interest of Feitian are all in Continuous changes, different times and different artists have left us with different styles of flying. Dunhuang Feitian for more than a thousand years has formed a distinctive history of evolution and development. The history of its evolution is roughly consistent with the history of the development of the arts in Dunhuang, divided into four stages. 1. During the rise. From the north of the Sixteen Kingdoms to the Northern Wei Dynasty, it was more than 170 years. Dunhuang Feitian was deeply influenced by Feitian of India and the Western Regions during this period. But the characteristics of the two dynasties in this period were slightly different. The flying sky was painted at the top of the cave on the top of the cave. During the decoration of the cave's top algae well, the upper edge of the Buddhist nats and the main body of the story of the story were painted. Its shape and artistic characteristics are: round light, elliptical face, straight nose, big eyes, large ears, earrings rings, round buns, or wearing or vines, or Indian five jewelry crowns. The upper body is half naked, the waist is wrapped in long skirts, and the shoulder is covered with a large towel. Due to the discoloration of blooming techniques, it becomes a white nose bridge, white -eyed beads, and the flying sky in the western turtlezi. look alike. The only three in the North Lold Grottoes in Mogao Grottoes. The most characteristic Feitian with the characteristics of Beiliang is the main character above the main character of the north wall of Cave 275. The body is "U" shape, with both feet up, or break up, or coincide, and there is a form of flying in the air, but this flying posture looks very clumsy and feels a feeling of whereabouts. The body of the "U" shape also looks straight, not round, slightly curved, and the relic of Indian stone carving flying gesture. The scope of Flying in the Northern Wei Dynasty of Mogao Grottoes expanded. Not only is it drawn on the top of the cave, the top of the cave, the story of the story, the story of the story, and the Buddhist altar, but also the sides of the statement and the inside of the Buddha. The image of the flying sky in the Northern Wei Dynasty, some caves are generally retained the characteristics of Western -style flying sky, but there are some images in the caves that have changed significantly and gradually change to Sinicization. Feitian's face has changed from Fengyuan to slender, with clear eyebrows, small nose mouths, and small features. There are round lights, or wearing a five -jewelry crown, or a round bun. The proportion of the figure is gradually slender, and some legs are twice the waist. There are many flying gestures. Some swimming in space, some of them fly their arms, some fly under their hands, and they are magnificent and generous. The potential is like Yunfei crane. In the sky, the flowers of fragrant flowers fell, and there was a poetic meaning of "the small ceiling was full of void". The most northern Wei -style flying sky is the two flying sky above the story of the "Bada Kings" painting on the north wall of Cave 254 and the two flying sky above the rear of the rear of the north wall of Cave 260. The prominent features of these four bodies are: round light, wearing Indian five jewelry crowns, long face shape, because of color change, becoming white nose bridge, white circles, small -character faces. The upper body is half -naked, the legs are long, and the "U" shape of the big opening. The dresses were floating, the towels were flying, flying across the air, and the smallpoints were flying around. Although the flesh and ribbon of Flying have changed color, the slopping and lines of the skirt ribbon are very clear. The flying sky is dynamic and powerful, and the posture is free. 2, innovation period. From the Western Wei Dynasty to the Sui Dynasty, it was about 80 years. Dunhuang Feitian during this period is in the Buddhist heaven and Taoist feathers. The stage of communicating with the Central Plains Feixian in the western region, integration of each other, and innovation and change is the flying sky of China and the West. During the Western Wei Dynasty of the Mogao Grottoes, the painting position was generally the same as the Northern Wei Dynasty. It was only two different styles of flying in the Western Wei Dynasty. The Western -style Flying inherits the shape and painting style of Feitian of the Northern Wei Dynasty. The biggest changes are: as the dry mother -in -law of the incense god, Sanhua flying the sky and picked up various instruments flying in the air; as a song and dance god, the Tiangong trick, the sky was rushed out of the sky, and also flew out of the sky in the sky. Essence The two gods were integrated into one, and it became a subsequent flying sky, also called Sanhua Feitian and Glutter Flying. His representative works such as the four -body trick Flying in the west of the West Buddha of Cave 249 The Central Plains Flying is the period during the history of Wang Rong (Gu Dunhuang). A new type of flying in the Mogao Grottoes. This kind of flying is a flying sky with the fusion of Chinese Taoist Fei Xian and Hindu Flying: Chinese Taoist Fei Xian lost its feathers, bare upper body, neck decoration necklace, waist tied long skirts, shoulder wraps; India's Buddhism lost his head on his head The round light and the Indian treasure crown, the buns were bundled and put on the Taoist crown. The character's publicity is the "showcase" shape of the Central Plains, with a long figure, a thin neck, a wide forehead, a straight nose, a thin eyebrow, a thin eyebrow, a slightly smile on the corner of the mouth. Its most representative is the twelve -body flying sky on the top of the south wall of Cave 282.这十二身飞天，头束双髻，上体裸露，腰系长裙，肩披彩带，身材修长，成大开口横弓字形，逆风飞翔，分别演奏腰鼓、拍板、长笛、横箫、芦笙、 Pipa, Ruan Xian, 乐 乐. Four weeks of flowers rotate, clouds fluttering, setting off the flying sky and flying to the wind, as light as a swallow, taking pictures of each other, free and joyful, roaming space. The northern Zhou Dynasty is a minority regime established by the Xianbei people in the northwest. Although the period of rule is short, many caves have been built in Mogao Grottoes. The ruler of the Xianbei tribes believes in Buddhism and is in the western region. Therefore, the Western -style flying sky appears again. This new flying sky has the style of flying sky such as Guizi, Kizil, etc., round, strong, and legs. Short, rounded head, wearing Indian treasure crown, naked upper body, breast full of breasts, waist tied long skirts, shoulders around the towel strap. The most prominent is the face and body of the face and the body. Due to discoloration, five whites, white nose bridges, white orbits, and white chin. The flying posture became open "U", with a short body and simple dynamics, and almost returned to the characteristic characteristics of the painting style of flying in the Beiliang period of Mogao Grottoes. But the image was much richer than the Beiliang period, and there were many tricks. The most northern Zhou -style flying sky is the flying sky in Cave 290 and Cave 428. Flying in these two caves. Strong body, round face, round head, wearing Indian treasure crown, facial features have five white characteristics, naked upper body, long waist tie skirts, shoulders around the towel, the body is stained with thick and uneven, and now due to the color change and the cord of the cord, the cord of the cord of the breast is rounded and the umbilical cord More prominent. The trick in the 428th cave is rich in shape, or the shape is rich, or the pipa is played, or the bounce, or blowing the flute, or hitting the waist drums, vivid image and beautiful posture. Especially the flying sky on the west side of the south wall, holding a whistle with both hands, kicking the purple gold crown in both feet, flying from the body, the four weeks of ceiling falls, and its flying posture, like a light swallow dive down. The Sui Dynasty was the era with the most flying days in Mogao Grottoes, and it was also the era with the most types of flying sky and the most abundant gesture. In addition to the position of the Sui Dynasty in the Northern Dynasties, Feitian was mainly painted around the top of the top of the cave, the upper layers of the cave, and the inside and outside the west wall Buddha. Most of the group appeared. Same. Regional characteristics are different. In the Sui Dynasty cave, there are both Western -style flying and Central Plains Flying, and it is also today. The face shape is different, the face shape is rich and round, and there are beautiful types; the figure is robust and long. However, most of them are slender, with moderate proportion, soft waist, and generous. The clothing crown and clothing are different, some are half naked on the upper body, and there are Zhang Zhi; some wearing sleeveless skirts, as well as wide -sleeved long skirts; some wearing treasure crowns, buns, and bald monks Flying sky. The flying posture is different, some fly, some are flying, some are flying smoothly, some are flying against the wind, there are single flying, and there are group flying, but the posture of the flight is no longer in the "U" type. The body stretches freely. Generally speaking, Feitian of the Sui Dynasty was in a period of communication, integration, exploration, and innovation. The general trend is to develop in the direction of Sinicization, laying the foundation for the complete Sinicization of the Tang Dynasty. The most beautiful flying sky is the flying sky of Cave 427 and Cave 404. Cave 427 is one of the large caves in the Sui Dynasty. It is also the cave with the most flying sky in the Sui Dynasty. The four walls on the four walls of this cave are flying around the Cave on the wall of the Temple Palace, with a total of 108 body. These 108 flying sky, all wearing treasure crowns, half -naked upper body, naked decoration, handbriet, long waist, long skirts, shoulders around the ribbon, mostly the legacy of Flying in the Western Regions and the heritage of clothing. Although the skin tone has become dark, the image is still very clear. Flying around the cave. Its attitude, light body, fluttering long skirt, flying ribbons, and rolling wind. Around the sky, the flowing clouds fluttered, the flowers were flying, the dynamic was strong, and full of anger. Cave 404 is a medium -sized cave in the middle and late Sui Dynasty. The four walls of the cave are drawn along the wall of the Tiangong Palace, and the wall is flying around the cave for a week. Like the flying sky in Cave 427, there are different attitudes. Some are holding lotus flowers, some hands, and some of them are scattered, and some are holding various instruments.但在首饰服饰上有了很大的变化：头无圆光，不戴宝冠，有的束桃型仙人髻，有的束双环仙人髻，有的束仙童髻，脸为蛋形，眉清目Rice, slender figure, soft dresses, and long towel bandwidth. Clothing, face, and body are like flying in the early Tang Dynasty. 3. During the heyday. From the beginning to the night of the Tang Dynasty, the entire Tang Dynasty was about 300 years. Dunhuang Feitian continued to absorb the ingredients of Feitian in India on the basis of the culture and art of the nation, integrating the achievements of Feitian in the Western Regions and Central Plains, and developing creation. From the sixteenth countries, after the five dynasties of the Beiliang, the Northern Wei, the Western Wei Dynasty, the Northern Zhou Dynasty, and the Sui Dynasty, in a century, it completed the process of communicating, absorbing, fusion, and completing the Chineseization process of Dunhuang Feitian, East and West, North and South. In the Tang Dynasty, Dunhuang Feitian entered the maturity period, and the artistic image reached the most perfect stage. Dunhuang Feitian in this period has rarely the style of India and the Western Regions, which is a completely Sinicized flying sky. The Tang Dynasty was the largest dynasty in Mogao Grottoes, and almost all the walls in the cave were occupied by large -scale transformation. Feitian is also mainly painted in large -scale transformations. In terms of subject matter, on the one hand, the scene of the Buddha's statement in the large -scale transformation paintings, scattered flowers, singing and dancing, praise for offering; on the other hand, the large -scale transformation of the Buddhist country of the Buddha -"Pure Land of the West", "Pure Eastern Pure Land" and other The joy of the bliss world. Feitian flying around the Buddha's head, or flying above the bliss world, some football clouds, slowly landing; some heads up and empty; some hold flowers and rush straight into the clouds; Traveling in the sky. The floating dresses, the flying roll belt, is really like the Tang Dynasty poet Li Baiyong praised the fairy poem: "The hands of the hibiscus, the virtual step is too much. The tombists of the Dunhuang Research Institute divided the Tang Dynasty art of Dunhuang Grottoes into four stages: the Early Tang Dynasty, the Tang Dynasty, the Middle Tang Dynasty, and the Late Tang Dynasty. The four stages are divided into two periods before and after: early and prosperous Tang Dynasty, that is, the Tang Dynasty directly ruled the Dunhuang area buried (618-781 AD); , And Hexi Guijun Jiedushi Jun Zhang's jurisdiction of the Dunhuang area (AD 781-907). The artistic style best reflects the political, economic, and social forms of the times. Feitian in the early Tang Dynasty was striving for progress, powerful, powerful, unrestrained, and strange. The beauty of flying endlessly. This is consistent with the spirit of enlightened politics in the Tang Dynasty, strong national strength, prosperous economy, rich culture, and openness of openness. The most characteristic of the characteristics of the early Tang Dynasty style is Shuang Feitian, which is painted in Cave 321 in the early Tang Dynasty, and the four flying sky in Cave 320 of the Tang Dynasty. The two sides of the west of the western Buddhist altar on both sides of the western Buddha. These two are quiet, and the flying attitude is very beautiful. Although the face and body of Feitian have become black, the outline, physical gesture, and dress straps are very clear: the body is repairing, the chest is tall, the legs are raised, and the legs are raised. Both hands are scattered, and the dresses are stretched with the wind. From top to bottom, they fell slowly, like two swallows flying in the air, showing the beauty of chic and light flight. The four flying sky paintings of Cave 320 are above the top of Amitabha's head in the "Western Pure Land Change" in the south wall. On each side, in the form of symmetrical, we chase each other: one in front, raised his hands to disperse flowers, recalcile back, raising his arms and chasing. The rear rear should show a spiritual realm of spiritual realm and flying that is both hardworking and free. Around the flying sky, the colorful clouds floated, and the fragrant flowers fell, which showed not only to support the Buddha, but also the freedom and joy of the Buddhist paradise. Although the flesh of Feitian has become dark and the face is unclear, the overall image is clear, the body is slender, the posture is light, the human body proportion is accurate, the lines are smooth and powerful, and the color is rich and rich. It in the late Tang Dynasty, there was no kind of spiritual spirit and free and joyful emotions in the initial period in the moment and attitude. In terms of artistic shapes, the clothes have been changed from gorgeous and rich to elegant and light, and the human body has changed from plump and delicate to thin and simple, and his expression has changed from excitement and joy to peace and worry. Among them, the most representative is the flying sky above the large -scale "Nirvana Meridity" map in the west wall of the 158th of the Mid -Tang Dynasty. Some are holding flowers, some holding the crickets, some of them, some of them, some of them play the flute, some raised their hands to disperse flowers, and provide the Buddha for support. But the expression was calm and there was no sense of joy. In the solemn expression, it revealed the sad and sorrowful expression, which reflected a religious realm of "the sadness of heaven and man". When the worries and the Tubo nation ruled the Dunhuang area at that time, the lawsuit begging the gods and Buddhas to be begging the Buddha to return to Datang. In the quiet sky, located on the north side of Baogai, the posture expression was the most expressive. His flying posture, his head was holding his chest, holding his hands, raised his legs, surrounded by the cover, from top to bottom, gently fell, and his back was flying on his back. The clothing is elegant, the flesh is only drawn with a thread, the eyebrows are beautiful, the expression is solemn, and it is slightly worried. The flying gesture is no longer as excited and light as early as the Tang Dynasty. 4. During the decline. From the Five Dynasties to the Yuan Dynasty, the Five Dynasties, Song Dynasty, Xixia, and Yuan Dynasty were about 460 years. Dunhuang Feitian inherited the Yu Xu of the Tang Dynasty during this period. There was no change in innovation in the Sui Dynasty, and the aggressive spirit in the Tang Dynasty. Although Feitian's artistic level and style characteristics are different, one generation is not as good as a generation, and gradually promotes the original artistic life. The flying styles of these four dynasties are now briefly described as follows: The Five Dynasties and the Northern Song Dynasty were the period when the Cao's regime of the Hexi Gui Army of Hexi jurisdiction over the Dunhuang area. During this period, Feitian inherited the Yufeng of the Tang Dynasty, but there was no innovative work, and the flying was losing money. However, the Cao's regime has believed in Buddhism and rebuilt a large number of caves in the Mogao Grottoes and Yulin Caves, and has a painting academy to hire some famous painters at the time to inherit the characteristics of the Tang Dynasty. Leave some superior flying works. Its representative works are flying sky in Cave 16 and Mogao Cave 327. Yulin Cave 16 cave 16 is a cave in the early fifth generation. The flying sky painted in the cave. Although there is no vivid and lively participants in the Tang Dynasty Feitian, it has this craftsmanship, but the decorative nature is very good. For example, a flying sky in this cave is perfectly painted, and the two are perfectly painted. The chest decorated, the arm is decorated with a bracelet, the waist is a long skirt, the feet are exposed, and the hands are familiar with the piano string, with an elegant posture. Its biggest feature is that the flying towel band is three times long. The flying towel belt is floating in the middle of the flowers. There is a color cloud flowing under the flying towel belt. Very decorative. . Cave 327 is a cave in the late Song Dynasty in the Mogao Grottoes. The top of the cave is drawn along the drew one week. The east slopes are flying in the north, and the image attitude is perfect. Both of the two are buns, wearing pearls, naked upper body, naked, Xie Jie, arms decorated with treasures, full of face, beautiful eyebrows. He is holding a bouquet and a handsome head, blooming on the wall of the Tiangongrang, flying against the wind, floating skirts, long flying, flying on the sky, flowers falling under the sky, colorful clouds, although there is no Tang Dynasty flying sky, no Tang Dynasty flying sky. The momentum, but its flight dynamics is also very vivid, it can be said to be the representative work of Feitian in the Song Dynasty. Is are a minority regime established by the party's words in the northwest. The flying sky in the Xixia period of Mogao Grottoes, part of the style of the Song Dynasty, some of them had the unique style of Xixia. The biggest feature is that the style and folk characteristics of the Xixia party are incorporated into the image of Feitian. The face is round, the cheeks are drums, the eyes are deep, the body is strong, wearing leather clothes, decorated with pearls, and strong secularity. The representative is the boy flying in Cave 97. On the inside of the Buddhist altar of the west wall of this cave, a boy is scattered in the sky, the image, gesture, and clothes are the same: the top of the head is bald, the braids are combed on both sides, the eyebrows are rounded, the corners of the eyes are upturned, the lips and cheeks, the muscles, muscles, muscles, muscles, muscles, muscles, muscles, muscles, muscles, muscles Full and strong. The arms decorative bead bracelets, the waist -beasts, the belly around the beast, and the short leather boots of the feet. Hold the lotus, hold the flower plate with one hand, bent with one leg, raised one leg, flying from top to bottom. The ribbon was flying on the back, and the flying momentum was not strong. There are no early days of flying, the gods of the Buddha and the gods of the Buddha and the gods of the Song Dynasty, and there is no charm of the Tang Dynasty flying. If you wipe out the towel belt on the arm and there are colorful clouds, it is a boy dressed as a party. From the perspective of character image, hair style, and clothing, the characteristics and living styles of the Xixia party group are all shown. The Mongolian rule in the Dunhuang area during the Yuan Dynasty, and there were very few caves that were rebuilt in Mogao Grottoes and Yulin Caves. Tantrics are popular in the Yuan Dynasty, divided into hidden secrets and Hanki. There is no flying sky in the art of Tibetan Tantra, and there are not many flying sky in the art of Han Tantra. Among them, the representative is the four -body flying sky on the two corners above the south wall of the 3rd Cave and the north wall of the "Thousands of Hands and Thousands of Eyes".这两身飞天相向对称，形象、姿态、衣饰基本相似，头梳锥髻、戴珠冠，脸形丰圆，长眉秀眼，上体半裸，项饰璎珞，臂饰宝钏，一手托莲花, Holding the lotus branch on the stubbornness, the yellow roll cloud drops from the air, the dresses are short, the body is heavy, and the flying dynamics are not strong. There is no gesture of Buddhist flying, but like two Taoist fairy children flying by clouds. Dunhuang Feitian has gone through more than a thousand years, showing different characteristics and national styles, many beautiful images, joyful realms, and eternal artistic vitality still attract people. The article said: "They have not perished with the past, and they are still alive. In the new song and dance, in the murals, the articles (trademarks, advertisements) have the image of flying everywhere. It should be said that they have come from heaven It will live in people's hearts forever and continue to give people enlightenment and beauty. "
The dance of the giant, the flying of the soul -remembering Dunhuang's flying art The flying sky of Dunhuang can be said to be a miracle in the history of world art. If you don't know the changes, this life, the supporter ... it doesn't matter. But you must not know the flying sky in Dunhuang. It Dunhuang Feitian can be said to be a miracle in the history of world art. It has continued and developed in its unique art form. His artistic effect has long been beyond the original religious connotation today, and has become an artistic expression that makes the world obsessed with it. In statistics, only Mogao Grottoes have a flying shape of 4,500, the largest flying sky is 2.5 meters, and the smallest is less than 5 cm. So what do those graceful flying styles tell us? Does he have his own story? In addition to Dunhuang, Gansu, where can there be such a beautiful flying statue? I hope that some of my shallow insights can provide readers with a reference for preliminary understanding of Feitian. , about the origin of Feitian: This of Flying of Buddhism originated from India, from ancient Indian mythology, the evolution of the two gods of "Gandharva" "Kipnara" Essence Ganda is a beautiful man who often swims between Yunni color fog and dances and dances. Good dance. There are also records in the Buddhist scriptures to include these two gods in the "Tianlong Babu".这个“天龙八部”跟金庸笔下的天龙八部不同，他说的是护卫佛的八位护法神，包括，天，龙，夜叉，乾达婆，阿修罗，迦楼罗，紧那罗， Mo Gaosa. These eight gods. The Buddhist scriptures say that whenever the Buddha speaks the scriptures or when the Buddhist nirvana, they take off their clothes, fly in the air, and play the flowers. This is the origin of Feitian. The also said that it has been gradually acknowledged by the academic community, which is related to Taoism in my country. There is a saying in Taoism in my country, such as the flying sky of Chang'e. It means that all kinds of gods are soaring in the sky. It can be seen that when Chinese traditional Taoism was introduced to my country in Dunhuang murals, he had made a lot of adjustments to him, with the brand of traditional religion in my country. . The music and dance in the art of flying in each period In the 4500 flying statue of Mogao Grottoes, there are more than 600 instruments. It is called "Flying Terrier". The variety of musical instruments held by Feitian Music, gradually increased with the development of social and cultural and the continuous enrichment of grotto art, all reflect the appearance of courts and folklore music in various periods, and the more specific and reality the more musical instruments are drawn. It Dunhuang's early Feitian draws on the head of the top four corners of the cave, the upper edge of the Azaojing, the Buddha's upper edge, and the main character of the story. For example, during the North Liang period of my country, the body of the story of this student was flying. It can be seen from the shape of its artistic characteristics. The head has round light, the face is elliptical, the body is short, the upper body is exposed, the shawl on the shoulder, the waist is wrapped in long skirts, and the nose bridge and the eyes are dyed with white powder to show high light. Because the body of the flying terront is rough and clumsy, there is a strong wind in the Western Regions. When flying, even the stiff swing of the body and limbs, there is no ribbon. During this period, the flying tactics were mostly men, and there were not many instruments held. The scope of Flying During the Northern Wei Dynasty has expanded to the sides of the Buddha. The face shape changes from the ellipse to long, plump, high nose, well -featured, dresses float, flying horizontal, bold and generous, like flying rainbow, flowers float, beautiful posture, and strong dynamic. Thefengtian is in the period of integration, exploration, and innovation. It is mainly manifested in different body shapes, long body, moderate proportion, soft waist, and passion. From men to women gradually. Some face shapes are beautiful, some are rich. Different clothing, half naked on the upper body, wearing wide -sleeved robes, and short clothes. The attitude of flying dance is different. There are single flying, some group flying, flying, flying, flying down, flying against the wind, flying down the wind ... For example, Cave 427 in the Sui Dynasty, the cave with the most flying sky, counts 108. Feitian wears a treasure crown, the upper body is half -naked, the Xiang is jewelry, wearing a ribbon, and a long skirt. Although Feitian's skin tone has changed from red to black, the image is clear, with flowers and scattered flowers, there are instruments such as handheld, pipa, horizontal flute, harp and other instruments. Various attitudes, flying around the cave, calm and solemn caves seem to be flying! The during the Tang Dynasty, it was the climax period. At this time, the techniques and ideas were extremely particular, which fully reflected the characteristics of the "Wu Bai" at that time. The face is round and plump, the body is graceful, and the skirt lines are smooth. At that time, the instruments held at that time also increased, such as Hu Qin, Hand Drums, Gong, etc., and with the improvement of the painting skills, we made breakthroughs in the state of painting. The performance attitude fully reflects the level of painting at that time. In the Tang Dynasty, Dunhuang Feitian had completed the process of absorption and integration of Chinese and foreign, completely forming its own unique style, reaching the peak of art. The four mules of the Tang Dynasty caves are full of large -scale transformation. At this time, Feitian was not only decorated with algae, Buddhist altars, and four, most of them were painted in the transformation. The Buddha said in the middle of the bliss world that the flying sky was flying around, and some of the foot colored clouds and landed slowly; Traveling. The ribbon ribbon rolled in the wind and swing, making the flying sky fly lightly, clever, calm, and moving. In the Tang Dynasty, many double flying sky also appeared. For example, the two bodies on the upper floor of the west wall of the west wall of Cave 321 are flying beautifully. Although the skin tone of these two bodies becomes black, the outline and shape of the eyebrows are very clear. Falling, like two double swallows that are free in the air. Among the flying murals of the Tang Dynasty, there were naked flying sky and boy flying sky. , the content and form of Feitian The term "flying" originally originated from "Luoyang Galan Ji" and was interpreted as the flying heaven. The word "sky" is deep in Buddhism, which can be interpreted as the meaning of Tianjie, Tiandao, Tianqu and so on. The meaning of the highest and superior realm, or the ideal living environment, has the concept of cosmic level. Feitian refers to the heavenly man who supports heaven and ritual Buddha, dedication, and flying. If according to the Buddhist scriptures, there are three functions of Feitian: First, worship is worship -the expression form is two hands, or a tribute. The second is the scattered flowers and the incense -the expression is the bouquet of the hand, and the incense burner is scattered. The third is the singing and dancing musical -the expression form is holding various instruments, performing or dancing. Thefish is limited. He just refers to the heavenly man who danced in the sky and the clouds. They may be the plot characters in the transformers, supporting the bodhisattva, and other changes. They belong to different categories. although flying in the cave can almost fly to all corners, in general, his layout is still very regular. Within the range of the east and the algae, the dragon and phoenix pattern or the decoration of other centers often draws a circle of flying. A circle of flying sky is also drawn along the upper end of the wall. Others such as: center column, inside and outside the Buddha, and flying in the paintings. Feye dancers tight Naluo. She did not fly with her wings, but also flying in the air with her limbs, dresses, and ribbons, and she was more mysterious and romantic. Expressing the beauty of the human body, you must not sit up like a Buddha statue. You must use various dynamics in the shape to reflect life and the beauty of the human body. In this way, she compared with the static and rigid Buddha statues, and the combination of dynamic and static can make the caves angry. The dynamic human body in Feitian dances through the body changes, such as the twist of the body, the stretching of the limbs, the trend of the skirt ribbon, and the liquidity of the background pattern to make the picture feel. Although it is a static picture, Feitian dance can make it full of flowing minds and produce a vibrant. The people's folk painting has a feature that is "full". Dunhuang is no exception. In order to make the picture appear more enriched, the picture often enriches the picture with Feitian. So we saw the flying statue lingering in the cave, and their flying souls were full of the entire grotto. After flying there for thousands of years, I didn't know stop. That is, those dazzling flying sky made everyone remember Dunhuang. If you have visited Dunhuang, you may not feel much about the story of the Buddhist scriptures, but you will definitely sigh the skills of human ghosts and magical work; even what you want to find out the world of heaven and man will look like -birds and flowers are lingering, there is no pain, no pain There is no hunger. It thousands of years of history in our country, most of them are tears more than laughter, but people will still use the most beautiful human body that they think of the most beautiful things. What kind of "tolerance" and "benevolence" can be done! Feitian art can not only reflect the aesthetic culture at that time, but even through the kindness and hard work of the people of our country. four, Oriental Feitian and Western Flying The a few days ago, I saw a very interesting article in a "Reader", which probably means that Westerners believe that flying must have wings, otherwise there must be wings, otherwise Can't fly. So in their art, all the little angels with wings, or flying horse with wings ... and so on. When they saw Sun Wukong in the Journey to the West, they sighed when they drove the clouds and turned over 100,000 miles: it turned out that "Fei" only needed Yuncai! I think that when they see Dunhuang flying sky, they must be even more surprising -it turns out that the Oriental people not only do not need wings, but sometimes even Yuncai can be omitted, just need to fly with a belt! Yuncai just made some embellishments. It saves the wings of the obstructive things. It turns out that painting can also have such imaginative power, and human body can also fly in the air so grace ... I tried to compare the flying sky of Dunhuang and the West in the West. Little angels, I got some interesting conclusions: Dunhuang Feitian: a flying, not by wings or clouds, but dancing by clothes. b is soft -body, gentle female image c has gradually transformed from men to women D has their own positions in murals, which are scattered flowers and music. e you, you will see a group of flying statues in the mural: The must fly with wings.
Mest naked little boys. It never want to grow up. State is mostly used for decoration. The cute flying is around the idol. but never see a group of little angels. At the same time, they also have something in common. For example,: a, they appear in the picture mainly for decorative effects, which can be eased in a serious atmosphere. b they are all very classic images in their own culture, so that people now will take them to make articles, make movies, toys, and their value also has a full experience in the current life. . Flying in all parts of China I was fortunate to visit many Buddhist sacred land and grottoes in China, such as ancient Guizi (now Kuoma County) in Xinjiang, Yungang Grottoes in Shanxi, Luoyang Longmen Grottoes , Sichuan Dazu stone carvings, The Tibetan Temple Temple, and so on. There will be flying sky in these places. But they are different from Dunhuang's flying sky. Although they are all in China, they have their own characteristics. I want to make some overview of the flying sky in these places.
It about Xinjiang's Feitian: It last year I went to the strollery of Xinjiang. In addition to being crispy by the Korla Xiangli there, it was almost dumped by the tombs and murals there. This is a tomb of the Tang Dynasty, and the husband and wife are buried. The male corpse inside made me stubborn, my hair was clear, and I could even see my nails. The murals next to it are the scene when the tomb owner is ascending to the sky -of course, the sky is indispensable. The cheeks are full, the expression is elegant, and the body is graceful. That was the first time I saw the male flying sky -Gando. Heroes are full of masculinity of youth in the Western Regions. Women are charming and enchanting, with peak milk thin waist. Feitian's shape is based on the beauty of human body, and jumps in the air. Presumably, the owner of the tomb must be welcomed to the western bliss world. The dry and hot climate in Xinjiang makes there very few tourists. I stay in the ancient tomb myself, watching the complete dry corpse in front of me, and imagining talking to the ancients. Behind it is full of flying murals, it seems that the time is down at this moment ...
About Shanxi Yungang Grottoes: This is probably the first grotto I went when I went to high school. Essence Yungang Grottoes in the outskirts of Datong, Shanxi Province, known as Pingcheng in the ancient times, and was once the capital of the Xianbei regime in the Northern Wei Dynasty. The Yungang Grottoes follow the trend, so it is not as simple as the mural, there are extremely complicated complexes there. The number of flying sky in Yungang Grottoes is mostly decorated as the backlight of the Buddha statue and the decoration of the cave. Most of Flying is a girl -like shape. The body is slightly strong, her eyebrows are wide, half naked, and their right shoulder towels are very characteristic of Xianbei costumes. It fully reflects the ancient aesthetic ideals of my country and condenses the power of ancient people's material and spirit. It can be described as the monument of the times.
It about Luoyang Longmen Grottoes: If it is my favorite grotto is Luoyang Longmen Grottoes. Because the statue of the Buddha there is very serene, it seems to be as good as everything in the world. When I went to visit the Central Plains culture that year, I was here. I almost sat in front of the Great Buddha of Lushe for several hours. Longmen Grottoes are located in front of Longmen, Luoyang City, Henan. It is a grotto that continues to be built after the Emperor Xiaowen of the Northern Wei Dynasty moved to Luoyang. The knife method is turned from a flat knife to a round knife, so the transition is more rounded and layered. From Yungang's thick and rough to elegant and dignified and handsome style. Of course, there are many flying statues in Longmen, but many of them have blurred. The flying sky we can see clearly is the shape of the Central Plains women. The body is slender, the expression is dignified, and the limbs are stretched freely. The flying sky carved by the round knife is smooth, the pattern is simple, dense and dense, and the order is orderly. There is also a characteristic of the flying sky of Longmen Grottoes, which is the appearance of "flame patterns", which interweaves a warm and smart atmosphere, making the Buddha statue more solemn and solemn.
About Sichuan Dazu stone carvings: The go to Sichuan because I want to go to Jiuzhai. Of course, it will not let go of the famous big foot stone carvings. What surprised me most was the color of the statue. His color can be maintained so well! Unlike the true nature of the Longmen Grottoes, the big footsteps have painted the Buddha statues and menstrual stories. Of course, it also includes Feitian. It -foot stone carvings are representatives of the art of grottoes and cliffs. It was created in the Tang Dynasty and flourished in the Song Dynasty. Focusing on Buddhist themes, but also infiltrated the content of Taoism and Confucianism, especially Tantra, Zen, Taoist, Xianjia, God of God, and Confucian filial piety. The feudal culture flashed here, and the stone carvings reflected the various religious mixing of the society at that time. The feet's flying knife method is simply summarized, which is very decorative. But there is no group shape, mostly a single shape.
Is about Tibet's Feitian: The most exaggerated decision is that after playing Jiuzhai, I suddenly decided to reorganize and go to Tibet. Although I didn't stay there for a few days, it has already branded Tibet's culture into its own memory. It without the Potala Palace, the first temple to visit the first temple after entering Tibet was admired. That's the place where I saw the most in Tibet. Buddhism has tantrics and Xianzong. Tibetan Buddhism has its own specific Buddhist statues, some of which are the same as Xianzong, but some have their own system. Form a specific form of painting and sculpture. So Feitian in Tibet mostly appeared in the temple and Thangka. The image of Feitian I saw in D atal Temple gave me a refreshing feeling -Feitian's statue is a monk -like, and even the Lama Feitian shape. But in general, the number of Tibetan Buddhism is not large, and only in Buddhist paintings in the big scene.
The art formation of Feitian itself is a very great creation. He uses the human body to fly in the air, symbolizing human conquest of nature, driving the space of the universe and the desire for peace, peace, and peace. It also symbolizes the spirit of the Chinese nation. Its aesthetic tone is neither a horrible intimidation nor a decadent moaning, but a rising, optimistic, cheerful taste. This is a creative idea of a combination of romanticism and realism, and it is a wonderful work in the treasure trove of my country's art.
Attachment, refer to the book: 1. "Eighteenth Lecture in Dunhuang" -Engxinjiang 2. "Research on Dunhuang Moon Moon Dance" -Zheng Ruzhong 3. "Big Foot Stone Carvings Appreciation" 4. "Walking in Xinjiang" -harabrow 5. "Reader"
Fitchy is the sign of Dunhuang art. There are a large number of flying images in the Dunhuang area of about 5OO. Feitian is the incarnation of Gangsao and tight Naluo in Buddhism. Qian Xun, the translation of the gods of heaven, tight Naluo, the meaning of the heavenly translation. Originally, the entertainment god and the singing and dance god in ancient Indian mythology were a couple, and were later absorbed as one of the gods of Tianlong. The task of Qian Xun's mother was to exude aroma in the Buddha country, donating flowers and treasures for the Buddha, and inhabited in the flowers, flying in the Tiangong. The task of tight Naluo is to play music, singing and dancing in the Buddhist country, but not flying in the sky. Later, Qian Po and Tinga Luo mixed each other. Men and women did not distinguish between men and women. Now, the early in Temple of Tiangong was called "Tiangong Music", and the "Flying Terrace" who later held the musical instrument and dance.
The style of Dunhuang Feitian is not long wings, no feathers, and relying on clouds without relying on clouds. There are all kinds of attitude, ever -changing. This is based on the traditional national tradition, absorbing and integrating the achievements of foreign flying art, and developing the image of Dunhuang Feitian.
It Dunhuang's early Feitian draws more on the top of the cave, the top of the cave top algae is decorated, the upper edge of the Buddhist nats and the main character of the story of the life. During the Northern Wei Dynasty, the scope of Flying in Feitian has been expanded to the sides of the Buddhist altar. Although the image of Feitian still retains the characteristics of Feitian in the Western Regions, it has changed, and it has gradually changed to Dunhuang Feitian. For example, the rear part of the northern wall of the Northern Wei Dynasty 226 Launteria on the west side of the picture of the west side of the picture, the face shape changes from the ellipse to the long but plump, the nose is small, the facial features are long, the figure is long, the dresses are floating, the empty flying, the pride and generous generous generosity , Flying cranes, flowers fragrant, beautiful posture, and strong dynamic. The Sui Dynasty Feitian was in a period of integration, exploration, and innovation. It is mainly manifested in different body shapes, long body, moderate proportion, soft waist position, and rough. Some face shapes are beautiful, some are rich. Different clothes are different. There are half -naked upper body, with big sleeve robes, and those who wear short -lined robes. There are different flying states, there are single flying, some flying, some flying, flying, flying against the wind, flying down the wind ... In the Tang Dynasty, Dunhuang Feitian had completed the process of absorption and integration of Chinese and foreign, completely forming its own unique style, reaching the peak of art. The four mules of the Tang Dynasty caves are full of large -scale transformation. Feitian is not only painted in algae, Buddhist altars, and four places, most of them are painted in the transformation of the scriptures. The Buddha said in the middle of the bliss world that the flying sky was flying around, and some of the foot colored clouds and landed slowly; Traveling. The ribbon ribbon rolled in the wind and swinging, how light, clever, and charming. The Fifth Dynasties and Songs after the Song Dynasty were innovative in the dynamic shape, and gradually moved towards formulating. Although the characteristics of Feitian are different, the generation is not as good as the first generation, and gradually loses its original artistic life.
This storage of grottoes in the Dunhuang area from the 4th century (16 kingdoms) to the 14th century (Yuan Dynasty) has lasted more than a thousand years of flying image. A strange.
Dunhuang Feitian The discovery and destruction of Dunhuang The Tibetan Taoism of the Tibetan Sutra -Wang Yuanzhang: Wang Yuanzheng (about 1850 ~ 1931), ancestor home in Macheng County, Hubei. In Shaanxi, due to the years of disasters in my hometown, the life was forced to make a living, and it was flowing in Jiuquan. During this period, people called him the Taoist priest. In the urgent call, "Western Bliss World is in Sihu". So he stayed here for a long time and contributed his second half of his life. . When Wang Yuanzheng opened the cave door of the treasure house with a pair of thin hands, a group of a batch of batch Approval of foreign explorers, archeologists followed, there are Stanin in the United Kingdom, Bobei of France, Edenburg in Russia, Orange Chao of Japan. , Museums in the UK, France, Japan, Russia, etc., respectively. Iriar archeologists: Stanyin was born in a Jewish family in Budapest, Hungarian capital in 1862. For the beginning of the scholar, the explorer and archaeologist who became a world's attention. From the present point of view, his discovery and archeological contribution in the adventure must be much greater than his geographical contribution. N at that time, he not only saw exquisite murals and color plastic in Mogao Grottoes, but also used various means, especially in the name of "Tang Seng's steep" to deceive the trust of the Taoist priest Wang Yuanzheng. In exchange for a large number of scriptures, documents and artworks. When he leaves Mogao Grottoes, it is filled with 24 boxes after the scrolls. Clean up, there are 7,000 pieces in the rolls, 6,000 pieces of incomplete, and a large number of other cultural relics. When they came to Dunhuang for the second time, they donated 500 two silver. . The name of the names of Dunhuang Feitian called the god celebration of the gods of the Pure Land Heavenly World in Buddhism, such as "Great Brahma", "Gongde Tian", "Good Talent", "Thirty -three days "Wait. Tang Zang" Golden Guangming Jing Shu "Zhongyun:" Foreign calling gods are also heaven. "The god of heaven flying in the air in Buddhism is called Feitian. Flying Draw in the murals of Buddhist caves. The characters are called "immortal", such as "leading immortal", "Tianxian", "Bigfoot Daxian", etc., calling the gods who can fly in the air as Feixian. : "In the flying cloud, deity is gently, thinking that Tianxian, also the cloud flying fairy." Feixian painted in the mural of the tomb, symbolizing the soul of the owner of the tomb to rises to the sky. During the Wei, Jin and Northern and Southern Dynasties, which was not long in Buddhism, the flying sky in the murals was also the flying fairy, which was flying, and Feixian was not distinguished. After the in -depth development of Buddhism in China, Buddhism's flying sky, Taoism's flying flying. Although Xian merged with each other in the artistic image, in terms of name, only the air flying god in the murals of Buddhist Grottoes is a flying sky. Dunhuang Feitian is the flying god painted in Dunhuang Grottoes. Come to become a special term for Dunhuang mural art. The origin of Feitian Feitian, the incarnation of Gangsao and tight Naluo in Buddhism. For the god of heaven, the entertainment god and the singing and dance god in the ancient Indian mythology were a couple, and were later absorbed by Buddhism as one of the gods of the eight gods of the Tianlong. The Buddha presented flowers, provided treasures, lived in flowers, and flew in Tiangong. Tingnaro's task was to play, sing and dance in the Buddha country, but could not fly in the clouds. Later, Gan Mo and Tinga Luo mixed. The functions are not divided, and it is integrated into a flying sky. Now, the early in the palace is called "Tiangong Tu" in Temple, and the style of Dunhuang Feitian is not long wings. Without feathers, relying on clouds with the help of clouds, but with floating dresses, flying ribbons soaring in the air. It is a lot of attitude and ever -changing. This is an absorption on the basis of the tradition of the nation. The image of Dunhuang Feitian in Dunhuang. Because Feitian only plays a fie in the cave, it does not occupy the subject status, the characteristics of Feitian in various periods are not the same. Dunhuang early Feitian was painted on the top of the top of the cave. On the head of the main character of the story of the story of the Hisheng Story. For example, the top four of the top four and the north wall of the 275th Cave 275 Cave 275. Scriptures are changed. Feitian is not only painted in algae, Buddhism, four places, most of which are painted in the classics. Hit your arms on your head, and get up; some hands hold flowers and rush straight to the clouds; some hand holding flowers, swimming in the air. The welcoming dress, fluttering ribbon ribbons, how light and clever the flying sky is flying. Freedom, moving. The legendary flying sky muk Flying sky The corpse pigeon saving pigeons Drawing two plots of cutting meat and crossing the scale, which is one of the earliest serial stories paintings in Mogao Grottoes. The most exciting is the "Corpse Ben Sheng" in the front of the north wall of the 254th Cave 254 of the Northern Wei Dynasty. Seeking for help from the corpse, crying and crying, etc., which increased the content and time and space span. The theme of cutting meat is clear at a glance. It can be seen that the composition of this painting shows superb structure talents, organically combining the storyline that occurs in different space -time range to a picture, which makes the center of the picture highlight, increases the capacity, and organizes it. One of the most perfect combination of Mogao Grottoes. The mural story The five hundred robbers into Buddha n Painted on the south wall of Cave 285, which is the largest in the Western Wei period of Mogao Grottoes A story painting is also the earliest cause of the story. Its technique uses a horizontal roll -type straight -line composition, which uses eight side -by -side screens to express the story and develop all the content. The scene of the war, with five people representing 500 robbers. Officers and soldiers rode armor, wearing helmets, holding long guns, and robbers with cloth pants and hemp shoes.
Dunhuang Feitian
It Dunhuang Feitian is the business card of Mogao Grottoes in Dunhuang and the sign of Dunhuang art. Just see beautiful flying sky. People think of the art of Mogao Grottoes in Dunhuang. Among the 492 caves in the Mogao Grottoes in Dunhuang, almost the paintings were painted. A total of more than 4,500 body. The number of it can be said to be the most of the caves in the world and Chinese Buddhist grottoes, the most of the caves of flying
, the name of the Dunhuang Feitian and the characteristics of the times are as follows:
Dunhuang The name of Feitian's name
The name of Dunhuang Feitian called the god celebration of the gods of the Pure Land Heavenly World in Buddhism, such as "Great Brahma", "Merit Heaven", "Good Talent", "Three Thirteen days "and so on. Tang Zangzhongyun: "Foreign calling gods is also the heavens." The god of heaven flying in the air in Buddhism is called flying. Feitian draws more in the murals of Buddhist caves. In Taoism, Taoism refers to the mythical figures of feathers as "immortals", such as "leading fairy", "sky immortal", "red -footed immortal", etc., and the gods who can fly in the air are called Feixian. Essence Song "Taiping Royal Lan" Volume 622 quoted "Tianxianpin" Zhongyun: "Flying clouds, deity and light, thinking that Tianxian, also cloud flying fairy." The soul of the master can rises to the sky. After the introduction of Buddhism into China, it was integrated with Taoism in China. During the Wei, Jin and Northern and Southern Dynasties, which was short long after Buddhism, the flying sky in the murals was also called Feixian, which was not distinguished by Feitian and Feixian. With the in -depth development of Buddhism in China, although Buddhist Feitian and Taoist Feixian blended with each other, but in terms of names, only the air flying gods in the murals of Buddhist caves into Feitian. Dunhuang Feitian is the flying god painted in the Dunhuang Grottoes, and later became a special term for Dunhuang mural art.
It Dunhuang Feitian said from the artistic image that it is not a cultural artistic image, but a complex of multiple culture. Although the hometown of Feitian was in India, Dunhuang Feitian was jointly bred by Indian culture, Western region culture, and Central Plains culture. It is the long -term exchanges and incidents of the Indian Buddhist heaven and Chinese Taoist feathers, the Western Regions Feitian, and the Central Plains Feitian, and have the characteristics of Chinese cultural characteristics. It is a non -long -winged pound without feathers, no round light, and relying on colorful clouds with the help of color clouds. It is mainly flying in the sky with floating dresses and flying ribbons. Dunhuang Feitian can be said to be the most genius creation of Chinese artists and a miracle in the history of world art.
The characteristics of the era of Dunhuang Feitian
The flying sky in Dunhuang murals. With the construction of the Dunhuang Grottoes, it disappeared. In the long history of these thousands of years, due to the change of dynasties, the transfer of the regime, the economic development and prosperity of the economy, and the frequent exchanges of Chinese and Western culture, the artistic image, attitude and artistic conception, style and interest of Feitian are all in Continuous changes, different times and different artists have left us with different styles of flying. Dunhuang Feitian for more than a thousand years has formed a distinctive history of evolution and development. The history of its evolution is roughly consistent with the history of the development of the arts in Dunhuang, divided into four stages.
1. During the rise. From the north of the Sixteen Kingdoms to the Northern Wei Dynasty, it was more than 170 years. Dunhuang Feitian was deeply influenced by Feitian of India and the Western Regions during this period. But the characteristics of the two dynasties in this period were slightly different. The flying sky was painted at the top of the cave on the top of the cave. During the decoration of the cave's top algae well, the upper edge of the Buddhist nats and the main body of the story of the story were painted. Its shape and artistic characteristics are: round light, elliptical face, straight nose, big eyes, large ears, earrings rings, round buns, or wearing or vines, or Indian five jewelry crowns. The upper body is half naked, the waist is wrapped in long skirts, and the shoulder is covered with a large towel. Due to the discoloration of blooming techniques, it becomes a white nose bridge, white -eyed beads, and the flying sky in the western turtlezi. look alike.
The only three in the North Lold Grottoes in Mogao Grottoes. The most characteristic Feitian with the characteristics of Beiliang is the main character above the main character of the north wall of Cave 275. The body is "U" shape, with both feet up, or break up, or coincide, and there is a form of flying in the air, but this flying posture looks very clumsy and feels a feeling of whereabouts. The body of the "U" shape also looks straight, not round, slightly curved, and the relic of Indian stone carving flying gesture. The scope of Flying in the Northern Wei Dynasty of Mogao Grottoes expanded. Not only is it drawn on the top of the cave, the top of the cave, the story of the story, the story of the story, and the Buddhist altar, but also the sides of the statement and the inside of the Buddha. The image of the flying sky in the Northern Wei Dynasty, some caves are generally retained the characteristics of Western -style flying sky, but there are some images in the caves that have changed significantly and gradually change to Sinicization. Feitian's face has changed from Fengyuan to slender, with clear eyebrows, small nose mouths, and small features. There are round lights, or wearing a five -jewelry crown, or a round bun. The proportion of the figure is gradually slender, and some legs are twice the waist. There are many flying gestures. Some swimming in space, some of them fly their arms, some fly under their hands, and they are magnificent and generous. The potential is like Yunfei crane. In the sky, the flowers of fragrant flowers fell, and there was a poetic meaning of "the small ceiling was full of void".
The most northern Wei -style flying sky is the two flying sky above the story of the "Bada Kings" painting on the north wall of Cave 254 and the two flying sky above the rear of the rear of the north wall of Cave 260. The prominent features of these four bodies are: round light, wearing Indian five jewelry crowns, long face shape, because of color change, becoming white nose bridge, white circles, small -character faces. The upper body is half -naked, the legs are long, and the "U" shape of the big opening. The dresses were floating, the towels were flying, flying across the air, and the smallpoints were flying around. Although the flesh and ribbon of Flying have changed color, the slopping and lines of the skirt ribbon are very clear. The flying sky is dynamic and powerful, and the posture is free.
2, innovation period. From the Western Wei Dynasty to the Sui Dynasty, it was about 80 years. Dunhuang Feitian during this period is in the Buddhist heaven and Taoist feathers. The stage of communicating with the Central Plains Feixian in the western region, integration of each other, and innovation and change is the flying sky of China and the West. During the Western Wei Dynasty of the Mogao Grottoes, the painting position was generally the same as the Northern Wei Dynasty. It was only two different styles of flying in the Western Wei Dynasty. The Western -style Flying inherits the shape and painting style of Feitian of the Northern Wei Dynasty. The biggest changes are: as the dry mother -in -law of the incense god, Sanhua flying the sky and picked up various instruments flying in the air; as a song and dance god, the Tiangong trick, the sky was rushed out of the sky, and also flew out of the sky in the sky. Essence The two gods were integrated into one, and it became a subsequent flying sky, also called Sanhua Feitian and Glutter Flying. His representative works such as the four -body trick Flying in the west of the West Buddha of Cave 249
The Central Plains Flying is the period during the history of Wang Rong (Gu Dunhuang). A new type of flying in the Mogao Grottoes. This kind of flying is a flying sky with the fusion of Chinese Taoist Fei Xian and Hindu Flying: Chinese Taoist Fei Xian lost its feathers, bare upper body, neck decoration necklace, waist tied long skirts, shoulder wraps; India's Buddhism lost his head on his head The round light and the Indian treasure crown, the buns were bundled and put on the Taoist crown. The character's publicity is the "showcase" shape of the Central Plains, with a long figure, a thin neck, a wide forehead, a straight nose, a thin eyebrow, a thin eyebrow, a slightly smile on the corner of the mouth. Its most representative is the twelve -body flying sky on the top of the south wall of Cave 282.这十二身飞天，头束双髻，上体裸露，腰系长裙，肩披彩带，身材修长，成大开口横弓字形，逆风飞翔，分别演奏腰鼓、拍板、长笛、横箫、芦笙、 Pipa, Ruan Xian, 乐 乐. Four weeks of flowers rotate, clouds fluttering, setting off the flying sky and flying to the wind, as light as a swallow, taking pictures of each other, free and joyful, roaming space.
The northern Zhou Dynasty is a minority regime established by the Xianbei people in the northwest. Although the period of rule is short, many caves have been built in Mogao Grottoes. The ruler of the Xianbei tribes believes in Buddhism and is in the western region. Therefore, the Western -style flying sky appears again. This new flying sky has the style of flying sky such as Guizi, Kizil, etc., round, strong, and legs. Short, rounded head, wearing Indian treasure crown, naked upper body, breast full of breasts, waist tied long skirts, shoulders around the towel strap. The most prominent is the face and body of the face and the body. Due to discoloration, five whites, white nose bridges, white orbits, and white chin. The flying posture became open "U", with a short body and simple dynamics, and almost returned to the characteristic characteristics of the painting style of flying in the Beiliang period of Mogao Grottoes. But the image was much richer than the Beiliang period, and there were many tricks.
The most northern Zhou -style flying sky is the flying sky in Cave 290 and Cave 428. Flying in these two caves. Strong body, round face, round head, wearing Indian treasure crown, facial features have five white characteristics, naked upper body, long waist tie skirts, shoulders around the towel, the body is stained with thick and uneven, and now due to the color change and the cord of the cord, the cord of the cord of the breast is rounded and the umbilical cord More prominent. The trick in the 428th cave is rich in shape, or the shape is rich, or the pipa is played, or the bounce, or blowing the flute, or hitting the waist drums, vivid image and beautiful posture. Especially the flying sky on the west side of the south wall, holding a whistle with both hands, kicking the purple gold crown in both feet, flying from the body, the four weeks of ceiling falls, and its flying posture, like a light swallow dive down. The Sui Dynasty was the era with the most flying days in Mogao Grottoes, and it was also the era with the most types of flying sky and the most abundant gesture. In addition to the position of the Sui Dynasty in the Northern Dynasties, Feitian was mainly painted around the top of the top of the cave, the upper layers of the cave, and the inside and outside the west wall Buddha. Most of the group appeared. Same. Regional characteristics are different. In the Sui Dynasty cave, there are both Western -style flying and Central Plains Flying, and it is also today.
The face shape is different, the face shape is rich and round, and there are beautiful types; the figure is robust and long. However, most of them are slender, with moderate proportion, soft waist, and generous. The clothing crown and clothing are different, some are half naked on the upper body, and there are Zhang Zhi; some wearing sleeveless skirts, as well as wide -sleeved long skirts; some wearing treasure crowns, buns, and bald monks Flying sky. The flying posture is different, some fly, some are flying, some are flying smoothly, some are flying against the wind, there are single flying, and there are group flying, but the posture of the flight is no longer in the "U" type. The body stretches freely. Generally speaking, Feitian of the Sui Dynasty was in a period of communication, integration, exploration, and innovation. The general trend is to develop in the direction of Sinicization, laying the foundation for the complete Sinicization of the Tang Dynasty. The most beautiful flying sky is the flying sky of Cave 427 and Cave 404. Cave 427 is one of the large caves in the Sui Dynasty. It is also the cave with the most flying sky in the Sui Dynasty. The four walls on the four walls of this cave are flying around the Cave on the wall of the Temple Palace, with a total of 108 body. These 108 flying sky, all wearing treasure crowns, half -naked upper body, naked decoration, handbriet, long waist, long skirts, shoulders around the ribbon, mostly the legacy of Flying in the Western Regions and the heritage of clothing. Although the skin tone has become dark, the image is still very clear. Flying around the cave. Its attitude, light body, fluttering long skirt, flying ribbons, and rolling wind. Around the sky, the flowing clouds fluttered, the flowers were flying, the dynamic was strong, and full of anger. Cave 404 is a medium -sized cave in the middle and late Sui Dynasty. The four walls of the cave are drawn along the wall of the Tiangong Palace, and the wall is flying around the cave for a week. Like the flying sky in Cave 427, there are different attitudes. Some are holding lotus flowers, some hands, and some of them are scattered, and some are holding various instruments.但在首饰服饰上有了很大的变化：头无圆光，不戴宝冠，有的束桃型仙人髻，有的束双环仙人髻，有的束仙童髻，脸为蛋形，眉清目Rice, slender figure, soft dresses, and long towel bandwidth. Clothing, face, and body are like flying in the early Tang Dynasty.
3. During the heyday. From the beginning to the night of the Tang Dynasty, the entire Tang Dynasty was about 300 years. Dunhuang Feitian continued to absorb the ingredients of Feitian in India on the basis of the culture and art of the nation, integrating the achievements of Feitian in the Western Regions and Central Plains, and developing creation. From the sixteenth countries, after the five dynasties of the Beiliang, the Northern Wei, the Western Wei Dynasty, the Northern Zhou Dynasty, and the Sui Dynasty, in a century, it completed the process of communicating, absorbing, fusion, and completing the Chineseization process of Dunhuang Feitian, East and West, North and South. In the Tang Dynasty, Dunhuang Feitian entered the maturity period, and the artistic image reached the most perfect stage. Dunhuang Feitian in this period has rarely the style of India and the Western Regions, which is a completely Sinicized flying sky.
The Tang Dynasty was the largest dynasty in Mogao Grottoes, and almost all the walls in the cave were occupied by large -scale transformation. Feitian is also mainly painted in large -scale transformations. In terms of subject matter, on the one hand, the scene of the Buddha's statement in the large -scale transformation paintings, scattered flowers, singing and dancing, praise for offering; on the other hand, the large -scale transformation of the Buddhist country of the Buddha -"Pure Land of the West", "Pure Eastern Pure Land" and other The joy of the bliss world. Feitian flying around the Buddha's head, or flying above the bliss world, some football clouds, slowly landing; some heads up and empty; some hold flowers and rush straight into the clouds; Traveling in the sky. The floating dresses, the flying roll belt, is really like the Tang Dynasty poet Li Baiyong praised the fairy poem: "The hands of the hibiscus, the virtual step is too much.
The tombists of the Dunhuang Research Institute divided the Tang Dynasty art of Dunhuang Grottoes into four stages: the Early Tang Dynasty, the Tang Dynasty, the Middle Tang Dynasty, and the Late Tang Dynasty. The four stages are divided into two periods before and after: early and prosperous Tang Dynasty, that is, the Tang Dynasty directly ruled the Dunhuang area buried (618-781 AD); , And Hexi Guijun Jiedushi Jun Zhang's jurisdiction of the Dunhuang area (AD 781-907). The artistic style best reflects the political, economic, and social forms of the times. Feitian in the early Tang Dynasty was striving for progress, powerful, powerful, unrestrained, and strange. The beauty of flying endlessly. This is consistent with the spirit of enlightened politics in the Tang Dynasty, strong national strength, prosperous economy, rich culture, and openness of openness. The most characteristic of the characteristics of the early Tang Dynasty style is Shuang Feitian, which is painted in Cave 321 in the early Tang Dynasty, and the four flying sky in Cave 320 of the Tang Dynasty.
The two sides of the west of the western Buddhist altar on both sides of the western Buddha. These two are quiet, and the flying attitude is very beautiful. Although the face and body of Feitian have become black, the outline, physical gesture, and dress straps are very clear: the body is repairing, the chest is tall, the legs are raised, and the legs are raised. Both hands are scattered, and the dresses are stretched with the wind. From top to bottom, they fell slowly, like two swallows flying in the air, showing the beauty of chic and light flight. The four flying sky paintings of Cave 320 are above the top of Amitabha's head in the "Western Pure Land Change" in the south wall. On each side, in the form of symmetrical, we chase each other: one in front, raised his hands to disperse flowers, recalcile back, raising his arms and chasing. The rear rear should show a spiritual realm of spiritual realm and flying that is both hardworking and free. Around the flying sky, the colorful clouds floated, and the fragrant flowers fell, which showed not only to support the Buddha, but also the freedom and joy of the Buddhist paradise. Although the flesh of Feitian has become dark and the face is unclear, the overall image is clear, the body is slender, the posture is light, the human body proportion is accurate, the lines are smooth and powerful, and the color is rich and rich.
It in the late Tang Dynasty, there was no kind of spiritual spirit and free and joyful emotions in the initial period in the moment and attitude. In terms of artistic shapes, the clothes have been changed from gorgeous and rich to elegant and light, and the human body has changed from plump and delicate to thin and simple, and his expression has changed from excitement and joy to peace and worry. Among them, the most representative is the flying sky above the large -scale "Nirvana Meridity" map in the west wall of the 158th of the Mid -Tang Dynasty. Some are holding flowers, some holding the crickets, some of them, some of them, some of them play the flute, some raised their hands to disperse flowers, and provide the Buddha for support. But the expression was calm and there was no sense of joy. In the solemn expression, it revealed the sad and sorrowful expression, which reflected a religious realm of "the sadness of heaven and man". When the worries and the Tubo nation ruled the Dunhuang area at that time, the lawsuit begging the gods and Buddhas to be begging the Buddha to return to Datang. In the quiet sky, located on the north side of Baogai, the posture expression was the most expressive. His flying posture, his head was holding his chest, holding his hands, raised his legs, surrounded by the cover, from top to bottom, gently fell, and his back was flying on his back. The clothing is elegant, the flesh is only drawn with a thread, the eyebrows are beautiful, the expression is solemn, and it is slightly worried. The flying gesture is no longer as excited and light as early as the Tang Dynasty.
4. During the decline. From the Five Dynasties to the Yuan Dynasty, the Five Dynasties, Song Dynasty, Xixia, and Yuan Dynasty were about 460 years. Dunhuang Feitian inherited the Yu Xu of the Tang Dynasty during this period. There was no change in innovation in the Sui Dynasty, and the aggressive spirit in the Tang Dynasty. Although Feitian's artistic level and style characteristics are different, one generation is not as good as a generation, and gradually promotes the original artistic life. The flying styles of these four dynasties are now briefly described as follows: The Five Dynasties and the Northern Song Dynasty were the period when the Cao's regime of the Hexi Gui Army of Hexi jurisdiction over the Dunhuang area. During this period, Feitian inherited the Yufeng of the Tang Dynasty, but there was no innovative work, and the flying was losing money. However, the Cao's regime has believed in Buddhism and rebuilt a large number of caves in the Mogao Grottoes and Yulin Caves, and has a painting academy to hire some famous painters at the time to inherit the characteristics of the Tang Dynasty. Leave some superior flying works. Its representative works are flying sky in Cave 16 and Mogao Cave 327. Yulin Cave 16 cave 16 is a cave in the early fifth generation. The flying sky painted in the cave. Although there is no vivid and lively participants in the Tang Dynasty Feitian, it has this craftsmanship, but the decorative nature is very good. For example, a flying sky in this cave is perfectly painted, and the two are perfectly painted. The chest decorated, the arm is decorated with a bracelet, the waist is a long skirt, the feet are exposed, and the hands are familiar with the piano string, with an elegant posture. Its biggest feature is that the flying towel band is three times long. The flying towel belt is floating in the middle of the flowers. There is a color cloud flowing under the flying towel belt. Very decorative.
. Cave 327 is a cave in the late Song Dynasty in the Mogao Grottoes. The top of the cave is drawn along the drew one week. The east slopes are flying in the north, and the image attitude is perfect. Both of the two are buns, wearing pearls, naked upper body, naked, Xie Jie, arms decorated with treasures, full of face, beautiful eyebrows. He is holding a bouquet and a handsome head, blooming on the wall of the Tiangongrang, flying against the wind, floating skirts, long flying, flying on the sky, flowers falling under the sky, colorful clouds, although there is no Tang Dynasty flying sky, no Tang Dynasty flying sky. The momentum, but its flight dynamics is also very vivid, it can be said to be the representative work of Feitian in the Song Dynasty.
Is are a minority regime established by the party's words in the northwest. The flying sky in the Xixia period of Mogao Grottoes, part of the style of the Song Dynasty, some of them had the unique style of Xixia. The biggest feature is that the style and folk characteristics of the Xixia party are incorporated into the image of Feitian. The face is round, the cheeks are drums, the eyes are deep, the body is strong, wearing leather clothes, decorated with pearls, and strong secularity. The representative is the boy flying in Cave 97. On the inside of the Buddhist altar of the west wall of this cave, a boy is scattered in the sky, the image, gesture, and clothes are the same: the top of the head is bald, the braids are combed on both sides, the eyebrows are rounded, the corners of the eyes are upturned, the lips and cheeks, the muscles, muscles, muscles, muscles, muscles, muscles, muscles, muscles, muscles, muscles Full and strong. The arms decorative bead bracelets, the waist -beasts, the belly around the beast, and the short leather boots of the feet. Hold the lotus, hold the flower plate with one hand, bent with one leg, raised one leg, flying from top to bottom. The ribbon was flying on the back, and the flying momentum was not strong. There are no early days of flying, the gods of the Buddha and the gods of the Buddha and the gods of the Song Dynasty, and there is no charm of the Tang Dynasty flying. If you wipe out the towel belt on the arm and there are colorful clouds, it is a boy dressed as a party. From the perspective of character image, hair style, and clothing, the characteristics and living styles of the Xixia party group are all shown.
The Mongolian rule in the Dunhuang area during the Yuan Dynasty, and there were very few caves that were rebuilt in Mogao Grottoes and Yulin Caves. Tantrics are popular in the Yuan Dynasty, divided into hidden secrets and Hanki. There is no flying sky in the art of Tibetan Tantra, and there are not many flying sky in the art of Han Tantra. Among them, the representative is the four -body flying sky on the two corners above the south wall of the 3rd Cave and the north wall of the "Thousands of Hands and Thousands of Eyes".这两身飞天相向对称，形象、姿态、衣饰基本相似，头梳锥髻、戴珠冠，脸形丰圆，长眉秀眼，上体半裸，项饰璎珞，臂饰宝钏，一手托莲花, Holding the lotus branch on the stubbornness, the yellow roll cloud drops from the air, the dresses are short, the body is heavy, and the flying dynamics are not strong. There is no gesture of Buddhist flying, but like two Taoist fairy children flying by clouds. Dunhuang Feitian has gone through more than a thousand years, showing different characteristics and national styles, many beautiful images, joyful realms, and eternal artistic vitality still attract people. The article said: "They have not perished with the past, and they are still alive. In the new song and dance, in the murals, the articles (trademarks, advertisements) have the image of flying everywhere. It should be said that they have come from heaven It will live in people's hearts forever and continue to give people enlightenment and beauty. "
The dance of the giant, the flying of the soul
-remembering Dunhuang's flying art
The flying sky of Dunhuang can be said to be a miracle in the history of world art. If you don't know the changes, this life, the supporter ... it doesn't matter. But you must not know the flying sky in Dunhuang.
It Dunhuang Feitian can be said to be a miracle in the history of world art. It has continued and developed in its unique art form. His artistic effect has long been beyond the original religious connotation today, and has become an artistic expression that makes the world obsessed with it.
In statistics, only Mogao Grottoes have a flying shape of 4,500, the largest flying sky is 2.5 meters, and the smallest is less than 5 cm. So what do those graceful flying styles tell us? Does he have his own story? In addition to Dunhuang, Gansu, where can there be such a beautiful flying statue? I hope that some of my shallow insights can provide readers with a reference for preliminary understanding of Feitian.
, about the origin of Feitian:
This of Flying of Buddhism originated from India, from ancient Indian mythology, the evolution of the two gods of "Gandharva" "Kipnara" Essence Ganda is a beautiful man who often swims between Yunni color fog and dances and dances. Good dance. There are also records in the Buddhist scriptures to include these two gods in the "Tianlong Babu".这个“天龙八部”跟金庸笔下的天龙八部不同，他说的是护卫佛的八位护法神，包括，天，龙，夜叉，乾达婆，阿修罗，迦楼罗，紧那罗， Mo Gaosa. These eight gods.
The Buddhist scriptures say that whenever the Buddha speaks the scriptures or when the Buddhist nirvana, they take off their clothes, fly in the air, and play the flowers. This is the origin of Feitian.
The also said that it has been gradually acknowledged by the academic community, which is related to Taoism in my country. There is a saying in Taoism in my country, such as the flying sky of Chang'e. It means that all kinds of gods are soaring in the sky. It can be seen that when Chinese traditional Taoism was introduced to my country in Dunhuang murals, he had made a lot of adjustments to him, with the brand of traditional religion in my country.
. The music and dance in the art of flying in each period
In the 4500 flying statue of Mogao Grottoes, there are more than 600 instruments. It is called "Flying Terrier". The variety of musical instruments held by Feitian Music, gradually increased with the development of social and cultural and the continuous enrichment of grotto art, all reflect the appearance of courts and folklore music in various periods, and the more specific and reality the more musical instruments are drawn.
It Dunhuang's early Feitian draws on the head of the top four corners of the cave, the upper edge of the Azaojing, the Buddha's upper edge, and the main character of the story. For example, during the North Liang period of my country, the body of the story of this student was flying. It can be seen from the shape of its artistic characteristics. The head has round light, the face is elliptical, the body is short, the upper body is exposed, the shawl on the shoulder, the waist is wrapped in long skirts, and the nose bridge and the eyes are dyed with white powder to show high light. Because the body of the flying terront is rough and clumsy, there is a strong wind in the Western Regions. When flying, even the stiff swing of the body and limbs, there is no ribbon. During this period, the flying tactics were mostly men, and there were not many instruments held.
The scope of Flying During the Northern Wei Dynasty has expanded to the sides of the Buddha. The face shape changes from the ellipse to long, plump, high nose, well -featured, dresses float, flying horizontal, bold and generous, like flying rainbow, flowers float, beautiful posture, and strong dynamic.
Thefengtian is in the period of integration, exploration, and innovation. It is mainly manifested in different body shapes, long body, moderate proportion, soft waist, and passion. From men to women gradually. Some face shapes are beautiful, some are rich. Different clothing, half naked on the upper body, wearing wide -sleeved robes, and short clothes. The attitude of flying dance is different. There are single flying, some group flying, flying, flying, flying down, flying against the wind, flying down the wind ... For example, Cave 427 in the Sui Dynasty, the cave with the most flying sky, counts 108. Feitian wears a treasure crown, the upper body is half -naked, the Xiang is jewelry, wearing a ribbon, and a long skirt. Although Feitian's skin tone has changed from red to black, the image is clear, with flowers and scattered flowers, there are instruments such as handheld, pipa, horizontal flute, harp and other instruments. Various attitudes, flying around the cave, calm and solemn caves seem to be flying!
The during the Tang Dynasty, it was the climax period. At this time, the techniques and ideas were extremely particular, which fully reflected the characteristics of the "Wu Bai" at that time. The face is round and plump, the body is graceful, and the skirt lines are smooth. At that time, the instruments held at that time also increased, such as Hu Qin, Hand Drums, Gong, etc., and with the improvement of the painting skills, we made breakthroughs in the state of painting. The performance attitude fully reflects the level of painting at that time. In the Tang Dynasty, Dunhuang Feitian had completed the process of absorption and integration of Chinese and foreign, completely forming its own unique style, reaching the peak of art.
The four mules of the Tang Dynasty caves are full of large -scale transformation. At this time, Feitian was not only decorated with algae, Buddhist altars, and four, most of them were painted in the transformation. The Buddha said in the middle of the bliss world that the flying sky was flying around, and some of the foot colored clouds and landed slowly; Traveling. The ribbon ribbon rolled in the wind and swing, making the flying sky fly lightly, clever, calm, and moving.
In the Tang Dynasty, many double flying sky also appeared. For example, the two bodies on the upper floor of the west wall of the west wall of Cave 321 are flying beautifully. Although the skin tone of these two bodies becomes black, the outline and shape of the eyebrows are very clear. Falling, like two double swallows that are free in the air. Among the flying murals of the Tang Dynasty, there were naked flying sky and boy flying sky.
, the content and form of Feitian
The term "flying" originally originated from "Luoyang Galan Ji" and was interpreted as the flying heaven. The word "sky" is deep in Buddhism, which can be interpreted as the meaning of Tianjie, Tiandao, Tianqu and so on. The meaning of the highest and superior realm, or the ideal living environment, has the concept of cosmic level. Feitian refers to the heavenly man who supports heaven and ritual Buddha, dedication, and flying.
If according to the Buddhist scriptures, there are three functions of Feitian: First, worship is worship -the expression form is two hands, or a tribute. The second is the scattered flowers and the incense -the expression is the bouquet of the hand, and the incense burner is scattered. The third is the singing and dancing musical -the expression form is holding various instruments, performing or dancing.
Thefish is limited. He just refers to the heavenly man who danced in the sky and the clouds. They may be the plot characters in the transformers, supporting the bodhisattva, and other changes. They belong to different categories.
although flying in the cave can almost fly to all corners, in general, his layout is still very regular. Within the range of the east and the algae, the dragon and phoenix pattern or the decoration of other centers often draws a circle of flying. A circle of flying sky is also drawn along the upper end of the wall. Others such as: center column, inside and outside the Buddha, and flying in the paintings.
Feye dancers tight Naluo. She did not fly with her wings, but also flying in the air with her limbs, dresses, and ribbons, and she was more mysterious and romantic. Expressing the beauty of the human body, you must not sit up like a Buddha statue. You must use various dynamics in the shape to reflect life and the beauty of the human body. In this way, she compared with the static and rigid Buddha statues, and the combination of dynamic and static can make the caves angry. The dynamic human body in Feitian dances through the body changes, such as the twist of the body, the stretching of the limbs, the trend of the skirt ribbon, and the liquidity of the background pattern to make the picture feel. Although it is a static picture, Feitian dance can make it full of flowing minds and produce a vibrant.
The people's folk painting has a feature that is "full". Dunhuang is no exception. In order to make the picture appear more enriched, the picture often enriches the picture with Feitian. So we saw the flying statue lingering in the cave, and their flying souls were full of the entire grotto. After flying there for thousands of years, I didn't know stop. That is, those dazzling flying sky made everyone remember Dunhuang. If you have visited Dunhuang, you may not feel much about the story of the Buddhist scriptures, but you will definitely sigh the skills of human ghosts and magical work; even what you want to find out the world of heaven and man will look like -birds and flowers are lingering, there is no pain, no pain There is no hunger.
It thousands of years of history in our country, most of them are tears more than laughter, but people will still use the most beautiful human body that they think of the most beautiful things. What kind of "tolerance" and "benevolence" can be done! Feitian art can not only reflect the aesthetic culture at that time, but even through the kindness and hard work of the people of our country.
four, Oriental Feitian and Western Flying
The a few days ago, I saw a very interesting article in a "Reader", which probably means that Westerners believe that flying must have wings, otherwise there must be wings, otherwise Can't fly. So in their art, all the little angels with wings, or flying horse with wings ... and so on. When they saw Sun Wukong in the Journey to the West, they sighed when they drove the clouds and turned over 100,000 miles: it turned out that "Fei" only needed Yuncai! I think that when they see Dunhuang flying sky, they must be even more surprising -it turns out that the Oriental people not only do not need wings, but sometimes even Yuncai can be omitted, just need to fly with a belt! Yuncai just made some embellishments. It saves the wings of the obstructive things. It turns out that painting can also have such imaginative power, and human body can also fly in the air so grace ...
I tried to compare the flying sky of Dunhuang and the West in the West. Little angels, I got some interesting conclusions:
Dunhuang Feitian:
a flying, not by wings or clouds, but dancing by clothes.
b is soft -body, gentle female image
c has gradually transformed from men to women
D has their own positions in murals, which are scattered flowers and music.
e you, you will see a group of flying statues in the mural:
The must fly with wings.
Mest naked little boys.
It never want to grow up.
State is mostly used for decoration. The cute flying is around the idol.
but never see a group of little angels. At the same time, they also have something in common. For example,:
a, they appear in the picture mainly for decorative effects, which can be eased in a serious atmosphere.
b they are all very classic images in their own culture, so that people now will take them to make articles, make movies, toys, and their value also has a full experience in the current life.
. Flying in all parts of China
I was fortunate to visit many Buddhist sacred land and grottoes in China, such as ancient Guizi (now Kuoma County) in Xinjiang, Yungang Grottoes in Shanxi, Luoyang Longmen Grottoes , Sichuan Dazu stone carvings,
The Tibetan Temple Temple, and so on. There will be flying sky in these places. But they are different from Dunhuang's flying sky. Although they are all in China, they have their own characteristics. I want to make some overview of the flying sky in these places.
It about Xinjiang's Feitian:
It last year I went to the strollery of Xinjiang. In addition to being crispy by the Korla Xiangli there, it was almost dumped by the tombs and murals there.
This is a tomb of the Tang Dynasty, and the husband and wife are buried. The male corpse inside made me stubborn, my hair was clear, and I could even see my nails. The murals next to it are the scene when the tomb owner is ascending to the sky -of course, the sky is indispensable. The cheeks are full, the expression is elegant, and the body is graceful. That was the first time I saw the male flying sky -Gando. Heroes are full of masculinity of youth in the Western Regions. Women are charming and enchanting, with peak milk thin waist. Feitian's shape is based on the beauty of human body, and jumps in the air. Presumably, the owner of the tomb must be welcomed to the western bliss world.
The dry and hot climate in Xinjiang makes there very few tourists. I stay in the ancient tomb myself, watching the complete dry corpse in front of me, and imagining talking to the ancients. Behind it is full of flying murals, it seems that the time is down at this moment ...
About Shanxi Yungang Grottoes:
This is probably the first grotto I went when I went to high school. Essence Yungang Grottoes in the outskirts of Datong, Shanxi Province, known as Pingcheng in the ancient times, and was once the capital of the Xianbei regime in the Northern Wei Dynasty.
The Yungang Grottoes follow the trend, so it is not as simple as the mural, there are extremely complicated complexes there. The number of flying sky in Yungang Grottoes is mostly decorated as the backlight of the Buddha statue and the decoration of the cave. Most of Flying is a girl -like shape. The body is slightly strong, her eyebrows are wide, half naked, and their right shoulder towels are very characteristic of Xianbei costumes. It fully reflects the ancient aesthetic ideals of my country and condenses the power of ancient people's material and spirit. It can be described as the monument of the times.
It about Luoyang Longmen Grottoes:
If it is my favorite grotto is Luoyang Longmen Grottoes. Because the statue of the Buddha there is very serene, it seems to be as good as everything in the world. When I went to visit the Central Plains culture that year, I was here. I almost sat in front of the Great Buddha of Lushe for several hours.
Longmen Grottoes are located in front of Longmen, Luoyang City, Henan. It is a grotto that continues to be built after the Emperor Xiaowen of the Northern Wei Dynasty moved to Luoyang. The knife method is turned from a flat knife to a round knife, so the transition is more rounded and layered. From Yungang's thick and rough to elegant and dignified and handsome style. Of course, there are many flying statues in Longmen, but many of them have blurred. The flying sky we can see clearly is the shape of the Central Plains women. The body is slender, the expression is dignified, and the limbs are stretched freely. The flying sky carved by the round knife is smooth, the pattern is simple, dense and dense, and the order is orderly. There is also a characteristic of the flying sky of Longmen Grottoes, which is the appearance of "flame patterns", which interweaves a warm and smart atmosphere, making the Buddha statue more solemn and solemn.
About Sichuan Dazu stone carvings:
The go to Sichuan because I want to go to Jiuzhai. Of course, it will not let go of the famous big foot stone carvings. What surprised me most was the color of the statue. His color can be maintained so well! Unlike the true nature of the Longmen Grottoes, the big footsteps have painted the Buddha statues and menstrual stories. Of course, it also includes Feitian.
It -foot stone carvings are representatives of the art of grottoes and cliffs. It was created in the Tang Dynasty and flourished in the Song Dynasty. Focusing on Buddhist themes, but also infiltrated the content of Taoism and Confucianism, especially Tantra, Zen, Taoist, Xianjia, God of God, and Confucian filial piety. The feudal culture flashed here, and the stone carvings reflected the various religious mixing of the society at that time. The feet's flying knife method is simply summarized, which is very decorative. But there is no group shape, mostly a single shape.
Is about Tibet's Feitian:
The most exaggerated decision is that after playing Jiuzhai, I suddenly decided to reorganize and go to Tibet. Although I didn't stay there for a few days, it has already branded Tibet's culture into its own memory.
It without the Potala Palace, the first temple to visit the first temple after entering Tibet was admired. That's the place where I saw the most in Tibet. Buddhism has tantrics and Xianzong. Tibetan Buddhism has its own specific Buddhist statues, some of which are the same as Xianzong, but some have their own system. Form a specific form of painting and sculpture. So Feitian in Tibet mostly appeared in the temple and Thangka. The image of Feitian I saw in D atal Temple gave me a refreshing feeling -Feitian's statue is a monk -like, and even the Lama Feitian shape. But in general, the number of Tibetan Buddhism is not large, and only in Buddhist paintings in the big scene.
The art formation of Feitian itself is a very great creation. He uses the human body to fly in the air, symbolizing human conquest of nature, driving the space of the universe and the desire for peace, peace, and peace. It also symbolizes the spirit of the Chinese nation. Its aesthetic tone is neither a horrible intimidation nor a decadent moaning, but a rising, optimistic, cheerful taste. This is a creative idea of a combination of romanticism and realism, and it is a wonderful work in the treasure trove of my country's art.
Attachment, refer to the book:
1. "Eighteenth Lecture in Dunhuang" -Engxinjiang
2. "Research on Dunhuang Moon Moon Dance" -Zheng Ruzhong
3. "Big Foot Stone Carvings Appreciation"
4. "Walking in Xinjiang" -harabrow
5. "Reader"
Fitchy is the sign of Dunhuang art. There are a large number of flying images in the Dunhuang area of about 5OO. Feitian is the incarnation of Gangsao and tight Naluo in Buddhism. Qian Xun, the translation of the gods of heaven, tight Naluo, the meaning of the heavenly translation. Originally, the entertainment god and the singing and dance god in ancient Indian mythology were a couple, and were later absorbed as one of the gods of Tianlong. The task of Qian Xun's mother was to exude aroma in the Buddha country, donating flowers and treasures for the Buddha, and inhabited in the flowers, flying in the Tiangong. The task of tight Naluo is to play music, singing and dancing in the Buddhist country, but not flying in the sky. Later, Qian Po and Tinga Luo mixed each other. Men and women did not distinguish between men and women. Now, the early in Temple of Tiangong was called "Tiangong Music", and the "Flying Terrace" who later held the musical instrument and dance.
The style of Dunhuang Feitian is not long wings, no feathers, and relying on clouds without relying on clouds. There are all kinds of attitude, ever -changing. This is based on the traditional national tradition, absorbing and integrating the achievements of foreign flying art, and developing the image of Dunhuang Feitian.
It Dunhuang's early Feitian draws more on the top of the cave, the top of the cave top algae is decorated, the upper edge of the Buddhist nats and the main character of the story of the life. During the Northern Wei Dynasty, the scope of Flying in Feitian has been expanded to the sides of the Buddhist altar. Although the image of Feitian still retains the characteristics of Feitian in the Western Regions, it has changed, and it has gradually changed to Dunhuang Feitian. For example, the rear part of the northern wall of the Northern Wei Dynasty 226 Launteria on the west side of the picture of the west side of the picture, the face shape changes from the ellipse to the long but plump, the nose is small, the facial features are long, the figure is long, the dresses are floating, the empty flying, the pride and generous generous generosity , Flying cranes, flowers fragrant, beautiful posture, and strong dynamic. The Sui Dynasty Feitian was in a period of integration, exploration, and innovation. It is mainly manifested in different body shapes, long body, moderate proportion, soft waist position, and rough. Some face shapes are beautiful, some are rich. Different clothes are different. There are half -naked upper body, with big sleeve robes, and those who wear short -lined robes. There are different flying states, there are single flying, some flying, some flying, flying, flying against the wind, flying down the wind ... In the Tang Dynasty, Dunhuang Feitian had completed the process of absorption and integration of Chinese and foreign, completely forming its own unique style, reaching the peak of art. The four mules of the Tang Dynasty caves are full of large -scale transformation. Feitian is not only painted in algae, Buddhist altars, and four places, most of them are painted in the transformation of the scriptures. The Buddha said in the middle of the bliss world that the flying sky was flying around, and some of the foot colored clouds and landed slowly; Traveling. The ribbon ribbon rolled in the wind and swinging, how light, clever, and charming. The Fifth Dynasties and Songs after the Song Dynasty were innovative in the dynamic shape, and gradually moved towards formulating. Although the characteristics of Feitian are different, the generation is not as good as the first generation, and gradually loses its original artistic life.
This storage of grottoes in the Dunhuang area from the 4th century (16 kingdoms) to the 14th century (Yuan Dynasty) has lasted more than a thousand years of flying image. A strange.
Dunhuang Feitian
The discovery and destruction of Dunhuang
The Tibetan Taoism of the Tibetan Sutra -Wang Yuanzhang:
Wang Yuanzheng (about 1850 ~ 1931), ancestor home in Macheng County, Hubei. In Shaanxi, due to the years of disasters in my hometown, the life was forced to make a living, and it was flowing in Jiuquan. During this period, people called him the Taoist priest. In the urgent call, "Western Bliss World is in Sihu". So he stayed here for a long time and contributed his second half of his life.
. When Wang Yuanzheng opened the cave door of the treasure house with a pair of thin hands, a group of a batch of batch Approval of foreign explorers, archeologists followed, there are Stanin in the United Kingdom, Bobei of France, Edenburg in Russia, Orange Chao of Japan. , Museums in the UK, France, Japan, Russia, etc., respectively.
Iriar archeologists:
Stanyin was born in a Jewish family in Budapest, Hungarian capital in 1862. For the beginning of the scholar, the explorer and archaeologist who became a world's attention. From the present point of view, his discovery and archeological contribution in the adventure must be much greater than his geographical contribution. N at that time, he not only saw exquisite murals and color plastic in Mogao Grottoes, but also used various means, especially in the name of "Tang Seng's steep" to deceive the trust of the Taoist priest Wang Yuanzheng. In exchange for a large number of scriptures, documents and artworks. When he leaves Mogao Grottoes, it is filled with 24 boxes after the scrolls. Clean up, there are 7,000 pieces in the rolls, 6,000 pieces of incomplete, and a large number of other cultural relics. When they came to Dunhuang for the second time, they donated 500 two silver. .
The name of the names of Dunhuang Feitian called the god celebration of the gods of the Pure Land Heavenly World in Buddhism, such as "Great Brahma", "Gongde Tian", "Good Talent", "Thirty -three days "Wait. Tang Zang" Golden Guangming Jing Shu "Zhongyun:" Foreign calling gods are also heaven. "The god of heaven flying in the air in Buddhism is called Feitian. Flying Draw in the murals of Buddhist caves. The characters are called "immortal", such as "leading immortal", "Tianxian", "Bigfoot Daxian", etc., calling the gods who can fly in the air as Feixian. : "In the flying cloud, deity is gently, thinking that Tianxian, also the cloud flying fairy." Feixian painted in the mural of the tomb, symbolizing the soul of the owner of the tomb to rises to the sky. During the Wei, Jin and Northern and Southern Dynasties, which was not long in Buddhism, the flying sky in the murals was also the flying fairy, which was flying, and Feixian was not distinguished. After the in -depth development of Buddhism in China, Buddhism's flying sky, Taoism's flying flying. Although Xian merged with each other in the artistic image, in terms of name, only the air flying god in the murals of Buddhist Grottoes is a flying sky. Dunhuang Feitian is the flying god painted in Dunhuang Grottoes. Come to become a special term for Dunhuang mural art.
The origin of Feitian
Feitian, the incarnation of Gangsao and tight Naluo in Buddhism. For the god of heaven, the entertainment god and the singing and dance god in the ancient Indian mythology were a couple, and were later absorbed by Buddhism as one of the gods of the eight gods of the Tianlong. The Buddha presented flowers, provided treasures, lived in flowers, and flew in Tiangong. Tingnaro's task was to play, sing and dance in the Buddha country, but could not fly in the clouds. Later, Gan Mo and Tinga Luo mixed. The functions are not divided, and it is integrated into a flying sky. Now, the early in the palace is called "Tiangong Tu" in Temple, and the style of Dunhuang Feitian is not long wings. Without feathers, relying on clouds with the help of clouds, but with floating dresses, flying ribbons soaring in the air. It is a lot of attitude and ever -changing. This is an absorption on the basis of the tradition of the nation. The image of Dunhuang Feitian in Dunhuang. Because Feitian only plays a fie in the cave, it does not occupy the subject status, the characteristics of Feitian in various periods are not the same. Dunhuang early Feitian was painted on the top of the top of the cave. On the head of the main character of the story of the story of the Hisheng Story. For example, the top four of the top four and the north wall of the 275th Cave 275 Cave 275. Scriptures are changed. Feitian is not only painted in algae, Buddhism, four places, most of which are painted in the classics. Hit your arms on your head, and get up; some hands hold flowers and rush straight to the clouds; some hand holding flowers, swimming in the air. The welcoming dress, fluttering ribbon ribbons, how light and clever the flying sky is flying. Freedom, moving.
The legendary flying sky
muk Flying sky
The corpse pigeon saving pigeons
Drawing two plots of cutting meat and crossing the scale, which is one of the earliest serial stories paintings in Mogao Grottoes. The most exciting is the "Corpse Ben Sheng" in the front of the north wall of the 254th Cave 254 of the Northern Wei Dynasty. Seeking for help from the corpse, crying and crying, etc., which increased the content and time and space span. The theme of cutting meat is clear at a glance. It can be seen that the composition of this painting shows superb structure talents, organically combining the storyline that occurs in different space -time range to a picture, which makes the center of the picture highlight, increases the capacity, and organizes it. One of the most perfect combination of Mogao Grottoes.
The mural story
The five hundred robbers into Buddha n Painted on the south wall of Cave 285, which is the largest in the Western Wei period of Mogao Grottoes A story painting is also the earliest cause of the story. Its technique uses a horizontal roll -type straight -line composition, which uses eight side -by -side screens to express the story and develop all the content. The scene of the war, with five people representing 500 robbers. Officers and soldiers rode armor, wearing helmets, holding long guns, and robbers with cloth pants and hemp shoes.