venus wholesale jewelry The beautiful legend and origin of Dunhuang Feitian

Bob

November 2, 2022 at 7:01 pm

isis cross jewelry wholesale Dunhuang Feitian is a sign of Dunhuang art. As long as people think of beautiful flying sky, they will think of the superb art of Mogao Grottoes in Dunhuang. The following is the storytelling story of Dunhuang Feitian I organized for you. Welcome everyone to read.

The legend of Dunhuang Feitian
The Dunhuang Feitian is the business card of the Mogao Grottoes in Dunhuang and the sign of Dunhuang art. As long as we see the beautiful flying sky, we will think of the art of Mogao Grottoes in Dunhuang. In the cave in the Mogao Grottoes in Dunhuang, almost the cave is flying.

Fessia is the ability to play, good flying, and beautiful bodhisattva, which is called the gods of incense, and is full of fragrance and beautiful bodhisattva. The Tang Dynasty Feitian was more colorful and vivid. She was neither like the angels of Greek wings, nor the heavenly daughter of the ancient Indian Tengyun. Feitian is a gorgeous image of national art. When it comes to Dunhuang, people will think of magical flying sky. In terms of origin and function, Dunhuang Feitian is not a god, it is the complex of Qianyao and tight Naluo. Qian Xuan's wife is the transliteration of Indian Sanskrit. The translation of the Sanskrit is the god of the sky. Because he exudes aroma, it is also called incense god. Ten Naluo is a transliteration of ancient Sanskrit Indian Sanskrits, and the translation is Tianle. Qian Xuan Po and Tinga Luo were originally Indian mythology and entertainment gods and song and dance gods in Brahmanism. In myths and legends, they say that they are a good song, a good dance, inseparable, harmonious and harmonious. They are loving couples. Later, he was absorbed by Buddhism and turned into two gods in the eight gods of Tianlong.

The "Yinyi" in Huilin, Tang Dynasty, explained: "True Dhara, ancient work tightly Nalu, Musician, delicate sound, can be played and dancing. ，能歌;女则端正，能舞。次此天女，多与乾闼婆为妻也。”乾闼婆与紧那罗被佛教列入天龙八部神后，随着佛教理论和艺术审美以及The development of artistic creation is gradually evolved from the original puppet of the horse's body to the beautiful and beautiful eyebrows, pretty, dancing, and soaring in the sky. The functions of Qian Xuan and Tingaaro were originally different from the functions of the eight gods of the Buddhist Dragon. As the mission of Le Shen, Qian Xuanpu was to scattered aroma in the pure land world of Buddhism, donating flowers, providing treasures, and praise for the Buddha, and inhabited in flowers, flying in Tiangong. As the task of the god of the singing god, the task of the god of the song is in the pure land world of the Buddha, playing music and dancing for the Buddha, Bodhisattva, the gods, and heavenly people. Later, the functions of Qianyu and Tinga Luo were mixed, and Qian Po also played musical instruments and danced to sing; tight Naluo also rushed out of the palace and flew out of the sky. Qian Xun and tight Naluo men and women did not distinguish between them and turned into Dunhuang Feitian in later generations. During the Western Wei Dynasty in the Mogao Grottoes, there were flying sky with music and dancing. After the Sui Dynasty, Qian Yan and Tingao were mixed into one, and it was no longer able to distinguish it. It was just that when the music industry and the dance industry wrote articles, in order to distinguish them with the music, the early Tianshan daughter -in -law's Gan Mu Muso was named Temple of Temple, and the Feitian Music Terrier who was later integrated into the music and dancing.

It Dunhuang Feitian In terms of artistic image, 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 a long -term exchange of Indian Buddhist heaven and Chinese Taoist feathers, Feitian Feitian in the Western Regions, and Central Plains Feitian, with Chinese cultural characteristics. It is not long wings, 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 name of Dunhuang Feitian
The Tang Tibetan (Golden Guangming Sutra Shu) Zhongyun: "Foreign calling gods is also heaven." 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 the cloud flying fairy." The Warring States Period and even earlier in the tombs were promoted. After the Eastern Han Dynasty, the spread of the immortal and the spread of early Taoism became more popular. 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 fairy in the murals was also called Feitian, which was not distinguished by Feitian and Feixian. With the in -depth development of Buddhism in China in the post -industry, Buddhism's Feitian and Taoist Feixian melted with each other. The Dunhuang Feitian now refers to the flying god painted in the Dunhuang Grottoes, and later became a special term for the unique Dunhuang mural art in China.

It Dunhuang Feitian In terms of origin and function, it is not a god. It is the complex of Qianyao and tight Naluo. Qian Xuan's wife is a transliteration of Indian Sanskrits, and the translation is the god of Tiange. Because he exudes aroma, it is also called incense gods, and tight Nalu is the transliteration of the ancient Indian Sanskrit

, and the translation is Tianle God. Qian Xuan Po and Tinga Luo were originally Indian mythology and entertainment gods and song and dance gods in Brahmanism. In myths and legends, they say that they are a good song, a good dance, inseparable, harmonious and harmonious. They are loving couples. Later, he was absorbed by Buddhism and turned into two gods in the eight gods of Tianlong. The Tang Dynasty Huilin's "Yinyi" explained: "True Dhara, the ancient work is tight Nalu, the world is happy, there are subtle sounds, can be a wonderful sound, and can be a song and dance. Can dance. This heavenly daughter is also a wife with Qianyu. "After Qian Xuanpu and Tinga Luo were included in the eight gods of the Dragon Dragon, with the needs of Buddhist theory and artistic aesthetics and artistic creation. The face of Ma Tau Renfeng has gradually evolved into a beautiful eyebrow, pretty, dancing, and soaring the sky. Qian Xuan Po and Tingaaro were originally different from the functions of the eight gods of the Buddhist Dragon. Qianyao-Le Shen's task is to scatter the aroma in the pure land world of Buddhism, donate flowers, provide treasures, and praise the bodies, live in flowers, fly in Tiangong. In the pure land world of the Buddha, the Buddha, the Bodhisattva, the gods, and the heavenly man played music and dance, lived in the Tiangong, and could not fly in the Xiaoxiao. Later Singing and dancing; tightly rushed out of the palace, flying the sky. Qian Xun and tight Naluo men and women did not distinguish between them and turned into Dunhuang Feitian in later generations. During the Western Wei Dynasty in the Mogao Grottoes, there were flying sky with music and dancing. After the Sui Dynasty, Qian Yan and Tinga Luo mixed into one. It was just that when the music industry and the dance industry wrote articles, in order to distinguish them with the music, the early Tianshan daughter -in -law was named the Temple Music Music, and the Feitian of Flying Tiansou, who was later integrated into the music and dancing.

It Dunhuang Feitian In terms of artistic image, 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 is the most genius creation of Chinese artists and a miracle in the history of world art.
The characteristics of the era of Dunhuang Feitian
It's flying sky in Dunhuang murals, the creation of Huai Caves also appeared at the same time. Starting from the sixteen countries, after ten dynasties, it lasted more than a thousand years. The construction and disappear. 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 generally consistent with the history of the development of the arts in Dunhuang, divided into three stages:

In the year), about 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. Due to the initial construction of the Mogao Grottoes, the painter in the Dunhuang area was not familiar with the theme of Buddhist and foreign art. It was in the imitation stage. There are 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", with both feet up, or break up, or coincide, and there is a pose of flying in the air, but the posture of this flying 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 sky was full of void". The most northern Wei -style flying sky is the two flying sky above the story of the "Corpse King Ben Sheng" 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.

The innovation period

On from the Western Wei Dynasty to the Sui Dynasty (535-618 AD), it was more than 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 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. Its representative works such as the four -bodies in the west of the West Buddha of Cave 249. The Central Plains Flying is a kind of flying sky created by the Central Plains art paintings brought from Luoyang (Gu Dunhuang). 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; 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 (557-581 AD), many caves were 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 sky and Central Plains Flying, and it is also a combination of Chinese and Western.

The face shape is different, the face shape is rich and round, and there are beautiful types; However, most of them are slender, with moderate proportion, soft waist, and generous. The clothing and clothing are different, there are half naked upper body, and there are like 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 in the Sui Dynasty 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.

The heyday

It from the beginning to the late Tang Dynasty (618-970 AD), it runs through the entire Tang Dynasty for 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 most large -scale dynasty in the 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 support; on the other hand, the large-scale transformation of the Buddhist country of the Buddha-"Pure Land in the West" and "Pure Land of the East" Waiting for the joy of the bliss world. Feitian flying around the Buddha's head, or flying above the bliss world, some foot colored clouds, slowly landing; some heads up and empty; Traveling in the sky. The floating dresses, the flying rolled dance belt, is really like the Tang Dynasty poet Li Baiyong praised the fairy poem: "The hands of the hibiscus, the virtual step is too clear. The gravers 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, 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 (AD 618-781); , And Hexi Guijun Jiedushi During 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 western Buddhist nats on both sides of the west of the west of the west of the west. These two are quiet, and the flying gesture is very beautiful. Although the face and body of Feitian have become black, the eyebrows, physical gestures, and dress ribbons are very clear: the body is repairing, the chest is holding the chest, the legs are raised up, and the legs are raised up. , Sanhua with both hands, the tissue stretching with the wind, from top to bottom, 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. The flying sky in the late Tang Dynasty had no spiritual spirit and free and joyful emotions in the initial period in the momentum and posture. 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.

The decline

from the five generations to the Yuan Dynasty, including the Five Dynasties, Song Dynasty, Xixia, and Yuan Dynasty (AD 907-368), about 460 years, this Dunhuang Feitian inherited the Yu Xu of the Tang Dynasty during the first 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 Mogao Grottoes. The top of the cave is drawn and a week of painting. The east slopes are flying in the north, and the image attitude is perfect. Both of the two are buns, wearing pearls,*upper body, Xie decoration, arms decorated with treasure, full 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. Xixia is 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. The two flying sky has no early heaven-the expression of the gods of Buddhism and the gods of the Song Dynasty, and there is no graceful charm of the Tang Dynasty. 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. During the Yuan Dynasty, the Mongolian ruled the Dunhuang area, 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For the sake of the lotus branches, the yellow rolling clouds dropped from the air, the dresses are short, the body is heavy, and the flying dynamic is 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 constantly give people enlightenment and beauty. "
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1 thought on “venus wholesale jewelry The beautiful legend and origin of Dunhuang Feitian”

Bob
November 2, 2022 at 7:01 pm

isis cross jewelry wholesale Dunhuang Feitian is a sign of Dunhuang art. As long as people think of beautiful flying sky, they will think of the superb art of Mogao Grottoes in Dunhuang. The following is the storytelling story of Dunhuang Feitian I organized for you. Welcome everyone to read.

The legend of Dunhuang Feitian
The Dunhuang Feitian is the business card of the Mogao Grottoes in Dunhuang and the sign of Dunhuang art. As long as we see the beautiful flying sky, we will think of the art of Mogao Grottoes in Dunhuang. In the cave in the Mogao Grottoes in Dunhuang, almost the cave is flying.

Fessia is the ability to play, good flying, and beautiful bodhisattva, which is called the gods of incense, and is full of fragrance and beautiful bodhisattva. The Tang Dynasty Feitian was more colorful and vivid. She was neither like the angels of Greek wings, nor the heavenly daughter of the ancient Indian Tengyun. Feitian is a gorgeous image of national art. When it comes to Dunhuang, people will think of magical flying sky. In terms of origin and function, Dunhuang Feitian is not a god, it is the complex of Qianyao and tight Naluo. Qian Xuan's wife is the transliteration of Indian Sanskrit. The translation of the Sanskrit is the god of the sky. Because he exudes aroma, it is also called incense god. Ten Naluo is a transliteration of ancient Sanskrit Indian Sanskrits, and the translation is Tianle. Qian Xuan Po and Tinga Luo were originally Indian mythology and entertainment gods and song and dance gods in Brahmanism. In myths and legends, they say that they are a good song, a good dance, inseparable, harmonious and harmonious. They are loving couples. Later, he was absorbed by Buddhism and turned into two gods in the eight gods of Tianlong.

The "Yinyi" in Huilin, Tang Dynasty, explained: "True Dhara, ancient work tightly Nalu, Musician, delicate sound, can be played and dancing. ，能歌;女则端正，能舞。次此天女，多与乾闼婆为妻也。”乾闼婆与紧那罗被佛教列入天龙八部神后，随着佛教理论和艺术审美以及The development of artistic creation is gradually evolved from the original puppet of the horse's body to the beautiful and beautiful eyebrows, pretty, dancing, and soaring in the sky. The functions of Qian Xuan and Tingaaro were originally different from the functions of the eight gods of the Buddhist Dragon. As the mission of Le Shen, Qian Xuanpu was to scattered aroma in the pure land world of Buddhism, donating flowers, providing treasures, and praise for the Buddha, and inhabited in flowers, flying in Tiangong. As the task of the god of the singing god, the task of the god of the song is in the pure land world of the Buddha, playing music and dancing for the Buddha, Bodhisattva, the gods, and heavenly people. Later, the functions of Qianyu and Tinga Luo were mixed, and Qian Po also played musical instruments and danced to sing; tight Naluo also rushed out of the palace and flew out of the sky. Qian Xun and tight Naluo men and women did not distinguish between them and turned into Dunhuang Feitian in later generations. During the Western Wei Dynasty in the Mogao Grottoes, there were flying sky with music and dancing. After the Sui Dynasty, Qian Yan and Tingao were mixed into one, and it was no longer able to distinguish it. It was just that when the music industry and the dance industry wrote articles, in order to distinguish them with the music, the early Tianshan daughter -in -law's Gan Mu Muso was named Temple of Temple, and the Feitian Music Terrier who was later integrated into the music and dancing.

It Dunhuang Feitian In terms of artistic image, 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 a long -term exchange of Indian Buddhist heaven and Chinese Taoist feathers, Feitian Feitian in the Western Regions, and Central Plains Feitian, with Chinese cultural characteristics. It is not long wings, 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 name of Dunhuang Feitian
The Tang Tibetan (Golden Guangming Sutra Shu) Zhongyun: "Foreign calling gods is also heaven." 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 the cloud flying fairy." The Warring States Period and even earlier in the tombs were promoted. After the Eastern Han Dynasty, the spread of the immortal and the spread of early Taoism became more popular. 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 fairy in the murals was also called Feitian, which was not distinguished by Feitian and Feixian. With the in -depth development of Buddhism in China in the post -industry, Buddhism's Feitian and Taoist Feixian melted with each other. The Dunhuang Feitian now refers to the flying god painted in the Dunhuang Grottoes, and later became a special term for the unique Dunhuang mural art in China.

It Dunhuang Feitian In terms of origin and function, it is not a god. It is the complex of Qianyao and tight Naluo. Qian Xuan's wife is a transliteration of Indian Sanskrits, and the translation is the god of Tiange. Because he exudes aroma, it is also called incense gods, and tight Nalu is the transliteration of the ancient Indian Sanskrit

, and the translation is Tianle God. Qian Xuan Po and Tinga Luo were originally Indian mythology and entertainment gods and song and dance gods in Brahmanism. In myths and legends, they say that they are a good song, a good dance, inseparable, harmonious and harmonious. They are loving couples. Later, he was absorbed by Buddhism and turned into two gods in the eight gods of Tianlong. The Tang Dynasty Huilin's "Yinyi" explained: "True Dhara, the ancient work is tight Nalu, the world is happy, there are subtle sounds, can be a wonderful sound, and can be a song and dance. Can dance. This heavenly daughter is also a wife with Qianyu. "After Qian Xuanpu and Tinga Luo were included in the eight gods of the Dragon Dragon, with the needs of Buddhist theory and artistic aesthetics and artistic creation. The face of Ma Tau Renfeng has gradually evolved into a beautiful eyebrow, pretty, dancing, and soaring the sky. Qian Xuan Po and Tingaaro were originally different from the functions of the eight gods of the Buddhist Dragon. Qianyao-Le Shen's task is to scatter the aroma in the pure land world of Buddhism, donate flowers, provide treasures, and praise the bodies, live in flowers, fly in Tiangong. In the pure land world of the Buddha, the Buddha, the Bodhisattva, the gods, and the heavenly man played music and dance, lived in the Tiangong, and could not fly in the Xiaoxiao. Later Singing and dancing; tightly rushed out of the palace, flying the sky. Qian Xun and tight Naluo men and women did not distinguish between them and turned into Dunhuang Feitian in later generations. During the Western Wei Dynasty in the Mogao Grottoes, there were flying sky with music and dancing. After the Sui Dynasty, Qian Yan and Tinga Luo mixed into one. It was just that when the music industry and the dance industry wrote articles, in order to distinguish them with the music, the early Tianshan daughter -in -law was named the Temple Music Music, and the Feitian of Flying Tiansou, who was later integrated into the music and dancing.

It Dunhuang Feitian In terms of artistic image, 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 is the most genius creation of Chinese artists and a miracle in the history of world art.
The characteristics of the era of Dunhuang Feitian
It's flying sky in Dunhuang murals, the creation of Huai Caves also appeared at the same time. Starting from the sixteen countries, after ten dynasties, it lasted more than a thousand years. The construction and disappear. 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 generally consistent with the history of the development of the arts in Dunhuang, divided into three stages:

In the year), about 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. Due to the initial construction of the Mogao Grottoes, the painter in the Dunhuang area was not familiar with the theme of Buddhist and foreign art. It was in the imitation stage. There are 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", with both feet up, or break up, or coincide, and there is a pose of flying in the air, but the posture of this flying 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 sky was full of void". The most northern Wei -style flying sky is the two flying sky above the story of the "Corpse King Ben Sheng" 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.

The innovation period

On from the Western Wei Dynasty to the Sui Dynasty (535-618 AD), it was more than 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 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. Its representative works such as the four -bodies in the west of the West Buddha of Cave 249. The Central Plains Flying is a kind of flying sky created by the Central Plains art paintings brought from Luoyang (Gu Dunhuang). 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; 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 (557-581 AD), many caves were 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 sky and Central Plains Flying, and it is also a combination of Chinese and Western.

The face shape is different, the face shape is rich and round, and there are beautiful types; However, most of them are slender, with moderate proportion, soft waist, and generous. The clothing and clothing are different, there are half naked upper body, and there are like 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 in the Sui Dynasty 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.

The heyday

It from the beginning to the late Tang Dynasty (618-970 AD), it runs through the entire Tang Dynasty for 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 most large -scale dynasty in the 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 support; on the other hand, the large-scale transformation of the Buddhist country of the Buddha-"Pure Land in the West" and "Pure Land of the East" Waiting for the joy of the bliss world. Feitian flying around the Buddha's head, or flying above the bliss world, some foot colored clouds, slowly landing; some heads up and empty; Traveling in the sky. The floating dresses, the flying rolled dance belt, is really like the Tang Dynasty poet Li Baiyong praised the fairy poem: "The hands of the hibiscus, the virtual step is too clear. The gravers 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, 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 (AD 618-781); , And Hexi Guijun Jiedushi During 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 western Buddhist nats on both sides of the west of the west of the west of the west. These two are quiet, and the flying gesture is very beautiful. Although the face and body of Feitian have become black, the eyebrows, physical gestures, and dress ribbons are very clear: the body is repairing, the chest is holding the chest, the legs are raised up, and the legs are raised up. , Sanhua with both hands, the tissue stretching with the wind, from top to bottom, 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. The flying sky in the late Tang Dynasty had no spiritual spirit and free and joyful emotions in the initial period in the momentum and posture. 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.

The decline

from the five generations to the Yuan Dynasty, including the Five Dynasties, Song Dynasty, Xixia, and Yuan Dynasty (AD 907-368), about 460 years, this Dunhuang Feitian inherited the Yu Xu of the Tang Dynasty during the first 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 Mogao Grottoes. The top of the cave is drawn and a week of painting. The east slopes are flying in the north, and the image attitude is perfect. Both of the two are buns, wearing pearls,*upper body, Xie decoration, arms decorated with treasure, full 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. Xixia is 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. The two flying sky has no early heaven-the expression of the gods of Buddhism and the gods of the Song Dynasty, and there is no graceful charm of the Tang Dynasty. 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. During the Yuan Dynasty, the Mongolian ruled the Dunhuang area, 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For the sake of the lotus branches, the yellow rolling clouds dropped from the air, the dresses are short, the body is heavy, and the flying dynamic is 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 constantly give people enlightenment and beauty. "
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