From the Sixteen Kingdoms Beiliang to the Northern Wei Dynasty (366-535 AD), it was about 170 years. During this period, the flight of Dunhuang was deeply influenced by the flight of India and the western regions, and it was generally the flight of the western regions. However, the flight characteristics of the two dynasties were slightly different during this period. When the northern part of the Mogao Grottoes is cool, Feitian is mostly painted on the top of the grottoes, in the decoration of algae wells on the top of the grottoes, along the top of the niche, and on the main head of bunsen burner's story painting.
Its modeling and artistic features are: round head, oval face, straight nose and big eyes, big mouth and big ears, earrings, round head, or wearing tendrils, or wearing a five-treasure crown of India, short stature, half-naked upper body, long skirt wrapped around the waist and a big scarf on the shoulders. Because of the discoloration of the smudge technique, it turned into a white nose and white eyes, flying around in caves such as Qiuci in the western regions.
When the Mogao Grottoes were first built, painters in Dunhuang area were not familiar with Buddhist themes and foreign art, and were in the stage of imitation, so they were bold and bold in painting and looked rough and simple. ?
There are only three existing Beiliang Grottoes in Mogao Grottoes. The most cool flying in the north is the natural disaster flying above the main characters in this micro-story painting on the north wall of Cave 275, with a round head, wearing a five-treasure crown of India, or a bun on his head, half-naked upper body, U-shaped body, feet tilted upward, or breaking up or crossing his hands, showing a volley flying posture, but this flying posture is very clumsy and has a sense of falling.
The U-shaped body also appears straight and hard, not yet round, slightly curved, with traces of flying posture of Indian stone carvings. The scope of Tian Fei's paintings in the Northern Wei Dynasty in Mogao Grottoes has been expanded. Not only painted on the ceiling, ceiling, story painting, niche, but also painted inside and outside the narrative map and niche.
The image of flying in the Northern Wei Dynasty, some caves generally retained the characteristics of flying in the western regions, but some caves changed obviously and gradually changed to China. Tian Fei's face changed from plump to slim, with thin eyebrows, small nose and symmetrical facial features.
Have a round head, or wear five jewelry crowns, or a bun. The proportion of the figure is gradually slender, and some legs are equivalent to twice the waist. And all kinds of flying postures. Some have swam through space, some have soared with their arms, and some have flown with their hands. They are heroic and generous. The momentum is like flying clouds and cranes. Where the sky falls, fragrant flowers fall, which is quite poetic. ?
The northernmost Wei-style flying sky is the two-body flying sky above the story painting of Wang Bensheng's Body painted on the north wall of Cave 254, and the two-body flying sky above the explanatory picture on the back of the north wall of Cave 260. The outstanding features of these four flying bodies are: round head, Indian five-jewel crown, slender face, white nose, white eyes, and small face due to discoloration.
The upper body is half naked and the legs are slender, forming a "U" shape with a large opening. Skirts are floating, towels are flying, flying in the air, and smallpox is falling everywhere. Although Tian Fei's body and ribbon have changed color, the halo and lines of the skirt ribbon are very clear. Tian Fei's flying momentum is dynamic and powerful, and her posture is free and beautiful.
Second, the Sui Dynasty.
It took about 80 years from the Western Wei Dynasty to the Sui Dynasty (535-6 18). During this period, Dunhuang Feitian was in the stage of communication, integration and innovation between Buddhism and Taoism, flying in the western regions and flying in the Central Plains. It is a sky where Chinese and western cultures blend. The Western Wei Feitian in the Mogao Grottoes is painted in the same position as the Northern Wei Dynasty.
Only in the Western Wei Dynasty, there were two different styles of flying, one was flying in the western regions, and the other was flying in the Central Plains. Birds in the Western Regions inherited the modeling and painting style of birds in the Northern Wei Dynasty. One of the biggest changes is that: as the goddaughter of Xiang Shen, scattered flowers are flying in the sky, picking up various musical instruments and flying in the air; Kinnara, the god of music and dance, rushed out of the sky fence and flew into the sky.
The two gods merged into one, and became the later flying, also called scattered flowers flying, geisha music flying. His representative works, such as the four-body geisha flying on the western wall of Cave 249. Flying in the Central Plains is a new flying in the Mogao Grottoes with the artistic style of the Central Plains, which was brought from Luoyang by Wang Rong during his tenure as the secretariat of Guazhou.
This kind of flight is a combination of China Taoist flying fairy and Hindu flying fairy: China Taoist flying fairy lost its feather wings, bare upper body, wearing a necklace around her neck, a long skirt around her waist and colorful ribbons on her shoulders; Buddhism in India, lost its crown, tied it into a bun and put on a Taoist crown. The publicity of the characters is in the shape of "showing bones and clear images" in the Central Plains, with slender figure, thin face and long neck, wide forehead, straight nose, fine eyes and eyebrows, upturned corners of the mouth and a slight smile.
Its most representative is the twelve flying bodies in the upper layer of the south wall of Cave 282. These twelve bodies fly in the sky, with their heads tied in a double bun, their upper bodies exposed, long skirts tied around their waists and ribbons draped over their shoulders. They are slender and fly in the wind, playing drums, clappers, flutes, flutes, lusheng, pipa, Zou and other musical instruments respectively.
The ceiling is spinning, the clouds are fluttering, setting off the flying sky and dancing in the wind. As light as a swallow, take care of each other, be free and happy, and travel in space.
The most sui-style flying days are those in Cave 427 and Cave 404. Cave 427 is one of the large caves in Sui Dynasty. It is also the cave with the most flying paintings in the Sui Dynasty. The four walls of the cave flew around the cave along the wall of the Heavenly Palace, with a total of 108 bodies. This 108 is flying, wearing a crown, half-naked upper body, garlands, bracelets, long skirts around the waist and ribbons around the shoulders, mostly left over from flying in the western regions, and costumes.
Although the skin color has turned black, the image is still very clear. Some hands folded, some holding lotus flowers, some holding flower trays, some waving their hands and scattering flowers, and some flying around the cave in one direction with instruments such as cricket, pipa, flute and harp. Its posture is diverse and light, with long skirts fluttering and colorful ribbons dancing in the wind.
Flying around, floating clouds dancing, falling flowers spinning, full of movement and vitality. Cave 404 is a medium-sized cave in the middle and late Sui Dynasty. The walls of the cave are drawn along the wall of the Temple of Heaven, which flies around the cave. Tian Fei, like Cave 427, has different postures, some holding lotus flowers, some holding flower trays, some holding scattered flowers, and some holding various musical instruments, flying against the wind in one direction, with light posture and graceful posture.
However, great changes have taken place in jewelry and clothing: no round head, no crown, some bunches of peach-shaped fairy buns, some bunches of double-ring fairy buns, some bunches of fairy buns, faces, fine eyes and meters, slender figure, light and soft dresses and long towel bandwidth. Clothing, face and posture, like flying in the early Tang Dynasty, have been completely China-oriented.
Third, the Tang Dynasty
Tang Dynasty is the dynasty with the largest number of large-scale classics in Mogao Grottoes, and almost all the walls in the grottoes are occupied by large-scale classics. Flying is also mainly painted in large-scale classics. On the theme, on the one hand, large-scale painting shows the scene of Buddha's statement, supported by scattered flowers, songs and dances, and hymns; On the other hand, it shows the joy of the paradise world such as "Western Pure Land" and "Oriental Pure Land" and has undergone a large-scale transformation.
Fly around the Buddha's head, or fly over the paradise, and some land slowly on colorful clouds; Some hold their heads high, shake their arms and soar upwards; Some hold flowers and go straight into the sky; Some hold flower trays and float across the sky. The fluttering dresses and dancing ribbons are really like the poem of Li Bai, a great poet in the Tang Dynasty, praising the fairy: "Holding the hibiscus in your hand, you are too white."
Poetic description of "clothes dragging broadband to the sky" Burial experts of Dunhuang Research Institute divide the Tang art of Dunhuang Grottoes into four stages: early Tang, prosperous Tang, middle Tang and late Tang. These four stages are divided into two periods: the early Tang Dynasty is the early stage, that is, the Tang Dynasty directly ruled Dunhuang area and buried it (AD 618-781); The middle and late Tang Dynasty is the later period, that is, the Tubo people occupied Dunhuang area and Zhang Yichao, a rebel from Hexi, took charge of Dunhuang area (AD 78 1-907). ?
Artistic style can best reflect the political, economic and social forms of the times. Flying in the early Tang Dynasty was enterprising, bold, unrestrained and strange. The ever-changing beauty of flying. This is consistent with the enlightened politics, strong national strength, prosperous economy, rich culture and enterprising spirit of opening up the country in the early Tang Dynasty. The most distinctive flying days in the early Tang Dynasty are the double flying days and the four flying days in Cave 320 in the prosperous Tang Dynasty painted in Cave 32 1 in the early Tang Dynasty.
On both sides of the western wall of Cave 32 1, two flying bodies are painted respectively. These two bodies are silent in the sky, and their flying posture is very beautiful. Although their flying faces and bodies are blackened, the lines of eyebrows, posture and dress ribbons are very clear: the body is neatly trimmed, the head is held high, the legs are lifted, the hands are spread out, the dress towel stretches with the wind and slowly falls from top to bottom, like two swallows flying in the air, showing the beauty of chic and light flight. ?
Four flying paintings in Cave 320 are on the canopy above the head of Amitabha Buddha in the western pure land of the south wall. There are two bodies on each side, in a symmetrical form, around the canopy, chasing each other: one in front, spreading flowers, and the other in the back, raising their arms and chasing each other. Call first and then respond, showing an enterprising, free and relaxed spirit and the beauty of flying.
Around Tian Fei, colorful clouds float and fragrant flowers fall, which not only shows Tian Fei's devotion to the Buddha, but also shows the freedom and joy of the Buddha's paradise. Although Tian Fei's body has turned black and his face is unclear, his overall image is clear, with a slender figure, light posture, accurate body proportion, smooth and powerful line drawing and rich colors. He is one of the representative works of Tianfei in Tang Dynasty. ?
Flying in the late Tang dynasty, there is no right-handed enterprising spirit and free and easy mood in momentum and posture. In artistic modeling, clothing has changed from gorgeous and rich to elegant and light, human body has changed from fullness and beauty to thinness and simplicity, and expression has changed from excitement and joy to calmness and anxiety.
Among them, the most representative are several flying objects painted on the top of the large Nirvana Sutra on the west wall of Cave 158 in the middle Tang Dynasty. These flying bodies fly around the bodhi tree treasure cover on the top of Nirvana Sutra, some holding flower trays, some holding incense burners, some playing Qiangdi, and some waving their hands and scattering flowers to provide support for the Buddha.
However, he looks calm and has no sense of joy. His solemn expression reveals a sad look, reflecting a religious realm of "heaven and man are sad". At the same time, it also reflects the decline of national strength at the end of the Tang Dynasty, the anxiety of Chinese people and the feelings of the litigants begging to return to the Tang Dynasty when the Tubo ruled Dunhuang. ?
On this quiet day, they are located on the north side of Baogai, and their gestures and expressions are the most vivid. Its flying posture, head held high, hands holding garlands, legs raised backward, around the treasure cover, gently falling from top to bottom, with a long ribbon on its back and colors floating under its chest. The clothes are elegant, the body is only outlined by lines, the eyes are delicate, the expression is solemn and slightly worried. The flying posture is not as exciting and light as it was in the early Tang Dynasty, and it seems a bit heavy.
Extended data
The Sui and Tang Dynasties were the heyday of the development of Mogao Grottoes, with more than 300 existing caves. Zen Grottoes and Central Pagoda Grottoes gradually disappeared during this period, but at the same time, a large number of forms appeared, such as palace grottoes, Buddhist altar grottoes, four-walled three-niche grottoes and elephant grottoes, among which the number of palace grottoes was the largest. Statues are all round plastic, with rich and full shapes and more original styles, and there are tall statues that were not available in the previous generation.
Most of the group images consist of seven or nine statues. There were mainly one Buddha, two disciples, two bodhisattvas or four bodhisattvas in the Sui Dynasty. In the Tang dynasty, there were mainly one Buddha, two disciples, two bodhisattvas and two heavenly kings, and some of them added two Lu. The murals of Mogao Grottoes in this period have rich themes, magnificent scenes and magnificent colors, and their artistic skills have reached an unprecedented level.
Such as the style of the threatened bodhisattva statue in Cave 79 made in the middle of the Tang Dynasty. Bare upper body, half kneeling posture. The two pieces of spiral bun folded on the head are the hairstyles of ordinary people in the Tang Dynasty. The muscles of the face and limbs are round, pastel, fair-skinned, and the expression is easy-going and gentle. Although there is an Indian-style red mole on his forehead, it is more like a real person in life.
And in Cave 159, it is also a mighty bodhisattva. One is naked, tying a knot obliquely, with his right hand raised, his left hand drooping, his head slightly tilted to the right, his upper body slightly tilted to the left, and his crotch protruding to the right, which not only maintained balance, but also showed a female figure. The other bodhisattva is fully clothed, and the inner and outer layers are clearly displayed, revealing the body structure clearly.
The clothes have smooth lines, bright colors, coordinated configuration, slender figure and appropriate proportion, which makes people feel that they are two "lifelike statues" and full of vitality.
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