Vivid and interesting, the beautiful ""elves" in the Dunhuang murals

▲Dunhuang Flying Apsara ""There is a golden chariot, three feet away from the ground, with a treasure cover, gold bells and seven orbs hanging on all sides, flying apsaras and music, looking at the cloud surface. "——"Luoyang Jialan Ji" The Feitian in the Dunhuang murals appeared at the same time as the creation of the caves. Starting from the Sixteen Kingdoms, it went through ten dynasties and lasted for more than a thousand years until the end of the Yuan Dynasty. Among the 492 caves in the Dunhuang Mogao Grottoes, Almost all the grottoes have flying apsaras. Due to the change of dynasties and the frequent exchanges between Chinese and Western cultures, the posture, artistic conception, style and taste of the flying apsaras of Dunhuang have been constantly changing for more than a thousand years. For example, during the heyday of the flying apsaras of Dunhuang, that is, throughout the Tang Dynasty, The image of the flying apsaras in Dunhuang has reached its most perfect stage, and is a completely Chinese version of the flying apsaras. Li Bai, the great poet of the Tang Dynasty, praised the flying apsaras in Dunhuang in his poem: "" Holding hibiscus in bare hands, walking in vain in space. "The neon clothes drag the wide belt, floating up to the sky." How did flying come into being? From the Northern Liang, Northern Wei, and Western Wei to the Song, Western Xia, and Yuan Dynasties, over nearly 1,000 years, what evolutions have the paintings and sculptures of Dunhuang Mogao Grottoes experienced? Today, I Continuing the topic from last week, let’s discuss with you the legend of "Feitian" deep in the desert - Sui Dynasty: Feitian was the most artistic creation, basically a Central Plains-style female shape. The Sui Dynasty was founded in just over thirty years. Emperor Wen of the Sui Dynasty Yang Jian and Emperor Yang Guang of the Sui Dynasty both worshiped Buddhism. During this period, Buddhism was at its peak. More than a hundred caves were built in the Mogao Grottoes in just over 30 years. They are the most shining historical sites in the Mogao Grottoes. Part. At this time, the number of flying apsaras in Dunhuang increased rapidly, and the caves were full of flying apsaras. The peak of the flying apsara art in Dunhuang was also closely related to the imperial court's strong promotion of flying apsaras. According to historical records, Emperor Yang of the Sui Dynasty was particularly fond of flying apsaras, and he had craftsmen in the palace. He created the "movable flying apsara", hung a brocade curtain on the door, and decorated the wooden flying apsara. After mechanical transmission, the flying apsara could rise up and down, tilt, and roll the brocade curtain up. The painting of the flying apsara in Dunhuang reached its peak in the Sui Dynasty. The apsaras were not only beautifully painted, The paintings are colorful, unrestrained, and fly freely, showing a sense of movement and vitality. They have completely got rid of the influence of the Western Region painting style and replaced it with Central Plains techniques. The flying paintings are vividly created, mostly in groups, connected from beginning to end, and each has its own posture. Feitian is basically a Chinese-style female figure, either with a thin face and a slender figure; or with plump muscles, graceful features, and expressive eyebrows. The movements of the Feitian are changeable, ranging from bending down, tilting, soaring, and swooping. Some cave walls have different patterns. The grottoes are painted with flying apsaras in the shape of a circle, with the Tiangong railings and wall patterns as the boundaries. The flying apsaras replace the traditional Tiangong music, such as Mogao Grottoes 244 and 390. This is a characteristic of the changes in the flying apsaras in the Sui Dynasty. Cave 276 of the Gao Grottoes has a flying harp (pronounced: Konghou, an ancient traditional string instrument, shaped like a harp). There are many rebound pipa figures in the Mogao Grottoes. This is the only example of a rebounding harp. The rebounding instrument goes against the natural laws of the human body. It is truly an imaginary artistic form. In the Sui Dynasty, Feitian's expressions were rich and its painting techniques were increasingly mature. The shapes were not dominated by lines, but a large number of colors were used in the layout. The colors were thick and the effect was extremely strong. Several colors are arranged in flame patterns to create a brilliant and imaginative composition. It makes people feel that the caves of the Sui Dynasty are indeed the world of Feitian. ▲The flying sky group (east of Cave 305 of Sui Mogao Grottoes). Slope) Outside the caisson, with the Lotus Flame Mani Orb as the center, a group of apsaras are walking among the floating clouds in the sky. Their postures are unrestrained and secular. Some are wearing double buns like girls, and some are wearing right-sided cassocks like monks. , the clothing includes long skirts, cassocks, skirts, long pants, etc. ▲ Tiangong Jile Feitian (south wall of Cave 390, Mogao Grottoes, Sui Dynasty) On the soil of the Dharma map and the Tiangong railing, there are paintings of Feitian circling the cave. , or holding flowers, or playing the flute or drums, with graceful and graceful postures, accurate shapes, and sense of rhythm. This cave is the most exquisite and representative of the mural paintings in the Sui Dynasty ▲Flower-presenting performer Feitian (Sui Mogao). (In the west niche of Cave 420) Feitian is flying in the triangular space above the backlight of the flame pattern, topless. Some held flowers and platters to make offerings, and some played the harp, pipa, flute and sheng in a lively and colorful way. The painting method is to use thick black lines to outline the face, while the hair and crown are not outlined with thick lines, creating a unique picture effect. ▲The flying harp plays the flying harp (Cave 276, Mogao Grottoes, Sui Dynasty, north slope of the cave roof). The flying harp is played with a double bun on its head, and the harp is played from behind. The movements are realistic, the ribbons are flying, and the image is chic. This is the only example of the image of playing the harp from behind in Dunhuang murals. ▲The Feitian of the Sui Dynasty (the top of the north niche of Cave 401 of the Mogao Grottoes of the Sui Dynasty). The Feitian on the side of the Buddha cover wears a crown, has enlarged breasts and a slim waist, has the characteristics of a female figure, holds a lotus or a flower plate with scattered flowers, and hovers in the auspicious clouds. , flying freely, with bright and warm colors. The depiction of numerous flying apsaras on the top of the niche is a characteristic of Sui Dynasty caves. Best of Dunhuang: The dynasty that built Mogao Grottoes most frequently. The Sui Dynasty was the dynasty that built Mogao Grottoes most frequently. According to incomplete statistics, the Sui Dynasty, which only lasted for thirty-eight years, built more than 100 grottoes in Mogao Grottoes, including 101 new grottoes and five rebuilt Northern Dynasty grottoes. In the Sixteen Kingdoms of Northern Liang, Northern Wei, Western Wei and Northern Zhou dynasties, over one hundred and eighty years, there are only thirty-six existing caves, only one-third of those of the Sui Dynasty. Heyday: Tang and Five Dynasties (618-959) The world-leading Tang Empire ruled China for nearly three hundred years, during which Buddhism was at its peak. The Tang Dynasty was divided into two periods, with the Tubo occupation of Dunhuang as the boundary. In the early Tang Dynasty, the country was prosperous, and the grotto murals were colorful and fresh in style.

In the late Tang Dynasty, Ye Fan occupied Dunhuang. Since the Ye Fan people also believed in Buddhism and the culture of the Tang Dynasty was deeply rooted, the artistic style remained the same without much change. From the Tang Dynasty to the Five Dynasties, Dunhuang art entered a period of maturity, finalization, and becoming more procedural. Tang Dynasty: Feitian transformed into palace maiden ***, with more secular customs appearing. The Tang Dynasty, which has a history of nearly three hundred years, is an extremely glorious period. The strong national power provided sufficient material conditions for the development and growth of Buddhism. The rulers' advocacy and support of Buddhism for political purposes or their own beliefs more directly promoted the prosperity of Buddhism. The Dunhuang Grottoes also show unprecedented splendor. There are 236 caves in the Tang Dynasty, accounting for half of all caves. The Feitian in the murals at this time is the Feitian who completed the process of Sinicization in the past three hundred years through the Northern Liang, Northern Wei, Western Wei, Northern Zhou, and Sui dynasties. Its basic image is a Bodhisattva costume with a female body shape, especially in the prosperous Tang Dynasty. During this period, it was influenced by court dances and paintings of beautiful women. His painting method has moved from romance and exaggeration to reality, from heavenly beings to charming palace maids. His pink-wall paintings have completely entered the category of figure painting, with meticulous outlines, heavy-color flat painting, and vivid images. The paintings that appeared in the Tang Dynasty were large in size and rich in content. The paintings reflected the patriarchal system centered on the emperor at that time, which symbolized the supreme royal power and the strict hierarchical social order, and satisfied the ruler's desire for power. . In a sense, Jingbian paintings are also visual symbols of imperial power. Because the rendering of Jingbian paintings dilutes the religious atmosphere, the abstraction and mystery in Buddhist concepts are transformed into human reality, suddenly enhancing the secularity. The shape of Feitian is close to real life, and Feitian is even painted as the most fashionable portrayal of women. It has completely become a realistic Chinese lady painting, with distinctive Central Plains characteristics and national style. Not only that, the face shape of Feitian has also changed to that of the Central Plains. The image of the Western Regions has disappeared. The basic characteristics of Feitian that are still preserved are half-naked, exposed arms, bare feet, and decorated with bracelets. Representative caves include Mogao Grottoes 329, 331, and 320. ▲Double Feitian (Roof of West Alcove, Cave 321, Mogao Grottoes, Early Tang Dynasty) Feitian has a light body, graceful and stretched posture, a long skirt that wraps his feet, and a scarf with matching colors but peaceful and joyful eyebrows. The decoration is gorgeous and visible, gorgeous and unique. This is the famous double flying sky in Dunhuang murals. ▲Feitian with scattered flowers (top of the west niche of Cave 322 of Mogao Grottoes in the early Tang Dynasty) Feitian has a bun on his head, eyebrows and narrow eyes, soft limbs, holding a lotus in one hand, scattering flowers in the other, and vivid gestures, like a woman; and the oval face has With two small beards, he pretends to be a man pretending to be a woman. ▲Viewing the Feitian in the Sutra of Infinite Life (North wall of Cave 217 of Mogao Grottoes in the Tang Dynasty) In the Sutra of Infinite Life, above the majestic pavilion, various musical instruments with ribbons are floating in the vast sky. Ming, Feitian shuttles through the pavilion according to the melody of the music, as light as a swallow, surrounded by auspicious clouds, depicting the fairyland mentioned in the Buddhist scriptures. The success of the painting is to give a static building a sense of movement. ▲Scattered Flowers and Flying Apsaras (South Wall of Cave 320, Mogao Grottoes in the Tang Dynasty) Four flying Apsaras hovering opposite each other above the cover of Amitabha Buddha, looking back and forth, raising their hands and scattering flowers and playing, full of vitality and joy. The posture is powerful and has a strong sense of flying. ""Black Feitian" is caused by color changes. This picture is the most eye-catching Flying Apsara masterpiece in Dunhuang and is widely cited in modern decorations and handicrafts. ▲Flower Flying Apsara (in the west niche of Cave 39 of Mogao Grottoes in the prosperous Tang Dynasty) Feitian has plump muscles and bones, and is jeweled. He holds a lotus disk in one hand and a peony bud in the other, flying down. The line drawing is smooth and powerful, the colors are colorful, and the layers of dyeing are added to refresh the body. It is stunning, indicating that Feitian has reached the peak of the Tang Dynasty. Entering the field of fine brush painting of ladies. ▲ Flying Flowers (North Wall of Cave 25 of Yulin Grottoes in the Mid-Tang Dynasty) Feitian is flying in the clouds with flowers in her hands. Her skin is plump and fair. She is a typical image of a girl in the Mid-Tang Dynasty, with her kerchief rolled up freely and her lines round and red. The green belt on the trousers contrasts with the green leaves and red flowers, and the colors are bright and simple. ▲The Feitian (southern slope of Cave 161, Mogao Grottoes in the late Tang Dynasty) Feitian each holds a musical instrument, including a waist drum, a drum, a pipa and a conch. It is rich, not dull and dull, and the flying head is flying downwards, thus also showing the vastness of the sky, the freedom and joy of flying. Dunhuang is the best: the dynasty that built the most Mogao Grottoes, according to the first year of Wuzhou Shengli in the Tang Dynasty (AD 698). Li Kerang's "Rebuilding the Monument of Buddhist Niches in Mogao Grottoes" records that from the second year of Jianyuan of the Qin Dynasty to the first year of Wuzhou Shengli in the Tang Dynasty, more than 1,000 niches were built in the Mogao Grottoes. There are 492 existing caves in the Mogao Grottoes, and there are 232 caves in the Tang Dynasty, accounting for almost all of the existing caves. Half of that. The Tang Dynasty was the dynasty that built the most caves in the history of Mogao Grottoes, and it was also the dynasty with the most existing caves. The Five Dynasties Period: The number of Feitian decreased, the shapes were single and lacked new ideas, and the Five Dynasties period gradually turned into decline in the Central Plains. The region was occupied by ethnic minorities. Only Dunhuang maintained the local government of the Han people and maintained its connection with the Central Plains Dynasty. At this time, the murals in the Dunhuang caves emphasized various changes in the scriptures, making the original large-scale scripture paintings smaller and more cumbersome. There are more than a dozen Sutra paintings in one cave, which loses the sense of integrity and majesty. Feitian paintings have also entered a stage of decline. First of all, due to the rise of Tantra sutra paintings (Tantric Buddhism promotes the belief of Maitreya and Guanyin), the number of Feitian paintings has greatly increased. The proportion of Feitian in the murals in the caves with Feitian paintings has also been significantly reduced. Typical caves that still have Feitian in the Five Dynasties include Mogao Grottoes 468, 61, and Cave 100 and 98.

Secondly, due to the increasing secularity of murals at this time, a large number of street life appeared in travel pictures and meridians paintings, which affected the creation of Feitian, making the image of Feitian resemble the portrayal of women at that time. The Feitian figures are all female, with their hair in a single bun, beautiful faces, slightly dotted red lips, euphemistic expressions, and elegant scarves, making them look like fairies from the Pure Land. Although the image still retains the painting style of the Tang Dynasty and shows the skillful style of meticulous lady painting, it is far less gorgeous than it was in the Tang Dynasty. The painting style of the Five Dynasties was a continuation of the late Tang Dynasty. The mural technique of lightly dyeing the burnt ink was widely used in the Mogao Grottoes. This painting method has bright colors and strong outlines. This technique is also used in the drawing of Feitian, so that the characters are handled with precision. However, the strong expressiveness in technique cannot cover up the paleness in art. Feitian paintings from the late Tang Dynasty to the Five Dynasties have become more procedural, and the number of masterpieces with innovative artistic conception has dropped sharply. ▲The Flying Apsara with Scattered Flowers (West Wall of Cave 468 of the Five Dynasties Mogao Grottoes) The Apsara is dressed as a Bodhisattva. He holds a lotus in one hand and a bud in the other, lying on his back and flying in the colorful clouds. At this time, Dunhuang's Feitian became programmed and had a single style. Although this picture is neat, the clouds, streamers, clothing and facial expressions all tend to be patterned and lack the breath of life. ▲ Flying Apsaras with Scattered Flowers (Fifth Dynasty Mogao Grottoes Cave 61, back screen) Two flying Apsaras flying horizontally, the upper one is gorgeously dressed, and the lower one is a girl with double buns, with a plump face, flowers scattered on her hands, simple clothes, vigorous and lifelike. The cheeks and body skin are smeared with red, and the lines are clear and smooth, inheriting the painting style of the Tang Dynasty. Decline period: Song, Xixia, and Yuan (960-1368) The Song, Xixia, and Yuan dynasties belonged to the late period of Dunhuang murals. During this period, the flying apsara paintings entered a period of decline, and the beautiful and moving Tiangong music and dance on the murals also came to an end. Song Dynasty: Feitian paintings became stylized and their shapes lacked vitality. In the Song Dynasty murals, the overall trend of Feitian paintings was gradually declining. Not only has the number of flying paintings decreased, but the shapes lack vitality and the spirit is weak. Some are even weak in character, unable to fly, and emotionless. The reasons are: First, the people have been in dire straits due to years of war, and it is difficult to arouse people's joyful emotions, and the financial resources for building the grottoes have also been affected. The second is the rise of Tantric Buddhism, which advocates the belief of Maitreya and Avalokitesvara, and Feitian appears rarely in statues. Another important reason is that the Cao family who was in charge of Dunhuang at that time followed the court system of the Northern Song Dynasty and established a painting academy in Guazhou, which made the painting of Feitian become stylized and lacked new ideas. In the early days of the establishment of the Dunhuang Painting Academy, the line drawings were quite bold, bold, rich and varied, especially in the shaping of the characters' faces, which were strong, energetic and had inner strength. But after Cao Yuanzhong, line drawing became weak and weak, and his artistic accomplishment was insufficient. However, the overall effect showed the unity of the painting academy and was seriously stylized. The Feitian in the murals in the courtyard generally has a plump face, a solemn expression, and a figure as slim as a girl. He is dressed as a Bodhisattva, with a scarf draped diagonally and a streamer decorated with stripes. The shapes are mostly based on lines, with strong and smooth hook lines. They are basically figures drawn in white, and only the accessories, skirts and scarves are colored. The main colors are stone green and ocher red, which combine cold and warm, simple and elegant. Typical examples include the Feitian in Cave 76 of Mogao Grottoes and Cave 26 of Yulin Grottoes. Mogao Grottoes Cave 76 Feitian is painted around the ring cave. However, the flowing and ethereal movement of the flying sky at this time is not enough, and the line is quite skillful. It is a representative work in the courtyard painting. ▲Feitian holding beads (North wall of Cave 76, Mogao Grottoes, Song Dynasty) Feitian has a round face, long eyebrows and slender eyes. He wears a crown, a high bun, a large scarf and a long skirt, and holds a golden Mani orb in both hands. The shape is beautiful and the painting is exquisite, making it a masterpiece of the Song Dynasty. ▲Flying Buddha Cover (North Wall of Cave 26, Yulin Grottoes, Song Dynasty) On both sides of the Buddha Cover in the Pure Land Transformation, the Flying Heavenly Buddha is riding on the clouds and circling down. She has a short and round face like a girl, an auspicious mole on her forehead, a double bun on the back of her head, and holds flowers in both hands. The outline is outlined with ink lines, and the main colors are stone green, ocher red and white, with a distinctive style. The splendor of the canopy can be traced back to the Five Dynasties. ▲Two Flying Apsaras Holding Pearls (South Wall of Cave 76, Mogao Grottoes, Song Dynasty) Two flying Apsaras face each other and hold a large Mani orb. Feitian's costumes are gorgeous and full of jewelry. Their shapes and outlines reflect the style of the times. The colors are cool, with cyan, green and gray as the main colors. Xixia Period: Feitian shapes are mostly in the style of ethnic minorities. Dangxiang is a nomadic people in the north. At the beginning of the 12th century, Dangxiang fought a long-term war with the Ganzhou Uighurs over the Hexi Corridor. The Dangxiang army captured Ganzhou and occupied the entire Hexi Corridor. After occupying Hexi, the Dangxiang tribe established the Daxia Kingdom and established a unique Xixia culture in just two hundred years. Xixia culture was influenced by the Han people in the Central Plains and the agricultural and pastoral cultures of Liao, Jin, Uighur, and Tubo, and it has a unique writing system. During the Uighur and Western Xia periods, there were not many newly opened grottoes in Dunhuang, and most of them were renovated. In the Mogao Grottoes and Yulin Grottoes, wonderful relics have been left, reflecting the emphasis on decorative features in the art of the Uighur and Dangxiang people. For example, in the Xixia caves, the common mural style is a group of flowers and brocades, depicting thousands of Buddhas, and human figures with strong bodies and short legs, which have the characteristics of Xixia; caves influenced by the Uighurs depict mandalas. This feature can also be seen from the flying apsaras drawn at this time. ▲Jile Feitian (Western Slope of Cave 10, Yulin Grottoes, Western Xia) Feitian wears a high bun, a crown, a shaved head, a plump face, red and phoenix eyes, a celestial robe and a skirt. Play the pipa and the zither, lively and harmonious. The human figure has strong body and short legs, showing the characteristics of Western Xia style. The line drawing is fine and the colors are light. It is a masterpiece of Xixia. ▲Jiyue Feitian (Western Slope of Cave Top, Yulin Grottoes, Cave 10, Western Xia). Two Jiyue Feitian, with high bun and flower crown, and long skirt. He turns his head to one side and plays the phoenix flute, and raises his clapper high to join in with it, which is a vivid image.

The musical instruments are drawn realistically and in good proportion with the human body. ▲Flower-presenting performer and musical performer Feitian (South slope of cave roof, Cave 327, Mogao Grottoes, Western Xia) Under the ornately decorated hanging curtain, two flying apsaras are presented with a bouquet of flowers, and each part of the konghou is played clearly. The painting is gorgeously decorated, but the colorful clouds are drawn too procedurally. Yuan Dynasty: Esoteric Buddhism prevailed, and Feitian gradually disappeared from the sky. During the Yuan Dynasty, the Mongols ruled the Dunhuang area, and very few caves were built or renovated in the Mogao Grottoes and Yulin Grottoes. Tantra was popular in the Yuan Dynasty and was divided into Tibetan Tantra and Han Tantra. There are no flying deities in Tibetan Tantric art, and there are not many existing flying deities in Han Tantric art. The representative figure of the Yuan Dynasty is the four flying apsaras in the two corners above the Avalokitesvara Sutra with Thousand Arms and Thousand Eyes in Cave 3 of Mogao Grottoes. Among them, the two flying apsaras above the Avalokitesvara Sutra on the north wall are more perfect. One has black hair, a double bun, a hairpin on her head, a high nose and big eyes, a fat body, and wears a long skirt. The other is a blond girl, her hair is in a double bun, also has a high nose and big eyes, holding a white lotus and riding on the clouds from the sky. And descend. The two apsaras are asymmetrical, and both have the faces of Central and Western Asia. The shapes are quite realistic, reflecting the local cultural characteristics. They no longer have the posture and style of the Buddhist apsaras, but look like two Taoist fairy boys flying on clouds. In terms of technique, it shows a strong Central Plains painting style, with rich composition, delicate brushwork and cadence. It can be called a masterpiece among the murals of the Yuan Dynasty in China. Since the Yuan Dynasty, Dunhuang Feitian gradually disappeared from the sky. ▲Feitian with hairpins (south wall of Cave 3 of Yuanmo Gao Grottoes) Feitian is floating on the yellow flying clouds, with a double-ring bun hanging on the back of his head, a hairpin on his head, a high nose, thick eyebrows and big eyes, a plump face and a strong body, holding lotus flowers as offerings to thousands of hands Thousand-Eyed Guanyin is very pious. This line drawing skill is top-notch among Dunhuang murals, and Avalokitesvara with Thousand Arms and Thousand Eyes is a Tantric theme. ▲The blond Feitian (North wall of Cave 3 of Mogao Grottoes in the Yuan Dynasty) Feitian has blond hair, a double bun, long eyebrows and a high nose. He holds a lotus in one hand and a lotus branch in the other. He descends from the sky to worship Guanyin with Thousand Arms and Thousand Eyes. Yellow clouds float around, contrasting with the purple of the scarf. The shape of Feitian has the characteristics of people from the Western Regions. Feitian is the spirit of the heavenly palace. Its shape embodies the kindest and most beautiful images in the world, making people feel friendly and protected. The aesthetic tone of Feitian is healthy and expresses the joy of flying, cheerful and optimistic. This is where the vitality of Feitian art lies. Dunhuang Feitian has gone through more than a thousand years, showing different era characteristics and national styles. Many beautiful images, joyful realms, and eternal artistic vitality still attract people today. As Mr. Duan Wenjie said in the article "Feitian in the World": ""They have not perished with the passage of time. They are still alive. In new songs and dances, murals, and crafts, there are images of Feitian everywhere. It should be said that they have descended from heaven to earth and will live in people's hearts forever, constantly giving people enlightenment and beautiful enjoyment. ◎This article is reproduced from ""CCTV4 National Treasure Archives"", the image source network, the copyright of the image and text belongs to the original author.