Flying in the Dunhuang murals, the creation of Huai Caves also appeared at the same time. Since the sixteenth countries, it has passed through ten dynasties and lasted more than a thousand years. Until the late Yuan Dynasty, it disappeared with the construction of the Dunhuang Grottoes. 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 Continuously changes. Different times and different artists have left us with different styles of flying. Dunhuang Feitian for more than a thousand years has formed a distinctive history of evolution and development. The history of its evolution is roughly consistent with the history of the development of the arts in Dunhuang, divided into four stages. From the north of the Sixteen Kingdoms to the Northern Wei Dynasty, it was more than 170 years. Dunhuang Feitian was deeply influenced by Feitian of India and the Western Regions during this period. But the characteristics of the two dynasties in this period were slightly different. The flying sky was painted at the top of the cave on the top of the cave. During the decoration of the cave's top algae well, the upper edge of the Buddhist nats and the main body of the story of the story were painted. Its shapes and artistic features are: round light, elliptical face, straight nose, big eyes, big mouth and big ears; ears on the ears, round heads, or wearing Indian five jewelry crowns; Writing long skirts and large towels; due to the change of glasses, it becomes white nose bridge and white -eyed beads, which are very similar in shape, face, posture, color, and painting skills. The most northern Wei -style flying sky is the two flying heavens 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 north wall of Cave 260. The prominent features of these four bodies are: round heads, wearing Indian five jewelry crowns, long face shape, because of color change, becoming white nose bridge, white circles, small -character face; half naked on the upper body, long legs, big opening " U "shape; the skirt is floating, the towel is flying, flying across the sky, and the smallpoints are flying around; although the flesh and ribbon of the flying sky have changed color, the slopping and lines of the skirt and the lines are very clear. The posture is free. From the Western Wei Dynasty to the Sui Dynasty, it was about 80 years. Dunhuang Feitian during this period is in the stage of Buddhist heaven and Taoist feathers. The stage of communicating, integrating, and innovation changes in the Western Region Feitian and the Central Plains Fei Xiang Xiangxiang is a combination of Chinese and Western. 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 flying in the air with various instruments in the air; as a song and dancing god, he rushed out of the sky fence and flew in the sky. 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. Thefang -style Feitian, during the period of Wang Rong, Wang Rong, Dongyang, was a kind of flying sky created by the Central Plains art painting from Luoyang in the Mogao Grottoes. This kind of flying is a flying sky with the fusion of Chinese Taoist Fei Xian and Hindu Flying: Chinese Taoist Fei Xian lost its feathers, bare upper body, neck decoration necklace, waist tied long skirts, shoulder wraps; India's Buddhism lost his head on his head The round light and the Indian treasure crown, the buns were bundled and put on the Taoist crown. The character's publicity is the "showcase" shape of the Central Plains, with a long figure, a thin neck, a wide forehead, a straight nose, a thin eyebrow, a thin eyebrow, a slightly smile on the corner of the mouth. Its most representative is the twelve -body flying sky on the top of the south wall of Cave 282. These twelve -bodies are flying in the sky, the head bundles, the upper body is bare, the waist is long skirt, the shoulder is wrapped, the body is slender, and the shape of a large open bow is flying against the wind. Pipa, Ruan Xian, 乐 乐. Four weeks of flowers rotate, clouds fluttering, setting off the flying sky and flying to the wind, as light as a swallow, taking pictures of each other, free and joyful, roaming space. The northern Zhou Dynasty is a minority regime established by the Xianbei people in the northwest. Although the period of rule is short, many caves have been built in Mogao Grottoes. The ruler of the Xianbei tribes believes in Buddhism and is in the western region. Therefore, the Western -style flying sky appears again. This new flying sky has the style of flying sky such as Guizi, Kizil, etc., round, strong, and legs. Short, rounded head, wearing Indian treasure crown, bare upper body, breast full of breasts, waist tied long skirts, shoulders around the towel belt. 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 is the era when Mogao Grottoes have the most flying sky, and it is also the era with the most types of flying sky in Mogao Grottoes and the most abundant posture. In addition to the Pioneer 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 walls, and most of them appeared in groups. The style of Feitian in the Sui Dynasty can be summarized into four different. First, regional characteristics are different. In the Sui Dynasty cave, there are both Western -style flying and Central Plains Flying, and more Chinese and Western flying sky. Second, the face shape is different. The face shape is rich in round and beautiful; the figure is strong and long. However, most of them are slender, with moderate proportion, soft waist, and generous. Third, the clothing crown and clothing are different. There are half naked upper body, as well as Zhang Zhi; some wearing sleeveless skirts, as well as wide -sleeved long skirts; some wearing treasure crowns, also buns, and bald monks -like flying sky. Finally, the flying posture is different. There are those who fly up, some are flying, some are flying windy, and some are flying against the wind, there are single flying, and some flying, but the posture of the flight is no longer "U", and the body is more free to stretch. Generally speaking, Feitian of the Sui Dynasty was in a period of communication, integration, exploration, and innovation. The overall trend was developing in the direction of Sinicization, laying the foundation for the complete Sinicization of the Tang Dynasty. The most beautiful flying sky is the flying sky of Cave 427 and Cave 404. . Cave 427 is one of the large caves in the Sui Dynasty, and it is also the most popular cave in the Sui Dynasty. The four walls on the four walls of this cave are flying around the Cave on the wall of the sky palace, with a total of 108 bodies. 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. However, there have been great changes in jewelry clothing: no round head, no treasure crown, some beam of peach -type fairy buns, some beams of double ring fairy buns, some beam of fairy buns; face is egg -shaped, eyebrows are clear eyes, eyebrows are clear eyes, eyes are clear eyes, eyebrows are clear eyes, eyebrows are clear eyes, eyes are clear eyes, eyebrows are clear eyes, eyes are clear eyes, eyebrows are clear eyes, eyebrows are clear eyes, eyebrows are clear, and eyebrows are clear. Rice, slender figure; the dress is soft and the towel is wide. Clothing, face, and body are like flying in the early Tang Dynasty. From the beginning to the night of the Tang Dynasty, the entire Tang Dynasty was about 300 years. Dunhuang Feitian continued to absorb the ingredients of Feitian in India on the basis of the culture and art of the nation, integrating the achievements of Feitian in the Western Regions and Central Plains, and developing creation. From the sixteenth countries, after the five dynasties of the Beiliang, the Northern Wei, the Western Wei Dynasty, the Northern Zhou Dynasty, and the Sui Dynasty, in the past 100 years, the Dunhuang Feitian, the east and the south, the north and the south of the Dunhuang Feitian, the north and the south were completed, and the Chineseization process was completed. 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 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, expressing the large -scale transformed Buddhist and heaven -"Pure Land of the West" and "Eastern Pure Land" The joy of the world. Feitian flying around the Buddha's head, or flying above the bliss world, some football clouds, slowly landing; some heads up and empty; some hold flowers and rush straight into the clouds; Traveling in the sky. The floating dresses, the flying roll belt, is really like the Tang Dynasty poet Li Baiyong praised the fairy poem: "The hands of the hibiscus, the virtual step is too clear. The tombists of the Dunhuang Research Institute divided the Tang Dynasty art of Dunhuang Grottoes into four stages: the Early Tang Dynasty, the Tang Dynasty, the Middle Tang Dynasty, and the Late Tang Dynasty. The four stages are divided into two periods before and after: early and prosperous Tang Dynasty, that is, the Tang Dynasty directly ruled the Dunhuang area buried (618-781 AD); , And Hexi Guijun Jiedushi Jun Zhang's jurisdiction of the Dunhuang area (AD 781-907). The artistic style best reflects the political, economic, and social forms of the times. Feitian in the early Tang Dynasty was striving for progress, powerful, powerful, unrestrained, and strange. The beauty of flying endlessly. This is consistent with the spirit of enlightened politics in the Tang Dynasty, strong national strength, prosperous economy, rich culture, and openness of openness. The most characteristic of the characteristics of the early Tang Dynasty style is Shuang Feitian, which is painted in Cave 321 in the early Tang Dynasty, and the four flying sky in Cave 320 of the Tang Dynasty. The two sides of the west of the western Buddhist altar on both sides of the western Buddha. These two flying days are very beautiful. Although the face and body of Feitian have become black, the outline, physical gesture, and dress straps of the eyebrows are very clear: The scattered flowers, the dresses 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. Itt in the late Tang Dynasty, there was no piercing spirit and free and joyful emotions in the moment and attitude. In the artistic shape, the clothes have 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. These flying sky is located on the north side of Baogai, and the attitude is the most expressive. His flying posture, his head was holding his chest, holding his hands, raising his legs, surrounding the treasure cover, from top to bottom, gently falling, flying on his back, and the color clouds on the chest spin. 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. From the Five Dynasties to the Yuan Dynasty, the Five Dynasties, Song Dynasty, Xixia, and Yuan Dynasty were about 460 years. Dunhuang Feitian inherited the Tang Dynasty style during this period. There was no change in innovation in the Sui Dynasty, and the aggressive spirit in the Tang Dynasty. Although Feitian's artistic level and style characteristics are different, one generation is not as good as a generation, and gradually promotes the original artistic life. The flying styles of these four dynasties are now briefly described as follows: The five generations and the Northern Song Dynasty were the period when the Cao's regime of the Hexi Gui Army was under the jurisdiction of 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 is not as lively, pretty and light, but the decorative is very good.例如此窟中一身弹古筝和一身弹箜篌的飞天，画得很完美：两身飞天皆头束发髻，弯眉大眼，直鼻小唇，脸形丰圆，耳垂环孬，半裸上体， The chest is decorated, the arm is decorated with a bracelet, the waist is a long skirt, the feet are exposed, and the hands are skillfully plucked the strings with both hands and elegant posture. Its biggest feature is that the flying towel band is three times long. There are floating flowers in the middle of the flying towel belt. There are colorful clouds flowing under the flying towel belt. Very strong. . Cave 327 is a cave in the late Song Dynasty in the Mogao Grottoes. The top of the cave is drawn along the drew one week. The east slopes are flying in the north, and the image attitude is perfect. Both of the two are buns, wearing pearls, naked upper body, naked, Xie Jie, arms decorated with treasures, full of face, beautiful eyebrows. He is holding a bouquet and a handsome man in his hands. On the flying sky, the flowers fell; under the sky, Caiyun railled. Although there was no momentum of the Tang Dynasty flying, its flying dynamic was also very vivid. It can be said to be the representative work of Feitian in the Song Dynasty. Is are a minority regime established by Tuoba Chi in the northwest. The flying sky in the Xixia period of Mogao Grottoes followed the style of the Song Dynasty, and some 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 gods of the Buddhist country and the god of the song god, and there is no charm of the Tang Dynasty flying. If you wipe out the towel belt on the arm, the colorful cloud underneath is completely a boy dressed as a party. From the perspective of character image, hair style, and clothing, the characteristics and living styles of the Xixia party group are all shown. The Mongolian rule in the Dunhuang area during the Yuan Dynasty, and there were very few caves that were rebuilt in Mogao Grottoes and Yulin Caves. Tantrics are popular in the Yuan Dynasty, divided into hidden secrets and Hanki. There is no flying sky in the art of Tibetan Tantra, and there are not many flying sky in the art of Han Tantra. Among them, the representative is the four -body flying sky on the two corners above the south wall of the 3rd Cave and the north wall of the "Thousands of Hands and Thousands of Eyes".这两身飞天相向对称，形象、姿态、衣饰基本相似，头梳锥髻、戴珠冠，脸形丰圆，长眉秀眼，上体半裸，项饰璎珞，臂饰宝钏，一手托莲花, Holding the lotus branch on the stubbornness, the yellow roll cloud drops from the air, the dresses are short, the body is heavy, and the flying dynamics are not strong. There is no gesture of Buddhist flying, but like two Taoist fairy children flying by clouds. Dunhuang Feitian has gone through more than a thousand years, showing different characteristics and national styles, many beautiful images, joyful realms, and eternal artistic vitality still attract people. The article said: "They have not perished with the past, and they are still alive. In the new song and dance, in the murals, the articles (trademarks, advertisements) are everywhere. The kingdom of heaven is landing on the earth, and it will always live in people's hearts, and constantly give people enlightenment and beauty. "
The flying apsaras in Dunhuang frescoes and the Huai Grottoes appeared at the same time, starting from the sixteen States and going through ten dynasties, lasting more than a thousand years, until the end of the Yuan Dynasty, with the of Dunhuang Grottoes . In the long history of more than one thousand years, e to the change of dynasties, the transfer of political power, economic and , the frequent exchange of Chinese and Western culture and other changes, flying apsaras artistic image, attitude and artistic , style and taste, are changing. Different times and different artists have left us different styles and of Feitian. Dunhuang flying apsaras formed a history of evolution and over a period of more than 1,000 years. Its evolution history is generally with that of the whole nhuang art history, which is divided intor stages. From the northern liang of the sizeen states to the northern wei, the flying Apsaras of Dunhuang Ring This Period WEEPly by India and the Flyin g Apsaras of the Western regions, generally speaking, flying apsaras of the Western regions. But the flying apsaras of the two dynasties in this period were also slightly different. The flying apsaras in the northern cool of Mogao Grottoes are mostly painted on the top of the grottoes, decorated with caisson Wells, along the top of the shrine and the head of the main figure in the story painting. Its modeling and artistic are: the head has a round light, oval face, straight nose, big eyes, big mouth and big ears; Earrings, a bun, or five Indian jewelry crowns; The body is short and thick, the upper body is half naked, the waist wraps the long skirt, the shoulder hangs the big scarf; Due to the of the dizzy technique , it becomes the white bridge of the nose and the white eyes, which are very similar to the flying apsaras in the Grottoes such as Qiuci in the Western Regions in terms of shape, face, attitude, color and painting skills.
Flying in the Dunhuang murals, the creation of Huai Caves also appeared at the same time. Since the sixteenth countries, it has passed through ten dynasties and lasted more than a thousand years. Until the late Yuan Dynasty, it disappeared with the construction of the Dunhuang Grottoes. 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 Continuously changes. Different times and different artists have left us with different styles of flying. Dunhuang Feitian for more than a thousand years has formed a distinctive history of evolution and development. The history of its evolution is roughly consistent with the history of the development of the arts in Dunhuang, divided into four stages. From the north of the Sixteen Kingdoms to the Northern Wei Dynasty, it was more than 170 years. Dunhuang Feitian was deeply influenced by Feitian of India and the Western Regions during this period. But the characteristics of the two dynasties in this period were slightly different. The flying sky was painted at the top of the cave on the top of the cave. During the decoration of the cave's top algae well, the upper edge of the Buddhist nats and the main body of the story of the story were painted. Its shapes and artistic features are: round light, elliptical face, straight nose, big eyes, big mouth and big ears; ears on the ears, round heads, or wearing Indian five jewelry crowns; Writing long skirts and large towels; due to the change of glasses, it becomes white nose bridge and white -eyed beads, which are very similar in shape, face, posture, color, and painting skills.
The most northern Wei -style flying sky is the two flying heavens 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 north wall of Cave 260. The prominent features of these four bodies are: round heads, wearing Indian five jewelry crowns, long face shape, because of color change, becoming white nose bridge, white circles, small -character face; half naked on the upper body, long legs, big opening " U "shape; the skirt is floating, the towel is flying, flying across the sky, and the smallpoints are flying around; although the flesh and ribbon of the flying sky have changed color, the slopping and lines of the skirt and the lines are very clear. The posture is free. From the Western Wei Dynasty to the Sui Dynasty, it was about 80 years. Dunhuang Feitian during this period is in the stage of Buddhist heaven and Taoist feathers. The stage of communicating, integrating, and innovation changes in the Western Region Feitian and the Central Plains Fei Xiang Xiangxiang is a combination of Chinese and Western. 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 flying in the air with various instruments in the air; as a song and dancing god, he rushed out of the sky fence and flew in the sky. 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.
Thefang -style Feitian, during the period of Wang Rong, Wang Rong, Dongyang, was a kind of flying sky created by the Central Plains art painting from Luoyang in the Mogao Grottoes. This kind of flying is a flying sky with the fusion of Chinese Taoist Fei Xian and Hindu Flying: Chinese Taoist Fei Xian lost its feathers, bare upper body, neck decoration necklace, waist tied long skirts, shoulder wraps; India's Buddhism lost his head on his head The round light and the Indian treasure crown, the buns were bundled and put on the Taoist crown. The character's publicity is the "showcase" shape of the Central Plains, with a long figure, a thin neck, a wide forehead, a straight nose, a thin eyebrow, a thin eyebrow, a slightly smile on the corner of the mouth. Its most representative is the twelve -body flying sky on the top of the south wall of Cave 282. These twelve -bodies are flying in the sky, the head bundles, the upper body is bare, the waist is long skirt, the shoulder is wrapped, the body is slender, and the shape of a large open bow is flying against the wind. Pipa, Ruan Xian, 乐 乐. Four weeks of flowers rotate, clouds fluttering, setting off the flying sky and flying to the wind, as light as a swallow, taking pictures of each other, free and joyful, roaming space.
The northern Zhou Dynasty is a minority regime established by the Xianbei people in the northwest. Although the period of rule is short, many caves have been built in Mogao Grottoes. The ruler of the Xianbei tribes believes in Buddhism and is in the western region. Therefore, the Western -style flying sky appears again. This new flying sky has the style of flying sky such as Guizi, Kizil, etc., round, strong, and legs. Short, rounded head, wearing Indian treasure crown, bare upper body, breast full of breasts, waist tied long skirts, shoulders around the towel belt. 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 is the era when Mogao Grottoes have the most flying sky, and it is also the era with the most types of flying sky in Mogao Grottoes and the most abundant posture. In addition to the Pioneer 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 walls, and most of them appeared in groups. The style of Feitian in the Sui Dynasty can be summarized into four different. First, regional characteristics are different. In the Sui Dynasty cave, there are both Western -style flying and Central Plains Flying, and more Chinese and Western flying sky. Second, the face shape is different. The face shape is rich in round and beautiful; the figure is strong and long. However, most of them are slender, with moderate proportion, soft waist, and generous. Third, the clothing crown and clothing are different. There are half naked upper body, as well as Zhang Zhi; some wearing sleeveless skirts, as well as wide -sleeved long skirts; some wearing treasure crowns, also buns, and bald monks -like flying sky. Finally, the flying posture is different. There are those who fly up, some are flying, some are flying windy, and some are flying against the wind, there are single flying, and some flying, but the posture of the flight is no longer "U", and the body is more free to stretch. Generally speaking, Feitian of the Sui Dynasty was in a period of communication, integration, exploration, and innovation. The overall trend was developing in the direction of Sinicization, laying the foundation for the complete Sinicization of the Tang Dynasty. The most beautiful flying sky is the flying sky of Cave 427 and Cave 404.
. Cave 427 is one of the large caves in the Sui Dynasty, and it is also the most popular cave in the Sui Dynasty. The four walls on the four walls of this cave are flying around the Cave on the wall of the sky palace, with a total of 108 bodies. 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. However, there have been great changes in jewelry clothing: no round head, no treasure crown, some beam of peach -type fairy buns, some beams of double ring fairy buns, some beam of fairy buns; face is egg -shaped, eyebrows are clear eyes, eyebrows are clear eyes, eyes are clear eyes, eyebrows are clear eyes, eyebrows are clear eyes, eyes are clear eyes, eyebrows are clear eyes, eyes are clear eyes, eyebrows are clear eyes, eyebrows are clear eyes, eyebrows are clear, and eyebrows are clear. Rice, slender figure; the dress is soft and the towel is wide. Clothing, face, and body are like flying in the early Tang Dynasty. From the beginning to the night of the Tang Dynasty, the entire Tang Dynasty was about 300 years. Dunhuang Feitian continued to absorb the ingredients of Feitian in India on the basis of the culture and art of the nation, integrating the achievements of Feitian in the Western Regions and Central Plains, and developing creation. From the sixteenth countries, after the five dynasties of the Beiliang, the Northern Wei, the Western Wei Dynasty, the Northern Zhou Dynasty, and the Sui Dynasty, in the past 100 years, the Dunhuang Feitian, the east and the south, the north and the south of the Dunhuang Feitian, the north and the south were completed, and the Chineseization process was completed. 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 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, expressing the large -scale transformed Buddhist and heaven -"Pure Land of the West" and "Eastern Pure Land" The joy of the world. Feitian flying around the Buddha's head, or flying above the bliss world, some football clouds, slowly landing; some heads up and empty; some hold flowers and rush straight into the clouds; Traveling in the sky. The floating dresses, the flying roll belt, is really like the Tang Dynasty poet Li Baiyong praised the fairy poem: "The hands of the hibiscus, the virtual step is too clear.
The tombists of the Dunhuang Research Institute divided the Tang Dynasty art of Dunhuang Grottoes into four stages: the Early Tang Dynasty, the Tang Dynasty, the Middle Tang Dynasty, and the Late Tang Dynasty. The four stages are divided into two periods before and after: early and prosperous Tang Dynasty, that is, the Tang Dynasty directly ruled the Dunhuang area buried (618-781 AD); , And Hexi Guijun Jiedushi Jun Zhang's jurisdiction of the Dunhuang area (AD 781-907).
The artistic style best reflects the political, economic, and social forms of the times. Feitian in the early Tang Dynasty was striving for progress, powerful, powerful, unrestrained, and strange. The beauty of flying endlessly. This is consistent with the spirit of enlightened politics in the Tang Dynasty, strong national strength, prosperous economy, rich culture, and openness of openness. The most characteristic of the characteristics of the early Tang Dynasty style is Shuang Feitian, which is painted in Cave 321 in the early Tang Dynasty, and the four flying sky in Cave 320 of the Tang Dynasty.
The two sides of the west of the western Buddhist altar on both sides of the western Buddha. These two flying days are very beautiful. Although the face and body of Feitian have become black, the outline, physical gesture, and dress straps of the eyebrows are very clear: The scattered flowers, the dresses 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.
Itt in the late Tang Dynasty, there was no piercing spirit and free and joyful emotions in the moment and attitude. In the artistic shape, the clothes have 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. These flying sky is located on the north side of Baogai, and the attitude is the most expressive. His flying posture, his head was holding his chest, holding his hands, raising his legs, surrounding the treasure cover, from top to bottom, gently falling, flying on his back, and the color clouds on the chest spin. 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. From the Five Dynasties to the Yuan Dynasty, the Five Dynasties, Song Dynasty, Xixia, and Yuan Dynasty were about 460 years. Dunhuang Feitian inherited the Tang Dynasty style during this period. There was no change in innovation in the Sui Dynasty, and the aggressive spirit in the Tang Dynasty. Although Feitian's artistic level and style characteristics are different, one generation is not as good as a generation, and gradually promotes the original artistic life. The flying styles of these four dynasties are now briefly described as follows:
The five generations and the Northern Song Dynasty were the period when the Cao's regime of the Hexi Gui Army was under the jurisdiction of 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 is not as lively, pretty and light, but the decorative is very good.例如此窟中一身弹古筝和一身弹箜篌的飞天，画得很完美：两身飞天皆头束发髻，弯眉大眼，直鼻小唇，脸形丰圆，耳垂环孬，半裸上体， The chest is decorated, the arm is decorated with a bracelet, the waist is a long skirt, the feet are exposed, and the hands are skillfully plucked the strings with both hands and elegant posture. Its biggest feature is that the flying towel band is three times long. There are floating flowers in the middle of the flying towel belt. There are colorful clouds flowing under the flying towel belt. Very strong.
. Cave 327 is a cave in the late Song Dynasty in the Mogao Grottoes. The top of the cave is drawn along the drew one week. The east slopes are flying in the north, and the image attitude is perfect. Both of the two are buns, wearing pearls, naked upper body, naked, Xie Jie, arms decorated with treasures, full of face, beautiful eyebrows. He is holding a bouquet and a handsome man in his hands. On the flying sky, the flowers fell; under the sky, Caiyun railled. Although there was no momentum of the Tang Dynasty flying, its flying dynamic was also very vivid. It can be said to be the representative work of Feitian in the Song Dynasty.
Is are a minority regime established by Tuoba Chi in the northwest. The flying sky in the Xixia period of Mogao Grottoes followed the style of the Song Dynasty, and some 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 gods of the Buddhist country and the god of the song god, and there is no charm of the Tang Dynasty flying. If you wipe out the towel belt on the arm, the colorful cloud underneath is completely a boy dressed as a party. From the perspective of character image, hair style, and clothing, the characteristics and living styles of the Xixia party group are all shown.
The Mongolian rule in the Dunhuang area during the Yuan Dynasty, and there were very few caves that were rebuilt in Mogao Grottoes and Yulin Caves. Tantrics are popular in the Yuan Dynasty, divided into hidden secrets and Hanki. There is no flying sky in the art of Tibetan Tantra, and there are not many flying sky in the art of Han Tantra. Among them, the representative is the four -body flying sky on the two corners above the south wall of the 3rd Cave and the north wall of the "Thousands of Hands and Thousands of Eyes".这两身飞天相向对称，形象、姿态、衣饰基本相似，头梳锥髻、戴珠冠，脸形丰圆，长眉秀眼，上体半裸，项饰璎珞，臂饰宝钏，一手托莲花, Holding the lotus branch on the stubbornness, the yellow roll cloud drops from the air, the dresses are short, the body is heavy, and the flying dynamics are not strong. There is no gesture of Buddhist flying, but like two Taoist fairy children flying by clouds. Dunhuang Feitian has gone through more than a thousand years, showing different characteristics and national styles, many beautiful images, joyful realms, and eternal artistic vitality still attract people. The article said: "They have not perished with the past, and they are still alive. In the new song and dance, in the murals, the articles (trademarks, advertisements) are everywhere. The kingdom of heaven is landing on the earth, and it will always live in people's hearts, and constantly give people enlightenment and beauty. "
The flying apsaras in Dunhuang frescoes and the Huai Grottoes appeared at the same time, starting from the sixteen States and going through ten dynasties, lasting more than a thousand years, until the end of the Yuan Dynasty, with the of Dunhuang Grottoes . In the long history of more than one thousand years, e to the change of dynasties, the transfer of political power, economic and , the frequent exchange of Chinese and Western culture and other changes, flying apsaras artistic image, attitude and artistic , style and taste, are changing. Different times and different artists have left us different styles and of Feitian. Dunhuang flying apsaras formed a history of evolution and over a period of more than 1,000 years. Its evolution history is generally with that of the whole nhuang art history, which is divided intor stages. From the northern liang of the sizeen states to the northern wei, the flying Apsaras of Dunhuang Ring This Period WEEPly by India and the Flyin g Apsaras of the Western regions, generally speaking, flying apsaras of the Western regions. But the flying apsaras of the two dynasties in this period were also slightly different. The flying apsaras in the northern cool of Mogao Grottoes are mostly painted on the top of the grottoes, decorated with caisson Wells, along the top of the shrine and the head of the main figure in the story painting. Its modeling and artistic are: the head has a round light, oval face, straight nose, big eyes, big mouth and big ears; Earrings, a bun, or five Indian jewelry crowns; The body is short and thick, the upper body is half naked, the waist wraps the long skirt, the shoulder hangs the big scarf; Due to the of the dizzy technique , it becomes the white bridge of the nose and the white eyes, which are very similar to the flying apsaras in the Grottoes such as Qiuci in the Western Regions in terms of shape, face, attitude, color and painting skills.