The Allusion and Origin of the Legend of Flying Apsaras
The word "Flying Heavens" was first seen in the "Luoyang Temple Record". Flying Apsaras could be explained as "flying celestial beings". In the early days, most of them were female except for some flying monks. Its image is mainly based on murals, the most typical of which is the Mogao Grottoes in Dunhuang. It is also distributed in many places such as the grottoes of Maiji Mountain and Bingling Temple. Ever since the second year of Yongping, Emperor Ming of the Eastern Han Dynasty (59 A.D.), Buddhism was introduced to China through the Western Regions. The image of Flying Apsaras flew across the Northern Wei, Western Wei, Northern Zhou, Sui, Tang, Five Dynasties, Song, Yuan and other dynasties. It spanned more than 1,000 years of history and formed an independent art form. During the Wei, Jin, Southern and Northern Dynasties, the Flying Immortals in the murals were also called Flying Heavens. The image of the Flying Apsaras in the Sixteen Kingdoms from the Northern Liang to the Northern Wei Dynasty was influenced by the Flying Apsaras of India and the Western Regions. With the development of Buddhism in China, the art of Buddhism and Taoism combined. Flying Apsaras had a variety of styles during the Sui Dynasty and were still in the stage of exploring new styles. They reached their peak during the Sui and Tang Dynasties. Not only did they use Flying Apsaras in grottoes and monasteries, but they were also used in the emperor's bedroom. Flying Apsaras have four forms of artistic expression: painting is the most important form, with Dunhuang as the epitome, and is featured by single-line flat drawings and colored paintings; stone sculptures are represented by Yungang and Longmen, and are featured by shallow embossed, which fade after the original color is applied; clay sculptures of Flying Apsaras are featured by embossed and heavy colors, and are preserved in Cave 437 of Mogao Grottoes and the East Kiln of Jinta Temple; wood sculptures of Flying Apsaras are fully round or semi-round sculptures, painted with colored paint after carving, and are represented by Kaiyuan Temple in Quanzhou, Fujian Province. Flying Apsaras were the crystallization of multiculturalism. They contained the philosophy of "harmony between man and nature, and harmonious development." They were the symbolic symbols of China art. In ancient China myths and legends, the Flying Apsaras were images of gods. They were usually depicted as women wearing light and elegant dresses and flying freely in the sky. They were common in Buddhist art. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!
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