An Introduction to the Connotation of the Flying Apsaras in Dunhuang
Although the hometown of Dunhuang Feitian was in India, it was nurtured by Indian culture, Western Region culture and Central Plains culture. From an artistic point of view, it was a complex of many cultures. It was a product of long-term exchanges and integration between Indian Buddhism and China Taoism, as well as the Western Region Flying Apsaras and Central Plains Flying Apsaras. From the origin and function, Fei Tian was not a god, but a composite of Gantala and Jinnara. In the myth, one of them was good at singing and the other was good at dancing. Later, their functions were mixed into one. Qiantapo also played musical instruments, sang and danced, and Jinnaro also rushed out of the Heavenly Palace and flew into the clouds. The two were male and female, and they were combined into the Dunhuang Flying Apsaras of later generations. From a cultural point of view, although Flying Apsaras literally meant flying in the sky in the Chinese language, in fact, Flying Apsaras were dancers of the Heavenly Court, namely heavenly daughters or fairies. There were many legends about fairies in Indian mythology. They were originally water-based spirits, but were later brought to the Heavenly Court to entertain the gods and accompany musicians to sing and dance. Its original symbolic meaning was related to dew, fog, clouds, and rain. For example, the saying "Goddess Scatters Flowers" was related to its original meaning. In Buddhism, Flying Heavens were often painted in Buddhist grotto murals. They were the flying gods painted in Dunhuang grottoes, and later became a special term for Dunhuang mural art. Among the 492 caves in the Mogao Grottoes of Dunhuang, almost all of them had Flying Apsaras painted on them, totaling more than 4500 bodies. It was the grotto with the most Flying Apsaras preserved in Buddhist grottoes and temples in the world. Its artistic effect had now surpassed the original religious meaning and became an artistic expression that the world was obsessed with. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!
The Spiritual Connotation of the Flying Apsaras in Dunhuang
Dunhuang Flying Apsaras had many spiritual meanings: - Freedom, optimism, peace, and progress: Dunhuang Flying Apsaras are like people's spiritual sustenance. They are always cheerful and positive. This spirit of freedom, optimism, peace, and progress still has a lasting charm in the contemporary era. - Fusion and innovation: The evolution of Feitian reflects the spirit of innovation under the integration of different cultures. For example, during the period of its innovation, it was in the stage of communication, integration, and innovation between Buddhism and Taoism, and between the Western Region Flying Apsaras and the Central Plains Flying Immortals. In its heyday, the Flying Apsaras no longer had the style of the Indian Western Region Flying Apsaras, and were completely China innovative results. - Friendship, peace, justice, courage: In the contemporary era, through a series of classic stage plays, Dunhuang Flying Apsaras were endowed with new meanings, including friendship, peace, justice, courage, etc. These meanings created new art and new national culture at the same time. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!
The Cultural Connotation of the Flying Apsaras in Dunhuang
Although the hometown of Dunhuang Flying Apsaras was in India, it was the result of Indian culture, Western Region culture and Central Plains culture. From an artistic point of view, it was a complex of many cultures. It was a flying celestial with Chinese cultural characteristics formed by the long-term exchange between Indian Buddhist celestial beings and Chinese Taoist feathermen, as well as the western region flying celestial beings and the central plains flying celestial beings. In terms of origin and function, the Dunhuang Flying Fairy was not a god, but a composite of Qiantapo and Jinnaro. Gantalva was translated as the God of Heavenly Songs, and Jinnara was translated as the God of Heavenly Music. They were originally the gods of entertainment and singing and dancing in ancient Indian mythology. They were husband and wife, and were later absorbed by Buddhism as one of the eight gods of the Heavenly Dragon. After the two functions were mixed, they became flying. In the early days, those who played music in the Heavenly Palace were called "Heavenly Palace Jiyue", and later those who sang and danced with musical instruments were called "Flying Jiyue". Dunhuang Feitian carries people's longing for a better life. It plays an irreplaceable role in carrying forward national culture and enhancing national pride. The cultural implication embodied in it is also of great significance in cultural inheritance, communication and innovation. For example, modern ice performance combines Dunhuang Feitian with modern art, showing the collision and fusion of ancient culture and modern art. It reflects the perfect combination of cultural inheritance and innovation, as well as the profoundness and profoundness of Chinese culture. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!
Introduction of the Dunhuang Flying Apsaras
"Dunhuang Flying Apsaras" had many meanings. In terms of artistic performance,"Dunhuang·Flying Apsaras" was a dance program in the Spring Festival Gala of the Central Radio and Television Station in 2019. It was starred by Luna, Qiu Yunting, Wang Jiyu, etc., with Fei Bo and Wang Qi as the directors. The dance was adapted from the original dance drama "Dunhuang" of the Central Ballet Troupe, condensing the experience of the watchmen of Dunhuang into the story of the male and female protagonists. By showing their protection and feelings for the Dunhuang murals, it reflects the artistic achievements of Dunhuang and pays tribute to the artists of Dunhuang. It combined silk road culture with the art of Ballet. At that time, it was the first time to boldly combine Dunhuang culture with Western Ballet, and the evaluation was mixed. Its creation was based on Fei Bo's trip to Dunhuang in 2012, touched by the stories of the previous presidents of Dunhuang Research Institute and other Dunhuang Watchers. The dance drama "Dunhuang" was revised by the Central Ballet Troupe for 28 drafts and took 7 years to prepare. The main creative team experienced the life of Dunhuang people for 3 months. Dancers use their limbs to pursue the oriental lines. From the point of view of crafts, there was a selection of high-quality whole materials, a clean knife hand made of Dunhuang Flying Apsaras. When the master made it, he carved delicate and delicate carvings on the silk necklace. From a distance, the Flying Apsaras blew the flute and rode on the clouds, like a swimming dragon. The base of this work was 30 meters long, the total height was 68 meters, the net height was 56 meters, and the weight was 1675 grams. In addition, there was also a hotel called "Dunhuang Feitian". For example, the Dunhuang Feitian Hotel was located on Mingshan Road, Dunhuang City, Gansu Province. The main building and the annex building were each three stories high. There were 87 guest rooms (sets) with a standard room area of 26 square meters. The Feitian Hotel was located in the center of Dunhuang City, adjacent to the municipal government square in the north, 12 kilometers away from the railway station and 13 kilometers away from the airport in the east. It was a foreign-related four-star hotel. The design was in the style of Han and Tang Dynasties, the decoration was luxurious, and the cultural atmosphere was strong. There were 133 rooms of various types, as well as the "Feitian Cantonese Cuisine Emperor" dining place, with a multi-functional performance hall and other functional areas. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!
A brief introduction to the flying apsaras of Dunhuang
The word "Flying Heavens" was first seen in the Eastern Wei Dynasty's Book of Luoyang Temple. In Buddhism,"Heaven" not only referred to the Heavenly Kingdom and the Heavenly Palace, but also the honorific title of the gods. The "Flying Heavens" in Chinese Buddhist scriptures referred to the heavenly people in the Heavenly Palace who offered sacrifices to the heavenly people, worshiped Buddha, and performed music and dance. Generally, it referred to Qiantapa and Jinnaro of the Eight Guardians. The two combined into Dunhuang Flying Heavens, becoming the God of Heaven and Earth in Buddhism. Dunhuang Flying Apsaras were introduced into China from India. After more than a thousand years of development, they formed a Chinese style, which could be divided into four periods: early, middle, prosperous and late. It had a rich meaning, and it was a misunderstanding to understand the image of Feitian from the literal meaning of Chinese. It was the symbol of Dunhuang murals, not limited to Dunhuang, but also in Yungang Grottoes and other places. In places with Buddhist art, the image of a flying celestial would often appear. Its theme and expression had a very high artistic taste. It was loved by people from generation to generation. It surpassed the Buddhist meaning and became an auspicious symbol. It also derived from the murals of the Mogao Grottoes in Dunhuang to describe the outstanding talent and extraordinary meaning. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!
A brief introduction of the Dunhuang Flying Apsaras
Dunhuang Flying Apsaras were the treasures of ancient China art. They were mysterious, elegant, and deeply rooted in the hearts of the people. From the point of view of dance art,"Dunhuang·Flying Sky" was a dance program for the Spring Festival Gala in 2019. It was starred by Luna, Qiu Yunting, Wang Jiyu, etc., and edited by Fei Bo and Wang Qi. It was adapted from the original dance drama "Dunhuang" of the Central Ballet Troupe. The main creative team of the dance drama experienced the life of the Dunhuang people. The dancers used their limbs to pursue the oriental lines. They combined the silk road culture with the art of ballet, condensing the experience of the Dunhuang watchmen into the story of the male and female protagonists, showing the protection and emotion of the murals, reflecting the achievements of Dunhuang art, and paying tribute to the artists of Dunhuang. However, due to the bold combination of Chinese and Western art for the first time, there were mixed reviews at that time. From the perspective of cultural communication and modern interpretation, Liu Yifei's Dunhuang Flying Picture was very popular. The style was inspired by Dunhuang murals. The clothing and makeup were full of Dunhuang cultural elements. The colors were bright and the patterns were exquisite. The makeup was both classical and modern. Her performance triggered a discussion between traditional culture and modern aesthetics. Some people thought that this was a successful cultural innovation, attracting more people to pay attention to traditional culture; others thought that being too commercial and entertaining might weaken the seriousness and historical sense of Dunhuang culture. Her performance showed the fusion of classical beauty and exotic customs. In terms of eyes and dance, she reflected the co-existence of gentleness and mysterious charm of a classical woman. She had both the gentle and graceful oriental dance and the passionate western dance. It was a successful fusion of classical and modern, local and exotic cultures. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!
Dunhuang Flying Apsaras
Dunhuang Flying Apsaras originated from Dunhuang culture and were an important artistic image in Dunhuang murals. From the point of view of artistic creation, the dance program "Dunhuang·Flying Sky" was adapted from the original dance drama "Dunhuang" arranged by the Central Ballet Troupe. The director Fei Bo went to Dunhuang to collect wind in 2012 and was touched by the watchmen of Dunhuang, and then drew from the story of Dunhuang. There are generations of watchmen in Dunhuang, such as Chang Shuhong, the first president of the Dunhuang Research Institute, who gave up the opportunity to study in France in the 1940s and came to Dunhuang to protect Dunhuang art; Duan Wenjie, the second president, spent half of his life copying more than 300 Dunhuang works; Fan Jinshi, the third president, took root in the desert, carried out grotto archaeological research and innovative management, and built "Digital Dunhuang". The dedication and perseverance of these Dunhuang people became the source of creation, and their stories were condensed into related works. The dance drama "Dunhuang" was revised by the Central Ballet Troupe for 28 drafts and took 7 years to prepare. The main creative team experienced the life of Dunhuang people for 3 months. The dancers used their limbs to pursue the oriental lines. Its picture modeling was based on the real painting environment and situation design of Dunhuang Mogao Grottoes. For example, the "lotus" shape symbolized the spiritual character of Dunhuang people such as noble and clean. The art of flying in Dunhuang had a deep cultural foundation. It was a part of China traditional culture and reflected the aesthetic concept of ancient China art. The flying goddesses in the murals were beautiful, their clothes fluttering, their movements light and elegant, their clothes gorgeous, and their ribbons were agile. Their images were extraordinary and elegant, conveying the freedom and elegance of the spirit, becoming a wonderful symbol in China culture. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!
Dunhuang Flying Apsaras
The Dunhuang Flying Fairy Portrait was a type of portrait with a unique charm. As an important town on the Silk Road and a holy land of Buddhist culture, Dunhuang's flying image was the most dazzling existence in Dunhuang murals, especially the murals related to the Tang Dynasty. Today, Dunhuang Flying Sky Portrait is very popular. In the photo shoot, it would involve clothing selection, makeup, and other aspects. For example, men would choose suitable clothes to present a feminine style when shooting Dunhuang Flying Flying Pictures. For example, Wang Churan's portrait of the Dunhuang Goddess. She was wearing a pink elegant long dress, holding a lute, her hair tied up high, and her eyes were red. She was so beautiful that she could not be compared to others. During the shooting process, the photographer would instruct the photographer to pose in various poses. Although some poses might make people feel uncomfortable, they could still produce good results. At the same time, there were many places that could create a realistic flying experience for tourists, providing gorgeous clothing and dazzling accessories, allowing people to instantly transform into fairies in murals. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!
Dunhuang Flying Apsaras
Dunhuang Flying Apsaras were one of the symbols of Dunhuang art. In terms of dance, for example, the dance program "Dunhuang·Flying Sky" in "2019 Central Radio and Television Spring Festival Gala" was adapted from the original dance drama "Dunhuang" arranged by the Central Ballet Troupe. Fei Bo, the director, once went to Dunhuang to collect folk songs and was touched by the watchmen of Dunhuang. These watchmen included Mr. Chang Shuhong, Mr. Duan Wenjie, Mr. Fan Jinshi, etc. They dedicated their youth and energy to protect Dunhuang art. The main creative team of the dance drama had gone through many years of preparation and revision. The dancers experienced the life of the Dunhuang people and used their limbs to show the oriental lines, allowing the audience to see the beauty of historical and cultural heritage. This dance program combined thousands of years of Silk Road culture with the art of Ballet. It was a unique dance that combined traditional China art with Western Ballet. Although the evaluation of the first combination was mixed, it was colorful and reflected the brilliant artistic achievements of Dunhuang. It also paid tribute to the artists of Dunhuang. From the perspective of cultural image, Liu Yifei's Dunhuang Flying Apsaras also brought us a lot of inspiration. Her style was inspired by the flying image in Dunhuang murals. Both her clothing and makeup were full of Dunhuang cultural elements. The clothes were colorful and the patterns were exquisite. The makeup was based on classic elements and had a sense of both classical and modern fashion. Her style not only gave people a visual enjoyment, but also caused a lot of discussions about traditional culture and modern aesthetics. On the one hand, some people think that this is a successful cultural innovation, re-interpretation of Dunhuang culture through modern aesthetics, attracting more people to pay attention to and love traditional culture, and stimulating people's desire to understand and learn deeply; On the other hand, some people worry that this is too commercial and entertaining, which may weaken the seriousness and historical sense of Dunhuang culture, making people ignore the profound meaning behind it. However, it was undeniable that this style was a beautiful collision between classical beauty and exotic customs. Her eyes, movements and expressions all showed unique charm, which made a good demonstration in the integration of cross-cultural art, letting people feel the infinite charm and possibility of art. It was also a good presentation and transmission of Dunhuang Feitian culture image in modern society. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!
The Flying Apsaras in Dunhuang
The flying murals in Dunhuang are the artistic treasures of the Mogao Grottoes. The Mogao Grottoes were built in the former Qin Dynasty and had been continuously built through many dynasties. They were huge in scale and contained many caves, murals, and clay sculptures. The image of "Flying Apsaras" in Dunhuang Flying Apsaras Murals had experienced a long process of development and evolution. At first, the image of the flying sky originated from the flying god in Indian Buddhism, but when it appeared in China, it was different from the flying god in Indian Buddhism. During the period from the Sixteen Kingdoms to the Northern Wei Dynasty, the flying gods of Dunhuang were deeply influenced by the flying gods of India and the Western Regions. Their images carried a strong foreign cultural atmosphere. The image of the flying gods of Buddhism in this period was probably a human figure with horns and the ability to ride clouds and fog. After being introduced to Dunhuang, they were created as the image of a gentle and beautiful woman who was dancing in the air and tied with long streamers. From the Western Wei Dynasty to the Sui Dynasty, the Dunhuang Flying Apsaras were in the stage of the exchange and integration of Buddhist Heaven and Man and Taoist Feather Man, and the Western Region Flying Apsaras and the Central Plains Flying Immortals. The Sui Dynasty had the largest number of "Flying Apsaras" and the most diverse types. The dynamic description of flying, the changes in limbs and clothing had been greatly improved. During the Tang Dynasty, the Flying Apsaras culture reached its peak, and the image was basically China. The change of line style became the dominant element, and the craftsmen's skills matured, making the image of the Flying Apsaras of this period almost perfect. Although there were modifications in the Xixia and Yuan dynasties, there were no major innovation. Dunhuang Flying Sky Murals had unique artistic features, including natural and agile lines, which were concentrated on the image of Flying Sky, which could show the flying track of the fluttering clothes and the rhythm of music. It had the shape of a weak willow supporting the wind, expressing the beauty of the shape through delicate texture and pen and ink language. The strokes were agile and colorful, and the ribbon enhanced the sense of movement of Flying Sky. At the same time, Dunhuang Flying Apsaras were not only a display of human beauty, but also a symbol of exuberant vitality. They were the product of the combination of romanticism and creative methods, with extremely high aesthetic and artistic taste. Flying Apsaras had missions such as scattering flowers and playing music in the Buddhist Kingdom. For example, some of them held flowers in one hand and scattered them in the other to create a beautiful atmosphere. There were also some who played the pipa, the waist drum, and the empty throat. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!