The Origin and Meaning of Dunhuang
The word "Dunhuang" was first seen in the Records of the Historian·Biography of Dawan. Ying Jin of the Eastern Han Dynasty explained in the Book of Han·Geography that "Dun means big; Huang means prosperous", which means grand and glorious. In the Tang Dynasty, Li Jifu explained that "Dun means big. It is famous because it has opened up the Western Regions." That is, Dunhuang was given this grand name because of its great significance in opening up the Western Regions. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!
The Origin and History of Dunhuang
The word "Dunhuang" was first seen in Zhang Qian's report to Emperor Wu of the Han Dynasty in Records of the Historian·Biography of Dawan. As for its etymology, most modern scholars believe that it is not Chinese, but may be a Chinese transliteration of the local minority language. For example, the Japanese scholar Fujita Toyohachi has verified that it is a transliteration of Tokhara, and the China scholar Cen Zhongmian believes that it is "Taugas". However, it has existed as an official place name in the Records of the Historian written in 104 - 91 B.C. In 111 B.C., the Han Dynasty officially established Dunhuang County. Before the Warring States Period, Dunhuang was a place where nomads lived, and there were many rock paintings from that time. Before the Qin Dynasty, the Yue people were active in the Hexi Corridor, including Dunhuang. Later, they were defeated by the Xiongnu and moved westward. The Hexi Corridor was occupied by the Xiongnu. After Emperor Wu of the Han Dynasty ascended the throne, Huo Qubing defeated the Xiongnu. Emperor Wu of the Han Dynasty first established Wuwei and Jiuquan prefectures, then divided Wuwei into Zhangye and Wuwei prefectures, while Jiuquan was divided into Jiuquan and Dunhuang prefectures. Dunhuang became an important town for the Han Empire to manage the Western Regions. The Han Dynasty built the Great Wall and beacon towers in the Hexi Corridor, and set up Yangguan Pass and Yumen Pass, consolidating the position of Dunhuang as a fortress. The southern route of the Silk Road opened by Zhang Qian passed through Dunhuang, and the new road opened by the Tang Dynasty also passed through Dunhuang. Dunhuang became the center and transit station of trade between China and the West, as well as the "throat lock" of the traffic between China and the West, which promoted the trade and cultural exchange between China and the West. Grape and pomegranate were introduced into China, Chinese silk and the four great inventions were spread to the West, and religious cultures such as Buddhism, Buddhism and Buddhism were also exchanged here. With the spread of Buddhist culture to the east, the artistic image of Flying Apsaras appeared in Dunhuang and became indigenous. In history, the Returning Army led by Zhang Yichao had reached an agreement with the tribe elders. They raised the Tang flag and fought alone for more than ten years, recovering Shazhou and other places. There was also the " Daughter of Dunhuang " Chang Shana. She was born in France. When she was 12 years old, she returned to the motherland with her father and entered the Mogao Grottoes of Dunhuang. She and her father copied murals for decades and inherited the culture of Dunhuang. The novel " Gilded Palm " is equally exciting. Everyone is welcome to click and read it!
What is the origin and origin of Dunhuang Flying Apsaras?
The Dunhuang Flying Apsaras originated from the long-term exchange and integration of Indian Buddhist Heaven and Man, China Taoist Feather Man, Western Region Flying Apsaras and Central Plains Flying Apsaras. From its origin, the prototype of the Flying Apsaras was the Indian mythological Gantalva (translated as the God of Music, also known as the God of Fragrance) and Jinnaro (translated as the God of Song). The two were originally the God of Entertainment and the God of Song and Dance in Brahmanism. Their functions were to "scatter flowers and spread incense" and "play music and dance" respectively. Later, they were absorbed by Buddhism and became two of the eight guardians. With the spread of Buddhism to the east, Buddhism was introduced to the Central Plains during the Ming Emperor of the Eastern Han Dynasty, and the Flying Heavens culture followed. In the Sixteen Kingdoms and the early Northern and Southern Dynasties, most of the Flying Apsaras were male. In the later period of the Northern and Southern Dynasties, there began to be female appearances that were neither male nor female. After it was introduced to China, Flying Apsaras interacted with the local Taoist Flying Immortal culture in China. After more than a thousand years of development and evolution, it formed the "Flying Apsaras with Chinese characteristics", which became an important part of Dunhuang mural art and also the art symbol of Dunhuang. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!
The Origin of Flying Apsaras in Dunhuang
Dunhuang Flying Apsaras were the name cards of the Mogao Grottoes in Dunhuang. Their origins were closely related to the spread of Buddhist culture. From the perspective of the origin of art, the image of Flying Apsaras gradually developed in Dunhuang area with the introduction of Buddhism into China. In the art of Buddhism, the Flying Apsaras symbolized the gods who served the Buddha and Sakra. They danced in the sky and appeared in the form of music and dance, scattering flowers, and so on. On the basis of absorbing and integrating foreign Buddhist culture and art, the artists in Dunhuang region combined with local aesthetic concepts and painting techniques to recreate the image of Feitian. In the Dunhuang murals, the images of Feitian were rich and colorful, with beautiful postures, smooth lines and gorgeous colors, which became a unique and charming artistic image in Dunhuang art, reflecting the religious beliefs, cultural exchanges and artistic creation level at that time. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!
The meaning of the flying goddess of Dunhuang
From the perspective of Buddhist culture, the Flying Goddess was related to Gantala and Jinnaro. Gantala was the music god in the Buddhist Kingdom, whose main task was to spread fragrance, offer flowers, praise and sing in the Buddhist Kingdom. Jinnaro was the song god in the Buddhist Kingdom, whose task was to play music. The two were integrated into the Flying Goddess of Dunhuang in China, symbolizing the significance of Buddhism such as playing music and worshipping Buddha. From the perspective of Indian mythology, the Goddess of Flying could be traced back to the image of the Heavenly Maiden. The Heavenly Maiden was originally a spirit related to water. She was brought to the Heavenly Court by the Emperor of Heaven, Indra, to entertain the gods. She sang and danced with the performance of the Heavenly Court musician, Gantava, and brought joy to the gods. Therefore, the Goddess of Flying also had the meaning of entertaining the gods. In the context of China culture, the Flying Apsaras were often painted in the murals of the tomb, symbolizing that the soul of the owner of the tomb could ascend to heaven. The Dunhuang Flying Apsaras also integrated the thoughts of China Taoist immortals, and their elegant images reflected the symbolic meaning of freedom, happiness and long-term happiness. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!
What is the origin of Dunhuang Flying Apsaras?
The Dunhuang Flying Apsaras originated from two Buddhist gods in Indian mythology. The "God of Heavenly Songs", Gantalva (Indian Sanskrit transliteration, Indian mythology called "God of Song and Dance"), had the function of "scattering flowers and spreading fragrance". The "God of Heavenly Music", Jinnaro (Indian Sanskrit transliteration, Indian mythology called "God of Entertainment"), had the function of "playing music and dancing." It was a long-term exchange and integration of the Indian Buddhist Heaven and Man, the China Taoist Feather Man, the Western Region Flying Apsaras, and the Central Plains Flying Apsaras. From the end of the Eastern Han Dynasty, there had been images of Flying Apsaras in the murals of Buddhist caves in our country. In the early days, many of them were men, but later they became beautiful women. In Buddhism, the Flying Apsaras were generally referred to as Gantalva and Jinnara of the Eight Protectors. These two gods combined into one and became the Dunhuang Flying Apsaras of later generations, becoming the God of Heaven and Earth in Buddhism. The Dunhuang Flying Apsaras were introduced to China from India. After more than a thousand years of development, they formed a Chinese style. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!
The origin and legend of the Dunhuang Flying Apsaras
Dunhuang Flying Apsaras were an important representative image of Dunhuang culture and art. Its origin was closely related to Buddhist culture. After Buddhism was introduced into China, the image of Flying Apsaras followed and continued to evolve and develop in the soil of Chinese culture. In the legends, the Flying Apsaras were regarded as the heavenly beings of the Buddhist Kingdom. They danced freely in the sky, expressing the joy and peace of the Buddhist Kingdom with their beautiful postures and elegant figures. They either held musical instruments to play beautiful fairy music, or held flowers and other things, symbolizing beauty, good luck, and praise to Buddha. The appearance of the Flying Apsaras in Dunhuang murals and other art forms not only reflected the belief and respect of the ancient people for Buddhism, but also reflected the imagination and yearning of the people at that time for the ideal realm. It integrated the artistic elements of China and the West and became a unique artistic treasure. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!
The Origin and History of the Flying Apsaras of Dunhuang
The origin of the Dunhuang Flying Apsaras could be traced back to the Wei, Jin, and Northern and Southern Dynasties (about the 3rd to 6th century AD) when Buddhism was first introduced into China. With the spread of Buddhist culture, the belief in gods in India and the mythical concept of China merged together, forming a unique image of the art of flying in Dunhuang. Its origin was closely related to Indian mythology. Among the Indian Brahmin gods, there were two kinds of service gods, Gandharva (Moon God, also known as the God of Music) and Jinnaro (Martial God, also known as the God of Song), who specialized in playing music and dancing for the gods such as Sakra. Later, Buddhism rose, and the Brahmin gods were converted into Buddhist guardians (the Eight Dragons). Gandharva and Jinnara were among them, still playing music and dancing. In the Sixteen Kingdoms and the early Northern and Southern Dynasties, most of the Flying Apsaras were male. In the later period of the Northern and Southern Dynasties, there were female appearances that were neither male nor female. From the Sixteen Kingdoms to the Northern Wei Dynasty, the image of the Flying Apsaras was deeply 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. The historical development of Dunhuang Flying Apsaras went through many periods: - Early (Northern Liang, Northern Wei, Western Wei period): To imitate the sprouting period, the Northern Liang Flying Apsaras had the characteristics of being thick, heavy, thick, and simple. - Middle period (Northern Zhou, Sui period): In the creative transformation period, the Sui Dynasty Flying Apsaras created vivid creations, with the most changes and different styles. They are exploring new styles. - "Peak period (early Tang, middle and late Tang, Five Dynasties period): It is the fixed period and the peak period. The basic image of the Flying Apsaras is a Bodhisattva costume and a female figure. During the prosperous period, it is influenced by court dance and beautiful women painting. - Late period (Song, Xixia, Yuan period): In the stylized stage, the murals of the Song Dynasty were basically the same as those of the late Tang Dynasty, lacking innovation and momentum. Flying images were mainly based on murals, the most typical of which was the Mogao Grottoes in Dunhuang. They were also distributed in the Grottoes of Maijishan, Bingling Temple, Yulin, Longmen, Yungang, and Kizil Grottoes in Xinjiang. The image of the Flying Apsaras had been spread to China by Buddhism from the Western Regions in the second year of Yongping of Emperor Ming of the Eastern Han Dynasty (59 AD). It had gone through the Northern Wei, Western Wei, Northern Zhou, Sui, Tang, Five Dynasties, Song, Yuan and other dynasties, spanning more than 1,000 years of history, forming an independent art form. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!
The origin and legend of the flying goddess of Dunhuang
The origin of the flying goddess of Dunhuang was related to the blending of many cultures. Its origin was the two Buddhist gods in Indian mythology, the God of Heavenly Songs (also known as the God of Fragrance, and the God of Singing and Dancing in Indian mythology) and the God of Heavenly Music (Jinnaro, known as the God of Entertainment in Indian mythology). Their functions were to spread incense and dance. As Buddhism spread eastward along the Silk Road, the image of Flying Apsaras flowed into Dunhuang. In this process, the image of the Flying Apsaras was also influenced by the image of the feathermen of China Taoism. In ancient legends, Taoist feathermen were long and had white wings. In the pre-Qin period, wings represented immortality. With the spread of Buddhism, the feathermen gradually absorbed Buddhist elements and evolved into the image of flying. In the local area, after the blending and collision with the Central Plains culture and the creation and processing of artists, the image of Feitian began to be localized, finally forming a unique image of the flying goddess of Dunhuang. In the legends, the Flying Apsaras were one of the gods worshiped by Buddhism. They were the attendants of Buddhas and Bodhisattvas. They specialized in playing the zither and playing music, scattering flowers and smelling fragrance, and could bring happiness to people. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!
The origin and history of the story of flying in Dunhuang
The story of flying in Dunhuang is closely related to the spread of Buddhist culture along the Silk Road. From the origin, the Flying Apsaras were two Buddhist gods in Indian mythology, the "Heavenly Song God" Kandarva (whose function was to "spread flowers and fragrance") and the "Heavenly Music God" Jinnaro (whose function was to "play music and dance"). The word "Flying Heavens" was first seen in the Eastern Wei Dynasty's Book of Luoyang Temple. In terms of historical development, Dunhuang Flying Apsaras experienced many stages. During the 170 years from the Wei, Jin, Northern and Southern Dynasties to the Northern Wei Dynasty, the image of the Flying Apsaras gradually rose and began to take shape. Moreover, the image of the Flying Apsaras in this period was deeply influenced by the Flying Apsaras of India and the Western Regions, and was generally the Western Region Flying Apsaras. The early Tang Dynasty, the middle and late Tang Dynasty, and the Five Dynasties were the heyday. The basic image of Flying Apsaras was a bodhisattva costume and a female figure. In the prosperous Tang Dynasty, it was influenced by court dance and painting of beautiful women. In the Song, Xixia and Yuan Dynasties, it was a decline period and was in a stylized stage. The murals of the Song Dynasty were basically the same as those of the late Tang Dynasty, lacking innovation and momentum. The image of the Flying Apsaras had various forms of expression, mainly in murals. Among them, the Mogao Grottoes in Dunhuang were the most typical. They were also distributed in the Grottoes of Maijishan, Binglingsi, Yulin, Longmen, Yungang, and Kizil Grottoes in Xinjiang. In addition, there are stone sculptures (represented by Yungang and Longmen), clay sculptures (Cave 437 of Mogao Grottoes and the East Kiln of Jinta Temple are still preserved), wood carvings (represented by Kaiyuan Temple in Quanzhou, Fujian Province) and other forms of expression. In terms of cultural integration, from the Northern Liang of the Sixteen Kingdoms to the Northern Wei Dynasty, the image of the Flying Apsaras was influenced by the Flying Apsaras of India and the Western Regions. As Buddhism developed in China, the Flying Apsaras of Buddhism and the Flying Immortals of Taoism merged in artistic image. The Dunhuang Flying Apsaras were the "Flying Apsaras of Chinese Culture and Art" that had long-term exchanges and integration with the Indian Buddhist Heaven and Man, the Chinese Taoist Feathermen, the Western Region Flying Apsaras, and the Central Plains Flying Apsaras. It showed rich multiculturalism, not only influenced by the ancient Indian culture, but also contained the aesthetic taste of the ancient Chinese Western Region culture and the Central Plains culture. It contained the philosophical thought of "the unity of heaven and man, harmonious development" and was the art symbol of Dunhuang, China. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!
The Meaning and Symbolism of the Flying Apsaras in Dunhuang
The Flying Apsaras of Dunhuang had rich meanings and symbolic meanings. It symbolized the spirit of human beings who loved nature, yearned for freedom, controlled the universe, and were high-spirited. It also symbolized human beings 'conquest of nature, control of space, and yearning for the future, freedom, and peace. It also embodied the spirit of the Chinese nation. It was the further development and sublimation of the kindness and beautiful ideals of the ancient people. In addition, as a Buddhist plastic art, the Flying Apsaras originally had a specific function in Buddhism, such as worshipping, scattering flowers and incense, singing and dancing music, etc. As they developed, they surpassed the meaning of Buddhism and became a symbol of good fortune. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!