Historical background introduction of the Flying Apsaras of Dunhuang
The historical background of the Dunhuang Flying Apsaras was as follows: From the origin point of view, the origin of Feitian culture is closely related to the cultural exchange and integration in Dunhuang area. During the Wei, Jin, Southern and Northern Dynasties, the Central Plains was in chaos. Dunhuang was stable and the nobles fled here. The Taoist culture of the Central Plains moved into Dunhuang with the nobles and merged with the local Confucianism, laying the foundation for accepting different cultures. In the fifth century, Dunhuang became the cultural center of the Hexi Corridor, which prepared for the arrival of Buddhist culture. From the perspective of cultural communication, Dunhuang was located in the Hexi Corridor. After the Qin Dynasty unified the Central Plains, the Central Plains Brigade traded with the countries of the Western Regions through this place, promoting cultural exchanges. After the opening of the Silk Road in the Han Dynasty, different ethnic cultures from Central and Western Asia came eastward. Dunhuang became a bridge for the exchange between China and the West. The culture left behind by the people from the East and the West promoted the formation of Dunhuang murals, and Feitian was the classic image in Dunhuang murals. Flying Apsaras were introduced to China from India. The term "Flying Apsaras" was first seen in the "Luoyang Temple Record" written in the Eastern Wei Dynasty. In the Buddhist concept, Flying Apsaras referred to the heavenly people who offered sacrifices to the heavenly people, worshipped Buddha, and performed music and dance in the Heavenly Palace. In Buddhism, they generally referred to the Eight Protectors, Gantalva and Jinnara. The two combined into the later Dunhuang Flying Apsaras and became the God of Heaven and Earth in Buddhism. In different historical periods, Dunhuang Flying Apsaras had different stages of development and characteristics. In the early period, from the Northern Liang of the Sixteen Kingdoms to the Northern Wei Dynasty, it was deeply influenced by the Indian and Western Region Flying Apsaras. Generally speaking, it was the Western Region Flying Apsaras. The Sui Dynasty had the most changes and different styles. They were exploring new styles, which was the end of the early Flying Apsaras and the foundation of the Flying Apsaras in the prosperous Tang Dynasty. It reached its peak in the Sui and Tang Dynasties. Not only did the grottoes and monasteries use Flying Apsaras, but also the emperor's bedroom. In the Song, Western Xia and Yuan Dynasties, it was in the stylized stage and declined. The theme of the Song Dynasty murals was basically the same as that of the later Tang Dynasty, lacking innovation and momentum. The aesthetic concepts of different ethnic groups in different periods and various cultures together constituted the image of Dunhuang Flying Apsaras. It was the result of the joint breeding of Indian culture, Western Region culture and Central Plains culture. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!
Historical background of Dunhuang Flying Apsaras
The term Flying Apsaras was first seen in the Eastern Wei Dynasty's Book of Luoyang Temple. Flying Apsaras were introduced to China from India. Although their hometown was in India, the Dunhuang Flying Apsaras were nurtured by the Indian culture, the Western Region culture, and the Central Plains culture. In Buddhism, the Flying Apsaras generally referred to the Eight Protectors, Gantalva and Jinnara. The two combined to form the Dunhuang Flying Apsaras, the God of Heaven and Earth in Buddhism. 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, and Southern and Northern Dynasties, Buddhism had just begun to spread, and there was a situation where there was no distinction between flying celestial and flying celestial. At that time, the image of flying celestial was deeply influenced by the Indian and Western Region flying celestial, and it was generally the Western Region flying celestial. With the development of Buddhism in China, the artistic images of Buddhist flying immortals and Taoist flying immortals merged. During the Sui Dynasty, Emperor Wen of the Sui Dynasty, Yang Jian, and Emperor Yang of the Sui Dynasty, Yang Guang, both worshiped Buddhism. During this period, Buddhism was at its peak, and more than 100 caves were built in the Mogao Grottoes in just over 30 years. Emperor Yang of the Sui Dynasty was particularly fond of flying apsaras. The imperial court strongly advocated painting flying apsaras, which led to a sudden increase in the number of flying apsaras in the Mogao Grottoes and the peak of the art of flying apsaras in Dunhuang. The Sui Dynasty Flying Apsaras had completely gotten rid of the influence of the Western Region's painting style and replaced it with the techniques of the Central Plains. They were the most artistic and creative. They were basically the female style of the Central Plains. They had a variety of styles, vivid creations, and the layout was mostly for groups. The beginning and end of the formation had their own postures and were dynamic and changeable. During the Tang Dynasty, the image of the Flying Apsaras reached its peak. Not only did the grottoes and monasteries use Flying Apsaras, but the emperor's bedroom also used them. Dunhuang Feitian was divided into four periods: early, middle, prosperous and late. The early period was the period of Northern Liang, Northern Wei and Western Wei, which was the period of imitation sprouting; the middle period was the period of Northern Zhou and Sui, which was the period of transformation and creativity; the prosperous period was the period of early Tang Dynasty, middle and late Tang Dynasty and Five Dynasties, which was the fixed period and the prosperous period; the late period was the period of Song, Western Xia and Yuan Dynasty, which was the stylized stage or decline period. Different periods were influenced by different styles. For example, during the Tang Dynasty, it was influenced by court dances and paintings of beautiful women. In the process of historical development, the aesthetic concepts of various cultures and different ethnic groups in different periods were integrated, forming the elegant and light image of Dunhuang flying sky, becoming one of the greatest achievements of Dunhuang murals, condensing the essence of Dunhuang art and becoming the symbol of China national art. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!
Historical background map of Dunhuang Flying Apsaras
The historical background of the Dunhuang Flying Apsaras involved many factors. From the perspective of cultural exchange, during the Qin Dynasty, the Central Plains Brigade carried out trade with the countries of the Western Regions through this place, which promoted cultural exchanges. After the opening of the Silk Road in the Han Dynasty, the cultures of various ethnic groups in Central and Western Asia came to the east. Dunhuang became a bridge for the exchange between China and the West, laying a multiculturalism foundation for the emergence of Dunhuang Flying Apsaras. During the Wei, Jin, Southern and Northern Dynasties, the Central Plains were in chaos and the society of Dunhuang was stable. The aristocrats fled here and brought the Taoist culture of the Central Plains, which was integrated with the local Confucianism. In addition, Dunhuang became the cultural center of the Hexi Corridor in the fifth century, which prepared for the arrival of Buddhist culture. The integration of various cultures created the conditions for the origin of the Feitian culture. From the perspective of the spread of Buddhism, in the second year of Yongping, Emperor Ming of the Eastern Han Dynasty (59 AD), Buddhism was introduced into China through the Western Regions. The image of the Flying Heavens was then introduced and began to develop and evolve in China. At first, the concept of the Flying Heavens and the Flying Immortals was not separated. Later, as Buddhism developed further, the Flying Heavens and the Taoist Flying Immortals merged in artistic image. In different historical periods, the development of Flying Apsaras was also influenced by the aesthetic and artistic styles of the society at that time. For example, during the Northern Zhou Dynasty, the style of the Central Plains was integrated, and the drawing was mainly based on line drawing, with strong color contrast. The Flying Apsaras of the Sui Dynasty had the most changes and were the most innovative and creative, which was the end of the early Flying Apsaras and the foundation of the Flying Apsaras of the Tang Dynasty. During the Tang Dynasty, Flying Apsaras were influenced by court dances and paintings of beautiful women. In the Song, Western Xia and Yuan Dynasties, Flying Apsaras were in a declining stylized stage. Dunhuang Feitian spanned the Northern Wei Dynasty, Western Wei Dynasty, Northern Zhou Dynasty, Sui Dynasty, Tang Dynasty, Five Dynasties, Song Dynasty, Yuan Dynasty and other dynasties. In the course of more than a thousand years of history, it integrated Indian culture, Western Region culture, Central Plains culture, and became a complex of various cultures. Finally, it formed a China style and became the symbolic achievement of Dunhuang murals and even China national art. These factors together constituted the historical background of the Dunhuang Flying Apsaras. "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!
The background of the dance of flying apsaras in Dunhuang
The background of the flying dance in Dunhuang is closely related to the murals of the Mogao Grottoes in Dunhuang. The flying murals in the Mogao Grottoes in Dunhuang show the graceful and vivid image of the god of Buddhist music, symbolizing freedom, happiness and long-term happiness. These murals provided a rich source of material for the creation of flying dance. From a historical and cultural point of view, the culture of Dunhuang area flourished during the Sui and Tang Dynasties, and the image of Feitian was also an important embodiment of culture and art at that time. Flying dance creations in different periods were influenced by the social and cultural atmosphere at that time. For example, in the 20th century, China artists began to explore the culture of folk dance. The creation of the flying dance of Dunhuang was also a manifestation of the revival of traditional culture. Dai Ailian, for example, used the form of the Flying Apsaras in the Dunhuang murals as the main material, and drew on the body movements, dance steps, and long silk dance techniques of traditional opera to create the pas de deux dance Flying Apsaras. From the perspective of artistic development, modern creators hoped to revitalize the image of Flying Apsaras in Dunhuang murals in the form of dance, showing the beauty of Chinese classical dance, and constantly exploring in the process of artistic inheritance and innovation. For example, the 2008 CCTV Spring Festival Gala Dunhuang Dance "Flying Apsaras" performed by the Warrior Art Troupe of the Political Department of Guangzhou Military Region, the director used this dance to express the prosperity of China and show the beauty of Chinese classical dance through unique dance movement design. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!
Historical Legend of the Flying Apsaras in Dunhuang
I recommend a few super interesting novels. " The King of Entertainment Industry's Popularity " was a novel written by a sweet-talker. The male lead, Chen Lang, was nicknamed Langjun Chen. He was the person in charge of the entertainment industry's popularity and would be trending every week. However, he had a venomous mouth and loved to diss people. His reputation was not good and he was always targeted. He also always cried out for injustice. It was very funny. " Plane Power Train " was a novel written by the commander of the Dunhuang garrison. The main character was the conductor. The train stopped outside the Earth and carried guests from all over the world to trade. It could even enter the guest world. There were cool plots such as fighting Duan Siping with the Fire Cloud Evil God in Dali Palace. " The Days When I Was a Puppet Master in Koba " was a light novel written by Shiroishi Jigsaw. Hideki returned to the Ninja School to be a Puppet Master, spreading the Puppet Master's Art in Koba and doing all kinds of novel promotions. " Unrestrained Movie World " was a novel written by Liu Shaochong. The male protagonist, Bai Jue, traveled wantonly in the world of martial arts. The book list was also very interesting. " Kiba: Sakura's Ninja Path " was a light novel written by the Island Whale Immortal. After Haruno Sakura transmigrated, she had a cheat to open the Ninja Path. The new book's reviews were not bad. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!
The Historical Backstory of the Flying Apsaras of Dunhuang
The historical background of Dunhuang Flying Apsaras involved cultural integration and regional development in many aspects. In terms of origin, during the Wei, Jin, Southern and Northern Dynasties, the Central Plains were in chaos, the society of Dunhuang was stable, and the nobles fled to Dunhuang. The Taoist culture of the Central Plains was introduced and integrated with the local Confucianism, laying the foundation for accepting different cultures. In the fifth century, Dunhuang became the cultural center of the Hexi Corridor, preparing for the introduction of Buddhist culture. In terms of cultural exchanges, after the Qin Dynasty unified the Central Plains, the Central Plains and the countries of the Western Regions traded through Dunhuang, which promoted cultural exchanges. The Silk Road of the Han Dynasty was opened, and different ethnic cultures from Central and Western Asia came to the east. Dunhuang became a bridge for the exchange between China and the West. These cultural exchanges created conditions for the emergence of Dunhuang murals and the image of flying sky in them. Judging from the influence of Buddhist culture on the Flying Apsaras, the word "Flying Apsaras" was first seen in the "Luoyang Temple Record" written in the Eastern Wei Dynasty. In the Buddhist concept,"Flying Apsaras" specifically referred to the heavenly people who offered sacrifices to heaven and man, worshipped Buddha, and performed music and dance in the Heavenly Palace. Generally, it referred to Qiantapa and Jinnaro of the Eight Protectors. The two combined into Dunhuang Flying Apsaras and became the God of Heaven and Earth in Buddhism. Flying Apsaras were introduced to China in the second year of Yongping, Emperor Ming of the Eastern Han Dynasty (59 AD). After many dynasties, the Buddhist Flying Apsaras and Taoist Flying Immortals were integrated in the artistic image during the development of Buddhism. In different dynasties, Dunhuang Flying Apsaras had different characteristics of development. The early Northern Liang, Northern Wei, and Western Wei Dynasties were the imitation sprouting period. The Northern Liang Flying Apsaras were rough, heavy, thick, and simple. The middle Northern Zhou and Sui Dynasties were the transformation and creative period. The Northern Zhou Dynasty was mainly drawn with line drawing. The style of the Central Plains was integrated. The color contrast was strong and the outline was clear. The Sui Dynasty Flying Apsaras were the most innovative and artistic attainments. It was the end of the early Flying Apsaras and the foundation of the Tang Dynasty Flying Apsaras. The early Tang Dynasty, the middle and late Tang Dynasty, and the Five Dynasties were the fixed period and the peak period. The basic image of Feitian was Bodhisattva costume and female figure. In the prosperous period, it was influenced by court dance and beautiful woman painting. In the later period of Song, Xixia and Yuan Dynasty, it was the stylized stage, that is, the decline period. The theme of murals in Song Dynasty was basically the same as that in the later period of Tang Dynasty, lacking innovation and momentum. Flying images were mainly based on murals, the most typical of which was the Mogao Grottoes in Dunhuang. At the same time, they were also distributed in the grottoes of Maijishan, Bingling Temple, Yulin, Longmen, Yungang, and Kizil in Xinjiang. There were many forms of artistic expression, including painting (with Dunhuang as the epitome, featured by single-line flat map and colored painting), stone carving (with Yungang and Longmen as representatives, featured by shallow embossed), clay sculpture (featured by embossed and heavy color), wood carving (full round carving or semi-round carving, painted with colored paint after carving), etc. Dunhuang Flying Apsaras was the result of the joint breeding of Indian culture, Western Region culture and Central Plains culture. The integration of various cultures made it a symbol of China national art. "Legend of the Flying Apsaras" is equally exciting. Everyone is welcome to click and read it!
The Historical Evolution of the Flying Apsaras in Dunhuang
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!
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!