1. Poems about flying in the sky
The plain girl is flying to the sky in love, the white jade is jagged with the sound of phoenix, the angel borrows the girl's wings to fly. - "Two Poems on Nong Yu" Year: Author of the Tang Dynasty: Bao Rong
Three thousand girls in the light dance hall, twelve misty flying platforms. There must be immortals coming to plant jade, and less wandering in Lantian.
——"To the Snow" "Two Poems" Year: Song Dynasty Author: Mao Pang
Why call for clouds when you come, why fly into the sky when you go. My name is not a dragon, how can I rain in the fields. ——"Twelve poems on questions and answers are sent to the full Zi Quan's Seven Water Chariots and Asking the Dragon" Era: Song Dynasty Author: Wang Ling
The fragrance has flown up to the sky, and the phoenix flute is still heard in the middle of the moon. - "Three Poems of Diao Yingying" Era: Song Dynasty Author: Wang Shan
Weng Jin is a flying immortal. This meaning is in the human world. - "Drunken Old Man Cao" Era: Song Dynasty Author: Su Shi
From now on, let's go east, west, north, south, and make a Flying Immortal.——"Great Holy Music" Era: Song Dynasty Author: Lu You
I recall that when I was a scholar, the crane followed people, and I always became a flying immortal uncle.——"Niannujiao" Era: Song Dynasty Author: Xin Qiji 2 . Beautiful verses about flying sky paintings
Volume 622 of the Song Dynasty's "Taiping Yulan" quotes "The Immortal Products": "Flying in the clouds, deified with a light move, I think it is a fairy, and it is also a flying fairy."
p>The origin of the name Dunhuang Feitian. In Buddhism, the divine figures who are reborn in the pure land of heaven are called "heavens", such as "Great Brahma", "Gongde Tian", "Shancai Tian", "Thirty-three Heavens" "wait. It is said in the "Golden Guangming Sutra" of the Tang Dynasty: "Foreign gods are also called heaven." In Buddhism, the gods flying in the sky are called Feitian. Flying apsaras are often painted in Buddhist cave murals. In Taoism, mythological figures who ascend to heaven are called "immortals", such as "leading immortals", "celestial immortals", "barefoot immortals", etc., and gods who can fly in the air are called flying immortals. . Volume 622 of Song Dynasty's "Taiping Yulan" quotes "Tianxianpin": "Flying in the clouds, deified with light movements, I think of heavenly immortals, just like the clouds and flying immortals."
Flying immortals are mostly painted in tomb murals. It symbolizes that the soul of the owner of the tomb can ascend to heaven. After Buddhism was introduced to China, it communicated and merged with Chinese Taoism. In the Wei, Jin, Southern and Northern Dynasties, when Buddhism was first introduced, the flying gods in murals were also called flying immortals. There was no distinction between flying immortals and flying immortals. Later, with the further development of Buddhism in China, although the flying gods of Buddhism and the flying immortals of Taoism were integrated with each other in artistic images, in terms of names, only the flying gods in Buddhist cave murals were called flying gods. Dunhuang Feitian is the flying god painted in the Dunhuang Grottoes, and later became a special term for Dunhuang mural art.
In terms of origin and function, Dunhuang Feitian is not a god. It is a complex of gandharva and kumbhaka. Gandharva is the transliteration of Indian Sanskrit, and the free translation is the God of Heavenly Song. Because he exudes fragrance all over his body, he is also called the God of Fragrance. Kinnara is the transliteration of ancient Sanskrit in India, and the free translation is the God of Tianle. Gandharva and Kinnara were originally the gods of entertainment, singing and dancing in ancient Indian mythology and Brahmanism. Myths and legends say that one of them is good at singing and the other is good at dancing. They are inseparable and harmonious. They are a loving couple. Later, they were absorbed by Buddhism and transformed into two gods among the eight gods of Tianlong. Hui Lin of the Tang Dynasty explained in "Sounds and Meanings": "Zhendala, an ancient Kinnara, has a subtle sound, can make subtle sounds, and can sing and dance. The male has a horse head and a human body, and can sing; the female is upright, Able to dance. This goddess is often married to Gandharva. "Gandharva and Kinnara are included in the eight deities of heaven and dragon in Buddhism. With the development of Buddhist theory, artistic aesthetics and artistic creation, they were originally The ferocious appearance of the Horse-headed Man Peak has gradually evolved into a celestial being with beautiful features, pretty eyes, dancing gracefully, and soaring in the sky. Gandharva and Kinnara originally had different functions among the eight gods of Buddhism. Gandharva, the God of Music, has the task of dispersing fragrance in the Buddhist Pure Land, offering flowers, treasures, and praises to the Buddha, living in flowers, and flying in the heavenly palace. Kinnara, the God of Song, has the task of spreading fragrance in the Pure Land of Buddhism. In the world, they played music, sang and danced for the Buddha, Bodhisattvas, gods, and gods. They lived in the heavenly palace and could not fly in the sky. Later, the functions of Gandharvas and Kinnara were mixed into one; Gandharvas also played musical instruments, sang and danced; Naluo also rushed out of the heavenly palace and flew into the sky. Gandharvas and Kinnara are men and women, they merge into one body and become the Dunhuang Feitian of later generations. During the Western Wei Dynasty, Feitian, who played music and sang and danced, appeared in Mogao Grottoes. After the Sui Dynasty, Gandharvas and Kinnara became one and they were indistinguishable. It's just that when writing articles in the music and dance circles, in order to distinguish them from musicians, the Gandharvas who played music in the early Tiangong were named Tiangong Musicians, and the Feitian who later merged into one and held music, sang and dance was named Feitian Musicians. From the artistic image of Dunhuang Feitian, it is not the artistic image of one culture, but a complex of multiple cultures. Although the hometown of Feitian is in India, Dunhuang Feitian is the culmination of Indian culture, Western Region culture, and Central Plains culture. It is a flying apsara with Chinese cultural characteristics that has been integrated into one through long-term exchanges and events between Indian Buddhist heavenly beings and Chinese Taoist feathered beings, as well as the flying apsaras from the Western Regions and the flying apsaras from the Central Plains. It is a flying apsara that has no wings, no feathers, no round light, relies on colorful clouds instead of relying on colorful clouds, and relies mainly on fluttering dresses and flying ribbons. Dunhuang Feitian can be said to be the most genius creation of a Chinese artist and a miracle in the history of world art.
3. Articles describing the Flying Apsaras of Dunhuang
The Flying Apsaras of Dunhuang is the business card of Dunhuang Mogao Grottoes and a symbol of Dunhuang art.
Just see the graceful flying sky. People will think of the art of Dunhuang Mogao Grottoes.
Among the 492 caves in Dunhuang Mogao Grottoes, almost all have flying apsaras painted on them. According to Mr. Chang Shuhong in the preface to the large-scale art album "Dunhuang Flying Apsaras", "a total of more than 4,500 bodies".
Their number can be said to be the largest number of Feitian grottoes in the world and among Buddhist grottoes and temples in China. The origin of the name Dunhuang Feitian and the characteristics of the times are summarized as follows: Edit this paragraph 1. Dunhuang Feitian The origin of the name: In Buddhism, the divine figures who are reborn in the pure land of heaven are called "heavens", such as "Great Brahma Heaven", "Merit and Virtue Heaven", "Good Talent Heaven", "Thirty-three Heavens", etc. It is said in the "Golden Guangming Sutra" of the Tang Dynasty: "Foreign gods are also called heaven."
In Buddhism, the gods flying in the sky are called Feitian. Flying apsaras are often painted in Buddhist cave murals. In Taoism, mythological figures who ascend to heaven are called "immortals", such as "leading immortals", "celestial immortals", "barefoot immortals", etc., and gods who can fly in the air are called flying immortals. .
Volume 622 of Song Dynasty's "Taiping Yulan" quotes "Celestial Immortal Products": "Flying in the clouds, deified with light movements, thinking of heavenly immortals, and also flying immortals." Flying immortals are mostly painted in tomb murals. It symbolizes that the soul of the owner of the tomb can ascend to heaven.
After Buddhism was introduced to China, it communicated and integrated with Chinese Taoism. In the Wei, Jin, Southern and Northern Dynasties, when Buddhism was first introduced, the flying gods in murals were also called flying immortals. There was no distinction between flying immortals and flying immortals.
With the further development of Buddhism in China, although the flying gods of Buddhism and the flying immortals of Taoism are integrated with each other in artistic images, in terms of names, they only refer to the flying gods in the Buddhist grotto murals. For Feitian. Dunhuang Feitian is the flying god painted in the Dunhuang Grottoes, and later became a special term for Dunhuang mural art.
In terms of origin and function, Dunhuang Feitian is not a god. It is a complex of gandharva and kumbhaka.
Gandharva is the transliteration of Indian Sanskrit, and the free translation is the god of heavenly songs. Because he exudes fragrance all over his body, he is also called the God of Fragrance. Kinnara is the transliteration of ancient Sanskrit in India, and the free translation is the God of Tianle.
Gandharva and Kinnara were originally the gods of entertainment, singing and dancing in ancient Indian mythology and Brahmanism. Myths and legends say that one of them is good at singing and the other is good at dancing. They are inseparable and harmonious. They are a loving couple.
Later, they were absorbed by Buddhism and transformed into two gods among the eight gods of Tianlong. Huilin of the Tang Dynasty explained in her "Sound and Meaning": "Zhendala, an ancient Kinnara, is in the sky, has subtle intermittent sounds, can make subtle sounds, and can sing and dance.
The male has the head of a horse and the body of a horse. They are able to sing; women are upright and capable of dancing. Most of these goddesses are married to Gandharvas."
Gandharvas and Kinnara are included in the eight deities of the heavenly dragons and are followed by them. In response to the development needs of Buddhist theory, artistic aesthetics and artistic creation, the original ferocious appearance of the Horse-headed Peak has gradually evolved into a celestial being with beautiful features, pretty eyes, dancing gracefully, and soaring in the sky. Gandharva and Kinnara originally had different functions among the eight gods of Buddhism.
The task of Gandharva---the God of Music is to spread fragrance in the Buddhist Pure Land world, present flowers, treasures, and praise to the Buddha, live in flowers, fly in the heavenly palace, Kinnara--- - The mission of the God of Song is to play music, sing and dance for Buddha, Bodhisattvas, gods, and gods in the pure land of Buddhism. He lives in the heavenly palace and cannot fly in the sky. Later, the functions of Gandharva and Kinnara were merged into one; Gandharvas also played musical instruments, sang and danced; Kinnara also rushed out of the heavenly palace and soared into the sky. Gandharvas and Kinnara are men and women, they merge into one body and become the Dunhuang Feitian of later generations.
In the Western Wei Dynasty, Feitian, who played music and sang and danced, appeared in Mogao Grottoes. After the Sui Dynasty, Gandharvas and Kinnara became one and they were indistinguishable.
It’s just that when the music and dance circles wrote articles, in order to distinguish them from musicians, the Gandharvas who played music in the early Tiangong were named Tiangong musicians, and the Gandharvas who played music and danced in the later days were combined into one. Feitian was named Feitian Jile. From the artistic image of Dunhuang Feitian, it is not the artistic image of one culture, but a complex of multiple cultures.
Although the hometown of Feitian is in India, Dunhuang Feitian is the culmination of Indian culture, Western Region culture, and Central Plains culture. It is a flying apsara with Chinese cultural characteristics that has been integrated into one through long-term exchanges and events between Indian Buddhist heavenly beings and Chinese Taoist feathered beings, as well as the flying apsaras from the Western Regions and the flying apsaras from the Central Plains.
It is a flying apsara that has no wings, no feathers, no round light, relies on colorful clouds instead of relying on colorful clouds, and mainly relies on the fluttering skirts and flying colorful ribbons. Dunhuang Feitian can be said to be the most genius creation of a Chinese artist and a miracle in the history of world art.
Edit this paragraph 2. The characteristics of the times of Dunhuang Feitian Feitian in Dunhuang murals appeared at the same time as the creation of Huai Cave. Starting from the Sixteen Kingdoms, it went through ten dynasties and lasted for more than a thousand years until the end of the Yuan Dynasty. It disappeared with the construction of Dunhuang Grottoes.
In this long history of more than a thousand years, due to changes in historical circumstances such as the change of dynasties, the transfer of political power, the development and prosperity of the economy, the frequent exchanges of Chinese and Western cultures, Feitian's artistic image, posture and artistic conception, style and taste have all changed. Constantly changing, different eras and different artists have left us Feitian with different styles and characteristics.
Dunhuang Feitian has formed a unique history of evolution and development for more than a thousand years. Its evolution history is generally consistent with the entire Dunhuang art development history, and is divided into four stages: 1. The rise period.
From the Northern Liang Dynasty of the Sixteen Kingdoms to the Northern Wei Dynasty (AD 366--535), which lasted for more than 170 years, the Dunhuang apsaras during this period were deeply influenced by the apsaras from India and the Western Regions, and were generally Western Region-style apsaras. However, the characteristics of Feitian in the two dynasties during this period were also slightly different.
In the Northern Liang Dynasty of Mogao Grottoes, flying apsaras were mostly painted on the corners of the chessboard on the top of the cave, in the decoration of the caisson on the top of the cave, on the upper edge of the Buddhist niche and on the head of the subject of the Jataka story painting. Its modeling and artistic characteristics are: a round head, an oval face, a straight nose and big eyes, a big mouth and big ears, round earrings, a bun, or wearing a mandrel or an Indian five-jeweled crown, a short and stout figure. The upper body is half-naked, with a long skirt wrapped around the waist and a large scarf draped over the shoulders. Due to the sfumato technique, the color changes, resulting in a white nose bridge and white eyeballs. It is similar to the Feitian in the grottoes such as Qiuci in the Western Regions, in terms of shape, face, posture, color, and painting skills. Very similar.
When the Mogao Grottoes were first built, the painters and painters in the Dunhuang area were not yet familiar with Buddhist themes and foreign art, and were in the imitation stage. They used bold brushwork and bold coloring, which appeared rough and simple. There are only three Mogao Grottoes in Beiliang Grottoes.
The Feitian that has the most characteristics of Beiliang style is above the main figure of the miniature story painting on the north wall of Cave 275.
4. Poems about Feitian
Are you really tired of this world?
Just let the feathers fly away
Yun Weichang
Mist is a veil
Where is the mountain top where the dew is collected as a spring
Feeding deer and herding cranes
Why do I still see you in the morning glow
Blushed Face
And Mu Lu’s Colorful Clothes
Is that ethereal song “Plucking the Fairy”
from your jade flute?
In the back of a person who came looking for a voice
But you dropped a drop of tears and turned into a spring
You turned around and flew on the mural of Mingsha Mountain
Put on an eternal dance pose
Smiling
Among the many tourists
Looking for a nirvana in the past life